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。\n画中描写了六位衣着艳丽的贵族妇女及其侍女于春夏之交赏花游园。\n画作不设背景，以工笔重彩绘仕女五人，女侍一人，另有小狗、白鹤及辛夷花点缀其间。\n全图六个人物的主次、远近安排巧妙，景物衬托少而精。\n两只小狗、一只白鹤、一株辛黄花使原本显得孤立的人物产生了左右呼应、前后联系的关系。\n半罩半露的透明织衫，使人物形象显得丰腴而华贵。\n而用笔和线条却细劲有神，流动多姿。\n浓丽的设色，头发的钩染、面部的晕色、衣着的装饰，都极尽工巧之能事，较好地表现了贵族妇女的细腻柔嫩的肌肤和丝织物的纹饰。\n《簪花仕女图》是 贵族人物画风格的代表。\n同时也体现出贵族仕女养尊处优、无所事事、游戏于花蝶鹤犬之间的生活情态。\n画面左端开始婷婷而立的髻插芍药花的贵族仕女，浅紫色的纱衫上，有以四个斜角田宇为一组的菱纹。\n白地帔子绘有彩色云鹤，从肩后身向前胸下垂。\n她右手举着刚捕捉的蝴蝶，左手提起帔子，使它成为垂直。\n她上身往前微倾，以迎接向她跑来的小狗。\n画面左起第二位妇女身材娇小，神情庄重，身着朱红披风，外套紫色纱罩，从远处巧移莲步而来。\n发髻上插海棠花，脖子饰金质云纹项圈。\n白裙上的紫色团花，从纱衫的下面透出，显得十分艳丽。\n破子从后肩向两臂平分下垂，双手抓紧薄纱，掩着帔子，同时也紧束了宽大的衣服。\n画面左起第三位贵族女人髻插荷花，身披白花格子纱衫，胸前束朱色斜格长裙曳于地而，紫色帔子上有粉和青花枝纹样。\n她右手略向上举，反掌拈红花一枝，左手髻上取下金钗朝着右边移去，目光注视新折下来的花枝，凝神遐思，准备将它插上发髻最显眼的地方。\n在她的面前有一只举足欲行的丹顶鹤，似乎引不起她一点兴趣。\n画面左起第四位侧立着的侍女执长柄团扇，团扇上绘着盛开的牡丹，红花绿叶相衬托，格外亮丽。\n她的妆扮，有异于卷中的其他贵族仕女。\n她也有一头浓密的黑发，梳成两个十字相合的发髻，中间用红缎带把那个髻子束在一起。\n她穿的朱色菱角纹的斜领处露出一部分，白色圈花的纱带，绕过纱衫一圈之后，在腹前打了个结子。\n白色的软底鞋尖，从彩色的衬裙下露出，它的形制不同于其他几位贵族妇女所穿的重台履。\n她的表情安祥却又若有所思，在当时嬉戏场合形成鲜明的对比。\n画面左起第五位仕女，发髻上插的红瓣花枝，纱衫上有深白色的菱形纹样。\n胸下的夹撷长裙曳于地而，紫绿色的团花平均分布在鲜明的朱红的地子之上，显得典雅、富丽；经纱衫掩盖过的部分，颜色相应减退。\n紫色的帔子上，彩绘着云风纹样，往后垂了下去，她轻举右手，用纤细的食指和拇指提起贴在脖肩上的纱衫领子，似有不胜初夏闷热气候的样子。\n她左手从纱衫的侧面伸出，手指向背而嬉戏的小狗打招呼，希望小狗也来给她逗趣。\n画面左侧起最后一位是一个贵族妇女，体态丰硕，发髻高大，上插牡丹花一枝，髻前饰玉步摇，那珍珠在不停地摇晃。\n她头上的髻发和短鬓，茸茸地分披在丰满的额前和耳边，显得青春焕发。\n她圆润的而庞，浮起了淡薄的红晕；瓜子形的黛画短眉，浓淡适宜地斜峙在粉额之前，眉间金色花子的点饰如豆般大小，朱唇小到恰好与整个而庞隐隐相称，她侧身作向右倾斜的姿势，外披紫色纱罩衫，衫上的龟背纹尚隐约可辨。\n朱色的长裙上，画有斜格纹样。\n紫绿色花纹的洁白丝绸衬裙，长过纱衫，拖曳到地而上。\n右手摆向前侧，靠着纱衫；左手执纬子前伸，纬穗的摆动，逗引着小狗作戏，而小狗深通人意，它朝纬穗不停地张嘴摆尾，作出扑跳的姿态。\n在贵族仕女们嬉游处的尽头，树立着一而玲珑石。\n石后有盛开的辛夷花，紫色的花朵，陪衬着少许的绿叶。\n石头下的地上有一丛绿油油的杂草，一起点缀着视野广阔的空间。\n卷无作者款印，亦无历代题跋及观款。\n以后，当代统治阶级为了粉饰太平，提倡所谓“文治”，也正好吻合了当时人民历经战乱、渴望安宁社会的生活的心情，宴游的风气从此大开，奢侈之风成为天宝以后统治者崇尚的对象，到了贞元年间，这种风气就更为突出。\n杜牧当时这样描述：至于贞元末，风流悠绮靡。\n周昉的《簪花仕女图》正是这个时期的典型代表，画家如实的描绘了在奢靡风气支配下的唐代宫廷仕女嬉游生活的典型环境。\n最早著录此卷的是清安岐《 》，认为是唐周昉所绘，其后《石渠宝笈·续编》及《 》皆沿用该观点，俱著录为《周昉仕女图》，然近代研究亦有持异议者。\n1972年，对此图进行重新装裱时，有人发现此图系后拼接而成，较明显者为左数第二个比例较小的仕女为后嵌入，而白鹤与画左小狗亦为剪裁而来，有研究者据此认为其原为屏风画。\n作品创作的时代问题也存在争议。\n学术界主要有三种观点：唐代说、五代南唐说和宋代说。\n唐代说：唐玄宗先天二年（公元71年）八月，太平公主谋反被诛杀，其在积善坊的府邸被没收。\n寿王李瑁与杨玉环大婚前，唐玄宗将太平公主的这处宅园赐给李瑁，成为寿王府。\n上巳节后的一天，长宁公主、咸宜公主等四位贵夫人前来寿王府，杨玉环领她们到花园赏花。\n这时，年轻的宫廷画家周昉奉诏为杨玉环画像，他来到寿王府。\n李瑁将周昉引至花园中，周昉见这五位贵妇人正游玩簪花，就静静地在旁边观察。\n几日后，周昉根据当日的场景，画出了《簪花仕女图》。\n作品从当时社会的现实生活出发，将现实生活中的贵族妇女，画得雍容华贵，画出一种闲适无聊的生活本质，表现出娇、奢、雅、逸的气息和女性柔软、温腻、动人的姿态，赋予作品鲜明的时代感。\n作品渲染的快乐而又略带懒散的情绪和气氛，正是恰当地层示了属于那个时代整个贵族有闲阶级的时代气氛；在表面华丽雍容的物质繁华背后，隐藏着人物内心深深的凄寂和幽怨。\n《簪花仕女图》中作者对人物神态抓得较好，注重挖掘仕女精神上的苦闷和空虚，反映了贵族奢侈生活后面的精神困境。\n其中，有别于其他五位的那个执扇侍女，表情相当安详，默默中若有所思的神情，与其他五位仕女的神态构成了鲜明的对比，这在反映现实的同时，在一定程度上也预示出唐代后期审美意趣由宏丽转向婉约的变化。\n另外，体态动势也是表达人物内心精神的重要因素，如果把动态处理得宜，也可以加强人物精神性格的表现。\n就画中人物的姿态而高，各不相同。\n左起第一位仕女因为有摇头摆尾、深通人意的小狗在其右侧，作为逗引小狗作戏的她，侧身玉立，上身向右倾斜，右手无意识地摆向前侧，左手执拂子向前伸向小狗，接养右侧的是一位婷婷玉立披白色纱衣的仕女，她漫不经心地举养右手，用纤细的食指和拇指提起贴在脖子上的纱衫领子，似有不胜闷热气候的沉重之感。\n她左手从纱衫的侧而伸出，似乎在向背着她作戏的小狗打着招呼。\n接着就是右后方侧立着执长柄团扇的侍女，她闲静自然。\n侍女的右前方也相当于她的左侧之处，是一位持花的仕女，她右手略向上举，反掌拈红花一枝，左手从发髻上取下金钗朝右边移去，似乎要把它插在最引人注意的地方，从远处姗姗而来的是一位身材小巧的仕女，她双手紧操着薄纱，掩着帔子，紧束着宽大的衣服，作向前迈步的姿势。\n最后一位仕女右手举着一只蝴蝶，左手提着帔子，要迎接从后而向她跑过来的小狗，她上身往前微倾，头往右微侧，在丰韵之中又平添了窈窕婀娜之态。\n由此可见，作者在人物姿态的处理上，为避免相同，又不失统一，颇费心思。\n画家在全幅构图中以相等的间隔安排了几位贵族妇女，一段一段地看去，仿佛每个妇女形象从眼前一幕一幕地移动，这种构图的规律，看完了整个场景，仿佛同画面人物一起游完了庭园。\n人物之间似有联系，又似独自悠闲。\n所以《簪花仕女图》的画而完整性并不是依靠空间、时间上的一致性诉诸观者的，它是依靠人与人之间的呼应和所营造的整个闲适和谐的气氛，这样一个独特的形式传达给观者的。\n在画而中，横列的散点视线之内，多半用静穆的姿态分战了适当的位置；又把她们之中的两位妇女安置在距离较远的后方，因之增大了广阔的视野，也就扩展了空间，不至于把观者的视线囿于狭小的画而之中。\n庭园里不藉更多什物作为衬托，但它的趣味并不因此而显得单调和贫乏，反而觉得愈益接近事物的真相。\n这种构图上的独特风格，具有强烈的时代气息。\n除了画面的并序排列外，《簪花仕女图》在人物比例的处理上也出现了一种有趣的现象，观者可以发现画面左起第二个妇女的比例是按照近大远小的原则安排的。\n从她的服饰和仪态来看，她是画家为了扩展观者的视野、开拓空间，而刻意安排在较远的地方，并不是因为身份的关系“近大远小”与按身份安排人物比例两种构图方法同时出现在一张画面上的。\n《簪花仕女图》画面上独到之处是精致细腻的画笔，作者以线造型，成功地描绘了妇女身上轻柔透亮的薄纱披肩，以及薄纱下隐约可见的手臂，并自始至终毫无变化地使用定型的线描，对仕女面部和手的描制，下笔稳重准确，力求匀称，衣裙图案花纹的用笔，信笔而成，转折处若断若续，似规整但又非常流动，使通常流于对称刻版的图案，重新赋予了灵巧而生动的活力。\n至于仕女的髻发和鬓丝，精细过于毫毛，根根可数，笔笔有飞动之感。\n对人物画的手部刻画，甚是到位。\n《簪花仕女图》中的贵族仕女袒胸露臂，双手毫无遮蔽，描绘起来，实非易事。\n作者用简洁遒劲的线条，准确地表现了各种不同的手势，骨法用笔的线条对作品产生了决定性的意义。\n《簪花仕女图》的线条达到了“骨法用笔”的高度统一，使之成为独立的存在，支配着整幅画的灵魂。\n《簪花仕女图》在赋彩的技巧上，恰当地运用了复杂的色调，重复中不觉得单调。\n紫色纱衫的一再出现，即是一个突出的例子。\n紫色与花青一并涂施，历有“青间紫，不如死”之说，而此图作者对其运用，似乎不受限制和约束。\n在紫色桩上有两处用花青勾画纹样，反而觉得十分典雅，正是作者在克服色彩运用矛盾的独到之处。\n从色彩的搭配到赋彩的层次，画家用纯净透明的白色穿插在各种色彩之中，使黑、白和许多明丽的色彩相互衬托又相互制约，形成了沉着和明快相结合的矛盾统一。\n赋彩上的层次清晰，分开丝绸间的叠压关系，使之有空气流动之感。\n纱衫笼罩下的肌肤和衣裙就如一层薄雾所掩盖，因而原来的肌肤和衣裙随之改变了颜色，但它却不因此而使人离开肌肤和衣裙原有色调的联想力。\n如此，各种颜色所涂成纱衫的质感，更深刻地映入观者的脑海里。\n《簪花仕女图》是全世界范围内唯一认定的唐代仕女画传世孤本。\n除了唯一性之外，其作品的艺术价值也很高，是典型的唐代仕女画标本型作品，是能代表唐代 风格的绘画作品。\n《簪花仕女图》这种仕女画风格在当时画坛上颇为流行，极大地影响了唐末乃至以后各朝代的仕女画坛和佛教艺术 。\n该作展现了极为浓郁的时代特色和民族气息，是中国传统绘画史上非常重要的一部作品。\n1984年月，中国邮电部特别发行《簪花仕女图》特种邮票和小型张。\n此卷曾经南宋内府收藏，南宋末归 所有，元、明间流传无考，清初为梁清标、安岐收藏，后入清内府。\n1924年，末代皇帝溥仪出宫，但在此前，他用了一年时间整理了1余件举世罕见的书画作品。\n在溥仪逊位前，溥仪便以“恩赐”名义，将内府所藏珍贵字画赏赐给其弟 、溥佳，让他们利用每日下学出宫机会，用黄绫包袱将书画带出，《簪花仕女图》就在其中。\n盗运出宫的书画起初存放在醇王府内。\n1925年，在 人协助下，这批书画被运抵天津，随溥仪先后在日租界内的张园、静园收藏。\n194年，溥仪到长春做了 皇帝，这批书画被运至当时的长春伪皇宫小白楼内。\n“小白楼”是一幢二层日式钢筋水泥楼，是日本人为溥仪修的保存善本图书及古玩字画的库房，内存藏品总数约1件，对外名曰“图书馆”。\n1945年8月，日本宣布战败投降前，日本关东军准备将伪满洲国迁到通化。\n8月17日，溥仪乘飞机企图逃往日本时，被 俘获，其携带的一部分书画和珠宝由苏联红军查扣，并转交 ，几经辗转后，《簪花仕女图》藏于辽宁省博物馆。\n217年7月，辽宁省博物馆举办《艺术·生活——辽宁省博物馆研发文创作品展》，展出镇馆之宝《簪花仕女图》。\n219年1月7日至22年1月5日，该作品在辽宁省博物馆将举办大型文物特色展览“又见大唐”中展出。\n22年9月28日，厦门海丝艺术品中心推出“复现——荣宝斋木版水印中秋特展非遗交互体验展”，展出木版水印作品《簪花仕女图》。\n周昉，生卒年不详，唐代画家，字仲朗，一字景玄，京兆（今陕西省西安市）人。\n出身于仕宦之家，曾官越州长史、宣州长史别驾。\n好属文，穷丹青之妙，擅画肖像、尤工仕女，初学张萱而加以写生变化，多写贵族妇女，所作悠游闲适，容貌丰腴，衣着华丽，用笔劲简，色彩柔艳，为当时宫廷、士大夫所重，称绝一时。",[23,24,28,7,59,60,61,62,63,64,65],"美人","鹤","狗","花","衣帽","饰品","布料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94df61ee873fdda8506e777d2dd87070.jpg","绢本","纵46厘米，横180厘米",[44,45],15398,116,{"id":73,"slug":74,"title":75,"dynasty":76,"author":77,"museum":78,"description":79,"tags":80,"thumbUrl":87,"material":88,"size":89,"collection":90,"collections":91,"showCount":92,"zanCount":93,"manualWeight":48,"mainColor":94},214707,"chun-hua-tu-ba-kai-yun-shou-ping-214707","春花图八开","清","恽寿平","上海博物馆","恽寿平画了八种春天的花，包括桃花、牵牛花、牡丹、绣球、萱草、月季、樱花和鸢尾花。这幅画是在他晚年的时候画的，当时他五十三岁，虽是没骨而近乎写意，用笔已是纯青。",[23,24,25,81,7,82,83,84,85,86],"册","没骨","花鸟","花卉","鸢尾","书法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fa759adc318004a833d99020a6068e6.jpg","纸本,设色","26.3x35.7","花鸟画精选",[90],14420,63,"BDBDBD",{"id":96,"slug":97,"title":98,"dynasty":99,"author":100,"museum":101,"description":102,"tags":103,"thumbUrl":122,"material":123,"size":124,"collection":44,"collections":125,"showCount":126,"zanCount":127,"manualWeight":48,"mainColor":49},217887,"qing-ming-shang-he-tu-chou-ying-217887","清明上河图","明","仇英","美国大都会艺术博物馆","此卷《清明上河图》参照了张择端《清明上河图》的构图形式，采用青绿重设色方式，描绘明代苏州城的社会生活情景，画中人物超过两千，且都神态各异，栩栩如生。整个画面工整细腻，色彩鲜艳，典雅清丽，工而不板，细而不繁，妍而不媚。",[23,24,26,28,7,104,105,106,107,108,109,34,110,111,112,113,114,115,116,117,118,119,120,121],"界画","临摹","人物","楼阁","小桥","流水","商铺","船只","街市","车马","建筑","庭院","行人","市集","舟楫","道路","市井","宅院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F102b4f88d7b2d81f25208305d2123fef.jpg","绢本,设色","29.2x645.2cm",[44,45],11185,132,{"id":129,"slug":130,"title":131,"dynasty":76,"author":77,"museum":132,"description":133,"tags":134,"thumbUrl":138,"material":88,"size":139,"collection":90,"collections":140,"showCount":141,"zanCount":142,"manualWeight":48,"mainColor":94},214744,"hua-hui-ce-yun-shou-ping-214744","花卉册","私人收藏","恽寿平（1796-1873）是清代著名的画家，他擅长画花鸟，尤其是花卉。他的花卉册是他的代表作之一，包含了他对花卉的描绘和描写。\n\n恽寿平的花卉册以其精细的笔墨和精美的色彩著称，他善于捕捉花卉的细节和美感，并将其再现在画布上。他画的花卉通常都是生动传神，有时也带有一些象征意义。恽寿平还创作了许多花卉图谱，用来介绍各种花卉的特征和用途。\n\n恽寿平的花卉册不仅深受藏家的喜爱，也被认为是清代花卉画的杰出代表作之一。他的作品不仅为后人留下了宝贵的艺术瑰宝，而且也为我们展示了清代花卉画艺术的魅力。",[23,24,25,81,83,82,7,135,136,137],"紫藤","荷花","荷叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab73f6dce929392ea6f25d5a923c813e.jpg","",[90],10967,60,{"id":144,"slug":145,"title":98,"dynasty":18,"author":146,"museum":20,"description":147,"tags":148,"thumbUrl":159,"material":160,"size":161,"collection":42,"collections":162,"showCount":164,"zanCount":165,"manualWeight":48,"mainColor":49},221320,"qing-ming-shang-he-tu-zhang-ze-duan-221320","张择端","《清明上河图》描绘的是清明时节北宋都城汴京（今河南开封）东角子门内外和汴河两岸的繁华热闹景象。全画可分为三段：\n首段写市郊景色，茅檐低伏，阡陌纵横，其间人物往来。\n中段以“上土桥”为中心，另画汴河及两岸风光。中间那座规模宏敞、状如飞虹的木结构桥梁，概称“虹桥”，正名“上土桥”，为水陆交通的汇合点。桥上车马来往如梭，商贩密集，行人熙攘。桥下一艘漕船正放倒桅杆欲穿过桥孔，艄工们的紧张工作吸引了许多群众围观。\n后段描写的是市区街道，城内商店鳞次栉比，大店门首还扎结着彩楼欢门，小店铺只是一个敞棚。此外还有公廨寺观等。街上行人摩肩接踵，车马轿驼络绎不绝。行人中有绅士、官吏、仆役、贩夫、走卒、车轿夫、作坊工人、说书艺人、理发匠、医生、看相算命者、贵家妇女、行脚僧人、顽皮儿童，甚至还有乞丐。他们的身份不同，衣冠各异，同在街上，而忙闲不一，苦乐不均。城中交通运载工具，有轿子、驼队、牛、马、驴车、人力车等。 车辆有串车、太平车、平头车等诸种，再现了汴京城街市的繁荣景象。高大的城门楼名东角子门，位于汴京内城东南。\n全卷画面内容丰富生动，集中概括地再现了12世纪北宋全盛时期都城汴京的生活面貌。\n此画用笔兼工带写，设色淡雅，不同一般的界画，即所谓“别成家数”。构图采用鸟瞰式全景法，真实而又集中概括地描绘了当时汴京东南城角这一典型的区域。作者用传统的手卷形式，采取“散点透视法”组织画面。画面长而不冗，繁而不乱，严密紧凑，如一气呵成。画中所摄取的景物，大至寂静的原野，浩瀚的河流，高耸的城郭；小到舟车里的人物，摊贩上的陈设货物，市招上的文字，丝毫不失。在多达500余人物的画面中，穿插着各种情节，组织得有条不紊，同时又具有情趣。",[23,24,25,26,104,28,7,106,107,108,109,149,150,151,34,112,152,36,153,154,31,155,156,116,157,35,119,158],"船","马","牛","店铺","城墙","车","码头","货船","商贩","城门","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee4ecd57523f904bcb1af9f65a29b2cb.jpg","绢本，淡设色","纵24.8厘米，横528厘米",[42,163],"水墨画精选",8462,106,{"id":167,"slug":168,"title":169,"dynasty":99,"author":170,"museum":78,"description":171,"tags":172,"thumbUrl":179,"material":88,"size":180,"collection":181,"collections":182,"showCount":183,"zanCount":184,"manualWeight":48,"mainColor":94},214638,"wu-zhong-shan-shui-juan-shen-zhou-214638","吴中山水卷","沈周","画家画的是他家乡苏州的山水景象，山水构图平远，波光粼粼，山峦郁郁葱葱，被行人的小船打断了。图像没有任何标记，背面纸上有沈周写的长诗。",[23,24,25,26,173,7,29,108,109,174,175,34,176,35,177,86,178],"水墨","孤舟","亭","山石","皴法","行书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1fc32edd6049d9d044095077d4fe271.jpg","31.6x348","山水画精选",[181],7463,45,{"id":186,"slug":187,"title":188,"dynasty":189,"author":190,"museum":191,"description":192,"tags":193,"thumbUrl":197,"material":123,"size":198,"collection":44,"collections":199,"showCount":200,"zanCount":201,"manualWeight":48,"mainColor":94},216930,"han-xi-zai-ye-yan-tu-gu-hong-zhong-216930","韩熙载夜宴图","五代十国","顾闳中","台北故宫博物院","他出生于江南，在南唐时担任元宗父子的御史，与周文儒同时。据传说，韩熙载是一个很好的声乐表演者，他是夜里喝酒的特殊客人。后者想看看台阶灯、台阶蜡烛和摇曳的筹码，所以他命令马德在晚上监视他，上面画的就是这幅画。这是人物画的最后一部分，只有八个人物，没有任何痕迹，这幅画非常古老，虽然不是顾雏军的原作，但可能是很早的一个大师的摹本。",[23,24,194,26,28,7,106,59,63,195,196],"名画","乐器","饮酒器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87c3e16a6989ea7dc1166ef8b9300366.jpg","27.9x69",[44],6027,25,{"id":203,"slug":204,"title":205,"dynasty":99,"author":206,"museum":78,"description":207,"tags":208,"thumbUrl":213,"material":88,"size":214,"collection":90,"collections":215,"showCount":216,"zanCount":217,"manualWeight":48,"mainColor":94},216663,"hua-niao-ce-sun-ke-hong-216663","花鸟册","孙克弘","孙克弘的折枝画鸟画名重一时，是册共含牡丹、山茶、冬梅等花鸟画十六开，设色秀润清新，用墨精妙淡雅。孙克弘题引首：草木霑春。华亭克弘书。钤“雪居”朱文印、“汉阳长印”白文印。并自题“洞庭樵海张山人者，清贫守道，耻干谒人，真隐君子也。短褐一瓢，歌咏于青山白云中，消磨半生矣。兹老贫不能支吾薪水，因访余东皋雪堂，余又以贫不能为赠。聊写杂卉一册贻之。倘好事者以数斗易去，亦足为山人一箸之助也。汉阳守，华亭雪居孙克弘书并画。”",[24,81,7,173,83,84,209,210,211,212],"鸟","枝叶","枝干","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F966c437cd22b844a3f1dd020db83444b.jpg","纵31.7厘米，横61.8 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为装饰厅堂的屏风画。画幅左下角有「金陵徐熙」款，疑是伪添的。按徐熙（约活动于西元十世纪初）钟陵（南京）人，为南唐著名的花鸟画家，画史记载他长于以墨写枝叶蕊萼，然后上色称落墨花，独具风格。",[23,24,25,226,28,7,83,292,209,365],"玉兰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11594ba216d09de7efa721c87d10457a.jpg","112.5x38.3cm",[90],3262,47,{"id":372,"slug":373,"title":374,"dynasty":76,"author":375,"museum":316,"description":376,"tags":377,"thumbUrl":382,"material":123,"size":383,"collection":90,"collections":384,"showCount":385,"zanCount":386,"manualWeight":48,"mainColor":49},214520,"bai-niao-chao-feng-tu-shen-quan-214520","百鸟朝凤图","沈铨","这幅画卷展现了四季变化的景象，近300只禽鸟，百余棵树，四季花开；百鸟聚于天，百花开于地，展现了一个详和的世界。以其绚丽的色彩和宏伟的气势成为国宝。",[23,194,24,26,28,7,245,378,379,380,60,277,381,83],"树","石","花草","凤凰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F215a89f195a9b633e6a40c7f1827f807.jpg","45x1600",[90],3111,27,{"id":388,"slug":389,"title":390,"dynasty":18,"author":391,"museum":240,"description":392,"tags":393,"thumbUrl":394,"material":395,"size":396,"collection":42,"collections":397,"showCount":398,"zanCount":399,"manualWeight":48,"mainColor":49},221330,"mo-zhang-xuan-dao-lian-tu-zhao-ji-221330","摹张萱捣练图","赵佶","卷中绘唐装仕女、女仆、女童十二人，依次为捣练、圈线、缝衣、熨练的情景。人物姿态雍容，线描挺劲，赋色浓丽。画中无款识，前隔水细花黄绫上有金章宗完颜璟仿徽宗瘦金体书题「天水摹张萱捣练图」。\n卷后有明初张绅、清高士奇、近人罗文彬题跋。画卷上分钤金章宗明昌七玺，清高士奇、金望乔等鉴藏印。《江村书画目》《大观录》《墨缘汇观续录》著录。\n「天水」为赵氏郡望，历来将此作系于宋徽宗赵佶名下，但丛用笔赋色的细腻精巧等特征来看，应出自宣和画院画家之手，不是徽宗亲笔。此图虽系摹本，但结合传世的如《挥扇仕女图》等唐人作品考察，可推知应为比较忠实的摹古之作，保留了十分珍贵的唐代绘画资料。特别是在张萱原作不存的情况下，我们据此可以探究张萱的绘画风貌。",[23,24,25,26,28,7,106,59,105,65,63,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff64ccfee95d303f5ca82b607f6c92ef6.jpg","扇面画","纵：37厘米，横：145.3厘米",[42,44,45],2907,23,{"id":401,"slug":402,"title":403,"dynasty":76,"author":257,"museum":20,"description":404,"tags":405,"thumbUrl":410,"material":123,"size":411,"collection":44,"collections":412,"showCount":413,"zanCount":414,"manualWeight":48,"mainColor":94},214261,"yong-zheng-di-xing-le-tu-yi-ming-214261","雍正帝行乐图","雍正帝行乐图是一幅作者不详的清代画作。这幅画作描绘了雍正帝在行乐时的场景。\n\n在这幅画作中，画家巧妙地捕捉了雍正帝在行乐时的气质。他用浓墨重彩的画法，勾勒出了雍正帝的容貌。他还用细腻的线条勾勒出了雍正帝的衣着和配饰，让人感受到了雍正帝的尊贵气质。\n\n此外，画家在这幅画作中还描绘了雍正帝行乐时的场景。他用色彩丰富的画法，描绘了雍正帝行乐时的景象。这些景色与雍正帝的尊贵气质形成了鲜明的对比，让人感受到了雍正帝在行乐时的辉煌景象。",[23,24,7,28,106,406,29,407,408,37,409],"龙","悬崖","波浪","服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42fd4e631a84421cc17c1546ad52fc90.jpg","34.9x31",[44],2811,8,{"id":416,"slug":417,"title":418,"dynasty":76,"author":77,"museum":419,"description":420,"tags":421,"thumbUrl":422,"material":88,"size":139,"collection":90,"collections":423,"showCount":424,"zanCount":5,"manualWeight":48,"mainColor":94},216593,"ou-xiang-guan-xie-sheng-ce-yun-shou-ping-216593","瓯香馆写生册","旅顺博物馆","《瓯香馆写生册》描写了四时的花果，从春到夏分别是桃花、海棠、碧海珊瑚、牡丹、枇杷、卷丹、洛阳花、凤仙花、菊花、梅花。除了梅花一开，作者写明是学杨补之的水墨画法之外，其余各开全用没骨法，完全不用墨线勾勒，直接用颜色点厾出花朵、叶片、果实，只以色线勾勒叶茎。落色点花的没骨花，既不同于细线勾勒再层层渲染的工笔花卉，也不同于水墨淋漓的大写意花卉，它介于两者之间，也被称作“小写意”花卉。工笔求逼真，写意求意趣，恽氏没骨花所求正在“似与不似之间”。着色花卉自然比纯粹的水墨更逼真，但直接点染的“落色花”比起层层渲染的工笔花卉又有更大的随意性，不必被物象的细枝末节所羁绊，可以放手表现花的风骨。就气质而言，没骨花介于工笔与大写意之间，既不刻画，也不放逸，清新洒脱。",[24,25,81,7,82,173,227,230,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed8966ba999269ca801a2d4a56096289.jpg",[90],2727,{"id":426,"slug":427,"title":428,"dynasty":18,"author":429,"museum":20,"description":430,"tags":431,"thumbUrl":432,"material":40,"size":433,"collection":139,"collections":434,"showCount":435,"zanCount":436,"manualWeight":48,"mainColor":49},232933,"han-xi-zai-ye-yan-tu-juan-song-mo-ben-song-gong-ting-hua-jia-232933","韩熙载夜宴图卷(宋摹本)","宋宫廷画家","原作为南唐画家顾闳中的绘画作品。此卷据各方面考证，当属南宋孝宗至宁宗朝（1163—1224年）摹本，其风格基本反映出原作面貌，且达到相当高水平，堪称流传有绪的古代绘画珍品。\n作品如实地再现了南唐大臣韩熙载夜宴宾客的历史情景，细致地描绘了宴会上弹丝吹竹、清歌艳舞、主客揉杂、调笑欢乐的热闹场面，又深入地刻划了主人公超脱不羁、沉郁寡欢的复杂性格。全图共分为五个段落，首段“听乐”，韩熙载与状元郎粲坐床榻上，正倾听教坊副使李家明之妹弹琵琶，旁坐其兄，在场听乐宾客还有紫微朱铣、太常博士陈致雍、门生舒雅、家伎王屋山诸人；二段“观舞”，众人正在观看王屋山跳“六幺舞”，韩熙载亲擂“羯鼓”助兴，好友德明和尚不期而遇此景，尴尬地拱手背立；三段“暂歇”，韩熙载与家伎们坐床上休息，韩正在净手；四段“清吹”，韩熙载解衣盘坐椅上，欣赏着五个歌女合奏；五段“散宴”，韩氏手持鼓槌送别，尚有客人在与女伎调笑。全卷以连环画的形式表现各个情节，每段以屏风隔扇加以分隔，又巧妙地相互联结，场景显得统一完整。布局有起有伏，情节有张有弛，尤其人物神态刻画栩栩如生，如“听乐”段状元郎粲的倾身细听动姿、李家明关注其妹的亲切目光、他人不由自主的合手和拍；“观舞”段王屋山娇小玲珑的身姿、德明和尚背身合掌低首而立的尴尬状等等，传尽心曲，入木三分。最出色的还是主人公韩熙载的刻画，长髯、高帽的外形与文献记载均相吻合，举止、表情更显露出他复杂的内心。一方面，他在宴会上与宾客觥筹交错，不拘小节，如亲自击鼓为王屋山伴奏，敞胸露怀听女乐合奏，送别时任客人与家伎厮混，充分反映了他狂放不羁、纵情声色的处世态度和生活追求；另一方面又心不在焉、满怀忧郁，如擂鼓时双目凝视、面不露笑，听清吹时漫不经心，与对面侍女闲谈，这些情绪都揭示了他晚年失意、以酒色自汙的心态。画家塑造的韩熙载，不仅形象逼肖，具肖像画性质，而且对其内心挖掘深刻，性格立体化，可以说真实再现了这位历史人物的原貌。\n作品的艺术水平也相当高超。造型准确精微，线条工细流畅，色彩绚丽清雅。不同物象的笔墨运用又富有变化，尤其敷色更见丰富、和谐，仕女的素妆艳服与男宾的青黑色衣衫形成鲜明对照。几案坐榻等深黑色家具沉厚古雅，仕女裙衫、帘幕、帐幔、枕席上的图案又绚烂多采。不同色彩对比参差，交相辉映，使整体色调艳而不俗，绚中出素，呈现出高雅、素馨的格调。",[194,24,25,26,105,28,7,106,59,195,196,63,212,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f01749acfaf6449c0e92a8477239224.jpg","纵28.7厘米，横335.5厘米。",[],2675,16,{"id":438,"slug":439,"title":440,"dynasty":18,"author":441,"museum":442,"description":443,"tags":444,"thumbUrl":448,"material":123,"size":449,"collection":90,"collections":450,"showCount":451,"zanCount":201,"manualWeight":48,"mainColor":49},219009,"bai-he-tu-er-mi-fei-219009","白鹤图(二)","米芾","大英博物馆","白鹤振翅翩跹，白羽细笔晕染，层叠如霰，纹理分明若鳞；墨羽劲挺若锋，浓淡相间见层次。丹顶一点艳绝，长颈曲转，喙微垂，神态悠然。墨线勾勒的长腿矫健，爪尖似扣虚空，似将踏水而落。左下角虬枝盘曲，苔痕隐现，淡墨涟漪轻漾，衬得鹤影清逸。绢本底色古雅，笔墨细腻处藏灵动，简淡间蕴生机，动静相济，尽显禽鸟之姿与自然清趣。",[23,24,25,194,226,28,7,445,245,446,447],"白鹤","枯木","水波","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85286d792591c1fa8b6e849da1c7fd76.jpg","132.5x61.5cm",[90,42,45],2668,{"id":453,"slug":454,"title":455,"dynasty":54,"author":456,"museum":457,"description":458,"tags":459,"thumbUrl":460,"material":123,"size":461,"collection":44,"collections":462,"showCount":463,"zanCount":386,"manualWeight":48,"mainColor":94},214574,"li-dai-di-wang-tu-yan-li-ben-214574","历代帝王图","阎立本","波士顿美术馆","本卷绘十三位帝王：前汉昭帝、汉光武帝、魏文帝曹丕、吴主孙权、蜀主刘备、晋武帝司马炎、陈宣帝陈顼、陈文帝陈蒨、陈废帝陈伯宗、陈后主陈叔宝、北周武帝宇文邕、隋文帝杨坚、隋炀帝杨广。整个卷轴共有四十六个人物。\n线条强而有力，色彩厚重，具有很高的艺术水准。通过细节，画家表达了皇帝们的内心世界和经历，用画笔表达了有爱有恨的故事。这幅画在色彩的使用和人物服装的处理上受到了佛教艺术的影响。",[23,24,25,26,7,106,28,212,86,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb3ca2dbf330c36c9516b2bb0dec8242.jpg","51.3 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雍正三年（1725年）八月圆明园兴修一新之后，雍正皇帝经常在园中居住并在此办理公务，他明谕百官“每日办理政事与宫中无异”。这12幅行乐图展现了其在圆明园生活的各个场景，也表现了12个月的不同节令风俗。\n该幅为其中的三月赏桃",[23,24,7,28,104,106,107,29,243,34,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0feca8fa167788554a7fc5800090ce37.jpg","纵188.2厘米，横102.2厘米",[90,45],1764,{"id":679,"slug":680,"title":681,"dynasty":302,"author":682,"museum":20,"description":683,"tags":684,"thumbUrl":690,"material":40,"size":691,"collection":181,"collections":692,"showCount":693,"zanCount":436,"manualWeight":48,"mainColor":49},221795,"chun-shan-tu-juan-shang-qi-221795","春山图卷","商琦","署款“曹南商琦德符”。鉴藏印钤清乾隆、嘉庆、宣统诸帝玺，共计8方。\n此图是商琦唯一存世的署款之作。远景峰峦叠翠，烟笼雾罩；近景丛林杂树，着春染绿；远景、近景之间衬以沙碛古桥，更添空阔苍茫之势。图中所绘物象众多，展现了作者较为全面的技法和营势造型的能力。近景山石刻画细致，先以浓墨勾轮廓，然后以汁绿晕染石面，既显示出岩石的纹理结构，更洋溢出山川间的一派春意。远景群峰则以浓淡墨或花青晕染为主，浑莽一片的山峦为全画烘托出雄伟壮阔的气势。点景树木皆苍郁深秀，但表现笔法富于变化，其近树以干、湿笔双勾树干和树叶，画法工整，近似于南宋院体绘画风格；远树或以侧锋横点，或以中锋竖点，只具树貌不具树形。近树、远树虽形态各异，但却共同装点出万物勃发、遍山染翠的春之景象。这是一幅形式美与意韵美高度统一的山水佳作。\n著录于清内府《石渠宝笈初编》。\n此卷原藏清宫内府，宣统年流入民间，解放后归国家文物局所有，后由文物局拨交故宫博物院。1958年，经由故宫博物院修复专家重新揭裱，令它恢复了旧貌。",[23,24,194,25,26,7,177,29,685,262,34,37,686,687,688,689],"山","岩石","远峰","近坡","草木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F548dc4fc12cf23b6dda3d1f9b39b1d44.jpg","纵39.6厘米，横214.5厘米",[181,45],1751,{"id":695,"slug":696,"title":697,"dynasty":76,"author":698,"museum":101,"description":699,"tags":700,"thumbUrl":701,"material":88,"size":702,"collection":90,"collections":703,"showCount":704,"zanCount":558,"manualWeight":48,"mainColor":94},216258,"jing-fu-si-qi-dong-jing-tu-qian-wei-cheng-216258","景敷四气冬景图","钱维城","此套《景敷四气》冬景图，是清乾隆时期画家钱维城的作品。此套画册共含十二帧，纯以水墨为之或薄施淡色擦染，构图简练，自出机杼。运笔较为多样，笔法松秀，墨色疏淡，用色恬然，具有很显著的文人绘画的样式。最后一幅有：甲午新正月御题。钤印：乾隆鉴赏、三希堂精鉴玺、宜子孙、乾隆。\n拒霜因可入初冬，袅袅芳姿照浦秾。迴顾水华似相傲，耐寒还属木芙蓉。钤印：几席有余香",[24,25,83,28,7,634],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a25f1df3c06bf2bd6d2c19564df959a.jpg","21.9 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创作的纸本设色画。\n\n每图各有 题识，分别钤“寿平”白朱文印、“正叔”朱文印、“寿平”白文印、“恽正叔”白文印、“寿平印”白文印等。\n\n每图各有乾隆皇帝题诗一首。\n\n鉴藏印有：“ 御赏之宝”、“淳化轩”、“石渠宝笈”、“臣庞元济恭藏”、“虚斋至精之品”等二十余方。\n\n本图册第三开、第十开分别署年款“乙卯秋”、“乙卯十月”。\n\n“乙卯”为清康熙十四年（1675年），此作应为恽寿平4岁时作品。\n\n此山水花卉图册分别描绘鹅群、荷花、山水、古木寒鸦、牡丹、乔柯急涧、夜雨初霁、菊花、兰花蝴蝶花、溪山行旅等。\n\n全册为作者临仿宋、元、明诸家。\n\n山水以宗董源、巨然、米芾、赵孟頫诸家为主，秀骨清幽，富有文人书卷之气。",[23,24,194,25,81,7,28,82,83,292,554,211,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F330e3e872b432c5d096fddbd7eafe407.jpg","纸本，设色","纵27.5厘米，横35.2厘米。",[90,45],1541,7,{"id":776,"slug":777,"title":778,"dynasty":18,"author":779,"museum":191,"description":780,"tags":781,"thumbUrl":784,"material":123,"size":785,"collection":42,"collections":786,"showCount":773,"zanCount":787,"manualWeight":48,"mainColor":94},216083,"qiu-kui-tu-li-shi-zhong-216083","秋葵图","李士忠","写秋葵一枝，工笔勾勒填彩，花瓣用粉细勾，叶用重绿，姿韵生动，重彩渲染，布局严谨。两朵开着的花与疏疏的叶子，充分表现出秋葵的神态，是南宋写生佳作。",[23,194,24,25,28,7,83,782,62,783,211],"秋葵","叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90e4f46a0ef378e801baa321bbe7168c.jpg","25x28cm",[42,90],10,{"id":789,"slug":790,"title":791,"dynasty":99,"author":792,"museum":539,"description":793,"tags":794,"thumbUrl":797,"material":770,"size":798,"collection":139,"collections":799,"showCount":800,"zanCount":751,"manualWeight":48,"mainColor":801},222601,"qiu-shan-yu-yin-tu-lan-ying-222601","秋山渔隐图","蓝瑛","绘乡间田园景色，远处山峰高耸，山脚下农舍排列整齐，栅栏四周树木环绕；近处河面上二只棚船停泊，船尾两人对坐而谈；岸上古木黝黑挺直，深秋季节中树叶凋零。纵观整幅，山水人家，古木船只，皆赋诗情画意。",[23,24,7,29,177,795,353,174,106,176,35,109,796,230],"枯树","渔乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cc1ad696df861ebcdfbf4523c6d8135.jpg","139.5x45cm",[],1533,"F48FB1",{"id":803,"slug":804,"title":805,"dynasty":99,"author":100,"museum":539,"description":806,"tags":807,"thumbUrl":811,"material":581,"size":812,"collection":181,"collections":813,"showCount":800,"zanCount":475,"manualWeight":48,"mainColor":49},222208,"tao-yuan-xian-jing-tu-zhou-chou-ying-222208","桃源仙境图轴","此为明代“吴门四家”之一的仇英所作的青绿山水人物画\n仇英（1494—1561），字实父，号十洲，江苏太仓人，寓居苏州。漆工出身，后师周臣学画。善画人物、山水等，所绘山水以青绿重色为多，师法赵伯驹、刘松年。长于临摹，功力精湛，是明代中期画坛的巨擘。与沈周、文徵明、唐寅并称“明四家”。\n《桃源仙境图》的题材取自《桃花源记》。《桃花源记》是晋代脍炙人口的文学名篇。《桃源仙境图》即描绘了文人理想中的隐居之乐。画面远景峰峦耸峙，山间白云缭绕，殿宇楼台时隐时现，展现了恬静、远离世俗、虚幻缥缈的人间仙境。前景清泉沿石壁顺势而下，汇成宽阔的河面，曲折的古松、星星点点的桃花树，有三位白衣高士临流而坐抚琴清谈，两个书童随侍。全画作者用大青绿着色，山石以勾斫的笔法，较少皴染，色彩华丽而不艳俗，用笔工致而不呆板。\n此图画面右下角石上有行楷小字，款署“仇英实父为怀云先生制”，是仇英为其好友陈官（号怀云，江苏富豪）所作。据史料记载，仇英于四五十岁时受陈官延请至其家中驻馆作画。仇英为其所绘的作品中最著名的要数《桃源仙境图》轴和《职贡图》卷。仇英的传世作品较多，有关桃源题材的作品还有《桃花源图》《玉洞仙源图》《仙山楼阁图》《云溪仙馆图》等等。",[23,24,25,226,27,7,28,29,106,107,108,34,176,37,114,38,808,809,810],"山峦","溪流","仙境","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14ade6201174dd570a6a6f1b1b739de8.jpg","纵175厘米，横66.7厘米",[181,45],{"id":815,"slug":816,"title":817,"dynasty":189,"author":362,"museum":316,"description":818,"tags":819,"thumbUrl":821,"material":822,"size":823,"collection":42,"collections":824,"showCount":825,"zanCount":826,"manualWeight":48,"mainColor":49},221429,"mei-hua-cui-niao-tu-juan-xu-xi-221429","梅花翠鸟图卷","圖繪梅花翠鳥，滿樹梅花開放，粉色的茶花間插其中，鳥兒立於枝頭嬉戲，原來冬天可以這麼美！徐熙，五代南唐畫家，金陵（今南京）人，一說鍾陵（今江西進賢）人。出身於「江南名族」。生於唐僖宗光啓年間，後在開寶末年（公元975）隨李後主歸宋，不久病故。一生未官，郭若虛稱他爲「江南處士」。沈括說他是「江南布衣」。其性情豪爽曠達，志節高邁，善畫花竹林木，蟬蝶草蟲，其妙與自然無異。後人將其與後蜀黃筌並稱爲「黃徐」，有「黃家富貴，徐熙野逸」之評，爲五代、宋初花鳥畫的兩大流派之代表。」\n宋代沈括形容徐熙畫「以墨筆爲之，殊草草，略施丹粉而已，神氣迥出，別有生動之意」(《夢溪筆談》)。宋代《德隅齋畫品》中著錄徐熙《鶴竹圖》，謂其畫竹「根幹節葉皆用濃墨粗筆，其間櫛比，略以青綠點拂，而其梢蕭然有拂雲之氣」。米芾又謂他畫花果有時用澄心堂紙，用絹則「其紋稍粗如布」。這種題材和畫法都表現他作爲江南處士的情懷和審美趣味，與妙在賦彩、細筆輕色的「黃家富貴」不同，﹝指黃筌與黃居寀父子﹞而形成另一種獨特風格，被宋人稱爲「徐熙野逸」。然而《圖畫見聞志》中記徐熙爲南唐宮廷所繪的「鋪殿花」、「裝堂花」，於「雙縑幅素上畫叢豔疊石，傍出藥苗，雜以禽鳥蜂蟬之妙」，「意在位置端莊，駢羅整肅，多不存生意自然之態」。這種富有裝飾性的繪畫，也構成了徐熙繪畫的另一風貌。",[23,194,24,25,26,28,7,83,820,245,209,62],"梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b7029d7b97054b08ec5392ac417022c.jpg","絹本設色","33.8cm×236.2cm",[42,90,45],1532,29,{"id":828,"slug":829,"title":830,"dynasty":302,"author":831,"museum":78,"description":832,"tags":833,"thumbUrl":839,"material":123,"size":139,"collection":90,"collections":840,"showCount":841,"zanCount":201,"manualWeight":48,"mainColor":49},214254,"qiu-shui-fu-yi-tu-ren-ren-fa-214254","秋水凫鹥图","任仁发","秋水凫鹥图是元朝作者任仁发的一幅代表作。这幅画作描绘了秋天的水鸟生活。\n\n在这幅画作中，任仁发巧妙地捕捉了秋天的水鸟的生活情景。他用浓墨重彩的画法，勾勒出了水鸟的身形。他还用细腻的线条勾勒出了水鸟的面容，让人感受到了水鸟的自然和优美。\n\n此外，任仁发在这幅画作中还描绘了水鸟周围的景色。他用色彩丰富的画法，描绘了水鸟周围的山川和河流。这些景色与水鸟的生活场景形成了鲜明的对比，让人感受到了自然与动物的和谐共存。\n\n总之，秋水凫鹥图是一幅精美的画作，描绘了秋天的水鸟生活。它让我们感受到了元朝作者任仁发对自然的崇敬之情，也让我们感受到了元朝文化的魅力。\n\n在这幅画作中，任仁发运用了丰富的色彩和细腻的线条，将水鸟的生活场景展现得淋漓尽致。他还用精美的画法描绘了水鸟周围的景色，让人感受到了自然与动物的和谐共存。\n\n秋水凫鹥图是元朝文化中的经典之作，也是任仁发的代表作之一。它不仅展现了任仁发的艺术才华，也是一幅能够唤起人们对自然的崇敬之情的画作。",[23,24,28,7,83,245,834,835,230,630,836,837,447,838],"水禽","鸭子","树枝","花叶","草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc65117c93f7cf534891203b9f9c5bbf5.jpg",[90],1515,{"id":843,"slug":844,"title":845,"dynasty":18,"author":846,"museum":132,"description":847,"tags":848,"thumbUrl":849,"material":123,"size":850,"collection":42,"collections":851,"showCount":852,"zanCount":399,"manualWeight":48,"mainColor":49},218573,"lu-chi-zhuo-su-tu-wu-bing-218573","渌池擢素图","吴炳","吴炳，生卒年不详，南宋画家。毗陵武阳（今江苏常州）人。工画花鸟，写生折枝，妙夺造化，彩绘精致富丽。绍熙初（公元1131-1162年），宋光宗赵悼皇后李氏，赏识其画，授画院待诏，赐金带。。画风谨守院体，作品较多。画迹有《春池睡鸭》、《山茶鹁鸽》、《鸳鸯瑞莲》、《宝珠玉蝶》、《折枝绛桃》等二十六件，著录于《绘事备考》。传世作品有《出水芙蓉图》、《竹雀图》、《嘉禾草虫图》、《枇杷绣羽图》等。",[194,24,25,28,7,83,136,137,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6610c8fae2457627a5a08640bf940f45.jpg","25.4×26cm",[42,90],1495,{"id":854,"slug":855,"title":856,"dynasty":99,"author":857,"museum":132,"description":858,"tags":859,"thumbUrl":861,"material":123,"size":862,"collection":90,"collections":863,"showCount":864,"zanCount":603,"manualWeight":48,"mainColor":94},220230,"hua-niao-chong-cao-xie-sheng-ce-die-dian-chun-hua-chen-hong-shou-220230","花鸟虫草写生册-蝶点春花","陈洪绶","陈洪绶的绘画，尤其是他以之驰誉艺坛的双勾设色花鸟画，其特点有三，一是造型的古拙，二是色彩的古艳，三是线条的寓迟涩于劲挺，既厚重且圆润。",[23,860,24,25,81,7,28,83,243,484,84,568],"明代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29d24e4e72e70775f7e4626a7a610564.jpg","21.5×16cm",[90],1477,{"id":866,"slug":867,"title":868,"dynasty":869,"author":870,"museum":20,"description":871,"tags":872,"thumbUrl":875,"material":88,"size":876,"collection":90,"collections":877,"showCount":878,"zanCount":787,"manualWeight":48,"mainColor":94},216935,"hua-die-tu-zhou-qi-bai-shi-216935","花蝶图轴","民国","齐白石","画面以泼洒的蓝彩点染花朵，墨色线条勾勒叶片，苍劲中透着灵动。几株蓝花亭亭而立，叶片舒展如剑，与轻盈的花瓣相映成趣。花丛间，一只螳螂敛足欲动，姿态警觉；空中蝴蝶振翅，飞虫轻舞，小生灵的动态被捕捉得活灵活现。右上角题字与朱印相映，平衡构图之余更添文人意趣。整幅画作将自然生机与笔墨意趣相融，草虫的鲜活与花卉的雅致交织，尽显对生活细微之美的敏锐感知与精湛表现力。",[23,24,7,173,83,226,62,873,874,568,554],"蝶","螳螂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e1010a81c5646f35a6bf665ff905dca.jpg","103x41.3cm",[90],1472,{"id":880,"slug":881,"title":882,"dynasty":76,"author":77,"museum":132,"description":133,"tags":883,"thumbUrl":886,"material":88,"size":139,"collection":139,"collections":887,"showCount":888,"zanCount":889,"manualWeight":48,"mainColor":94},214742,"hua-hui-ce-2-yun-shou-ping-214742","花卉册-2",[23,194,24,25,83,81,82,7,884,885,84,210],"萱草","桂花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1be5a0e030dc2534dcd967c594f0154e.jpg",[],1468,6,{"id":891,"slug":892,"title":893,"dynasty":76,"author":77,"museum":101,"description":894,"tags":895,"thumbUrl":900,"material":901,"size":902,"collection":90,"collections":903,"showCount":904,"zanCount":399,"manualWeight":48,"mainColor":801},220992,"bai-hua-tu-juan-yun-shou-ping-220992","百花图卷","恽寿平的山水画造诣之高，受到历代画家的赞誉。然而，他到中年后却放弃了在山水画领域的成就，转向以画花卉为主。究其原因，历史上说法很多。",[23,24,25,26,7,82,28,83,84,292,896,897,136,243,634,629,898,631,899,135,484,568],"百合","菊","水仙","芍药","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff29e1c97e998205c049e5c6f18799621.jpg","手卷，绢本设色","纵32厘米，横530厘米",[90,45],1418,{"id":906,"slug":907,"title":908,"dynasty":18,"author":909,"museum":223,"description":910,"tags":911,"thumbUrl":914,"material":123,"size":915,"collection":42,"collections":916,"showCount":917,"zanCount":918,"manualWeight":48,"mainColor":94},214253,"mu-niu-tu-li-chun-214253","牧牛图","李椿","牧牛图是宋代画家李椿的一幅代表作。这幅画作描绘了牧牛的生活场景。\n\n在这幅画作中，李椿巧妙地捕捉了牧牛的生活状态。他用浓墨重彩的画法，勾勒出了牧牛的身形。他还用细腻的线条勾勒出了牧牛的面容，让人感受到了牧牛的温顺和和蔼。\n\n此外，李椿在这幅画作中还描绘了牧牛周围的景色。他用色彩丰富的画法，描绘了牧牛周围的山川和河流。这些景色与牧牛的生活场景形成了鲜明的对比，让人感受到了自然与动物的和谐共存。\n\n总之，牧牛图是一幅精美的画作，描绘了牧牛的生活场景。它让我们感受到了宋代画家李椿对动物的喜爱之情，也让我们感受到了宋代文化的魅力。",[23,24,7,28,151,378,106,912,263,913],"草地","宋代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95035fbb75855fef24415203e134b8ac.jpg","24.8x25.7",[42],1394,5,{"id":920,"slug":921,"title":922,"dynasty":99,"author":923,"museum":223,"description":924,"tags":925,"thumbUrl":927,"material":123,"size":928,"collection":44,"collections":929,"showCount":930,"zanCount":436,"manualWeight":48,"mainColor":801},214294,"xiang-shan-jiu-lao-tu-xie-huan-214294","香山九老图","谢环","谢环（1830-1888）是清代著名的画家，他的《山九老图》是其代表作之一。\n\n《山九老图》描绘了九位老僧依山而居的画面，通过精细的笔墨和巧妙的构图，勾勒出九位老僧与山林的和谐关系。谢环在画中运用了多种技法，如水墨浓淡、描边等，使作品充满了生动的质感。\n\n《山九老图》被认为是谢环画风成熟时期的杰作，其作品在当时也受到了广泛的赏识。如今，《山九老图》也是收藏家们青睐的经典之作。",[23,24,25,26,28,7,106,29,175,378,176,926],"仙鹤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e446d85f920ac135920733919a6fd0a.jpg","29.4x148.2",[44],1379,{"id":932,"slug":933,"title":934,"dynasty":18,"author":391,"museum":56,"description":935,"tags":936,"thumbUrl":938,"material":529,"size":939,"collection":42,"collections":940,"showCount":941,"zanCount":399,"manualWeight":48,"mainColor":49},221339,"rui-he-tu-zhao-ji-221339","瑞鹤图","《瑞鹤图》描绘了鹤群盘旋于宫殿之上的壮观景象，绘画技法精妙，图中群鹤如云似雾，姿态百变，各具特色。\n《瑞鹤图》，其不仅具神性的光辉与君主的华贵，也有仙音袅袅、高雅灵动之感。一方面，皇宫殿宇端端正正置于画面下方，均衡对称，留出三分之二湛蓝天空，正大光远，大气天成，颇具皇家风范。围绕殿宇的祥云打破屋宇水平线，稳重端庄的画面于是气韵流转，一派天趣。另一方面，仙鹤有表明志向高洁、品德高尚之意。停留在屋顶上的两只仙鹤，袅袅婷婷，以静寓动，与空中缭绕的鹤群相呼应，款款生姿。整个画面又多了一分高洁隽雅、飘逸灵秀之气。",[23,24,25,26,7,104,28,937,245,107],"楷书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef20e4191bb4faf39fae804720c95f29.jpg","纵51厘米，横138.2厘米",[42,90],1376,{"id":943,"slug":944,"title":945,"dynasty":76,"author":77,"museum":132,"description":133,"tags":946,"thumbUrl":948,"material":88,"size":139,"collection":139,"collections":949,"showCount":950,"zanCount":343,"manualWeight":48,"mainColor":94},214738,"hua-hui-ce-4-yun-shou-ping-214738","花卉册-4",[23,24,25,81,82,28,7,243,365,84,210,947],"红花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F326abb94d57aaaefc22233506e6e8c26.jpg",[],1350,{"id":952,"slug":953,"title":954,"dynasty":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澹雅”。此册中的花鸟更是形神兼备，清新淡雅，具有新的风貌。",[24,25,82,7,83,243,957,212],"柳枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10aa5773f16fa6bd4dd6b950a442d3b2.jpg","纵32.5厘米，横25.5厘米",[90],1349,{"id":963,"slug":964,"title":965,"dynasty":99,"author":100,"museum":191,"description":966,"tags":967,"thumbUrl":969,"material":123,"size":970,"collection":181,"collections":971,"showCount":972,"zanCount":558,"manualWeight":48,"mainColor":49},216757,"shang-lin-tu-juan-chou-ying-216757","上林图卷","这卷书也在台北故宫，有一个类似的形象。它似乎比第一幅好，只是皴笔更简略一些",[23,24,25,26,27,7,28,104,29,106,107,34,31,968,176,38],"宫殿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F166b13b5b6a049210ce9da368f29e43b.jpg","44.8x1208",[181],1347,{"id":974,"slug":975,"title":17,"dynasty":18,"author":19,"museum":20,"description":21,"tags":976,"thumbUrl":39,"material":40,"size":41,"collection":139,"collections":991,"showCount":992,"zanCount":5,"manualWeight":48,"mainColor":49},232934,"qian-li-jiang-shan-tu-juan-wang-xi-meng-232934",[23,194,24,26,977,7,28,808,978,979,980,981,982,983,984,985,106,986,987,988,989,990],"青绿山水","江河","飞瀑","房舍","林木","渔村","水榭","长桥","渔舟","亭台","烟波","曲径","茅屋","游船",[],1322,{"id":994,"slug":995,"title":996,"dynasty":76,"author":997,"museum":608,"description":998,"tags":999,"thumbUrl":1000,"material":88,"size":139,"collection":90,"collections":1001,"showCount":1002,"zanCount":1003,"manualWeight":48,"mainColor":94},218130,"shui-xian-zhu-zhi-tu-shi-tao-218130","水仙竹枝图","石涛","石涛，法名原济，靖江王朱守谦十世孙，工书法，能诗文。早年山水师法宋元诸家，画风疏秀明洁，晚年用笔纵肆，墨法淋漓，格法多变，尤精册页小品。花卉潇洒隽朗，天真烂漫，清气袭人；人物生拙古朴，别具一格。",[23,24,173,7,498,227,898,230,212,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F112234b8c56ae7eab1e3115341e7947f.jpg",[90],1313,3,{"id":1005,"slug":1006,"title":1007,"dynasty":18,"author":429,"museum":316,"description":430,"tags":1008,"thumbUrl":1013,"material":139,"size":139,"collection":139,"collections":1014,"showCount":1015,"zanCount":603,"manualWeight":48,"mainColor":49},226698,"han-xi-zai-ye-yan-tu-song-mo-ben-song-gong-ting-hua-jia-226698","韩熙载夜宴图(宋摹本)",[23,105,28,7,26,86,212,106,59,615,195,196,1009,279,1010,63,1011,1012],"床榻","桌案","墨","纸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8df2423c850e2ffa06c685670994844.jpg",[],1302,{"id":1017,"slug":1018,"title":1019,"dynasty":76,"author":329,"museum":191,"description":1020,"tags":1021,"thumbUrl":1025,"material":529,"size":1026,"collection":90,"collections":1027,"showCount":1028,"zanCount":774,"manualWeight":48,"mainColor":49},222779,"bai-jun-tu-lang-shi-ning-222779","百骏图","《百骏图》是意大利籍清代宫廷画家郎世宁创作的绘画作品，是中国十大传世名画之一。此图稿本为纸质，原作分别收藏于美国纽约大都会博物馆（纸质稿本）和中国台北故宫博物院（绢本）\n此图共绘有100匹骏马，姿势各异，或立、或奔、或跪、或卧，可谓曲尽骏马之态。画面的首尾各有牧者数人，控制着整个马群，体现了一种人与自然界其他生物间的和谐关系。\n此图为一长卷，从右至左，画面开始是两棵参天的老松树，透过松枝的空隙，露出了牧马人搭建的简易白色帐篷，有三个身穿满族服装的牧人在帐篷前，二人倦怠地或坐或卧，还有一人双手拄着套马杆立在那里，看着不远处的马匹，一只牧犬从帐篷内伸出了半个身子。\n近处是一匹浑身滚圆的白马悠然而立，旁边的两匹花马在低头啃草，由此引出了后面千姿百态的群马。在草地上，一群肥瘦不一的马匹各自在觅食、躺卧、翻滚嬉闹。\n远处群山连绵，草木丛生，一个牧马人正用套杆套一匹跑远的马，另一牧人则在赶拢跑散的八九匹小马驹，此处近景也是几棵盘根虬枝的古松，一大群不同花色的骏马或立或卧或昂首或低头，还有几匹在追逐打闹。\n画面中段，在一片树木坡石间又有一群马在休息，其中有一对母子，母马正看着在吃奶的小马驹，旁边一匹马正在古松上蹭痒，惹得一牧人扭头观看。\n画卷再向左侧展开是一片湖水，湖岸边芦苇郁郁葱葱，马匹则在水边嬉闹。湖中有一人正在为一花马擦洗，湖中倒影清晰可见。\n过了水面窄处而后湖水又逐渐开阔，湖滩的沙地上长满了芦苇和杂草，另有一小群马在一个骑马的牧人带领下，泅过不宽的水面到对面去。\n画面的结尾是一个手持套马杆的牧人。在画幅的左下角，署有画家名款：“雍正六年，岁次戊申仲春，臣郎世宁恭画。”画幅上钤乾隆印多方。\n此图描绘了姿态各异的骏马百匹放牧游息的场面，画面的首尾各有牧者数人，控制着整个马群，体现了一种人与自然界其他生物间的和谐关系。\n《百骏图》长卷洋洋洒洒，塑造了一大群或站或卧、或翻滚嬉戏、或打斗觅食的骏马，它们聚散不一，自由、舒闲。画作中除了上百匹骏马之外，还有人物、山水、草木，无不精致写实，形象逼真，给予人们足够的空间，令人产生无边的遐想。同时花卉的形态和神态作者也通过西画的透视和光感等技巧表现出来，画得相当精细，立体感强。\n此画上，作者运用中国的毛笔、纸绢和色彩，却以欧洲的绘画方法注重于表现马匹的解剖结构、体积感和皮毛的质感，使得笔下的马匹形象造型准确、比例恰当、凹凸立体，而不像中国古代画\n家采用延绵遒劲的线条来勾勒物象轮廓的方法。他是以细密的短线，按照素描的画法，来描绘马匹的外形、皮毛的皱褶和皮毛下凸起的血管、筋腱，或者利用色泽的深浅，来表现马匹的凹凸肌肉，与传统中国绘画中的马匹形象迥然有别。以中国传统绘画技法加入西洋光影透视法及西画颜料，以显示中西趣味兼容并蓄的画面。如画中马匹、人物、树木、土坡皆应用了光的原理，使物象极富立体感；而如松针、树皮、草叶等的墨线勾勒，石块土坡的皴擦等仍含有中国传统手法，即使是马匹及树干上的阴影表现，亦是以中国传统的渲染方法来完成的。\n此画构图复杂，风格独特，极具意趣，别具一格。尽管全图包含了马匹、牧者、帐篷、树木等众多景物，但作者充分显示了其“虚实相间”的构图功力，画面由牧者引出，又以牧者结束，而作为主角的百匹骏马均在牧马人的引导控制之下活动。整幅画面聚散、稀疏的设置充满了节奏感。\n中国画是散点透视，西画是焦点透视。这种透视效果在这幅册页中充分体现出来。这些技法对后来中国画的发展都有很大的影响。注重形象的解剖结构、光影效果及立体感。并且，在此画上，作者将中国画法巧妙地与西法相融合，突破了明清时期大部分山水、花鸟画作品以水墨为主流的表现方法，另辟蹊径，创造了一种“中西合璧”的绘画新风格，具有开拓性的意义，对于中国传统绘画的发展产生了巨大的推动和冲击。",[23,28,7,26,1022,150,34,31,912,106,1023,29,1024,809],"中西合璧","帐篷","坡地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26b30b71123be3a26bafdc83b49d1c5e.jpg","纵102厘米，横813厘米",[90,45],1291,{"id":1030,"slug":1031,"title":1032,"dynasty":18,"author":1033,"museum":20,"description":1034,"tags":1035,"thumbUrl":1037,"material":1038,"size":1039,"collection":42,"collections":1040,"showCount":1041,"zanCount":297,"manualWeight":48,"mainColor":49},221559,"pi-pa-shan-niao-tu-lin-chun-221559","枇杷山鸟图","林椿","图绘江南五月，成熟的枇杷果在夏日的光照下分外诱人。一只绣眼翘尾引颈栖于枇杷枝上正欲啄食果实，却发现其上有一只蚂蚁，便回喙定睛端详，神情十分生动有趣。枇杷枝仿佛随着绣眼的动作重心失衡而上下颤动，画面静中有动，妙趣横生。绣眼的羽毛先以色、墨晕染，随后以工细而不板滞的小笔触根根刻画，表现出鸟儿背羽坚密光滑、腹毛蓬松柔软的不同质感。枇杷果以土黄色线勾轮廓，继而填入金黄色，最后以赭色绘脐，三种不同的暖色水乳交融，从而展现出枇杷果成熟期的丰满甜美。枇杷叶用笔致工整细腻的重彩法表现，不仅如实地刻画出叶面反转向背的各种自然形貌，且将叶面被虫儿叮咬的残损痕迹亦勾描晕染得一丝不苟，充分反映了宋代花鸟画在写实方面所达到的艺术水平。\n《石渠宝笈三编》著录。",[23,194,24,25,28,7,81,83,1036,245,212],"枇杷","https:\u002F\u002Foss.chuangqi.sto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，设色","纵26.9cm，横27.2cm",[42,90,45],1282,{"id":1043,"slug":1044,"title":1045,"dynasty":18,"author":1046,"museum":132,"description":1047,"tags":1048,"thumbUrl":1050,"material":123,"size":139,"collection":181,"collections":1051,"showCount":1052,"zanCount":774,"manualWeight":48,"mainColor":49},218625,"xi-shan-xing-lv-tu-guo-xi-218625","溪山行旅图","郭熙","画面层峦叠嶂，主峰巍峨耸立，次峰拱卫环绕，尽显山川雄浑气势。山石以卷云皴法勾勒，纹理如波似浪，赋予山体灵动质感，仿佛云气在岩间流转。山间路径蜿蜒，行旅队伍缓缓前行，或挑担或驱马，于溪畔林间留下鲜活身影。溪流潺潺，树木葱茏，屋舍点缀其间，既有自然野趣，又含人文暖意。笔墨刚劲中见细腻，墨色层次丰富，高远、深远、平远三远之法交织，使画面空间错落有致。观者仿佛可登山远眺层林尽染，可沿溪漫步听水声潺潺，于山水间体悟静谧与生机的交融，感受那份穿越时光的艺术魅力。",[194,24,25,26,7,177,173,29,176,34,109,174,106,1049,107],"古道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9968fd31d72f248e2d7e1d780f9d2aa4.jpg",[181],1280,{"id":1054,"slug":1055,"title":1056,"dynasty":99,"author":1057,"museum":132,"description":1058,"tags":1059,"thumbUrl":1061,"material":123,"size":139,"collection":90,"collections":1062,"showCount":1052,"zanCount":1063,"manualWeight":48,"mainColor":94},216202,"hua-hui-shi-kai-tu-ce-xiang-sheng-mo-216202","花卉十开图册","项圣谟","花卉十开图册是明朝项圣谟的一部著作，收录了十张以花卉为主题的图画。项圣谟是明朝时期著名的绘画家，他的作品被誉为中国古代花卉画的杰作。 花卉十开图册记录了项圣谟观察花卉的细节和特征，并以精细的线条和色彩描绘出来。这部作品中的图画包括了各种不同种类的花卉，如牡丹、荷花、菊花等。这些图画不仅精美绝伦，而且还能够展现出项圣谟对花卉的深刻理解和观察。",[23,24,81,7,28,212,86,178,83,820,579,897,228,243,292,1060,230,838],"石榴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f238b574b7e294422560d3e7833b4b0.jpg",[90],21,{"id":1065,"slug":1066,"title":1067,"dynasty":18,"author":257,"museum":20,"description":1068,"tags":1069,"thumbUrl":1071,"material":123,"size":1072,"collection":42,"collections":1073,"showCount":1074,"zanCount":787,"manualWeight":48,"mainColor":94},216772,"mo-gu-kai-zhi-luo-shen-fu-tu-quan-juan-di-yi-juan-yi-ming-216772","摹顾恺之洛神赋图全卷（第一卷）","传世为宋代的四件摹本，皆以曹植《洛神赋》诗意所绘",[23,24,25,26,105,352,7,28,86,178,1070,212,106,59,29,174,107,109,34],"篆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F699a206d77031cb7c4648c428ba8dcb3.jpg","27.1x572.8",[42],1270,{"id":1076,"slug":1077,"title":1078,"dynasty":99,"author":100,"museum":191,"description":1079,"tags":1080,"thumbUrl":1081,"material":123,"size":1082,"collection":181,"collections":1083,"showCount":1084,"zanCount":343,"manualWeight":48,"mainColor":49},214746,"bao-hui-tang-chou-ying-214746","宝绘堂","这是王诜和苏轼欣赏书画的一个场景。画面以蓝色和绿色为基调，远处山峰高耸，山脚下桃花灼灼，不远处的房子里聚集着几个人，其中几个人正坐在桌前研究画卷。",[24,27,7,28,29,106,107,175,34,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F691070a2939592e5e3866e2392e29bbe.jpg","188.8x99.3",[181],1260,{"id":1086,"slug":1087,"title":1088,"dynasty":76,"author":77,"museum":78,"description":79,"tags":1089,"thumbUrl":1091,"material":88,"size":89,"collection":139,"collections":1092,"showCount":1093,"zanCount":787,"manualWeight":48,"mainColor":94},214702,"chun-hua-tu-ba-kai-7-yun-shou-ping-214702","春花图八开-7",[23,24,25,81,82,7,83,896,1090,212],"叶片","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2389e1ac2ceb12e7d4b9e1c738856ee3.jpg",[],1232,{"id":1095,"slug":1096,"title":1097,"dynasty":76,"author":77,"museum":132,"description":133,"tags":1098,"thumbUrl":1100,"material":88,"size":139,"collection":139,"collections":1101,"showCount":1102,"zanCount":918,"manualWeight":48,"mainColor":94},214734,"hua-hui-ce-6-yun-shou-ping-214734","花卉册-6",[23,24,25,194,81,82,7,83,84,263,28,1099,173],"草本植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa6add9c0b73e67c0dfd0de7e7d098a1.jpg",[],1228,{"id":1104,"slug":1105,"title":1106,"dynasty":869,"author":1107,"museum":1108,"description":1109,"tags":1110,"thumbUrl":1112,"material":282,"size":139,"collection":1113,"collections":1114,"showCount":1115,"zanCount":297,"manualWeight":48,"mainColor":94},220450,"lian-chi-lin-yu-shan-220450","莲池","林玉山","国立台湾美术馆","这幅《莲池》是民国画家林玉山的工笔花鸟佳作，可从以下几方面鉴赏：\n\n一、技法表现：工笔精谨，写实入微\n林玉山擅长工笔重彩，这幅画以精细工笔技法刻画物象：荷叶的脉络、荷花的瓣层、白鹭的羽毛都被细腻勾勒，线条匀净流畅，尽显工笔“精工细作”的特质；同时融入写实观察，让荷花、荷叶的形态、白鹭的动态都极具自然真实感，体现他“写生入画”的创作理念。\n\n二、构图布局：疏密有致，动静相生\n画面布局繁而不乱：大片荷叶荷花层层叠叠，疏密、虚实对比鲜明；左下角的白鹭成为视觉焦点，以其灵动姿态打破静态莲池的沉寂，形成“静（莲荷）动（白鹭）相生”的节奏，让画面既有满幅的丰富感，又有视觉的呼吸感。\n\n三、色彩格调：典雅和谐，层次丰盈\n采用工笔重彩设色法，背景的暖棕色调与荷叶的蓝绿色调形成雅致对比，荷花的粉白、白鹭的素净又在色彩层次中穿插呼应，既保留了传统工笔的富丽感，又通过色调调和营造出莲池清幽朦胧的氛围，尽显色彩的抒情性。\n\n四、意境与风格：传统意趣与现代写实的融合\n画面营造出“清幽雅致”的田园意境，莲池的静谧、白鹭的灵动，传递出自然生机与文人式的闲逸情致。同时，林玉山将西方写实技法融入传统工笔，既延续了中国花鸟画的装饰美感与意境追求，又以写实观察赋予物象鲜活生命力，是民国时期“传统笔墨现代化”的典型探索，展现了他在工笔花鸟领域“古今融合、中西通汇”的独特风格。\n\n综上，这幅《莲池》以精湛工笔、精妙构图、典雅色彩，勾勒出诗意莲池的生动图景，既是林玉山个人艺术风格的凝练，也折射出民国时期传统绘画在现代转型中的探索与成就。",[23,24,25,28,7,83,136,137,1111,262],"白鹭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1ee7c758c3a5d09e9063bab49500b45.jpg","花鸟精选",[1113],1224,{"id":1117,"slug":1118,"title":1119,"dynasty":54,"author":55,"museum":20,"description":1120,"tags":1121,"thumbUrl":1122,"material":1123,"size":1124,"collection":139,"collections":1125,"showCount":1126,"zanCount":558,"manualWeight":48,"mainColor":49},227085,"hui-shan-shi-nv-tu-juan-zhou-fang-227085","挥扇仕女图卷","《挥扇仕女图》卷，传为唐周昉绘，绢本，设色，纵33.7厘米，横204.8厘米。\n无作者款印。引首清高宗弘历题“猗兰清画”四字。钤明韩世能 “韩世能印”、“韩仲子氏”、“世能”，清梁清标“蕉林书屋”、“蕉林居士”、“蕉林考藏”，清高宗弘历“古希天子”、“乾隆御览之宝”、“石渠宝笈”、“乾隆鉴赏”等鉴藏印，共31方。\n此图描绘了13位头挽高髻、细目圆面、长裙曳地的妃嫔和宫女形象。全幅以横向排列的形式展示了人物的各种活动：执扇慵坐、解囊抽琴、对镜理妆、绣案做工、挥扇闲憩等。作者注意画面横向疏密、松紧的韵律变化，纵向高低错落的层次变化，从而使得画面结构井然有序，并避免了构图上的单调呆板。图中色彩丰富，以红色为主，兼有青、灰、紫、绿等各色。冷暖色调相互映衬，显现出人物肌肤的细嫩和衣料的华贵。衣纹线条近铁线描，圆润秀劲，富有力度和柔韧性，较准确地勾画出了人物的种种体态。\n画家周昉出身于豪门显宦，因此，他对于贵族阶层绮靡奢华的生活非常熟悉。其仕女画不以烈女、贤妇、仙女等为表现对象，而是取材于现实生活中贵族妇女的行乐活动，具有强烈的时代感，从而迎合了中晚唐时期大官僚贵族们的审美意趣。其作品在张扬唐王朝繁华兴盛的物质生活的同时，亦揭示了贵妇们极度贫乏的精神世界。此图中嫔妃们体貌丰腴，衣饰华丽，但她们面含幽怨，举止慵倦，毫无生气。\n明张丑《清河书画舫》，清内府《石渠宝笈续编》，清阮元《石渠随笔》著录。",[23,24,25,26,28,7,106,614,59,212,63,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d64d42508b0dd39153cc6c8554c273c.jpg","纸本 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此册页每一页所绘蔬果都有刘墉相应赋诗一首，书法浑厚大气，古朴自然，自成一派，看似松散，实则丰貌骨劲。刘墉所描写蔬果诗文生动质朴，贴近生活，与恽寿平描绘的蔬果相应成趣，极大增加了观赏趣味。",[194,24,25,81,352,173,7,83,1184,1185,1186,553,554,1187],"蔬菜","花果","丝瓜","花朵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2ff8d0ecdcd63604674ff7f8ad8ac1b.jpg","26.1x19.9cm",[90],1136,{"id":1193,"slug":1194,"title":1195,"dynasty":99,"author":1196,"museum":191,"description":1197,"tags":1198,"thumbUrl":1199,"material":123,"size":1200,"collection":44,"collections":1201,"showCount":1202,"zanCount":889,"manualWeight":48,"mainColor":49},216996,"sui-chao-tu-tang-yin-216996","岁朝图","唐寅","这幅画描绘的是元旦期间隐居在梅州山村，在节日前放松的情景。",[24,25,226,7,28,820,106,176,227,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fde0a52080c0f595740ed450c1c4367.jpg","125x49.7",[44,45],1119,{"id":1204,"slug":1205,"title":1206,"dynasty":76,"author":1207,"museum":419,"description":1208,"tags":1209,"thumbUrl":1210,"material":123,"size":1211,"collection":181,"collections":1212,"showCount":1213,"zanCount":889,"manualWeight":48,"mainColor":49},214434,"xiu-yuan-tu-wang-yun-214434","休园图","王云","画面采用分段取景，局部特写的艺术手法，表现了明末清初位于扬州的私家园林—“休园”的四季景观。所画楼台殿阁、曲院长廊、碧水亭榭、假山怪石无一不玲珑透剔，各尽其致。末段画面署款“康熙乙未六月至庚子清和图成。",[23,24,25,26,7,28,104,29,106,107,108,34,176,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc53c816996f71e8cca2630cc96ce0c65.jpg","纵54厘米，横129.5厘米",[181],1111,{"id":1215,"slug":1216,"title":1217,"dynasty":76,"author":77,"museum":132,"description":133,"tags":1218,"thumbUrl":1221,"material":88,"size":139,"collection":139,"collections":1222,"showCount":1223,"zanCount":1003,"manualWeight":48,"mainColor":94},214740,"hua-hui-ce-3-yun-shou-ping-214740","花卉册-3",[23,24,25,81,82,7,83,292,686,1219,661,1220,84],"腊梅","松枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c927f31d42dd0d26109d43256054d1e.jpg",[],1110,{"id":1225,"slug":1226,"title":1227,"dynasty":76,"author":77,"museum":132,"description":133,"tags":1228,"thumbUrl":1230,"material":88,"size":139,"collection":139,"collections":1231,"showCount":1232,"zanCount":1233,"manualWeight":48,"mainColor":94},214736,"hua-hui-ce-5-yun-shou-ping-214736","花卉册-5",[23,24,25,81,82,7,84,292,243,1229,320,194],"丁香","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab8c1fc721132cfdc39d78db2f67e138.jpg",[],1106,4,{"id":1235,"slug":1236,"title":1237,"dynasty":302,"author":1238,"museum":191,"description":1239,"tags":1240,"thumbUrl":1242,"material":88,"size":1243,"collection":181,"collections":1244,"showCount":1245,"zanCount":889,"manualWeight":48,"mainColor":94},221745,"chun-tang-liu-se-zhou-zhu-shu-zhong-221745","春塘柳色轴","朱叔重","主题与关键字：春景、杨柳、江河、湖海、高士（士人、隐士）、寒林．枯树、竹、房舍、茅草屋、溪涧、湍泉、松、桥、篱笆、围墙。\n录入：石渠宝笈续编（宁寿宫），第五册，2765页 ；故宫书画录（卷五），第三册，192页；故宫书画图录，第五册，117-118页 【名称】元朱叔重春塘柳色轴 【规格】该幅 4155.公分；全幅 59.7公分 【收藏】 这幅画描写池畔的村屋景象，一名文人手持柺杖，沿著小径，在青葱的田野间漫步。\n全画的用笔极为柔和，著色也温润清雅，充分表现出春天里大地润泽，嫩绿遍野，万物滋长的盎然生意。\n朱叔重，十四世纪人，籍贯江蘇吴县。\n他虽然是一名书生，但在绘画方面，也有卓越的成就，不过流传下来的作品很少。",[23,24,7,29,177,226,1241,108,109,989,176,34,212],"柳树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73387748e6b65cff9714687e9f4798f2.jpg","41x55.3厘米",[181,45],1069,{"id":1247,"slug":1248,"title":1249,"dynasty":76,"author":77,"museum":78,"description":79,"tags":1250,"thumbUrl":1251,"material":88,"size":89,"collection":139,"collections":1252,"showCount":1253,"zanCount":889,"manualWeight":48,"mainColor":94},214706,"chun-hua-tu-ba-kai-6-yun-shou-ping-214706","春花图八开-6",[23,24,25,194,81,82,7,83,62,783,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0a989ce46045ab5e8868995eea818ba.jpg",[],1054,{"id":1255,"slug":1256,"title":1257,"dynasty":18,"author":1033,"museum":191,"description":1258,"tags":1259,"thumbUrl":1262,"material":123,"size":1263,"collection":90,"collections":1264,"showCount":1265,"zanCount":475,"manualWeight":48,"mainColor":94},218892,"xie-sheng-hai-tang-tu-lin-chun-218892","写生海棠图","这幅画表现的是开花或含苞待放的海棠的一个单枝。花朵的颜色是白色粉末，带有一丝腮红，使它们变得精致而漂亮。",[23,24,25,1260,28,7,83,1261,554],"扇面","海棠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c6ee140dbb46294f76dd28443ed475a.jpg","23.4x24",[90],1048,{"id":1267,"slug":1268,"title":1269,"dynasty":99,"author":1270,"museum":191,"description":1271,"tags":1272,"thumbUrl":1274,"material":88,"size":1275,"collection":181,"collections":1276,"showCount":1277,"zanCount":751,"manualWeight":48,"mainColor":94},218464,"pin-cha-tu-wen-zheng-ming-218464","品茶图","文徵明","文徵明出身文人世家，一生大多优游山林，追求自然。作品中多为生活写照。一生嗜茶，曾自谓：「吾生不饮酒，亦自得茗醉。」他以茶入诗、入画、入书法，画中所表现的文人品茶，亦颇具代表性。　　此图绘与友人品啜雨前茶的场景。环境幽雅的草堂中，二人对坐品茗清谈，几上置茶壸、茶碗；堂外一人正过桥行来。茶寮内一童煽火煮泉，准备茶事，一场小型的文人茶会即将展开。",[23,24,25,226,7,28,178,29,106,1273,108,109,212,176,34],"松树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cdac6d6888fc88e0be28c8cfb98e03d.jpg","88.3x25.2cm",[181],1044,{"id":1279,"slug":1280,"title":1281,"dynasty":76,"author":563,"museum":78,"description":1282,"tags":1283,"thumbUrl":1285,"material":88,"size":1286,"collection":90,"collections":1287,"showCount":1288,"zanCount":1233,"manualWeight":48,"mainColor":94},218895,"jin-ji-zhu-ju-tu-zhou-hua-yan-218895","锦鸡竹菊图轴","华嵒的《锦鸡竹菊图》轴既融合了没骨写生，又揉和了水墨泼染之长，形成了兼工带写、灵巧松秀的小写意风格，栩栩如生，姿态万千，艺术手法非常高超。",[24,7,83,28,226,1284,227,897,230],"锦鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56e481200e5ac0e9cc66a96220c80926.jpg","纵106.8厘米，横47.2厘米",[90],1037,{"id":1290,"slug":1291,"title":1292,"dynasty":99,"author":170,"museum":191,"description":1293,"tags":1294,"thumbUrl":1295,"material":88,"size":1296,"collection":90,"collections":1297,"showCount":1298,"zanCount":1233,"manualWeight":48,"mainColor":94},214361,"ping-zhong-la-mei-tu-shen-zhou-214361","瓶中蜡梅图","沈周是一个慷慨大方的人。他能写诗和书法，也善于绘画，山水、花果、鸟、鱼、动物、人物，他都了如指掌，他的作品有一种稚拙的形态，笔触钝而有力，墨色浓重，给人一种厚重感和力量感，有古人的趣味。在这幅《瓶中蜡梅》中，梅花的茎部被用笔触画出，就像山水中的一棵树，显示出它冷峻的姿态。",[23,24,25,226,7,83,820,229,212,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf9e9b4c56979665467b25f96882b252.jpg","140.6x31.6",[90],1021,{"id":1300,"slug":1301,"title":1302,"dynasty":302,"author":1303,"museum":191,"description":1304,"tags":1305,"thumbUrl":1306,"material":1307,"size":1308,"collection":90,"collections":1309,"showCount":1310,"zanCount":5,"manualWeight":48,"mainColor":94},221741,"tai-ping-chun-se-zhou-zhang-zhong-221741","太平春色轴","张中","插花从花材的选择、色彩搭配、构图造型、乃至内涵意境都有了一定的要求。张中《太平春色》就是以插花为题材的绘画作品。",[23,24,25,226,28,7,83,292,229,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F056cf2082cbbbc43245d5e3aee80f4c8.jpg","白纸本","99.1x41.1公分",[90,45],1017,{"id":1312,"slug":1313,"title":1314,"dynasty":18,"author":1315,"museum":223,"description":1316,"tags":1317,"thumbUrl":1318,"material":1319,"size":1320,"collection":44,"collections":1321,"showCount":1322,"zanCount":343,"manualWeight":48,"mainColor":49},214927,"gui-qu-lai-xi-tu-li-tang-214927","归去来兮图","李唐","这幅长卷以陶渊明《归去来兮辞》的诗意风格绘制。它的开头是诗人放弃了他的官职，用一头驴子去了他的家，与他的家人团聚，云彩离开了山，抚摸着一棵孤独的松树，飘飘然。这首诗写在一条清澈的小河边，描述了诗人在隐居中的轻松生活。这是现存的几幅描绘陶渊明归隐的画卷之一，署名为 李唐，有北宋官印，说明是李唐在南下之前所做。",[23,194,24,25,26,173,7,177,29,106,107,108,109,34,175,244,35,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93bcea718693308f58c3eb85b4177b61.jpg","绢本,水墨","34.6x566.4",[44],1013,{"id":1324,"slug":1325,"title":1326,"dynasty":76,"author":257,"museum":191,"description":1327,"tags":1328,"thumbUrl":1330,"material":123,"size":139,"collection":90,"collections":1331,"showCount":1332,"zanCount":475,"manualWeight":48,"mainColor":94},216218,"ke-si-hua-niao-zhou-yi-ming-216218","缂丝花鸟轴","缂丝花鸟轴是一件来自清朝的著名织物，它的特点是精细的缂丝织法，用细密的金丝或银丝织成花鸟图案。这种织物通常是用来装饰床单、枕头和窗帘的，也可以用作礼服的饰品。这种织物的制作需要高超的技艺，因此它们非常珍贵且价值高。",[320,1329,24,226,7,28,83,34,176,292,245,230],"缂丝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb707e05f41a56d8bb90d7d98b005b201.jpg",[90],1010,{"id":1334,"slug":1335,"title":1336,"dynasty":76,"author":77,"museum":1337,"description":1338,"tags":1339,"thumbUrl":1341,"material":1342,"size":1343,"collection":90,"collections":1344,"showCount":1345,"zanCount":11,"manualWeight":48,"mainColor":94},220996,"hua-hui-tu-ce-li-hua-yun-shou-ping-220996","花卉图册·梨花","美国纳尔逊阿特金斯艺术博物馆","《花卉图册》绘有荷花、梨花、水仙、桃花、山矾、罂粟、茶蘼、金萱石榴、牵牛、双凤、桂枝及雁来红等十二种花。画用新没骨法，不用墨线钩勒，而直接着色点染而成。点色的用笔很洒脱、飘逸。十二种花，各具姿色。色彩艳而不俗，色调的表情是清丽和冷艳，在秀雅之中含有一种凛然难犯的韵味。画册中，作者或题名或赋诗，那秀劲古逸、和婉密丽的书体，与这种艳雅的画风相结合，相得益彰，更具魅力。该图册是恽寿平绘画中的精品。\n恽寿平（1633—1690），初名格，字寿平，号南田，武进（江苏常州）人。其诗格超逸，书法遒劲，擅长山水画，尤精没骨花卉画，画笔生动。",[23,24,25,194,81,82,7,83,1340,210,212],"梨花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5ced6b3440393ea70433c90398c4a22.jpg","纸本 设色","24.5×29.3cm",[90,45],1003,{"id":1347,"slug":1348,"title":1349,"dynasty":18,"author":1350,"museum":20,"description":1351,"tags":1352,"thumbUrl":1354,"material":40,"size":1355,"collection":42,"collections":1356,"showCount":1357,"zanCount":414,"manualWeight":48,"mainColor":49},221538,"ta-ge-tu-zhou-ma-yuan-221538","踏歌图轴","马远","“踏歌”是中国南方乡间一个非常古老的习俗，村民们辛苦耕耘一年，终于迎来了丰收，于是全村的男女老幼，踏着节拍，边歌边舞，欢庆收获并感谢大自然的恩赐，就好像过年过节一样快乐热闹。\n从表面上看，《踏歌图》像是一幅表现自然山川风貌的山水画，而实际是一幅描绘人间生活的风俗画。作者马远在图中安排了不多的几个点景人物，使画中的主题得到了充分的展示。画家并没有去描绘乡间踏歌盛况的全貌，而是选取了几个非常有代表性的乡民形象：一个中年村民，因为高兴多喝了几碗酒，步履蹒跚，摇摇晃晃，醉意十足，但是那个盛酒的葫芦却没有忘记，仍然好好地背在肩上；一个白胡子老汉，同样也喝了不少酒，一只手拄着拐杖，另一只手高高抬起，双脚离地，手舞足蹈，兴奋异常。他们的举止行为已与他们的年龄不相符合，所以显得特别滑稽可笑。作者马远描绘了这几个成年人之后，觉得还不足以表达欢快纵情的气氛，特地在画幅的左下角安排了男女两名幼童，他们回过身来，瞪着惊异的眼睛，看着自己的长辈，平时家长的恃重和威严怎么都没有了？年龄稍大的女孩，还用手捂住了嘴巴，偷偷在发笑。这两组点景人物相互呼应、相互衬托，把“踏歌”欢愉快乐的情绪推向了极致。可是细看图中，作者只不过画了六个人，却能将气氛渲染得如此充分。从这六个村民身上，完全可以感受到整个村庄中传出来的歌声、踏地的节拍声和欢快的笑声。画家马远“以一当十”、“以小见大”的艺术表现手法，实在是太高妙了。\n几个人物在图中所占的位置很小，但却最为引人注目。人物线条挺拔刚劲，人物动态活泼有趣，都显示了马远不凡的技艺。\n马远画山石的方法也极有特点。他运用毛笔的侧锋平扫，以表现陡峭的山势和坚硬石头的质感，山石犹如巨斧劈出一般，这种用笔的方法被人称之为“斧劈皴”，从《踏歌图》轴中亦可见一斑。在画幅的构图方面，马远也有创新。他喜欢将图中的山石集中于某一边角，形成虚实的对比，故此他有了“马一角”的称呼，当然在这件作品中这一特点不是十分明显。马远画树也有自己的习惯，他经常把树的枝条画得向下斜拖，所以有人将它归纳为四个字“拖枝马远”。\n在马远的这幅《踏歌图》的上方，题有五言绝句一首，这是南宋皇帝宁宗赵扩抄录北宋王安石的诗句。诗为：“宿雨清畿甸，朝陽麗帝城，豐年人樂業，壟上踏歌行。”这是南宋皇帝对太平盛世的企盼，供奉宫廷的画院画家马远即以此诗为题作画。",[23,24,226,173,7,177,29,106,107,176,1049,175,809,1353,353,34],"枯藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d16dfc2892d6fc95087572ed5b7c014.jpg","纵192.5厘米，横111厘米",[42,181,163],995,{"id":1359,"slug":1360,"title":1361,"dynasty":99,"author":100,"museum":191,"description":1362,"tags":1363,"thumbUrl":1365,"material":123,"size":283,"collection":44,"collections":1366,"showCount":1367,"zanCount":11,"manualWeight":48,"mainColor":94},219968,"han-gong-chun-xiao-tu-chou-ying-219968","汉宫春晓图","《汉宫春晓图》以人物长卷画，生动地再现了汉代宫女的生活情景。其用笔清劲而赋色妍雅，林木、奇石与华丽的宫阙穿插掩映，铺陈出宛如仙境般的瑰丽景象，极勾描渲敷之能事，体现了作者积极向上、热爱生活的人文思想，亦表达了他对宫廷浮华美好生活的赞美。\n《汉宫春晓图》是仇英平生得意之作，为中国十大传世名画之一，亦被誉为中国“重彩仕女第一长卷”。",[23,24,25,26,28,7,104,106,59,107,230,245,34,84,278,1364,279],"台阶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72ef02bc84e372303950e1dc284071d3.jpg",[44],977,{"id":1369,"slug":1370,"title":1371,"dynasty":76,"author":742,"museum":1372,"description":1373,"tags":1374,"thumbUrl":1375,"material":500,"size":1376,"collection":90,"collections":1377,"showCount":1378,"zanCount":1379,"manualWeight":48,"mainColor":94},223230,"mei-hua-shi-nv-tu-ren-yi-223230","梅花仕女图","浙江省博物馆","任颐（1840年－1895年），即任伯年，初名润，字次远，号小楼，后改名颐，字伯年，别号山阴道上行者、寿道士等，以字行，浙江山阴航坞山（今杭州市萧山区瓜沥镇）人，清末著名画家。\n自幼随父卖画，后从任熊、任薰学画，后居上海卖画为生。在“四任”之中，成就最为突出，是“海上画派”中的佼佼者，“海派四杰”之一。任伯年的绘画发轫于民间艺术，技法全面，山水、花鸟、人物等无一不能。重视写生，又融汇诸家法，并吸取水彩色调之长，勾皴点染，格调清新。\n其人物画，早年从陈洪绶法出，形象夸张，富装饰效果。如故宫博物院藏《干莫炼剑图》轴。后练习铅笔速写后，变得较为奔逸，如故宫博物院藏《风尘三侠图》轴等。其写照技艺，高妙绝伦，曾为虚谷、胡公寿、赵之谦、任薰等多人画像，无不逼肖。浙江省博物馆藏有其《酸寒尉像》轴，写吴昌硕着官衣立像，极其传神；其花鸟画，早年以工笔见长，仿北宋人法，近于陈洪绶。后取法恽派及陈淳、徐渭、朱耷的写意法，笔墨趋于简逸放纵，设色明净淡雅，形成兼工带写、明快温馨的格调。代表作有藏于徐悲鸿纪念馆的《紫藤翠鸟图》轴等。对近现代花鸟画产生了巨大影响。\n海派中的佼佼者，其绘画发源于民间，重视继承传统，吸收西画技法，形成风姿多采的独特画风，在“四任”中成就最为突出。 　擅人物、花鸟、山水，其人物画取材广泛，作品能反映现实生活，针砭社会，寄托个人情怀，具有一定思想性。造型简练、准确，生动传神，手法多变。他的花鸟画师法陈淳、徐渭、石涛、恽寿平、华喦及北宋诸家。博采众长，转益多师，成为集工笔、写意、勾勒、没骨于一身的画家。他于传统的笔墨之中掺以水彩画法，淡墨与色彩相交溶，风格明快、温馨、清新、活泼，极富创造性。山水画虽不多作，但也构图布局变化多端，笔墨技巧能跳出传统窠臼，别具一格。任颐的绘画在当时及现当代具有极大影响。有《苏武牧羊》《女娲炼石》《关河一望萧索》《树荫观刀》《群仙祝寿》及大量的花鸟、山水等作品传世，后人出版有多种画册、画集。\n任颐是我国近代杰出画家，在“四任”之中成就最为突出，是海上画派中的佼佼者。他的杰出艺术成就受到世人瞩目。\n任颐初名润，字小楼，后字伯年，浙江山阴（今杭州市萧山区瓜沥镇）人。生于鸦片战争的清道光十九年（1840年），卒于光绪二十二年（1896年）。父亲任声鹤是民间画像师，大伯任熊，二伯任熏，已是名声显赫的画家。少时受家庭的熏染，已能绘画。十来岁时，一次家中来客，坐了片刻就告辞了，父亲回来问是谁来，伯年答不上姓名，便拿起纸来，把来访者画出，父亲看了，便知是谁了。这说明任伯年幼年就掌握了写真画技巧。\n任伯年曾在十几岁青年时期，在太平天国的军中“掌大旗”，当时军旗较大，“战时麾之，以为前驱”。直到天京沦陷，任伯年才回家乡，后至上海随任熊、任熏学画。以后长期在上海以卖画为生。任伯年为人率真，不修边幅，学画时近30岁，画多而名声渐大，但其身心深受鸦片之害，损伤元气，这也是他年仅56岁就过早去世的原因。 任伯年的绘画发轫于民间艺术，他重视继承传统，融汇诸家之长，吸收了西画的速写、设色诸法，形成自己丰姿多采、新颖生动的独特画风。\n工细的仕女画近费晓楼，夸张奇伟的人物画法陈洪绶，装饰性强的街头描则学自任熏，后练习铅笔速写，变得较为奔逸，晚年吸收华岩笔意。\n就任伯年的个人艺术造诣来看，花鸟画的本领比较高，若以当时画坛的情况而言，他的人物影响比较大，原因是当时画人物画家少，成就高者更少，象任伯年这样造诣，自然推至旁首。\n作者早期的仕女画多较工细。此图中仕女以手支颐，眼望春柳，惆怅若失。构图虽简单，用笔却十分细致。以细笔描绘青丝盘头，淡墨写面部、手指；衣纹线条流畅，起笔多顿点，用富有装饰性的钉头鼠尾描形成有节奏的白描效果。",[23,24,7,106,59,820,614,173,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09824e74b525459649eeeeac703e697c.jpg","103 1cmx36 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亭花，这可能是后来明代的仿制品。",[23,194,24,25,226,28,7,83,84,1530,176,264,1187,209],"禽鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91b842f5975229d677278c15f942eb45.jpg","83.4x28.9",[42],864,{"id":1536,"slug":1537,"title":1538,"dynasty":76,"author":1539,"museum":78,"description":1540,"tags":1541,"thumbUrl":1542,"material":88,"size":139,"collection":44,"collections":1543,"showCount":1544,"zanCount":1233,"manualWeight":48,"mainColor":94},214611,"hong-lou-meng-ren-wu-ce-ye-yu-lan-214611","红楼梦人物册页","喻兰","喻兰(1742—1809)，字韵斋，号少兰，桐庐人。清代女画家。嘉庆三年(1798)，朝廷以命题考选画师，喻兰匠心独具，布景设色无不恰合题意，以第二名录取。不久，选入内廷，任画苑供奉职。喻兰擅画人物、仕女，用笔浓重，虽不脱画院派习气，却无纤弱之嫌。画楼台殿阁，往往参照西洋手法，信手画来，无不神韵毕致，惟妙惟肖。\n此册页所画为古典四大名著《红楼梦》第二十七回“埋香冢飞燕泣残红”中黛玉葬花的场景。",[24,25,81,7,106,59,230,109,353,178,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faab150ff0a3409c18b30e7aba25d52c8.jpg",[44],863,{"id":1546,"slug":1547,"title":1548,"dynasty":18,"author":391,"museum":191,"description":1549,"tags":1550,"thumbUrl":1559,"material":123,"size":1560,"collection":44,"collections":1561,"showCount":1562,"zanCount":1233,"manualWeight":48,"mainColor":49},214251,"wen-hui-tu-zhao-ji-214251","文会图","文会图是宋代诗人赵佶的一幅代表作。这幅画作描绘了文会图的美丽风景。\n\n文会图位于宋代的江西省，是一座著名的风景名胜。它有着壮丽的山水景色，群山环绕，江河纵横。这里的山川秀美，让人流连忘返。\n\n在这幅画作中，赵佶巧妙地捕捉了文会图的美丽景色。他用浓墨重彩的画法，勾勒出了文会图的群山和江河。他还描绘了文会图周围的古迹和古建筑，让人感受到了宋代文化的博大精深。\n\n总之，文会图是一幅精美的画作，描绘了文会图的美丽风景。它让我们感受到了宋代诗人赵佶对自然的崇敬之情，也让我们感受到了宋代文化的魅力。",[23,24,25,7,28,106,34,115,1551,1552,1553,615,1554,86,1555,1556,280,1557,1558],"饮酒","桌椅","餐具","聚会","场景描绘","细致写实","园林","题跋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d9e09405eba855cbe3e826712631928.jpg","184.4x123.9",[44],862,{"id":1564,"slug":1565,"title":98,"dynasty":18,"author":146,"museum":20,"description":147,"tags":1566,"thumbUrl":1568,"material":529,"size":1569,"collection":42,"collections":1570,"showCount":1571,"zanCount":889,"manualWeight":48,"mainColor":49},221324,"qing-ming-shang-he-tu-zhang-ze-duan-221324",[23,24,26,104,7,1567,28,106,107,108,109,111,112,110,34,113,151,150,114,120,119,115,157,116],"风俗画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91a17c67bacba9c0488789090e01e03c.jpg","宽24.8厘米、长528.7厘米",[42,44,45],858,{"id":1573,"slug":1574,"title":1575,"dynasty":302,"author":1576,"museum":1577,"description":1578,"tags":1579,"thumbUrl":1580,"material":529,"size":1581,"collection":90,"collections":1582,"showCount":1583,"zanCount":889,"manualWeight":48,"mainColor":49},221850,"mu-dan-hu-die-tu-shen-meng-jian-221850","牡丹蝴蝶图","沈孟坚","日本京都国立博物馆","图绘牡丹一枝，彩蝶二只，牡丹花以粉色为主色，尽显娇嫩、华丽，彩蝶闻花而来，翩翩起舞。此图构图精巧，勾画精细，动静相宜，栩栩如生。",[23,24,28,7,83,292,484],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e410cee36c9d4dcc1b24a9edab13549.jpg","26.9×27cm",[90,45],854,{"id":1585,"slug":1586,"title":1587,"dynasty":18,"author":1588,"museum":316,"description":1589,"tags":1590,"thumbUrl":1591,"material":67,"size":1592,"collection":42,"collections":1593,"showCount":1594,"zanCount":343,"manualWeight":48,"mainColor":49},221182,"mei-zhu-tu-ye-ma-lin-221182","梅竹图页","马麟","绿竹丛中逶迤伸出白梅两枝，清丽冷艳",[23,194,24,25,81,28,7,83,820,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d26a148f7c6e0c7598c67b7543456d8.jpg","纵26厘米，横26.5厘米",[42,90,45],851,{"id":1596,"slug":1597,"title":1598,"dynasty":18,"author":1599,"museum":20,"description":1600,"tags":1601,"thumbUrl":1602,"material":529,"size":1603,"collection":42,"collections":1604,"showCount":1605,"zanCount":5,"manualWeight":48,"mainColor":49},221557,"qing-lv-shan-shui-chang-juan-liu-song-nian-221557","青绿山水长卷","刘松年","刘松年工山水人物，山水皴法受李唐影响， 山水画风格继承董源、巨然， 在技法上刘松年变李唐的“斧劈皴”为小笔触的“刮铁皴”，画风笔精墨妙，变雄健为典雅，水墨青绿兼工，着色妍丽典雅，常画西湖，多写茂林修竹，山明水秀之西湖胜景，因题材多园林小景，人称“小景山水”。",[23,24,26,27,7,28,177,29,108,109,175,34,808,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4cd819a0038f8aa8374cedcb53dd386.jpg","24cmx254cm",[42,181,45],840,{"id":1607,"slug":1608,"title":1609,"dynasty":76,"author":1610,"museum":191,"description":1611,"tags":1612,"thumbUrl":1614,"material":88,"size":1615,"collection":90,"collections":1616,"showCount":1617,"zanCount":787,"manualWeight":48,"mainColor":94},219433,"teng-hua-shao-yao-zhou-zou-yi-gui-219433","藤花芍药轴","邹一桂","紫藤藤蔓虬曲伸展，紫蓝花穗垂落如串串玉珠，枝叶葱茏带露；下方芍药竞放，白瓣皎洁如霜，粉蕊柔婉似云，红苞艳若丹砂，叶片舒展有致，脉络清晰可见。设色清丽雅致，线条细腻灵动，花叶的姿态鲜活自然，尽显春日芳菲的生机与韵致。笔墨间藏着对自然的深情体察，每一处细节都透着工笔花卉的精妙之美，雅致中蕴蓬勃活力，宛如将春日一隅凝于绢素之上。",[24,25,226,28,7,83,1613,899,212,84],"藤花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46a37dff9eccfbfc632eca571c3b1785.jpg","129.1x60.8",[90],836,{"id":1619,"slug":1620,"title":1621,"dynasty":18,"author":257,"museum":191,"description":1622,"tags":1623,"thumbUrl":1624,"material":123,"size":1625,"collection":90,"collections":1626,"showCount":1627,"zanCount":787,"manualWeight":48,"mainColor":49},218394,"shan-cha-mei-hua-tu-yi-ming-218394","山茶梅花图","此幅绘腊梅，山茶，麻雀。设色雅丽，笔墨造型古拙，唯用笔布置更接近陈洪绶、王武画格，故宋画气息不足。",[23,24,25,226,83,28,7,661,662,209,210,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1719fc6f38b792b19b924b5c41056d6.jpg","33.6x46.7",[90],833,{"id":1629,"slug":1630,"title":1195,"dynasty":18,"author":647,"museum":191,"description":1631,"tags":1632,"thumbUrl":1634,"material":282,"size":1635,"collection":42,"collections":1636,"showCount":1637,"zanCount":751,"manualWeight":48,"mainColor":49},221299,"sui-chao-tu-zhao-chang-221299","与过年有关的节令画在古代多称之为“岁朝图”，大致兴起于宋代，徽宗时期宫廷绘画艺术得到了空前的发展。《岁朝图》的本质就是高级年画。所谓“岁朝”是一年之初的文艺叫法。历来的文人皇帝很喜欢用这样的画往来友人赏赐臣下，恭贺新禧。",[23,194,24,25,226,7,28,83,84,1633,1195],"奇石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda10c5d8b72f237927104c275194e0a4.jpg","103.8×51.2cm",[42,90,45],830,{"id":1639,"slug":1640,"title":1641,"dynasty":189,"author":1642,"museum":191,"description":1643,"tags":1644,"thumbUrl":1645,"material":123,"size":1646,"collection":44,"collections":1647,"showCount":1648,"zanCount":558,"manualWeight":48,"mainColor":49},218529,"shi-nv-tu-zhou-wen-ju-218529","仕女图","周文矩","这幅画表现的是一个在桐荫的女人与一个奴隶贩子在栅栏上摊开她的画卷。画中没有名字，而衣服的图案，僵硬曲折，与文姬的风格相去甚远，很可能是后来的收藏家擅自给它起了个名字，所以才有了这个标题",[23,24,7,28,106,59,745,245,484,378,84,379,409,226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb332ba757d3b97ebad0f1f7b7982c84e.jpg","180.9x102.1",[44],820,{"id":1650,"slug":1651,"title":1652,"dynasty":18,"author":19,"museum":20,"description":21,"tags":1653,"thumbUrl":39,"material":40,"size":41,"collection":42,"collections":1655,"showCount":1656,"zanCount":787,"manualWeight":48,"mainColor":49},221382,"qian-li-jiang-shan-tu-wang-xi-meng-221382","千里江山图",[23,24,194,25,26,27,7,28,177,29,808,31,108,34,986,1654,37,38],"舟船",[42,44,45],809,{"id":1658,"slug":1659,"title":1660,"dynasty":99,"author":100,"museum":20,"description":1661,"tags":1662,"thumbUrl":1664,"material":40,"size":1665,"collection":44,"collections":1666,"showCount":1667,"zanCount":889,"manualWeight":48,"mainColor":94},222194,"ren-wu-gu-shi-tu-gui-fei-xiao-zhuang-chou-ying-222194","人物故事图-贵妃晓妆","全册共十开，内容取材于历史故事、寓言传说、文人轶事和诗文寓意，具体为子路问津、明妃出塞、贵妃晓妆、南华秋水、吹箫引凤、高山流水、竹院品古、松林六逸、浔阳琵琶、捉柳花图等。这些题材历史上常被画家描绘，但仇英在作品立意、形象塑造和笔墨表现等方面，都注入了自己的才思和技巧，显示出鲜明的个性风格。\n作品主题明确，构思巧妙，不仅人物活动的细节刻画具体明晓，而且注意环境气氛的烘托，使每幅画页都有很强的观赏性。如“贵妃晓妆”页，以杨贵妃清晨在华清宫端正楼对镜理髻为中心，将宫女奏乐、采花和携琵琶等情节同现于一个画面，集中表现了贵妃爱牡丹、喜簪花、善声乐、好打扮的习性，也概括反映了贵妃奢华纵乐的生活内容。又如“高山流水”页，取材于伯牙鼓琴的故事，在描绘俞伯牙草亭弹琴，钟子期拾阶而上，知音相遇的具体情节同时，布置了高山飞瀑、松林流水的静谧清幽环境，形象地表达了高山流水的音乐内容，也衬托出人物的高雅情操，以象征性手法营造出了一个情景交融的臻境。\n此图册运用工笔重彩法。人物情态描绘得细腻精微，文人举止高雅潇洒，仕女容貌端庄娟美。建筑器皿工整精细，山石树木形态各具。笔致工细而不板滞，流畅自然，刚柔相济。敷色艳丽，又多和色，整体色调和谐、清雅。作品具有雅俗共赏的艺术效果，是仇英对唐宋工笔重彩法的创新和发展。",[23,24,194,25,28,7,106,59,107,34,278,1364,245,84,1663,63],"器具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6305566e747339ff404852138f61f051.jpg","每开纵41.4厘米，横33.8厘米",[44,45],808,{"id":1669,"slug":1670,"title":1671,"dynasty":18,"author":257,"museum":78,"description":1672,"tags":1673,"thumbUrl":1674,"material":123,"size":1675,"collection":42,"collections":1676,"showCount":1677,"zanCount":414,"manualWeight":48,"mainColor":49},218560,"ye-he-hua-tu-yi-ming-218560","夜合花图","画的是一枝两朵夜来香花，右枝花含苞待放，左枝花半开半合，洁白如玉，气质高雅。花朵被轻轻地勾勒和上色，用白色粉末点缀花蕊，用少量浅色墨水给拖曳的花朵上色。绿叶前后间隔，白花绿叶，色彩淡雅，让人赏心悦目。",[194,24,25,1260,7,28,83,62,554,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6405700bb70527a1c1a9640d967df709.jpg","23.9x25.4",[42,90],804,{"id":1679,"slug":1680,"title":1681,"dynasty":76,"author":77,"museum":78,"description":79,"tags":1682,"thumbUrl":1683,"material":88,"size":89,"collection":139,"collections":1684,"showCount":1685,"zanCount":774,"manualWeight":48,"mainColor":94},214705,"chun-hua-tu-ba-kai-5-yun-shou-ping-214705","春花图八开-5",[23,24,25,81,83,7,82,292,554,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe56baf02b8d416236f5828d6ab4cc83.jpg",[],793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长恨歌图卷(下卷)","狩野山雪","整套作品分为两卷，大约在1646年绘制，描绘了唐明皇和杨贵妃之间凄美的爱情故事。上卷描绘了从汉朝皇帝爱国到杨贵妃死在马嵬坡的爱情故事。第二卷主要讲述明朝皇帝对她的无尽思念。",[23,24,25,26,7,28,104,106,107,29,34,108,109,1654,986,176,968,115,1703,1133,1704,31,808,114],"人群","柏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5351026af241a489e28ccc88099154e8.jpg","31.5x1070",[44,45],775,{"id":1710,"slug":1711,"title":1712,"dynasty":99,"author":206,"museum":78,"description":207,"tags":1713,"thumbUrl":1714,"material":88,"size":214,"collection":139,"collections":1715,"showCount":1716,"zanCount":558,"manualWeight":48,"mainColor":94},216661,"hua-niao-ce-3-sun-ke-hong-216661","花鸟册-3",[24,81,7,28,83,245,1340,210,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbcfb02f16a9dcdf42f888f2dbea6731.jpg",[],774,{"id":1718,"slug":1719,"title":314,"dynasty":18,"author":257,"museum":78,"description":1720,"tags":1721,"thumbUrl":1722,"material":123,"size":1723,"collection":90,"collections":1724,"showCount":1725,"zanCount":787,"manualWeight":48,"mainColor":49},218552,"he-hua-tu-yi-ming-218552","画中的荷叶和菖蒲随风右旋，重叠的花瓣逐渐张开，荷叶花瓣用金笔精巧地勾勒，用红色到粉色的渐变画出。这是南宋时期的生活绘画杰作，其精致丰富的画风源于南宋花鸟画家吴炳。",[24,1260,83,28,7,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F496db9762ca838af4ae8501a774c94ef.jpg","25.1x25.7cm",[90],765,{"id":1727,"slug":1728,"title":1729,"dynasty":189,"author":1730,"museum":20,"description":1731,"tags":1732,"thumbUrl":1735,"material":67,"size":1736,"collection":181,"collections":1737,"showCount":1738,"zanCount":603,"manualWeight":48,"mainColor":49},221154,"xiao-xiang-tu-dong-yuan-221154","潇湘图","董源","本幅无作者款印，明朝董其昌得此图后视为至宝，并根据《宣和画谱》中的记载，定名为董源《潇湘图》，后入清宫内府收藏。\n“潇湘”指湖南省境内的潇河与湘江，二水汇入洞庭湖，“潇湘”也泛指江南河湖密布的地区。图绘一片湖光山色，山势平缓连绵，大片的水面中沙洲苇渚映带无尽。画面中以水墨间杂淡色，山峦多运用点子皴法，几乎不见线条，以墨点表现远山的植被，塑造出模糊而富有质感的山型轮廓。墨点的疏密浓淡，表现了山石的起伏凹凸。画家在作水墨渲染时留出些许空白，营造云雾迷濛之感，山林深蔚，烟水微茫。山水之中又有人物渔舟点缀其间，赋色鲜明，刻画入微，为寂静幽深的山林增添了无限生机。五代至北宋初年是中国山水画的成熟阶段，形成了不同风格，后人概括为“北派”与“南派”两支。董源此图被画史视为“南派”山水的开山之作。",[23,24,25,26,29,173,7,1733,31,34,1734,174,106,37],"披麻皴","沙洲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F308d33bc50ae0832cf73078880eca1a6.jpg","纵50厘米，横141.4厘米",[181,163],763,{"id":1740,"slug":1741,"title":1742,"dynasty":18,"author":1350,"museum":316,"description":1743,"tags":1744,"thumbUrl":1745,"material":123,"size":1746,"collection":90,"collections":1747,"showCount":1738,"zanCount":889,"manualWeight":48,"mainColor":94},218581,"hua-niao-shan-shui-xiao-pin-ce-shan-cha-ma-yuan-218581","花鸟山水小品册-山茶","分别绘茶花、牡丹、葡萄、桃子，色彩鲜艳，用笔精致。山水绘山阁远眺，策杖登高，孤棹泛波，意趣悠然。",[23,24,25,81,83,7,28,212,661,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e793eaf7b0fe061b674b3389ac383bd.jpg","33*19",[90],{"id":1749,"slug":1750,"title":1751,"dynasty":99,"author":857,"museum":101,"description":1752,"tags":1753,"thumbUrl":1755,"material":123,"size":139,"collection":90,"collections":1756,"showCount":1757,"zanCount":1379,"manualWeight":48,"mainColor":94},218031,"za-hua-ce-chen-hong-shou-218031","杂画册","陈洪绶是明朝时期著名的画家。他最著名的作品是他的杂画册，其中包含了许多精美的花鸟画和山水画。陈洪绶的杂画册是明朝时期最著名的画册之一，并被认为是中国画的杰出代表作之一。\n\n陈洪绶的杂画册中包含了多幅优美的花鸟画，其中包括了各种鸟类、花卉和动物。这些画作都是陈洪绶对自然界的精确再现，并且富有生命力。此外，陈洪绶还创作了许多优美的山水画，其中包含了各种山川、河流、湖泊和其他自然景观。这些画作也是陈洪绶对自然界的精确再现，并且富有感染力。\n\n总的来说，陈洪绶的杂画册是一部杰出的画册，其中包含了许多优美的花鸟画和山水画，是中国画的杰出代表作之一。陈洪绶的画风精细而细腻，他对自然界的描绘充满生命力和感染力，使他的作品在艺术史上占有重要地位。",[24,7,28,81,83,568,1754,210],"红叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7c5103e3f5c96e67bf35677653152a4.jpg",[90,181,44],758,{"id":1759,"slug":1760,"title":1761,"dynasty":869,"author":870,"museum":132,"description":1762,"tags":1763,"thumbUrl":1765,"material":88,"size":1766,"collection":90,"collections":1767,"showCount":1768,"zanCount":889,"manualWeight":48,"mainColor":94},216112,"nan-gua-tu-qi-bai-shi-216112","南瓜图","泼墨如团的南瓜坠于藤蔓间，浓黑墨块裹着赭红瓜棱，憨拙中藏老笔苍劲。缠绕的藤蔓似游丝若铁线，飞白处见笔意灵动，与沉实瓜体形成虚实相生韵致。墨色层次分明，焦浓淡墨晕染叶片叠嶂，留白透气不拥塞。赭红点睛，让质朴多了暖意。笔墨纵逸却守法度，看似随意挥洒，实则每笔都透着生活熟稔——田间寻常物化为充满生命力的意象，既有大写意豪放，又藏文人画雅致，老辣带天真，朴拙满生机。",[24,173,7,498,226,86,212,1764,553,554],"南瓜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f38d5ce9c88984c51b25fe54cc0d2bc.jpg","33.74x134.77cm",[90],757,{"id":1770,"slug":1771,"title":1772,"dynasty":76,"author":742,"museum":78,"description":1773,"tags":1774,"thumbUrl":1775,"material":123,"size":1773,"collection":90,"collections":1776,"showCount":1777,"zanCount":774,"manualWeight":48,"mainColor":94},218893,"fu-rong-bai-mao-tu-zhou-ren-yi-218893","芙蓉白猫图轴","纵134.2厘米，横47.8厘米",[23,24,194,25,226,28,7,83,634,745,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25ad6bc3e192fef53d9ce6256744d731.jpg",[90],755,{"id":1779,"slug":1780,"title":1781,"dynasty":99,"author":1782,"museum":191,"description":1783,"tags":1784,"thumbUrl":1786,"material":67,"size":1787,"collection":181,"collections":1788,"showCount":1789,"zanCount":889,"manualWeight":48,"mainColor":49},222031,"chun-you-wan-gui-tu-dai-jin-222031","春游晚归图","戴进","这幅画的笔墨多取法自南宋时代的马远、夏圭一派，构图上虽然仍然旧沿袭著南宋院画体系风格，保留了大部分空虚的地方，但是画面比较平板，近景和远山几乎是在同一平面上，比较缺乏景致空间的深度。这也是浙派绘画的共同特色之一。画上并没有作者的落款和印章，但是从画风，再比照其它画作来看，似可推断是戴进在北京时期的作品。\n综合其它传世作品来看，戴进除了兼法宋、元诸家以外，受到南宋马远、夏珪「院体」一派画风的影响比较深。但是他继承古人传统，而不为成法所拘，能够发展变化，自出新意。这件作品为戴进基於马远、夏圭风格，而更近一步，大胆强调丰富笔墨效果的杰作。绘画技法功力深厚，笔墨灵活而变化多端，奔放中不失法度，严谨中又富有潇洒俊逸的格调，是代表戴进风格的典型作品之一。",[23,24,25,226,7,29,106,107,108,109,1133,176,378,1785,175],"路径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f535fa828d9c60097457ceb913a5fff.jpg","167.9x83.1公分",[181,163],752,{"id":1791,"slug":1792,"title":1793,"dynasty":76,"author":77,"museum":191,"description":1794,"tags":1795,"thumbUrl":1796,"material":1307,"size":1797,"collection":90,"collections":1798,"showCount":1799,"zanCount":774,"manualWeight":48,"mainColor":94},220978,"hua-hui-shan-shui-he-ce-yun-shou-ping-220978","花卉山水合册","恽寿平传世作品极多，主要有《红梅山茶图》《桃花图》《 三友图》《林居高士图》等，笔墨润秀，神完气足。其没骨花卉画柔美秀雅，开创了一代新风，时人争相仿效。\n王翚有《康熙南巡图》(与杨晋等人合作)、《秋山萧寺图》、《虞山枫林图》、《秋树昏鸦图》、《芳洲图》（常熟博物馆藏）等传世。着有《清晖画跋》。",[23,24,25,194,7,82,83,84,81,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79d394a60f3fe31f74cc2a4529d753ab.jpg","43x29厘米",[90,45],750,{"id":1801,"slug":1802,"title":1803,"dynasty":189,"author":362,"museum":191,"description":1804,"tags":1805,"thumbUrl":1808,"material":123,"size":1809,"collection":90,"collections":1810,"showCount":1811,"zanCount":5,"manualWeight":48,"mainColor":94},218753,"xie-sheng-zhi-zi-xu-xi-218753","写生栀子","雪白的栀子花与绿叶相映成趣，麻雀站在树枝上，试图捕食被花香吸引的黄蜂。蜜蜂的发音与 封 相同，麻雀的发音与 爵 相似，所以用 爵 的谐音来表示祝贺，这是一幅成功的宫廷画。",[23,24,28,7,83,566,1806,209,636,783,1807],"栀子","枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8936453d77d3d3461e49f1fe82137570.jpg","24.7x26.5",[90],744,{"id":1813,"slug":1814,"title":1815,"dynasty":869,"author":870,"museum":1816,"description":1817,"tags":1818,"thumbUrl":1821,"material":1822,"size":139,"collection":139,"collections":1823,"showCount":1824,"zanCount":1379,"manualWeight":48,"mainColor":94},220584,"hua-yu-chong-2-qi-bai-shi-220584","花与虫-2","Hwajeong Museum","此作以工写交融之法绘就，大写意晕染蔬果花卉：明黄葫芦腴润饱满，墨色瓜实朴拙厚重，丝瓜清透雅致，凌霄、月季柔媚鲜活，藤蔓以狂草般的笔墨肆意舒展，苍劲写意中尽得野趣生机。\n\n笔下草虫则以极精工的细笔刻画：蜻蜓翼脉纤毫毕现，螳螂举臂灵动逼真，蝴蝶振翅欲飞，将小虫的鲜活灵态尽致描摹。简逸朴拙的写意花草，搭配毫厘必现的工笔虫豸，将文人画的雅趣与乡野小景的生机融为一体，把寻常田间意趣化作耐品的丹青佳构。",[23,24,7,83,26,1819,1186,635,484,874,1820,292,632,553,554],"葫芦","蟋蟀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa55484ca9db9175f8ad8bbbb64dec7ae.jpg","color on 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该画是展子虔传世的唯一作品，也是迄今为止存世最古的画卷。",[194,24,25,27,7,29,106,243,109,1049,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd7523abe5a9b1378dd5dd5ceda1a3ea.jpg","43×80.5cm",[],{"id":1947,"slug":1948,"title":1949,"dynasty":189,"author":362,"museum":191,"description":1950,"tags":1951,"thumbUrl":1952,"material":67,"size":1953,"collection":42,"collections":1954,"showCount":1955,"zanCount":918,"manualWeight":48,"mainColor":49},221430,"mu-dan-hua-hui-tu-ye-xu-xi-221430","牡丹花卉图页","五代當時名家輩出：花鳥畫之黃筌、徐熙，前後輝映，造就了五代. 的光芒。，他想買下，無奈錢不夠，因此而與丈夫趙明誠雙雙",[23,194,24,25,81,7,83,292,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d4545b75f5270a81a2bbe98ab5c0643.jpg","41×33",[42,90,45],683,{"id":1957,"slug":1958,"title":1959,"dynasty":189,"author":362,"museum":316,"description":1960,"tags":1961,"thumbUrl":1962,"material":123,"size":139,"collection":90,"collections":1963,"showCount":1964,"zanCount":5,"manualWeight":48,"mainColor":94},219178,"hong-mu-dan-tu-xu-xi-219178","红牡丹图","徐熙，五代南唐杰出画家，金陵（今南京）人，一说钟陵（今江西进贤）人。出身于“江南名族”。生于唐僖宗光启年间，后在开宝末年（公元975）随李后主归宋，不久病故。一生未官，郭若虚称他为“江南处士”。沈括说他是“江南布衣”。其性情豪爽旷达，志节高迈，善画花竹林木，蝉蝶草虫，其妙与自然无异。",[23,194,24,25,83,292,7,28,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ffaf2140f2c68889a42d1ec443c4e02.jpg",[90],680,{"id":1966,"slug":1967,"title":1968,"dynasty":99,"author":206,"museum":78,"description":207,"tags":1969,"thumbUrl":1970,"material":88,"size":214,"collection":139,"collections":1971,"showCount":1972,"zanCount":1003,"manualWeight":48,"mainColor":94},216658,"hua-niao-ce-6-sun-ke-hong-216658","花鸟册-6",[24,81,7,28,83,230,634,380],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41af9d4f43aad81c01b9a55c45457cf1.jpg",[],672,{"id":1974,"slug":1975,"title":1976,"dynasty":302,"author":1977,"museum":316,"description":1978,"tags":1979,"thumbUrl":1983,"material":139,"size":139,"collection":139,"collections":1984,"showCount":1985,"zanCount":5,"manualWeight":48,"mainColor":94},231008,"que-hua-qiu-se-tu-hua-xin-zhao-meng-fu-231008","鹊华秋色图画芯","赵孟頫","鹊华秋色图，元代画家 于元贞元年（1295）回到故乡浙江为好友 所作的纸本水墨设色 ，现藏于 。\n鹊华秋色图描绘的是济南东北华不注山和鹊山一带 ，画境清旷恬淡，表现出恬静而悠闲的田园风味。\n采用平远构图，以多种色彩调合渲染，虚实相生，笔法潇洒，富有节奏感。\n《鹊华秋色图》画中是一片辽阔的泽地和河水，从近景直伸展到远处的地平线。\n在这好像无际的平远景上，最重要的是两座山：右方突立的是三角形，双峰笔直的华不注山；盘踞在左面的是鹊山，形如面包，又如水牛的脊背。\n画题就是由这两座山而起的。\n鹊华二山与近景之间，树木紧多，疏落散布，有杨树、稚松及其他各类。\n画的左方，可见山羊四五只，在几所简陋的茅舍简啮食。\n水边轻舟数叶，舟中渔叟正安静地工作。\n其时正是秋天——一片宁静，有的树叶已脱落了，有的亦赤黄相间。\n然而村人对这些美景混然不觉，只埋头于他们日常的生计。\n《鹊华秋色图》上存在收藏者的众多题跋和印鉴。\n用御笔将“鹊华秋色”四个字题写于引首，并且加有“神品”“乾隆御览之宝”“古稀天子”“太上皇帝”等多枚玺印，上面还有“嘉庆御览之宝”“宣统鉴赏”等玺章。\n整个画面上加盖大小、形状各异的印章五十七枚，画面之右侧前隔水处有印章十六枚，画面左侧后隔水处有印章九十五枚。\n其中有作者题款，拖尾有爱新觉罗·弘历、钱溥、 、范杼、 等人题跋。\n作者在画中题款：“公谨父，齐人也。\n余通守齐州，罢官来归，为公谨说齐之山川，独华不注最知名，见于左氏，而其状又峻峭特立，有足奇者，乃为作此图，其东则鹊山也。\n命之曰鹊华秋色云。\n元贞元年十有二月。\n吴兴赵孟頫制。\n” 爱新觉罗·弘历题跋：“此卷久贮内府，已载入《石渠宝笈》。\n” 钱溥录 跋并题云：“吴兴公蚤岁戏墨，深得物外山水笔意。\n虽一木一石，种种异于人者。\n且风尚古俊，脱去凡迹。\n政如王谢子弟，倒冠岸帻，与天下公子斗举止也。\n百世后，可为一代规式，士大夫当共宝秘之。\n” 杨载题跋：“羲之摩诘，千载书画之绝，独兰亭序、辋川图尤得意之笔。\n吴兴赵承旨以书画名当代，评者谓能兼美乎二公。\n兹观鹊华秋色一图，自识其上，种种臻妙，清思可人，一洗工气，谓非得意之笔可乎。\n诚羲之之兰亭，摩诘之辋川也。\n” 范杼题跋：“赵公子昂，书法晋，画师唐，为一代之冠。\n荣际于五朝，人得其片楮，亦夸以为荣者，非贵其名而以其实也。\n今观此卷，殊胜于别作。\n仲弘所谓公之得意者，信矣。\n” 董其昌录张南诗题云：“弁阳老人公谨父，周之孙子犹怀土。\n南来寄食弁山阳，梦作齐东野人语。\n济南别驾平原君，为貌家山入囊褚。\n鹊华秋色翠可食，耕稼陶渔在其下。\n吴侬白头不归去，不如掩卷听春雨。\n” 董其昌题跋：“文敏一生得意笔，不减伯时《莲社图》”。\n另有题跋云：“吴兴此图，右、北苑二家画法。\n有底人之致，去其纤，有北宋之雄，去其犷。\n故曰师法舍短，亦如书家，以肖似似古人不能变体为书奴也。\n万历三十三年，晤画武昌公席题。\n其昌。\n” 从题跋可知，《鹊华秋色图》作于元贞元年（1295年）冬。\n这年，作者在任满济南路总管府事，奉召进京又称病辞官回到故乡吴兴。\n与此同时，祖籍济南的南宋文学家周密自曾祖父随宋高宗南渡客居吴兴后，从未回过故乡，听归隐山林后的作者时常赞美济南的优美风光，勾起了思乡之情，于是请他详细介绍故乡的风土人情。\n作者被周密深深的家乡情结所打动，觉得把济南风光画出来赠与友人，比口头讲述更加直观形象，便挥毫泼墨，作下这幅画。\n作者虽然受召于元朝，遭到众多宋氏遗臣的诟病，却终其一生都对隐而不仕的南宋遗臣表达出相当程度的理解和尊重。\n从这个意义上说，《鹊华秋色图》也是在向那些对南宋一朝忠心耿耿而隐居不仕的士人传达作者自己的真实意图。\n作者把两座山分左右布局，右边是华不注山，左边是鹊山，均安排在远景位置。\n两座山的形状，呈尖三角形（华不注山），一呈半圆形（鹊山），两者遥遥相对。\n在刚柔对比中，更显得华不注山的险峻奇突。\n图中中景、近景表现出一片辽阔苍茫的景象。\n平川洲渚，红树芦荻，房舍隐现。\n图中林木种类颇多，红绿相间，枯润相杂。\n树姿高低且变化丰富，布置得宜，聚散自然，多而不繁，疏朗有致。\n在这水乡山色之中，几个渔民在劳作，或撑篙、或扳网，还有一人策杖漫步在田野，远处可见散放着的牛群，整个画面洋溢着牧歌般的恬静气氛。\n画上树干不是用两条线勾廓外形，而是把边线与树皮的纹理结合在起勾绘。\n用笔似乎旋转，线条往复重叠，增添了树干的质感。\n画上近景中景的树叶，点绘得比较疏朗，远树画得简洁，整体感较强。\n鹊山用披麻，皴法较密。\n华不注山正面运用了“荷叶皴”，线条从上直落，交叉处稍留空白，突出山的嶙峋之姿。\n侧面用“解索皴”，整个山体两边皴擦少，边线模糊，但体积感较强。\n汀岸、平原采用了长披麻并以笔力的轻重，线条的疏密，落墨的深浅凸显干湿，表现出了大自然的节奏和生命。\n房舍人畜、芦荻舟车均精描细点，再渲染青、赭、红、绿，设色明丽清淡，风格古雅俊秀。\n作者创造性地将水墨山水与青绿山水融为一体，笔法灵活，风苍秀简逸，富有创新之意。\n图中两座山峰，鹊山为淡花青，华不注山为淡青绿，颜色较为醒目。\n其他诸景如洲渚、树木等多施以深浅不一的青色，房屋、牛群和一些树叶则用红、黄、精等暖色系，色调冷暖交汇，既显示出秋的清旷高洁，亦呈现出人情的和乐安详。\n明 《泥古录》：山头皆着青绿，全学王右丞与董源。\n在《鹊华秋色图》中，作者以深湛的笔墨功力诠释了即达放逸的山水意境，不仅丰富了文人山水画的表现手段和内涵，更初步确立了元代山水画坛清远自然的整体风格和蕴藉典雅的审美格调，为后世的中国山水画奠定了基础。\n1989年1月5日，中国台湾以横四连形式印制发行了《鹊华秋色图》邮票。\n《鹊华秋色图》由作者赠给周密后，周密又转送给一个名为君锡的人。\n到明代又相继为文徴明、文彭父子收藏，后又转到明代书画收藏家 手中。\n项元汴之后，又为宜兴吴之矩收藏。\n据画上印章，可知此画落到山东胶州张若、张应甲父子手里，不过很快又为书画收藏家 所有；后又辗转为 所得，传给其子 ；从纳兰性德手里，又落入收藏家梁青标之手。\n康乾年间，皇室征集民间书画名迹，梁青标遂将此图献归御府收藏。\n1949年，国民党撤离南京，退选台湾，将故宫等地文物也运往台湾，其中就包括《鹊华秋色图》。\n《鹊华秋色图》被运到台湾后，收藏于台北故宫博物院，直到今日。\n赵孟頫（1254—122年），字子昂，号松雪道人、水精宫道人。\n湖州（今浙江吴兴）人。\n宋太祖十一世孙。\n宋末时为真州司户参军。\n宋亡入元后，授兵部郎中，又历任渐江等地学提举，后官至输林学士承旨。\n赵孟頫不但精于音律、诗文曲，也是元代画家、书法家，著有《 》。",[24,25,26,7,173,177,212,178,86,29,685,378,35,31,33,1980,1981,1982],"芦苇","村落","平原","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad6c66c5e8289621fa42a98cbcd5da28.jpg",[],666,{"id":1987,"slug":1988,"title":1989,"dynasty":18,"author":1990,"museum":316,"description":1991,"tags":1992,"thumbUrl":1993,"material":67,"size":1994,"collection":42,"collections":1995,"showCount":1996,"zanCount":1003,"manualWeight":48,"mainColor":49},221435,"qing-lv-shan-shui-ye-jing-hao-221435","青绿山水页","荆浩","荊浩（約850-911年），字浩然，號洪穀子，河內沁水(一説河南濟源人 ，一説山西沁水縣人， ）唐末五代時期著名畫家，北方山水畫派之祖。\n博通經史，博雅好古。乾符元年（874）前後，得到宰相裴休的關照，擔任小官。大中十年（856），罷官回鄉。躲避戰亂，常年隱居太行山 。善於山水畫，師從於張璪，吸取北方山水雄峻氣格，作畫“有筆有墨，水暈墨章”，勾皴之筆堅凝挺峭，表現出一種高深迴環、大山堂堂的氣勢，為北方山水畫派之祖 。\n\n著有《筆法記》山水畫理論的經典之作，提出氣、韻、景、思、筆、墨的繪景“六要”。作品《匡廬圖》《雪景山水圖》等",[23,194,24,25,81,27,7,177,29,108,34,176,109,114,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc5196ec6dccfebf217ece15bc124669.jpg","45x30厘米",[42,181,45],664,{"id":1998,"slug":1999,"title":2000,"dynasty":18,"author":1474,"museum":191,"description":2001,"tags":2002,"thumbUrl":2004,"material":123,"size":2005,"collection":90,"collections":2006,"showCount":2007,"zanCount":787,"manualWeight":48,"mainColor":49},218937,"hua-lan-tu-dong-li-song-218937","花篮图-冬","篮子上装饰着水仙花、韵草、绿萼梅、单花茶花和蜡梅，中央的朱砂茶花以其艳丽的红色取胜，周围是芬芳的花朵。",[23,194,24,25,28,7,83,229,84,634,212,2003],"宋画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55ed24f58dd4748fe5e7c6a5283a48e2.jpg","26.1x26.3",[90],662,{"id":2009,"slug":2010,"title":2011,"dynasty":99,"author":857,"museum":20,"description":2012,"tags":2013,"thumbUrl":2015,"material":123,"size":2016,"collection":90,"collections":2017,"showCount":2018,"zanCount":918,"manualWeight":48,"mainColor":49},221913,"he-hua-yuan-yang-tu-chen-hong-shou-221913","荷花鸳鸯图","此图以“出污泥而不染，濯清涟而不妖”的荷花为题，花朵清丽，或含苞，初绽、或怒放，多姿多态；枝叶带露，娉婷舒展，俯仰欹侧；湖石雄奇，锐利坚崚，厚重沉凝。两只彩蝶在空中翩翩起舞，一对鸳鸯在水面戏水悠然，打破了一池碧水的宁静。一只青蛙正隐伏于石后的荷叶上觊觎甲虫，弓身欲动，给画面平添了几许生机与意趣，从中可见画家善于观察的细心与状物精微的匠心。\n作品用笔工致而不显刻板，着色醇厚而不流于俗腻，画风素洁明快，既有应物象形的写生功底，又不乏变幻合宜的适度夸张，画面呈现出一种在繁与简，疏与密、刚与柔的对比变化中的合谐与统一。\n从署款和绘画风格上推断，当是陈洪绶中年的作品。",[23,194,24,25,226,28,7,83,228,2014,230],"鸳鸯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31f77fc76433fcfb9a62c0f14dd26a0c.jpg","纵183厘米，横98.3厘米",[90,45],661,{"id":2020,"slug":2021,"title":2022,"dynasty":99,"author":257,"museum":2023,"description":2024,"tags":2025,"thumbUrl":2026,"material":511,"size":2027,"collection":44,"collections":2028,"showCount":2029,"zanCount":918,"manualWeight":48,"mainColor":49},222148,"san-da-shi-tu-shui-yue-yi-ming-222148","三大士图-水月","法海寺","观音又作观世音、观自在、光世音，这佛教中西方极乐世界教主阿弥陀佛左胁侍。水月观音图在法海寺壁画中最为出色。人物刻画既有传统的形制，又具有与实的基本手法，突破了僵硬的模式和程式，绘制技术精细完美，细微处一丝不苟。\n水月观音是三十三观音之一，面目端庄，大慈大悲。法海寺的水月观音，曲右腿，盘左膝，右肘膝托，左掌下抵，半跏坐于噍岩之上。面如满月，超然脱俗。是佛，却微露慈母的温情，是神，但足显处子般的恬静，给人以清新吸净之美感。穿着装饰，有宝冠、耳环、项圈、璎珞花饰、手钏、，手镯、络腋、宝带等八饰，样样齐全。观音莹莹酥胸坦露，纤纤玉手自然下垂，丰腴温暖富有弹性。轻纱蔽体，轻纱蔽体，脚锣上碎铃环绕“漫腰束饰，赤了一双脚”，使人更感到菩萨的慈悯可亲。\n唐宋以来，历代绘画都喜欢用纱布反映仕女的披肩来表现绘画的技巧，唯独法海寺壁画的薄纱占的面积那么大，线条那么精细、均匀、工整、挺拔，堪称壁画中的一绝。披纱上的图案是六菱花瓣，每一花瓣都由40多根金线组成，沥沥贴金，闪闪发光，细如蛛丝，薄如蝉翼，好象水月观音在轻纱下微微呼吸。\n水月观音一组画面是一个完整的体系。背景是浩淼的云水，缀以紫竹林、红牡丹、清泉流水，衬托出“诸天无实体，水月皆虚空”的佛理。水月观音左下部是五十三参后获得正果、成为观音胁侍的善财童子。善财童子，头略抬起，凝眸欲语，双手合十，虔诚中又带着几分稚气，生活气息浓郁。画工精细，连一根眉毛也不放过，眉根生肉，更显出纯洁无邪的童心。观音图右下角绘有观音菩萨的坐骑金毛犼，又叫狻猊，似犬，凶猛食人，每与龙斗，口中喷火数丈，龙往往不能取胜。左上部绘有一只鹦鹉，传说安息国人不知佛法，阿弥陀佛化为鹦鹉教化国人。右上部绘有韦驮护法神。",[23,24,511,260,7,28,106,265,109,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49aff56b059e667a9f0d7f368960c4be.jpg","450x450厘米",[44],658,{"id":2031,"slug":2032,"title":2033,"dynasty":76,"author":77,"museum":1337,"description":1338,"tags":2034,"thumbUrl":2035,"material":1342,"size":1343,"collection":90,"collections":2036,"showCount":2037,"zanCount":343,"manualWeight":48,"mainColor":94},220998,"hua-hui-tu-ce-gui-hua-yun-shou-ping-220998","花卉图册·桂花",[23,194,24,25,81,7,82,83,84,885,211,1090],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d3d4803a177ac67268b07a8c66a1114.jpg",[90,45],657,{"id":2039,"slug":2040,"title":2041,"dynasty":18,"author":391,"museum":20,"description":2042,"tags":2043,"thumbUrl":2044,"material":40,"size":2045,"collection":42,"collections":2046,"showCount":2047,"zanCount":1379,"manualWeight":48,"mainColor":801},221329,"ting-qin-tu-zhou-zhao-ji-221329","听琴图轴","此幅作品描绘官僚贵族雅集听琴的场景。作者以琴声为主题，巧妙地用笔墨刻画出“此时无声胜有声”的音乐的意境。画面背景简洁，如盖的青松和摇曳的绿竹衬托出庭园高雅脱俗的环境，而几案上香烟袅袅的熏炉与玲珑石上栽植着异卉的古鼎与优雅琴声一道，营造出一种清幽的氛围。\n画面上方有宰相蔡京手书七言绝句一首，右上有宋徽宗赵佶瘦金书题“听琴图”三字。作品构图简净，人物举止形貌刻画生动传神，衣纹线描劲挺略带战笔，树石器具描写工致而毫无呆板，着色浑厚而不失清丽，是宋代宫廷人物画的代表作品。由于作品本幅有徽宗题名与画押，一度被认为是赵佶所画，后经学者考证，此幅为宣和画院画家描绘徽宗赵佶宫中行乐的作品，而图中抚琴者， 正是赵佶本人。",[23,24,194,25,226,28,7,106,1133,227,195,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18e608fe314a1f03d1034a41f0882fbf.jpg","纵147.2 厘米，横51.3 厘米",[42,90,45],656,{"id":2049,"slug":2050,"title":2051,"dynasty":99,"author":206,"museum":78,"description":207,"tags":2052,"thumbUrl":2053,"material":88,"size":214,"collection":139,"collections":2054,"showCount":2055,"zanCount":889,"manualWeight":48,"mainColor":94},216660,"hua-niao-ce-4-sun-ke-hong-216660","花鸟册-4",[24,25,81,7,28,83,209,629,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F095894dcf84ab92db529b2bd1c9b78cf.jpg",[],655,{"id":2057,"slug":2058,"title":2059,"dynasty":54,"author":2060,"museum":20,"description":2061,"tags":2062,"thumbUrl":2063,"material":67,"size":2064,"collection":2065,"collections":2066,"showCount":2068,"zanCount":1233,"manualWeight":48,"mainColor":94},221052,"wu-niu-tu-quan-juan-han-huang-221052","五牛图全卷","韩滉","《五牛图》是目前所见最早作于纸上的绘画，纸质为麻料，具有唐代纸张的特点。图画五牛，形象不一，姿态各异，或行或立，或俯首，或昂头，动态十足。其中一牛完全画成正面，视角独特，显示出作者高超的造型能力。作者以简洁的线条勾勒出牛的骨骼转折，筋肉缠裹，笔法老练流畅，线条富有力度和精确的艺术表现力。牛头部与口鼻处的根根细毛，更是笔笔入微。每头牛皆目光炯炯，作者通过对眼神的着力刻画，将牛既温顺又倔强的性格表现得极为传神。作品完全以牛为表现对象，无背景衬托，造型准确生动，设色清淡古朴，浓淡渲染有别，画面层次丰富，达到了形神兼备之境界。以牛入画是中国古代绘画的传统题材之一，体现了农业古国以农为本的主导思想。韩滉任职宰相期间，注重农业发展，此图可能含有鼓励农耕的意义。《五牛图》是其作品的传世孤本，也是为数寥寥的几件唐代纸绢绘画真迹之一，因此不论其艺术成就还是历史价值都备受世人关注。",[23,24,26,7,28,212,86,178,151,746],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F102bd0cd5d4cb918fdece3f7352d6ced.jpg","525.92X21.6cm","书法精选",[2065,2067],"碑帖精选",654,{"id":2070,"slug":2071,"title":2072,"dynasty":76,"author":698,"museum":240,"description":2073,"tags":2074,"thumbUrl":2075,"material":7,"size":2076,"collection":90,"collections":2077,"showCount":2078,"zanCount":751,"manualWeight":48,"mainColor":94},222691,"wan-you-tong-chun-tu-juan-qian-wei-cheng-222691","万有同春图卷","画卷以折枝的方法将生长于不同时节的几十种花卉，密密匝匝地按大小依次穿插，整齐地排列在画面中。\n以没骨法绘写花叶、花瓣，形态逼真。钱氏画风以干笔勾勒，重视烘染，笔墨浑然，用笔缜密，以青绿、赭石相间设色，极富宫廷富贵气息。\n一如其画卷的题目“万有”，他以折枝的方法将生长于不同时节的几十种花卉，密密匝匝地按大小依次穿插，整齐地排列在画面中。\n以恽寿平的没骨法绘写花叶、花瓣，形态逼真。我们可以轻松地根据花来辨别物种。",[23,24,26,7,28,83,292,629,898,243,634],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28df3bc101f8e21a132c570146c27eaa.jpg","36.3X787.3厘米",[90,45],647,{"id":2080,"slug":2081,"title":2082,"dynasty":18,"author":2083,"museum":191,"description":2084,"tags":2085,"thumbUrl":2087,"material":123,"size":2088,"collection":90,"collections":2089,"showCount":2090,"zanCount":889,"manualWeight":48,"mainColor":49},216777,"xue-zhu-wen-qin-tu-huang-quan-216777","雪竹文禽图","黄筌","在这幅「雪竹文禽」图中，画家将树石等主要实景置于幅左，而将江河与水鸭置于幅右。这种虚实对映的布局，不仅显示出南宋独特的审美趣味，也展现了自然生态活泼灵动的特质。画家绘以梅、竹，以及成对成双的游禽与飞鸟，不但点出了早春时序，更具有吉祥的祝幅之意。\n黄筌是五代后蜀的宫廷名画家，北宋时随着蜀主归宋后，便与其子黄居寀同入画院供职，对北宋初期花鸟画影响深远。黄筌喜用勾勒填彩，设色上也较为浓艳。本幅「雪竹文禽」的画风野逸简淡，以画风来看，可能不是黄筌真迹，而是南宋画院画家的作品。",[23,194,24,25,28,173,7,227,1530,263,795,2086,230,211],"雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5f9706b1a724681c40f304326ac14e5.jpg","26.3 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绍，这套图中绘有山水人物、花卉树木、楼台亭阁、珍禽走兽、舟车轿舆、鬼怪神仙及博古杂项等，几近包括全部画科内容。仅各种人物就多达3000余人，主要人物采用写真技法，注重面部肤色肌纹之渲染，形神兼备。年轻的女子，弯眉、细眼、樱桃小口，身材窈窕，长颈削肩，给人以纤瘦柔媚、弱不禁风的感觉。人物的衣褶裙带勾染并用，线条流畅飘逸",[23,28,7,106,107,115,278,2165,59,230,34,2166,114,614,2167,2168,2169,2170,2171],"廊庑","古典园林","庭院景观","传统服饰","园林建筑","彩色绘制","精细勾勒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84f1fb4911504a20d8c776ac2c7c4877.jpg","纵43.3厘米、横76.5厘米",[44],{"id":2176,"slug":2177,"title":2178,"dynasty":76,"author":563,"museum":20,"description":2179,"tags":2180,"thumbUrl":2182,"material":123,"size":2183,"collection":90,"collections":2184,"showCount":2157,"zanCount":1003,"manualWeight":48,"mainColor":94},219334,"hai-tang-qin-tu-tu-hua-yan-219334","海棠禽兔图","华嵒的花鸟画丰富了传统的“黄家富贵，徐熙野逸”的审美情趣，寓真情实感于创作，使作品具有丰富的感情和个性，具有雅俗共赏的特征。此图是他晚年的代表作，画家运用拟人化的手法，将鹦鹉按捺不住的欣喜和黑兔胆小好奇的神态表现得生动传神。在画法上，华嵒从恽寿平淡雅清丽的没骨花卉入手，涉猎诸家，形成了鲜明的个人风格。此图结构新奇，笔法将宋人工笔花鸟之细腻工致与写意花鸟之秀逸洗练相结合，敷色活泼。海棠以胭脂及白粉点染，树叶颜色用石青、石绿，其间又有微带白黄色的大叶，颜色浓丽湿润，黑兔的墨色变化更为微妙丰富，浓淡之间表现出柔软疏松的质感，并与树木花卉的暖色调和谐统一，使整幅画面洋溢着花香鸟语的初春气氛。",[23,24,226,7,28,83,1261,2181,245,212],"兔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd34c59b5ebbf048bf68fd04c4a04bed.jpg","纵135.2厘米，横52.8厘米",[90,45],{"id":2186,"slug":2187,"title":2188,"dynasty":99,"author":2189,"museum":191,"description":2190,"tags":2191,"thumbUrl":2192,"material":123,"size":2193,"collection":90,"collections":2194,"showCount":2195,"zanCount":603,"manualWeight":48,"mainColor":49},214726,"hua-hui-tu-chen-chun-214726","花卉图","陈淳","这幅画描绘了在海石后面盛开的各种花朵，包括五种栀子花、玫瑰花、百合花、天竺葵和红丹参。花朵是用无骨笔描绘的，栀子花和百合花的白色花朵是用钩花和点叶描绘的。景观安排得很细致，着色柔和优雅，不显庸俗，有别于晚年放笔写意的习惯，应该是五十岁以前的作品。",[23,24,25,194,226,7,498,83,84,230,689,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0c023ce4b74affaefcba3f3678377db.jpg","188x96.9",[90],619,{"id":2197,"slug":2198,"title":2199,"dynasty":76,"author":2200,"museum":316,"description":2201,"tags":2202,"thumbUrl":2204,"material":139,"size":139,"collection":139,"collections":2205,"showCount":2206,"zanCount":1379,"manualWeight":48,"mainColor":94},235409,"wu-chang-shuo-sui-chao-qing-gong-tu-zhou-wu-chang-shuo-235409","吴昌硕岁朝清供图轴","吴昌硕","此作疏密布局精妙，斜出红梅自瓶中探伸，古拙湖石苍劲拙朴，案头水仙舒展清隽，蒲草萧疏有灵，配搭饱满鲜果，雅俗共赏。\n以篆籀笔法入画，笔墨苍劲老辣，设色浓淡相宜，明丽而不艳俗。朴茂雄浑的行书题字与画面浑然一体，金石古意尽显。既饱含文人案头的清雅逸趣，又暗合新春纳福的吉庆意蕴，将写意洒脱与写实鲜活相融，勾勒出岁朝之际悠然年味，尽显写意花鸟的朴拙雅致。",[24,7,173,226,83,212,86,820,898,2203,230,229],"柿子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65a6c68b7d5407cedbe24b1255ca78c0.jpg",[],618,{"id":2208,"slug":2209,"title":2210,"dynasty":18,"author":846,"museum":316,"description":2211,"tags":2212,"thumbUrl":2213,"material":139,"size":139,"collection":139,"collections":2214,"showCount":2215,"zanCount":774,"manualWeight":48,"mainColor":801},227811,"chu-shui-fu-rong-tu-ye-wu-bing-227811","出水芙蓉图页","《出水芙蓉图》页，宋， ，设色，纵2.8cm，横25cm。\n本幅无款。\n有残印一角。\n裱边贴签：“吴炳 ”。\n一朵盛开的粉红色荷花占据整个 ，在碧绿的荷叶映衬下抢眼而夺目，布局、设色端庄大气，将荷花“出淤泥而不染，濯清涟而不妖”的君子气质表现得十分完美。\n莲瓣的描绘技法类似后世的“没骨”法，不见勾勒之迹，渲染出花瓣既轻盈又腴润的质感。\n画家的写实功力极为扎实，每片莲瓣的形状、角度、色泽和光感都安排得无懈可击。\n至于瓣上红丝、蕊端腻粉，也一一仔细料理，微妙之处，使人叹为神工！ 旧题吴炳绘，无据。\n存《名笔集胜》册中。\n《虚斋名画录》著录。",[23,24,194,25,81,28,7,83,136,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F465d8a0e1d27a9d9e1ea0a726ac79344.jpg",[],616,{"id":2217,"slug":2218,"title":2219,"dynasty":18,"author":2220,"museum":457,"description":2221,"tags":2222,"thumbUrl":2224,"material":7,"size":2225,"collection":42,"collections":2226,"showCount":2227,"zanCount":343,"manualWeight":48,"mainColor":49},221468,"ji-xiang-duo-zi-tu-lu-zong-gui-221468","吉祥多子图","鲁宗贵","画面的确描绘了三种水果，彼此簇拥在一起，粗看起来有些凌乱，但仔细分辨后会发现画家布置得井井有条。\n按照前、中、后的顺序，斜向纵深排列开。前排是两只石榴，一只全部展现出来，并且成熟得果皮迸裂，露出饱满鲜红的石榴子，另一只隐藏在后面，露出尖尖的蒂。画面的后排也是一个圆球形的果实，这是橘。在石榴与橘中间，夹着一串颗粒饱满的水果。这是葡萄吗？画中的这串果实，大小虽然与葡萄类似，但颜色为棕黄色，表面有些粗糙。从形状上来看，大部分果实和葡萄一样是圆球形，但还有一些未完全成熟而泛出青色的果实，有尖尖的头。更为有代表性的是叶子。这串水果乃是从枝上新鲜折下，长条形的叶子连在枝上。这绝不是有裂片、像一个宽大鹅掌的葡萄叶。那么这究竟是串什么水果？答案是龙眼。龙眼，我们更习惯的名字是桂圆，在古代是珍稀水果，在现代也价格不菲。\n中国人对它并不陌生，但在欧美国家吃得却很少。可以想见，当初为这幅画确定英文名的人对龙眼十分陌生，所以才会将画中这串圆圆的果实误认作葡萄了。",[23,24,194,25,28,7,83,1060,2223,569,554,212],"荔枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8c09eceb96eb51faf45b369858023ed.jpg","高24厘米，宽25.8厘米",[42,90,45],615,{"id":2229,"slug":2230,"title":2231,"dynasty":348,"author":349,"museum":56,"description":2232,"tags":2233,"thumbUrl":2236,"material":67,"size":2237,"collection":181,"collections":2238,"showCount":2239,"zanCount":343,"manualWeight":48,"mainColor":49},221043,"luo-shen-fu-chang-juan-gu-kai-zhi-221043","洛神赋长卷","中国东晋绘画作品。\n作者顾恺之。\n原作已佚，今存有宋代摹本5卷，皆绢本设色，分别藏于中国大陆、台湾台北及美国。\n纵27.1厘米、横572.8厘米，藏故宫博物院；另一纵26厘米、横646厘米 。\n\n该图以三国魏文学家曹植的《洛神赋》为依据，描绘了作者对洛水之神宓妃的爱慕以及神人殊隔、不能交接的惆怅。\n\n作品将不同情节置于同一画卷，洛神和曹植在一个完整的画面的不同场景中反复出现，以山石、林木及河水等背景，将画面分隔成不同情节，使画面既分隔又相联接。",[23,24,25,26,28,7,106,59,2234,29,34,2235,245,175,212,86,178,1070,194],"舟","云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3be74a2f3958ac41ec1cd6403d832e66.jpg","横572.8cm，纵27.1 cm",[181,45],613,{"id":2241,"slug":2242,"title":2243,"dynasty":18,"author":2244,"museum":1577,"description":2245,"tags":2246,"thumbUrl":2247,"material":529,"size":2248,"collection":42,"collections":2249,"showCount":2250,"zanCount":774,"manualWeight":48,"mainColor":49},221594,"hong-bai-fu-rong-tu-li-di-221594","红白芙蓉图","李迪","该图画红、白芙蓉各一幅，线描有黄筌画风的精神。该画的描写写实，用笔纤细且色彩层次微妙，因而富于情趣。善用余白的画面空间也显得自然而静谧。\n《红白芙蓉图》是双幅画，描写红白芙蓉盛开的景色。红、白芙蓉各两朵，都画盛开时的花瓣，红色娇艳鲜嫩，白色粉白如玉，花叶为深绿色。",[23,24,25,83,28,7,634],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4a01f8634d699b1442498a83bf153de.jpg","纵25.2×横26.cm×2",[42,45,90],609,{"id":2252,"slug":2253,"title":2254,"dynasty":99,"author":206,"museum":78,"description":207,"tags":2255,"thumbUrl":2256,"material":88,"size":214,"collection":139,"collections":2257,"showCount":2258,"zanCount":1003,"manualWeight":48,"mainColor":94},216659,"hua-niao-ce-5-sun-ke-hong-216659","花鸟册-5",[24,81,28,7,83,209,62,836,554,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dc762cbbb53d0597b5436b458f6ea96.jpg",[],599,{"id":2260,"slug":2261,"title":2262,"dynasty":76,"author":538,"museum":20,"description":2263,"tags":2264,"thumbUrl":2267,"material":40,"size":2268,"collection":90,"collections":2269,"showCount":2270,"zanCount":918,"manualWeight":48,"mainColor":49},222873,"wu-tong-shuang-tu-tu-leng-mei-222873","梧桐双兔图","此图似为中秋佳节而作。图中野菊满地，桂花飘香，高大的梧桐树下，两只肥硕的白兔惬意地在草地上嬉戏。双兔写实，造型准确生动，皮毛以细笔一一画出，具有柔软的质感。兔目用白色点出高光，令眼神活灵活现顿生神采。山石以折带笔方正写出，于坚硬中见峻峭之美。构图疏密有致，设色注重冷暖色调的对比。整幅作品大气秀美，富丽堂皇，受到了西洋绘画技法的影响，具有康熙朝宫廷绘画的风貌。",[23,24,28,7,746,2181,2265,380,278,2266,212],"梧桐","石块","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95d226d3f4c0a53ecbb5a2d754ae2b5b.jpg","纵176.2厘米，横95厘米",[90,45],595,{"id":2272,"slug":2273,"title":2274,"dynasty":99,"author":2275,"museum":191,"description":2276,"tags":2277,"thumbUrl":2278,"material":88,"size":2279,"collection":90,"collections":2280,"showCount":2281,"zanCount":1063,"manualWeight":48,"mainColor":94},218793,"pi-pa-zhen-qin-tu-zhou-zhi-mian-218793","枇杷珍禽图","周之冕","画面中，枇杷枝叶舒卷，翠叶如盖，嫩黄果实攒聚枝间，饱满莹润。一只禽鸟栖于枝桠，羽色柔和，神态闲静，似在细赏花叶，又若欲振翅，姿态鲜活传神。画家运笔细腻，勾勒花叶轮廓精准，设色淡雅清逸；叶片脉络、果实肌理刻画入微，禽鸟羽毛层次分明，质感逼真。枝叶穿插自然，虚实相生，画面疏密有致，气韵流动。整体风格宁静雅致，融工笔之精丽与写意之灵动，尽显自然生机与闲适意趣，如同一帧鲜活的春日小景，引人驻足细品。",[194,24,25,226,28,7,83,1036,210,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b876424f375b541ae9f0153ebc04f8d.jpg","71.4x30.4cm",[90],594,{"id":2283,"slug":2284,"title":2285,"dynasty":18,"author":257,"museum":316,"description":2286,"tags":2287,"thumbUrl":2289,"material":123,"size":139,"collection":42,"collections":2290,"showCount":2291,"zanCount":1233,"manualWeight":48,"mainColor":49},218608,"xian-tao-tu-yi-ming-218608","仙桃图","绢本之上，三枚仙桃饱满圆润，似凝脂般温润的底色晕开淡粉霞彩，如晨露轻染的娇羞。枝干以苍劲线条勾勒，转折间藏着自然生机，叶片墨色层次分明，脉络清晰如触手可及。背景素净无华，更衬出果实的鲜嫩与枝干的挺括。整幅画取境简约却意韵悠长，写实技法中透着宋人对自然的细腻观察与雅致情怀。每一处晕染、每一笔线条，都藏着古画独有的温润静美，仿佛能让观者在静谧里嗅到果实的清甜，沉浸于宋代花鸟画的空灵之境，感受那份跨越千年的自然诗意与艺术匠心。",[24,25,83,28,7,2288,210],"桃","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7de9cd90dd79570e54237657db38ac34.jpg",[42],588,{"id":2293,"slug":2294,"title":2295,"dynasty":869,"author":1841,"museum":1842,"description":2296,"tags":2297,"thumbUrl":2298,"material":139,"size":139,"collection":139,"collections":2299,"showCount":2300,"zanCount":1003,"manualWeight":48,"mainColor":94},220496,"zhang-da-qian-lin-mo-dun-huang-bi-hua-chu-tang-gong-yang-pu-sa-xiang-zhang-da-qian-220496","张大千临摹敦煌壁画初唐供养菩萨像","此作还原初唐造像典雅风骨，菩萨面庞莹润温婉，眉眼低垂自带静穆慈悲。华美发髻缀满宝饰，璎珞飘带线条细劲流畅，晕色承袭敦煌古制，石青、朱砂配色厚重明艳，尽显大唐华贵雍容。菩萨持香具安坐莲台，姿态松弛悠然，舒展的莲瓣层次分明，既有宗教造像的庄严端凝，又带着东方古典的柔润气韵，完美复刻敦煌壁画的堂皇雅致，让千年古韵跃然绢上。",[23,105,1846,511,260,7,28,106,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe42ad28d51906c73465cc7295981261.jpg",[],577,{"id":2302,"slug":2303,"title":2304,"dynasty":18,"author":1599,"museum":191,"description":2305,"tags":2306,"thumbUrl":2310,"material":123,"size":2311,"collection":42,"collections":2312,"showCount":2313,"zanCount":889,"manualWeight":48,"mainColor":49},219699,"nian-cha-tu-liu-song-nian-219699","撵茶图","《撵茶图》为工笔白描，描绘了宋代从磨茶到烹点的具体过程、用具和点茶场面。画中左前方一仆设坐在矮几上，正在转动碾磨磨茶，桌上有筛茶的茶罗、贮茶的茶盒等。另一人伫立桌边，提着汤瓶点茶(泡茶)，他左手边是煮水的炉、壶和茶巾，右手边是贮水瓮，桌上是茶筅、茶盏和盏托。一切显得十分安静整洁，专注有序。画面右侧有三人，一僧伏案执笔作书，传说此高僧就是中国历史上的“书圣”怀素。一人相对而坐，似在观赏，另一人坐其旁，正展卷欣赏。\n刘松年传世作品很多，仅涉及到茶事内容的就有《斗茶图》、《卢仝烹茶图卷》、《茗园赌市图》、《博古图》、《撵茶图》等多幅，对了解宋代茶事有很高的学术参考价值。《撵茶图》从一个侧面充分展示了贵族官宦之家讲究品茶的生动场面，是宋代茶叶品饮的真实写照。",[24,194,25,28,7,352,106,2307,1010,2308,615,2309,280],"茶具","棕榈","生活场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60e804e0a8eabdd2d17d440cc528efba.jpg","纵44.2厘米，横66.9厘米",[42,44],574,{"id":2315,"slug":2316,"title":314,"dynasty":76,"author":257,"museum":316,"description":2317,"tags":2318,"thumbUrl":2319,"material":139,"size":139,"collection":139,"collections":2320,"showCount":2321,"zanCount":1379,"manualWeight":48,"mainColor":94},223629,"he-hua-tu-yi-ming-223629","此作用笔秀润，设色清妍雅致。粉瓣荷花亭亭舒展，晕染出柔媚鲜活的层次，荷叶或苍绿如盖、或半卷含露，墨色浓淡尽显舒展生机。枯瘦莲蓬擎立，自带幽寂禅意。池中游鱼轻摆尾鳍，黑蜂振翅悬于淡赭素色的虚空，静中藏动，将夏日荷塘的鲜活气意晕开。整幅构图疏朗空灵，以浅淡底色晕出水汽氤氲的朦胧，不见满幅堆砌的繁复，将江南莲塘的清润宁和尽数铺陈，尽显文人画的悠然意趣，把溽暑里的荷塘清韵定格在绢素之上。",[23,194,24,25,226,7,28,83,228,137,720,722,568],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d474cb4c4b95102723b2afdeb3c667a.jpg",[],572,{"id":2323,"slug":2324,"title":2325,"dynasty":18,"author":647,"museum":191,"description":2326,"tags":2327,"thumbUrl":2330,"material":123,"size":2331,"collection":90,"collections":2332,"showCount":2321,"zanCount":787,"manualWeight":48,"mainColor":94},218393,"xie-sheng-xing-hua-tu-zhao-chang-218393","写生杏花图","这是一幅单枝杏花的画作，盛开的杏花，显得春意盎然。笔触精致优雅，花瓣主要用白粉上色，只有花蕾用胭脂上色，给人一种半透明的感觉；花头用胭脂涂抹，颜色丰富，给人一种女性的感觉。",[23,194,24,25,1260,28,7,566,83,2328,211,1187,2329],"杏花","花蕊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fa90c7d76318230f696dd0a532f0faf.jpg","25.2x27.3",[90],{"id":2334,"slug":2335,"title":2336,"dynasty":76,"author":257,"museum":20,"description":2337,"tags":2338,"thumbUrl":2342,"material":40,"size":675,"collection":44,"collections":2343,"showCount":2344,"zanCount":1003,"manualWeight":48,"mainColor":49},236166,"yong-zheng-shi-er-yue-xing-le-tu-yi-ming-236166","雍正十二月行乐图","这是一组表现雍正皇帝日常生活的作品，按春、夏、秋、冬四季十二个月的顺序排列，分别为“正月观灯”、“二月踏青”、“三月赏桃”、“四月流觞”、“五月竞舟”、“六月纳凉”、“七月乞巧”、“八月赏月”、“九月赏菊”、“十月画像”、“十一月参禅”和“腊月赏雪”。每幅图轴纵188.2厘米，横102.2厘米。从描绘的景物判断，表现的对象应为圆明园。\n画面以山水楼阁为主，建筑描绘细腻，其中既有中式园林建筑，又有西式亭台楼阁，更有中西合璧者，画面的景观可能是画家以圆明园的建筑结合自己的想象而创作的。圆明园是雍正作皇子时的封赐，他解释说“圆明园”的赐名大有深意：“圆而入神，君子之时中；明而普照，达人之睿智也。” 雍正三年（1725年）八月圆明园兴修一新之后，雍正皇帝经常在园中居住并在此办理公务，他明谕百官“每日办理政事与宫中无异”。这十二幅行乐图展现了其在圆明园生活的各个场景，也表现了十二个月的不同节令风俗。",[24,7,28,104,2339,29,107,1273,245,2340,176,106,2341],"行乐图","池塘","中式园林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa170ee7ea987eca05f818f0474a20d1.jpg",[44,45],568,{"id":2346,"slug":2347,"title":2348,"dynasty":869,"author":870,"museum":2349,"description":2350,"tags":2351,"thumbUrl":2353,"material":2354,"size":139,"collection":139,"collections":2355,"showCount":2356,"zanCount":1379,"manualWeight":48,"mainColor":94},220590,"zhu-zi-he-kun-chong-qi-bai-shi-220590","竹子和昆虫","Oscar Niemeyer Museum","这幅画作以工写结合尽显意趣。焦墨挥就柳干，苍劲老拙，淡绿晕染柳叶，条缕垂坠如沐晚风，尽显柔曼舒展之态。枝头鸣蝉与藏于叶间的蚱蜢，用工笔细勾，翅脉纤毫毕现，身形灵动鲜活，仿佛能闻声感其振翅之姿。大写意的疏朗野逸，搭配工笔草虫的精致入微，将乡野秋日常见小景，化为充满生机的雅致画面，藏着画家对乡野闲趣的细腻体察，笔简而意足，平淡中尽显鲜活秋意。",[24,173,7,28,498,227,2352,874,1820],"蝉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfeb1ed36cc88bbc8986e7ccf8468de5.jpg","Watercolor on paper",[],566,{"id":2358,"slug":2359,"title":2360,"dynasty":18,"author":2361,"museum":608,"description":2362,"tags":2363,"thumbUrl":2364,"material":2365,"size":2366,"collection":42,"collections":2367,"showCount":2356,"zanCount":2368,"manualWeight":48,"mainColor":94},214884,"lian-she-tu-li-gong-lin-214884","莲社图","李公麟","这幅画以白描手法画出人物和石头，然后用淡墨轻描淡写，使整幅画呈现出淡雅、古朴的气息。",[23,194,24,25,26,352,7,260,106,29,34,175,230,86,1070,178,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2d809083d34a02228f290285b503fa7.jpg","纸本,水墨","30.1x595.8",[42],1,{"id":2370,"slug":2371,"title":2372,"dynasty":54,"author":456,"museum":20,"description":2373,"tags":2374,"thumbUrl":2375,"material":67,"size":2376,"collection":2065,"collections":2377,"showCount":2378,"zanCount":343,"manualWeight":48,"mainColor":94},221064,"bu-nian-tu-quan-juan-yan-li-ben-221064","步辇图全卷","此卷为其贞观廿二年（648年）十二月十日手抄小乘佛教律部重要经典《善见律》。\n字作典型的唐代“经生体”，结构谨严优美，笔画挺拔腴润，使转灵活生动。\n全文二百六十余行，四千四百多字，一笔不苟，整齐匀净，表现了书者虔诚的心境与深湛的功力，实为唐人小楷上乘之作。\n今日所见唐人写经主要为百年前敦煌藏经洞发现，多出民间写手，且断烂残破。\n此卷则为千年传世之本，首尾俱全。\n卷末题名中有“赵模监”、“阎立本总监”字样，赵氏为宫廷“搨书人”，曾摹《兰亭序》；阎氏后官至右相，曾绘《步辇图》。\n研究者据此认定此卷是当时奉敕所作的皇家珍品。\n同样难得的是此卷的传承过程。\n它曾入南宋内府，钤有高宗“绍兴”、理宗“缉熙殿宝”二玺；元代曾归赵孟頫、皇姊祥哥剌吉两大藏家；明代华夏、董其昌及清初王鸿绪曾藏；入清宫后著录于《秘殿珠林续编》。\n卷后赵孟頫、冯子振、赵岩、邢侗、董其昌等大家的题跋相互辉映，为之增重不少。",[23,24,25,26,28,7,106,63,212,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F795330e305e920af26685bf0960da803.jpg","纵38.5厘米，横129厘米。",[2065,2067],564,{"id":2380,"slug":2381,"title":2382,"dynasty":99,"author":100,"museum":316,"description":2383,"tags":2384,"thumbUrl":2387,"material":123,"size":139,"collection":44,"collections":2388,"showCount":2389,"zanCount":918,"manualWeight":48,"mainColor":49},216291,"er-shi-si-xiao-tu-ce-chou-ying-216291","二十四孝图册","二十四孝图是明朝时期著名的书画作品，由仇英创作。它描绘了中国传统文化中的二十四种孝道场景。二十四孝图的内容涵盖了人生各个阶段的孝道行为，从小学阶段的“孝悌忠信”到晚年的“慈孝双全”。这幅作品在明朝时期广受欢迎，并被视为一部重要的文化遗产。",[194,24,25,81,28,7,106,2385,2386,2266,264],"孩童","土墙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea9bda63260d3643cffa6017775670d8.jpg",[44],563,{"id":2391,"slug":2392,"title":2393,"dynasty":54,"author":2394,"museum":2395,"description":2396,"tags":2397,"thumbUrl":2398,"material":599,"size":600,"collection":139,"collections":2399,"showCount":2400,"zanCount":889,"manualWeight":48,"mainColor":49},289801,"jiang-fan-lou-ge-tu-li-si-xun-289801","江帆楼阁图","李思训","台北故宫博物馆","该画描绘的是游春情景，是作者以“青绿山水”与“金碧山水”创作的国画山水作品，画中山、树、江水和游人融汇一处，江上泛舟、山中树木茂盛，游人穿梭其中。远处江水荡漾，几叶扁舟漂浮，近处树木葱葱，楼阁庭院若隐若现，坡岸上游人穿行。其意境隽永奇伟、用笔遒劲、风骨峻峭、色泽匀净而典雅，画风精密严整、意境高超、笔力刚劲、色彩繁富，独树一帜。",[23,194,24,226,27,7,28,29,107,174,106,109,1273,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7533e67426c0003e89910674d0b6ce8c.jpg",[],556,{"id":2402,"slug":2403,"title":2404,"dynasty":76,"author":257,"museum":20,"description":2405,"tags":2406,"thumbUrl":2407,"material":67,"size":139,"collection":44,"collections":2408,"showCount":2409,"zanCount":2368,"manualWeight":48,"mainColor":94},236173,"yin-zhen-ban-shen-xiang-zhou-yi-ming-236173","胤禛半身像轴","清朝人画的胤禛像。爱新觉罗·胤禛（1678—1735） 雍正，满族，是清朝第五位皇帝，入关后第三位皇帝，清圣祖康熙第四子，母为孝恭仁皇后，即德妃乌雅氏，1722—1735年在位，年号雍正，庙号清世宗，谥号敬天昌运建中表正文武英明宽仁信毅睿圣大孝至诚宪皇帝，葬清西陵之清泰陵。",[24,106,28,7,226,63,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f705ee2f9ff7c893abe608f40192e4d.jpg",[44,45],553,{"id":2411,"slug":2412,"title":2413,"dynasty":18,"author":2414,"museum":20,"description":2415,"tags":2416,"thumbUrl":2417,"material":529,"size":2418,"collection":42,"collections":2419,"showCount":2420,"zanCount":343,"manualWeight":48,"mainColor":49},221671,"jiang-shan-qiu-se-tu-zhao-bo-ju-221671","江山秋色图","赵伯驹","《江山秋色图》所绘是北方山水，群峰绵密，层峦叠嶂，仅在卷之前部有一条长河曲折蜿蜒而远逝，后卷但见崇山峻岭，错落连绵而如龙脉，起伏顾盼，开合揖让，虚实相生，盘桓而上。\n《江山秋色图》布局严谨，勾勒精细，设色绚烂，以石青石绿为主，兼用朱、赭、白等色，色调明快和谐。\n《江山秋色图》画面上重山复岭，层峦叠嶂，江河溪涧，深泽浅潭，飞瀑激落，错杂其间。\n在深秋的雾色中，楼观屋字，栈道廊桥，苍松古树，各得其宜，三三两两的步行者流连于山野之间，艄公正在江上张网摇船，劳累了的过路人停脚在松阴下歇息闲聊。\n《江山秋色图》钤有清内府“乾隆御览之宝”、“石渠宝笈”等印，以及梁清标鉴藏印。\n尾纸有明洪武八年（175年）朱标题跋。\n赵伯驹、赵伯骕兄弟承传唐代“二李”（李思训、李昭道父子）及宋徽宗画院学生王希孟《千里江山图》的风格，创作出了《江山秋色图》、《 》这类作品。\n画家在《江山秋色图》中重点表现了千岩竞秀的宏伟气势，以造成一种灵动而神秘的气氛，使人有一种身临其境的感觉。\n作者可能想描绘出一种文人的理想境界，使画面具有受到文人推崇的“士气”。\n虽然这幅画上出现的是一片太平、悠闲的景象，但却能从中体味出作者对失去故土的思念之情。\n笔法刚劲秀润，且线条的轻重、缓急、虚实，充满灵动之气，使画面富有韵律感。\n画中山石以流畅多变的长线条勾廓，并根据山石的脉络加以钩皴（多用“小斧劈皴”）。\n画笔尖细，但并不软弱轻浮。\n即使烘染重彩，却始终保持着线条的清晰度。\n此图在布局上用传统的“散点透视”法，将高远、平远和深远适当地结合起来，造成容量大、布阵奇、开合有度的效果，在多变之中得到一种和谐的整体感。\n也就是说，作者想给人的突出印象就是，画面充满了体积感。\n画中几条河流曲折而蜿蜒，平静自然地流向远方，表现出一种纵深感。\n作者还从不同角度描绘出山体左右正侧的造型变化以及山脉的逶迤连绵的气势。\n在用墨方面，是以石青、石绿为主调，重视远景与近景明部与暗部的色彩区别，整个画面给人的感觉是“亮”。\n近处山石、土坡、竹树多用重石绿兼赭石，阴影处多用石青和墨青。\n远处的山与树则用淡墨、螺青勾染。\n天、水部分用花青打底，敷以淡石青。\n重彩与淡彩的结合使画面具有了一种精微雅致的特色。\n中国美术学院艺术人文学院教授 ：《江山秋色图》的精神面貌与传为李思训派的《明皇幸蜀图》等有相接处，但显然比李思训的山水画精工丰富，成熟得多，在院体气格中还搀以文人画的韵致，最为院画，水平却非文人画家所易企及， 较之王希孟《千里江山图》也稍胜一筹。\n《江山秋色图》曾经明内府收藏，明初朱标题跋始定此卷为赵伯驹画。\n清代初年为梁清标收藏，图上有梁氏鉴藏印数方，后入清宫，有乾隆、宣统诸印玺。\n抗战期间由溥仪携往长春，东北解放后为人民政府所收，现藏于北京故宫博物院。\n217年9月15日至12月14日，《江山秋色图》在故宫午门正殿展厅举办的“千里江山——历代青绿山水画特展”中展出。\n赵伯驹，生卒年不详，字千里，为宋太祖七世孙，担任过浙东兵马钤辖。\n他擅长山水、花果、翎毛画，尤善金碧山水画。\n其山水画承继李思训父子，同时吸取了北宋文人画家水墨山水画的表现方式，逐渐形成了清幽淡雅、精工细酌的特色，又颇具文人的书卷气。\n他的山水画虽采用青绿赋色的表现形式，但对房舍、楼阁、树木等景物的刻画已具有北宋自然主义山水的体貌特征。",[23,24,25,26,27,7,29,176,34,31,107,986,28,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b6d5eca717593c1538b08a694bedb46.jpg","纵55.6厘米，横323.2厘米",[42,90,45],551,{"id":2422,"slug":2423,"title":2424,"dynasty":99,"author":2425,"museum":20,"description":2426,"tags":2427,"thumbUrl":2429,"material":1397,"size":2430,"collection":181,"collections":2431,"showCount":2432,"zanCount":2368,"manualWeight":48,"mainColor":94},220920,"fang-gu-shan-shui-tu-dong-qi-chang-220920","仿古山水图","董其昌","《董其昌仿巨然山水轴》是明代画家董其昌创作的一幅水墨画。\n本幅自题：“岚影川光翠荡磨，春风江上听渔歌。",[23,24,25,194,226,7,29,177,2428,685,262,1273,108,809,686,34,1169,37],"仿古","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31b52edc5116cc2683a64ad29378bccd.jpg","纵101.7厘米，横46.7厘米。",[181,45],549,{"id":2434,"slug":2435,"title":2436,"dynasty":76,"author":329,"museum":20,"description":2437,"tags":2438,"thumbUrl":2440,"material":40,"size":2441,"collection":44,"collections":2442,"showCount":2443,"zanCount":2368,"manualWeight":48,"mainColor":94},222723,"qian-long-huang-di-da-yue-tu-zhou-lang-shi-ning-222723","乾隆皇帝大阅图轴","本幅无作者款印，据作品画风，无疑系郎世宁真笔。\n乾隆四年（1739年），皇帝弘历亲临南苑检阅八旗军的队列及各种兵器、火器的操练活动，乾隆每3年大阅一次，以壮军威，鼓士气。\n本幅系弘历29岁时的戎装像，精神焕发，亦系郎世宁的盛年佳作。但此时画家对传统中国绘画尚处在学习阶段，图中的表现技法基本上是采用中国传统的绘画工具和材料而取得了西方细笔油画的艺术效果。作者减弱了对景物、人马的素描手法，以平光处理明暗，线条在起到轮廓线的作用后几乎被色彩隐去，天空中云彩的画法全出自西法，近景的草叶近乎西方的静物写生，只有远山的结构保留了清宫写实山水的一些程序。",[23,226,28,7,106,150,29,63,2439],"兵器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21ee2f5e76e9f30efbdf7e15fcadde66.jpg","纵332.5厘米，横232厘米",[44],548,{"id":2445,"slug":2446,"title":1383,"dynasty":99,"author":100,"museum":442,"description":2447,"tags":2448,"thumbUrl":2449,"material":123,"size":2450,"collection":181,"collections":2451,"showCount":2443,"zanCount":2368,"manualWeight":48,"mainColor":49},218370,"shan-shui-tu-chou-ying-218370","这幅画描绘了一座山和一个深谷，一个有学问的人看着泉水，正在乘凉，一个有学问的人抱着琵琶走在山路上，而羊群和牛郎在溪流对岸嬉戏。这是大英博物馆收藏的唯一一幅仇英的真迹，因为它在对树木、岩石和人物的描绘方面接近仇英的实际笔触。",[23,24,194,28,7,177,29,34,686,106,109,1754],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc24e2d4b1b7e561820f510b15f9bc13.jpg","138.8x72.5",[181,44,45],{"id":2453,"slug":2454,"title":2455,"dynasty":99,"author":1196,"museum":191,"description":2456,"tags":2457,"thumbUrl":2460,"material":599,"size":600,"collection":44,"collections":2461,"showCount":2462,"zanCount":343,"manualWeight":48,"mainColor":94},289743,"chang-e-ben-yue-tu-zhou-tang-yin-289743","嫦娥奔月图轴","唐寅（1470年3月6日－1524年1月7日），字伯虎，小字子畏，号六如居士，南直隶苏州府吴县（今江苏省苏州市）人，祖籍凉州晋昌郡，明朝著名画家、书法家、诗人。\n成化二十一年（1485年），考中苏州府试第一名，进入府学读书。弘治十一年，考中应天府乡试第一（解元），入京参加会试。弘治十二年，卷入徐经科场舞弊案，坐罪入狱，贬为浙藩小吏。从此，丧失科场进取心，游荡江湖，埋没于诗画之间，终成一代名画家 。唐寅晚年生活穷困，依靠朋友接济。嘉靖二年十二月二日，病逝，时年五十四岁。\n山水画宗法李唐、刘松年，融会南北画派，笔墨细秀，布局疏朗，风格秀逸清俊。人物画师承唐代传统，色彩艳丽清雅，体态优美，造型准确；亦工写意人物，笔简意赅，饶有意趣。其花鸟画长于水墨写意，洒脱秀逸。书法奇峭俊秀，取法赵孟頫。\n绘画上与沈周、文徵明、仇英并称“吴门四家”，又称“明四家”。诗文上，与祝允明、文徵明、徐祯卿并称“吴中四才子”。",[24,226,7,106,59,2458,265,2181,2459,86,212,614],"嫦娥","神话","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94e2d4be6243b39a212c3aab3031453a.jpg",[44],539,{"id":2464,"slug":2465,"title":2466,"dynasty":76,"author":2467,"museum":316,"description":2468,"tags":2469,"thumbUrl":2470,"material":139,"size":139,"collection":90,"collections":2471,"showCount":2472,"zanCount":558,"manualWeight":48,"mainColor":94},228928,"hua-hui-hu-die-tu-juan-ma-quan-228928","花卉蝴蝶图卷","马荃","此作工写相融，以没骨法绘就群蝶，翅翼薄如蝉翼，晕染出绒毛的柔润质感，墨色浓淡相宜，黑蝶沉雅莹润，白蝶清透灵动。群蝶翩跹往复，似循着花香振翅而来，各有姿态，灵动生趣。\n\n间缀芍药、佛手数处，设色柔婉秀雅，花叶舒展自然，与蝶影相映成趣，将花底群蝶相逐的春日清景缓缓铺展。引首题字娟秀端丽，书画合璧，将闺中细腻意趣融于笔底，晕开一卷悠然雅致的花间清梦。",[23,24,25,26,7,28,178,212,83,84,484,292,898],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa61f6d45e4448610bc0d9227c8c99010.jpg",[90],537,{"id":2474,"slug":2475,"title":2476,"dynasty":18,"author":257,"museum":191,"description":2477,"tags":2478,"thumbUrl":2480,"material":123,"size":2481,"collection":44,"collections":2482,"showCount":2483,"zanCount":1233,"manualWeight":48,"mainColor":49},216215,"xian-yan-shou-lu-tu-yi-ming-216215","仙岩寿鹿图",""仙岩寿鹿图" 是宋朝时期的一幅绘画作品，其作者不详。这幅作品描绘了一处神奇的山洞，里面生活着许多寿鹿。寿鹿是一种传说中的动物，身体像鹿，有着长长的寿命。在这幅画中，寿鹿被描绘成了幸福、健康、长寿的象征。整幅画浓郁的山水意境，深深地吸引着观众的眼球。",[194,24,25,226,7,28,106,59,2479,746,230,686],"鹿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44803965d1305ff70dab68b3132a40c5.jpg","117.2x61.3cm",[44],533,{"id":2485,"slug":2486,"title":2487,"dynasty":302,"author":1977,"museum":191,"description":2488,"tags":2489,"thumbUrl":2490,"material":123,"size":2491,"collection":44,"collections":2492,"showCount":2483,"zanCount":918,"manualWeight":48,"mainColor":49},214839,"yuan-ming-gui-qu-lai-ci-tu-zhao-meng-fu-214839","渊明归去来辞图","现在的画没有标记，据说是赵孟𫖯的作品，不过画风不一样。这幅画表现的是陶渊明在两个仆人的陪同下，带着他的法杖回来，一个人拿着琴和卷轴，另一个人拿着酒坛。门前的五棵柳树清楚地表明，画中的人是五柳先生。人物的衣着是快速、流畅和有力的笔触。柳树的树干被仔细地描绘出来，线条清晰可见。这幅画还用淡墨给水和天空轻轻上色，但很明显，暮色已经退去，秋天的空气铺天盖地。",[23,24,25,26,352,7,106,353,29,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d284481c01c8ff3b02e261ebb31a78f.jpg","27x72.5",[44],{"id":2494,"slug":2495,"title":2496,"dynasty":18,"author":2497,"museum":457,"description":2498,"tags":2499,"thumbUrl":2500,"material":123,"size":2501,"collection":42,"collections":2502,"showCount":2503,"zanCount":414,"manualWeight":48,"mainColor":2504},218605,"wu-bai-luo-han-zhi-shi-cai-pin-zhe-tu-zhou-ji-chang-218605","五百罗汉之施财贫者图","周季常","衣袂飘举间，罗汉群像神态各异：或持法器凝立，衣纹如流水般细腻；或低语相谈，眉眼间藏着慈悲的柔光。下方沟壑纵横处，贫者衣衫褴褛，匍匐劳作的身形佝偻着，困顿与艰辛在笔触里尽显。云雾缭绕的背景中，苍劲的树木与嶙峋的山石，悄然分隔却又勾连起上下两重世界。\n\n画家以写实之笔勾勒众生相，罗汉的从容与贫者的窘迫形成鲜明对照，似在无声传递施财济困的佛理。古绢底色晕染出岁月的厚重，每一处细节都浸着宋代佛画的庄重与温度，让慈悲之念在画面里缓缓流淌，直抵人心。",[23,194,24,25,226,260,28,7,106,176,34,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d79111b47df23f905bb3c17be404416.jpg","111.5x53.1",[42,44],530,"37474F",{"id":2506,"slug":2507,"title":2508,"dynasty":18,"author":2509,"museum":191,"description":2510,"tags":2511,"thumbUrl":2513,"material":88,"size":139,"collection":44,"collections":2514,"showCount":2515,"zanCount":918,"manualWeight":48,"mainColor":49},216963,"guan-fu-xi-ying-tu-su-han-chen-216963","灌佛戏婴图","苏汉臣","婴戏图即描绘儿童游戏时的画作，又称“戏婴图”，是中国人物画的一种。因为以小孩为主要绘画对象，以表现童真为主要目的，所以画面丰富，形态有趣。中国很早已有绘画婴孩的传统，到了唐宋时期技巧渐趋成熟，宋代更是婴戏图的黄金时期，使之成为中国绘画中极受欢迎的画类。\n\n宋代是婴戏图发展的全盛时期，不但取材多样化，而且描绘技巧高超。有的采用鲜艳颜色以衬托婴孩游玩时的愉快心情，营造热闹快乐的气氛；有的利用简洁的线描，刻划平民的市井风情。市井之民虽生于低下阶层，物质生活不甚丰富，但小孩的天真、贪吃贪玩的性情仍溢于纸上。在婴孩的形体构图方面，孩子面貌及身形比例准确，不再是“身小而貌壮”或“妇人之貌”。而且画家每每绘画小孩穿上轻纱薄衣，使观者能通过薄衣透视小孩丰满圆润的身段。婴孩面部表情亦十分丰富，喜怒哀乐活灵活现。宋代婴戏图的兴盛和成功，奠定了婴戏图的基础，亦创新了不少题材，使后世仿效之作甚多。",[24,194,25,28,7,106,292,227,378,2512,278],"假山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fc85835c28e628810548dd2c93dbfbd.jpg",[44],525,{"id":2517,"slug":2518,"title":2519,"dynasty":76,"author":77,"museum":1337,"description":1338,"tags":2520,"thumbUrl":2523,"material":1342,"size":1343,"collection":90,"collections":2524,"showCount":2525,"zanCount":918,"manualWeight":48,"mainColor":94},221000,"hua-hui-tu-ce-dou-hua-shi-zhu-yun-shou-ping-221000","花卉图册·豆花石竹",[23,24,25,81,82,7,83,2521,2522],"豆花","石竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99e5a05a9a06168177d3bb7fda38b174.jpg",[90,45],523,{"id":2527,"slug":2528,"title":2529,"dynasty":76,"author":77,"museum":191,"description":2530,"tags":2531,"thumbUrl":2534,"material":282,"size":2535,"collection":90,"collections":2536,"showCount":2537,"zanCount":5,"manualWeight":48,"mainColor":94},220986,"yan-xi-yu-le-zhou-yun-shou-ping-220986","燕喜鱼乐轴","本幅以没骨法绘成，直接用色点染，再略加勾画叶脉筋络。全幅设色典雅，有脱俗的气质",[23,24,25,226,28,7,83,243,2532,2533,722,245],"柳","燕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7813b61c4d298e29291dcdde76707c2d.jpg","120.5×61.2",[90,45],522,{"id":2539,"slug":2540,"title":2541,"dynasty":18,"author":257,"museum":56,"description":2542,"tags":2543,"thumbUrl":2544,"material":123,"size":139,"collection":44,"collections":2545,"showCount":2537,"zanCount":1233,"manualWeight":48,"mainColor":49},214860,"mo-gu-kai-zhi-luo-shen-fu-tu-di-er-juan-yi-ming-214860","摹顾恺之洛神赋图（第二卷）","摹顾恺之洛神赋图（第二卷）是宋朝佚名画家的一幅作品。这幅画描绘了洛神，她是中国神话中的一位美丽的仙女，被认为是花的化身。洛神赋图是一组描绘洛神的图画，可能是以绘画的形式来记录洛神的故事。这幅画的风格典雅，线条流畅，色彩明快，极富表现力。",[23,105,24,26,352,7,106,406,1654,29,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82e06b4414fc9a2b292ec17325cf42bd.jpg",[44],{"id":2547,"slug":2548,"title":1689,"dynasty":302,"author":257,"museum":191,"description":2549,"tags":2550,"thumbUrl":2551,"material":123,"size":2552,"collection":90,"collections":2553,"showCount":2554,"zanCount":1233,"manualWeight":48,"mainColor":49},216222,"hua-niao-tu-yi-ming-216222","一对锦鸡被描绘成在花朵和岩石间游动，而一对燕子和喜鹊则各自点缀着这一场景。雉鸡的羽毛鲜艳夺目，与盛开的鲜花交相辉映。这幅画的色彩斑斓和绚丽通过笔法的运用得到了加强。花和鸟的笔触相当细致，有一种优雅的品质。叶子的着色似乎是杂乱无章的，有几处已经模糊或剥落。这幅画没有标记，但仍有元代的题记。",[24,25,194,28,7,83,209,62,230,630,896,211,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16ce90ed3be06a8274a00daaccbc1bec.jpg","167.6x101.9cm",[90],520,{"id":2556,"slug":2557,"title":2558,"dynasty":54,"author":2559,"museum":316,"description":2560,"tags":2561,"thumbUrl":2564,"material":123,"size":139,"collection":181,"collections":2565,"showCount":2566,"zanCount":414,"manualWeight":48,"mainColor":49},218399,"chang-jiang-ji-xue-tu-wang-wei-218399","长江积雪图","王维","素裹银妆的天地间，江波浩渺如镜，山峦起伏若眠。雪覆层岩似披素纱轻幔，枯藤老树凝霜，枝桠横斜间，几簇松针翠色凌寒而立，添了几分生机。江面上薄雾轻笼，一叶扁舟隐于烟波，恍若载着天地孤静。远处村落藏于雪麓，屋舍点点似有暖意暗涌。淡墨晕染雪意，线条疏朗含韵，静谧中透着禅韵，雪色洗尽尘嚣，尽显山水幽远。恰如诗中清寂，又藏着悠然，将冬日江雪的空灵深邃，凝于尺幅之间。",[23,194,24,26,7,29,2086,795,245,174,176,31,34,2562,2563],"雪景","小筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41bff8e8782f9331d1bdca574626f790.jpg",[181],519,{"id":2568,"slug":2569,"title":2570,"dynasty":18,"author":257,"museum":316,"description":2571,"tags":2572,"thumbUrl":2573,"material":123,"size":2574,"collection":42,"collections":2575,"showCount":2576,"zanCount":2368,"manualWeight":48,"mainColor":49},214257,"yu-yuan-shi-chao-tu-yi-ming-214257","御苑市朝图","御苑市朝图是一幅作者不详的宋代画作。这幅画作描绘了宋朝的市场生活。\n\n在这幅画作中，画家巧妙地捕捉了宋朝的市场生活的繁华景象。他用浓墨重彩的画法，勾勒出了市场的熙熙攘攘的场面。他还用细腻的线条勾勒出了市场中出售各种商品的商贩，让人感受到了宋朝市场的繁荣景象。\n\n此外，画家在这幅画作中还描绘了市场周围的景色。他用色彩丰富的画法，描绘了市场周围的山川和河流。这些景色与市场的繁华场面形成了鲜明的对比，让人感受到了自然与人类活动的和谐\n共存。\n\n总之，御苑市朝图是一幅精美的画作，描绘了宋朝的市场生活。它让我们感受到了宋朝市场的繁荣景象，也让我们感受到了宋朝文化的魅力。",[23,194,24,25,226,104,7,29,107,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F672f72d901c08686f814955355d9dcad.jpg","107x52",[42],518,{"id":2578,"slug":2579,"title":2580,"dynasty":76,"author":77,"museum":191,"description":290,"tags":2581,"thumbUrl":2582,"material":123,"size":294,"collection":139,"collections":2583,"showCount":2584,"zanCount":1003,"manualWeight":48,"mainColor":94},214305,"mu-dan-ce-5-yun-shou-ping-214305","牡丹册-5",[24,25,194,81,7,28,83,292],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb3772de09b7a0a9f5b1dbfb42e2091f.jpg",[],516,{"id":2586,"slug":2587,"title":2588,"dynasty":76,"author":329,"museum":20,"description":2589,"tags":2590,"thumbUrl":2595,"material":40,"size":2596,"collection":181,"collections":2597,"showCount":2598,"zanCount":414,"manualWeight":48,"mainColor":49},222770,"wu-rui-tu-lang-shi-ning-222770","午瑞图","这是一幅近似于欧洲静物画的作品，青瓷瓶内插着蒲草叶、石榴花和蜀葵花，托盘里盛有李子和樱桃，几个粽子散落一旁。图中的粽子、蒲草等物暗示此画是为中国的传统节日——端午节而绘制的。就构图而言，画中物品聚散有致，呈正三角形布局，给人的视觉以稳定感。而绘制方法则采用色彩深浅及光影明暗的变化展示花叶、水果和瓷瓶的立体感，尤其是瓷瓶肩部见于欧洲绘画而中国画绝无的“高光”手法，能令观者清晰地体会到西方油画的技巧。虽然画面没有落年款，但根据清内务府造办处的档案记载，此图应作于雍正十年（1732年），属郎世宁在中国的早期作品。\n作为异域来客，为了使基督教广布中国，明末清初抵华的众多传教士们采取了将东西方文化相融合，而后循序渐进地推行教义的传教策略，郎世宁无疑是一位彻底的实践者。尽管此图中他对静物的表现技法源自欧洲油画，然而其内容反映的却是蕴含华夏民族两千余年文化精髓的风俗。正是由于借助兼得中外、博取东西的折衷技巧与迎合中国皇帝趣味的题材择选，才使郎世宁成为深得雍正、乾隆两位帝王赏识、并且大加重用的西洋画家，他有为数不少的画作存世亦得益于此。",[23,24,28,7,2591,320,2592,84,569,2593,212,2594],"中西结合","青瓷","粽子","静物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9cf54c3f7bd81efc6632c675afac9c4.jpg","纵140厘米，横84厘米",[181,45],514,{"id":2600,"slug":2601,"title":2602,"dynasty":302,"author":2603,"museum":191,"description":2604,"tags":2605,"thumbUrl":2606,"material":88,"size":2607,"collection":181,"collections":2608,"showCount":2609,"zanCount":2368,"manualWeight":48,"mainColor":94},214820,"jing-xi-shi-cui-tu-wang-meng-214820","荆溪湿翠图","王蒙","这幅画描绘了水流湍急的泾河、声音激荡的瀑布、色彩斑斓的山峦和长满松树的松树。面板上有王蒙的长篇后记，据说是后来加的。这幅画的风格与杜琼的风格比较相似，从杜琼在 旌表贞节之门 下的印章可以看出。",[24,25,226,173,7,29,109,34,176,1426,106,177,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa69a4d460ff4b91c032f0a5094f977d7.jpg","142.6x42.9",[181],512,{"id":2611,"slug":2612,"title":2613,"dynasty":76,"author":77,"museum":1337,"description":1338,"tags":2614,"thumbUrl":2615,"material":1342,"size":1343,"collection":45,"collections":2616,"showCount":2618,"zanCount":1003,"manualWeight":48,"mainColor":94},220997,"hua-hui-tu-ce-zhu-shi-tu-yun-shou-ping-220997","花卉图册·竹石图",[23,24,25,7,81,82,227,230,838,569,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ddb009d00a9d8acb3b4ebc9060d819d.jpg",[45,2617],"竹石精选",511,{"id":2620,"slug":2621,"title":2622,"dynasty":256,"author":2623,"museum":316,"description":2624,"tags":2625,"thumbUrl":2627,"material":599,"size":600,"collection":139,"collections":2628,"showCount":2629,"zanCount":1379,"manualWeight":48,"mainColor":49},231825,"hua-yuan-shi-nv-tu-zhou-shang-cun-song-yuan-231825","花园仕女图轴","上村松园","上村松园（1875——1949）生于京都，她是明治、大正、昭和时期十分活跃的女画家，她以日本画的传统手法为基础描绘出格调高的美女画，她画的美人惟妙惟肖、出神入化，受到人们的好评。12岁小学毕业后进入日本刚刚成立不久的绘画学校。后相继师事铃木松年、幸野梅岭、竹内栖凤等大师。15岁时以作品《四季美人图》参展第三次内国劝业博览会，获得一等褒奖，被传为京都天才少女。",[23,194,24,226,28,7,106,59,2626,65,409],"枫叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5291d70d90c2e3367d896a803781d8cf.jpg",[],507,{"id":2631,"slug":2632,"title":2633,"dynasty":76,"author":77,"museum":419,"description":420,"tags":2634,"thumbUrl":2635,"material":88,"size":2636,"collection":139,"collections":2637,"showCount":2638,"zanCount":774,"manualWeight":48,"mainColor":94},216591,"ou-xiang-guan-xie-sheng-ce-3-yun-shou-ping-216591","瓯香馆写生册-3",[24,25,81,7,82,83,135,62,836,553],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2e60e3d8683439073039aa23e65ff0f.jpg","26x36cm",[],506,{"id":2640,"slug":2641,"title":2642,"dynasty":99,"author":100,"museum":191,"description":2643,"tags":2644,"thumbUrl":2645,"material":88,"size":2646,"collection":181,"collections":2647,"showCount":2648,"zanCount":918,"manualWeight":48,"mainColor":94},218534,"zhang-xin-gong-ci-tu-chou-ying-218534","长信宫词图","以著名的隋唐宫殿连昌宫为主题的诗画轴，诗塘上都附有所谓文征明书写的宫词二十五首。此幅与院藏《画长信宫词图》的书法与画风相当近似，当属同一组四幅对。当时的作坊，喜欢绘制以仇英画、文征明题诗的合璧之作来吸引买者。重青绿描金的山水，配上楼阁人物，四幅齐挂妆点厅堂时，肯定是相当富丽华贵。此幅诗画轴可能是以仇英绘图、陆师道题诗的〈仙山楼阁〉为模仿对象，连左前方松林与其间宫殿都有相似处，只是少了原作的典雅含蓄，更强调色彩缤纷与繁复细节。活动其间的宫人，或舞蹈，或凭栏，或抚琴，或对坐闲谈，观之令人兴味盎然。",[24,28,7,27,104,29,107,176,34,114,1785,986],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F018a7dba5ec368fecd8fd467a61193fc.jpg","纵 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公分",[181],501,{"id":2650,"slug":2651,"title":328,"dynasty":76,"author":257,"museum":20,"description":330,"tags":2652,"thumbUrl":2654,"material":123,"size":2655,"collection":44,"collections":2656,"showCount":2648,"zanCount":2368,"manualWeight":48,"mainColor":49},214678,"xiao-sheng-xian-huang-hou-chao-fu-xiang-yi-ming-214678",[23,24,28,7,106,334,333,335,2653],"珠饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F631a192117b99cc7e5402bb134df43bd.jpg","248.7x116.8",[44],{"id":2658,"slug":2659,"title":2660,"dynasty":99,"author":1270,"museum":191,"description":2661,"tags":2662,"thumbUrl":2663,"material":88,"size":2664,"collection":181,"collections":2665,"showCount":2666,"zanCount":889,"manualWeight":48,"mainColor":94},221977,"pin-cha-tu-zhou-wen-zheng-ming-221977","品茶图轴","此作为文徵明自绘与友人陆子傅於林中茶舍品茗的场景。\n图中草堂环境幽雅，小桥流水，苍松高耸，堂舍轩敞，几榻明净。堂内二人对坐品茗清谈，从跋文可知正是作者和友人陆子傅。几上置书卷、笔砚、茶壶、茗盏等。茶寮内泥炉砂壶，炉火正炽，童子身后几案上摆有茶罐及茗盏。",[23,24,25,226,7,29,106,178,212,28,177,685,1273,175,109,108,378,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed1341fed0de54ecd60de1c41932b58e.jpg","142.31X40.89cm",[181,163],498,{"id":2668,"slug":2669,"title":2670,"dynasty":302,"author":831,"museum":2671,"description":2672,"tags":2673,"thumbUrl":2674,"material":88,"size":2675,"collection":90,"collections":2676,"showCount":2677,"zanCount":787,"manualWeight":48,"mainColor":94},216741,"wu-wang-zui-gui-tu-ren-ren-fa-216741","五王醉归图","上海龙美术馆","《五王醉归图》出自元代画坛巨匠任仁发之手，描绘唐玄宗登基前，与四位兄弟出游饮宴，醉后策马归途的景象。据《旧唐书》记载，唐玄宗登基前，在兴庆坊西南方置楼，常邀诸王宴饮，赋诗燕嬉，感情深厚。本幅便是描绘其身为临淄王时醉后策马的景象。画中主角包括李隆基长兄宋王李宪、二兄申王李撝、四弟岐王李范，以及五弟薛王李业，另尚有四名侍从，合乘九匹骏马。\n任仁发的画马成就，堪与同时代的赵孟頫媲美。 《五王醉归图》是其笔下罕见的纸本作品，宋笺纸质细密，包浆良好，色彩明亮；用笔轻松自然，整幅线条勾勒凝练潇洒，人马排列为平铺式构图，是唐人造型和元人用笔之结合。",[23,24,25,26,28,7,106,150,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3028cb21d01ead2581ac3d3aa2d0dcc1.jpg","35x368cm",[90],497,{"id":2679,"slug":2680,"title":2681,"dynasty":99,"author":100,"museum":223,"description":2682,"tags":2683,"thumbUrl":2684,"material":123,"size":2685,"collection":44,"collections":2686,"showCount":2677,"zanCount":2368,"manualWeight":48,"mainColor":94},214881,"du-le-yuan-tu-chou-ying-214881","独乐园图","北宋时期，司马光写了《独乐园记》，其中描述了他自己在洛阳的住所和花园。该卷按从右到左的顺序展示了司马光《独乐园记》中的主要园林场景。然而，司马光在现场反复出现，体现出他的“独乐”之趣。",[23,24,26,25,28,7,104,29,106,107,175,108,109,227,34,176,115,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabdf15eedcbab4e8bd1fe941d9144d1d.jpg","28x519.8",[44],{"id":2688,"slug":2689,"title":2690,"dynasty":76,"author":329,"museum":191,"description":2691,"tags":2692,"thumbUrl":2693,"material":529,"size":2694,"collection":90,"collections":2695,"showCount":2696,"zanCount":889,"manualWeight":48,"mainColor":801},222780,"hua-yin-shuang-he-tu-zhou-lang-shi-ning-222780","花阴双鹤图轴","此图是郎世宁花鸟画的代表作。画面描绘一对绚丽丰润的仙鹤，和两只小鹤。一只仙鹤阔步行走回首下顾，注视着满身细毛茸茸的小鹤；另一只仙鹤转颈整理羽毛，一脚举起，神态安详。他吸收并采用中国画的传统技法，糅合中西画法进行创作。是二百年前外来文化“中国化”的尝试，是别具一格的杰作。",[23,226,28,7,83,60,629,230,264,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32c3aa01f28ae73498d5f6eecf70dfd2.jpg","170.7厘米×93.1厘米.",[90,45],495,{"id":2698,"slug":2699,"title":2700,"dynasty":18,"author":391,"museum":191,"description":2701,"tags":2702,"thumbUrl":2704,"material":123,"size":2705,"collection":42,"collections":2706,"showCount":2696,"zanCount":774,"manualWeight":48,"mainColor":49},219194,"ci-xiong-bai-ji-tu-zhao-ji-219194","雌雄白鸡图","红冠如焰，燃亮白羽霜华。雄鸡昂首振翅，尾羽若流云舒展；雌鸡依偎身侧，软羽轻覆，尽显亲昵。枝叶舒展间，墨色淡染，衬得禽鸟生动如活。笔锋细腻处，羽丝根根分明，冠色层层晕染，既见写实功力，更含脉脉温情。素朴背景中，生灵之趣与雅致之美交融，似闻晨啼轻响，恍见晨光微熹，尽显对生命意趣的细腻捕捉与诗意表达。",[23,194,24,25,226,28,7,83,2703,264],"鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d30065e7ab2d7ef0ea568cb41dfe6c1.jpg","纵152横37.4cm",[42,90,45],{"id":2708,"slug":2709,"title":2710,"dynasty":99,"author":257,"museum":316,"description":2711,"tags":2712,"thumbUrl":2713,"material":599,"size":600,"collection":139,"collections":2714,"showCount":2715,"zanCount":1379,"manualWeight":48,"mainColor":2504},228413,"shui-yue-guan-yin-xiang-yi-ming-228413","水月观音像","位于法海寺大殿内的壁画 距今已有六百多年",[24,28,7,260,106,2235,245,136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdab14eeab9a7f06bbdb65fb5f0a0afc0.jpg",[],494,{"id":2717,"slug":2718,"title":2719,"dynasty":2720,"author":2721,"museum":191,"description":2722,"tags":2723,"thumbUrl":2726,"material":123,"size":2727,"collection":44,"collections":2728,"showCount":2729,"zanCount":889,"manualWeight":48,"mainColor":49},220434,"liu-chao-liang-zhang-seng-yao-xue-shan-hong-shu-tu-zhang-seng-yao-220434","六朝梁张僧繇雪山红树图","南北朝","张僧繇","全幅以淡墨勾勒物象，舍弃皴法，再敷以青绿、朱红、白粉等色彩。重复出现圆弧状造型的山体，呈现一种古拙感。　本幅原题为〈六朝梁张僧繇雪山红树图〉，据唐宋史籍所载，张僧繇（活动于六世纪前半）专长以外来的凹凸画法绘制佛道人物壁画。晚明时期流传许多张僧繇的「没骨山水」，且有董其昌、蓝瑛等人的临仿作品。此幅应是晚明时期对张僧繇画风的揣摩与想像。",[24,25,226,7,29,2724,2725,108,150,106,176,34],"雪山","红树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd533a6eb07070436caaa6f33827a741c.jpg","118x60.8",[44,45],493,{"id":2731,"slug":2732,"title":2733,"dynasty":76,"author":538,"museum":442,"description":2734,"tags":2735,"thumbUrl":2736,"material":88,"size":2737,"collection":44,"collections":2738,"showCount":2739,"zanCount":1003,"manualWeight":48,"mainColor":94},219543,"mei-ren-tu-leng-mei-219543","美人图","这幅画被称为美人画（“美人画”），传统可以追溯到唐代（618-906）周放（约730-800）的画作。 这位女士坐在质朴的座位上，手里拿着一本书。 她随意的姿势、精致的外表和透明的衣着表明冷梅可能一直在描绘一个妓女。 艺术家的技巧可以从纺织品设计的细腻渲染和帷幔的流畅线条中看出。",[23,24,28,7,106,59,63,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35c1e3b4f1eb980004fca2e6dfb0e546.jpg","纵90 厘米横31 厘米",[44],489,{"id":2741,"slug":2742,"title":2743,"dynasty":76,"author":1610,"museum":191,"description":2744,"tags":2745,"thumbUrl":2747,"material":88,"size":2748,"collection":90,"collections":2749,"showCount":2739,"zanCount":414,"manualWeight":48,"mainColor":94},216219,"bi-tao-chun-niao-tu-zou-yi-gui-216219","碧桃春鸟图","碧桃春鸟图是清朝时期画家邹一桂的一幅名作。这幅画描绘了一只翠绿色的春天鸟儿，它正在一棵桃树上欢快地唱歌。画中的色彩鲜艳，线条流畅，构图精美，反映了邹一桂独特的画风。\n\n邹一桂（1630年～1708年）是清朝时期著名的画家，也是邹氏画派的创始人之一。他的作品擅长描绘自然景观，尤其擅长画鸟。邹一桂的碧桃春鸟图被认为是他的代表作之一，并被广泛收藏和喜爱。",[24,194,2746,7,28,243,245,212],"花鸟画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf75f4e0b3c61e6c01028b990b23d999.jpg","29.2x21.6公分",[90],{"id":2751,"slug":2752,"title":2753,"dynasty":18,"author":846,"museum":2754,"description":2755,"tags":2756,"thumbUrl":2757,"material":123,"size":2758,"collection":42,"collections":2759,"showCount":2760,"zanCount":774,"manualWeight":48,"mainColor":49},218635,"shan-cha-tu-wu-bing-218635","山茶图","费城艺术博物馆","画面上画的是一枝山茶花，狭长的枝条上的叶子是深绿色的，边缘是黄色的，枝条上火红的花瓣，淡黄色的花药，伪装的色彩很鲜艳，很自然。",[24,25,194,83,28,7,661,211,554,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef7aab5fc08907b55afa575d2a696c4a.jpg","25.7x25.7",[42,90],487,{"id":2762,"slug":2763,"title":2764,"dynasty":76,"author":77,"museum":419,"description":420,"tags":2765,"thumbUrl":2766,"material":88,"size":139,"collection":139,"collections":2767,"showCount":2768,"zanCount":1233,"manualWeight":48,"mainColor":94},216592,"ou-xiang-guan-xie-sheng-ce-2-yun-shou-ping-216592","瓯香馆写生册-2",[24,25,194,81,7,82,566,83,243,2532],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F018de872e84372dbf68adb58dee36ac1.jpg",[],485,{"id":2770,"slug":2771,"title":2772,"dynasty":302,"author":257,"museum":2773,"description":2774,"tags":2775,"thumbUrl":2776,"material":511,"size":2777,"collection":139,"collections":2778,"showCount":2779,"zanCount":918,"manualWeight":48,"mainColor":49},221842,"yong-le-gong-bi-hua-san-qing-dian-bi-hua-chao-yuan-tu-yi-ming-221842","永乐宫壁画三清殿壁画朝元图","山西永乐宫","永乐宫在山西最南端的芮城县郊外，《朝元图》在永乐宫的三清殿（又名无极殿）内，是永乐宫壁画中的重点，画幅面积为403.34平方米，主尊人物高达3米，最低的也有2米，共绘人物近300身，距今近700多年，是留存下来的最精彩的元代壁画。永乐宫始建于元代全真教兴盛时期，宫殿内部的墙壁上，布满了精心绘制的壁画，其艺术价值之高，数量之多，实属世上罕见。\n该壁画泰定三年（1325年）由河南画家马君详、马七等人绘制而成，描绘了诸神朝拜元始天尊的故事。画面上共有人物 290个左右，以8个高3米的主像（南极、北极、东极、玉皇、勾陈、木公、后土、金母）为中心，其余人物按对称仪仗形式排列，以南墙的青龙、白虎星君为前导，分别画出天帝、王母等28 位主神。围绕主神，28宿、12宫辰等“天兵天将”在画面上徐徐展开。画中主像庄严肃穆，群像环立，形象丰满圆润，个个神采奕奕，无一雷同。他们之间有的对语，有的倾听，有的沉思，有的注视，神情姿态彼此呼应，成为有机的整体。整个画面，气势不凡，场面浩大。\n壁画中人物服饰冠戴华丽辉煌，衣纹多用吴道子“莼菜条”线条，用笔劲健而流畅，既含蓄又有力度，衣带飞舞飘逸，有如满墙风动，充分发挥了线条的高度表现力。用色方面，采用重彩勾填，色彩厚重而丰富，绚烂而协调，道具在背景上都富有装饰性，在冠戴、衣襟、薰炉等处沥粉贴金，绚烂夺目。",[23,511,260,28,7,106,352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d3db7198209c86d23475d84a3d7cee5.jpg","426×9468cm",[],484,{"id":2781,"slug":2782,"title":2783,"dynasty":302,"author":257,"museum":132,"description":2784,"tags":2785,"thumbUrl":2787,"material":123,"size":2788,"collection":90,"collections":2789,"showCount":2790,"zanCount":1003,"manualWeight":48,"mainColor":49},216732,"ju-hua-xiao-niao-tu-yi-ming-216732","菊花小鸟图","菊花小鸟图 是一幅来自中国元朝时期的著名图画。这幅图画被认为是元朝时期最著名的菊花图案之一，也是当时最具代表性的艺术品之一。\n\n这幅图画中的小鸟是鸟类中常见的山雀，它们正在菊花丛中欢快地嬉戏。菊花是中国传统文化中非常重要的象征，象征着品德高尚、忠诚可靠。在这幅图画中，菊花丛与小鸟的自然互动，展现出人与自然和谐相处的美好愿景。\n\n虽然这幅图画的作者并不是众所周知的，但它仍然是元朝时期艺术史上的重要作品，在当时的艺术市场上也颇受欢迎。如今，菊花小鸟图仍然是许多人所熟知和喜爱的著名图画之一。",[23,24,28,7,83,630,2786],"小鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c8acc0d8c6d4a1dedbc8b9a6a108b16.jpg","22.5x26.6cm",[90],479,{"id":2792,"slug":2793,"title":2794,"dynasty":99,"author":857,"museum":442,"description":2795,"tags":2796,"thumbUrl":2797,"material":88,"size":2798,"collection":44,"collections":2799,"showCount":2800,"zanCount":1379,"manualWeight":48,"mainColor":49},219532,"ma-gu-xian-shou-tu-chen-hong-shou-219532","麻姑献寿图","“麻姑献寿”是传统绘画特别是民间年画的常见题材。传说三月三日西王母寿辰，麻姑在绛珠河畔以灵芝酿酒，为王母祝寿。麻姑是神话人物，晋代葛洪《神仙传》说她是建昌人，修道于牟州东南姑余山。此画描写麻姑和侍女二人，均面相端庄美丽。麻姑一手执仙杖，杖端系有盛灵芝酒的宝葫芦，另一手执玉盘。衣纹用线钩勒粗简方折，而衣上带图案的银白色花纹却描绘得极工细匀整，既素雅又华丽，显示出人物的非凡身份和在祝寿的特定情境中对寿者(西王母)的尊敬和虔诚。麻姑身后的侍女双手捧花瓶，瓶插雪白的梅花和红艳的山茶花，与麻姑面向一致，目视前方，神情专注。",[23,24,25,226,28,7,106,59,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe811cb5aa985accd1f172e8ea3508614.jpg","190.2x104.6厘米",[44,45],478,{"id":2802,"slug":2803,"title":2804,"dynasty":76,"author":2805,"museum":316,"description":2806,"tags":2807,"thumbUrl":2809,"material":599,"size":600,"collection":139,"collections":2810,"showCount":2811,"zanCount":787,"manualWeight":48,"mainColor":94},235526,"he-hua-liao-shi-tu-zhou-wang-wu-235526","荷花蓼石图轴","王武","王武，1632年生，1690年逝世，吴县（今江苏苏州）人。字勤中，晚号忘庵，又号雪颠道人。明代画家王鏊六世孙，精鉴赏，富收藏，擅画花鸟，风格工整秀丽，正如王时敏所云：“神韵生动，应在妙品中。”为清初院画的名家。亦擅诗文。传世作品有《水仙柏石图》、《红杏白鸽图》、《鸳鸯白鹭图》等。",[194,24,25,226,7,28,136,137,2808,262,838,83],"蓼石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4adc90c09b933312107f54c136768ed.jpg",[],477,{"id":2813,"slug":2814,"title":2815,"dynasty":54,"author":257,"museum":2816,"description":2817,"tags":2818,"thumbUrl":2819,"material":2820,"size":139,"collection":44,"collections":2821,"showCount":2822,"zanCount":1003,"manualWeight":48,"mainColor":49},217282,"jiang-mo-bian-dun-huang-tu-juan-yi-ming-217282","降魔变·敦煌图卷","法国国家图书馆","纤细灵动的墨线勾勒出神态各异的人物，衣袂飘举间藏着唐代绘画的潇洒韵致。残存的朱红、赭石色调虽经岁月晕染，仍可窥见当初设色的浓淡相宜。画面分段铺陈降魔故事：左侧人物群像或肃穆或专注，似在静待一场斗法开启；中间帐幔低垂，端坐者的静谧与周遭张力暗合；右侧则将神魔相搏的激烈瞬间定格，动态构图尽显情节跌宕。整幅作品以叙事性画面传递佛教义理，线条流转与情节起伏相映成趣，既是唐代佛教艺术的生动遗存，也为后世窥见当时审美与信仰世界的窗口。",[194,24,25,26,7,28,260,106,1846],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15a40ea02cdf882170b7ef7d5d3e495f.jpg","设色,拓本",[44],473,{"id":2824,"slug":2825,"title":2826,"dynasty":99,"author":100,"museum":191,"description":2827,"tags":2828,"thumbUrl":2829,"material":1884,"size":2830,"collection":90,"collections":2831,"showCount":2832,"zanCount":1233,"manualWeight":48,"mainColor":94},220126,"shui-xian-la-mei-tu-chou-ying-220126","水仙腊梅图","仇英博取众长，集前人之大成，形成自己独特的艺术风格。他山水、花卉、界画、人物、仕女无所不能，既工设色，又善水墨、白描，能运用多种笔法表现不同的对象。 时人把他与周臣、唐寅誉称为院派三大家；后人又把他与沈周、文徵明、唐寅并称为“明四家”。",[23,24,25,28,7,83,898,1219,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07c69768c6eb0147608000594b1c8c39.jpg","纵47厘米，横25厘米",[90],467,{"id":2834,"slug":2835,"title":2836,"dynasty":76,"author":2837,"museum":191,"description":2838,"tags":2839,"thumbUrl":2841,"material":88,"size":2842,"collection":90,"collections":2843,"showCount":2844,"zanCount":1233,"manualWeight":48,"mainColor":94},220335,"cao-chong-hua-hui-hu-shi-si-ping-zi-wei-ju-lian-220335","草虫花卉湖石四屏-紫薇","居廉","居廉对岭南画派的影响十分深远，岭南画派创始人高剑父、陈树人均师从居廉。“二居”所创立的十香园成为岭南画派发源之地，当时岭南绘画界八成以上的人都出自十香园门下或是经受过二居绘画艺术的熏陶，在中国美术史上垂名的杰出弟子多达三十余人。二居以革命精神开创的“撞水”、“撞粉”技法被后来者沿袭至今，二居、二高一陈富于创新的革命艺术精神更使得岭南画派开一时风气之先，在中国画坛独领风骚。",[23,24,25,83,28,7,84,483,230,553,2840,874],"紫薇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3161675f1c6cc75d7b4fb092b58090a4.jpg","113×26.5厘米",[90],464,{"id":2846,"slug":2847,"title":2848,"dynasty":76,"author":2849,"museum":191,"description":2850,"tags":2851,"thumbUrl":2853,"material":123,"size":2854,"collection":44,"collections":2855,"showCount":2856,"zanCount":787,"manualWeight":48,"mainColor":94},219480,"mai-jiang-tu-yao-wen-han-219480","卖浆图","姚文瀚","这幅画是市场上卖纸浆的场景。 十个人，男女老少，聚在一起，或搅炉熬浆； 或者提着锅卖掉； 对纸浆和器物的描述细致入微。 整幅作品色彩鲜艳、干净、美观，笔触细腻牢固，人物稍有浓淡，给人立体感。",[23,24,25,7,28,106,229,120,2852,409,2309,212],"民俗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a90c6c57541d710ff9ec582ae42b876.jpg","59.3x108cm",[44,45],463,{"id":2858,"slug":2859,"title":2860,"dynasty":99,"author":170,"museum":2861,"description":2862,"tags":2863,"thumbUrl":2865,"material":88,"size":2866,"collection":181,"collections":2867,"showCount":2868,"zanCount":918,"manualWeight":48,"mainColor":94},219871,"zi-sang-zhao-yin-tu-shen-zhou-219871","紫桑招隐图","印第安纳波利斯艺术博物馆","首先这是一幅长卷，长卷的意思就是从右往左，一部分一部分的展开来看，首先我们看到的是山石和树木，一派江南景色扑面而来。\n沈周的画法是吴门画派的重要代表画家，吴门画派的风格传承自元代文人画，也就是元四家、赵孟頫等人，从这幅画里我们可以明显的看到山石、水面和远景的画法有元代文人画的痕迹地面的一些处理方法又让人想到赵孟頫的秋郊饮马图。\n继续往左边展览，有人物、屋舍、舟船，最后视线进入隔岸的平远之中。明代的文人画讲究逸气，就是恬淡自然的审美情趣。整个画面简约而不简单，树木、人物、山石等元素处理妥当，构思完整而成熟，笔墨潇洒，寥寥数笔一切就跃然纸上，富有生气的同时又辽远淡泊。\n这一点和宋代严整的画院风格是不同的，文人画到了沈周这个时期，算是正式成为中国绘画的主流审美。沈周下启文征明、董其昌，董其昌又下启王时敏等明清中国正统文人山水画，无疑对后世整个中国画的面貌和发展有深远的影响。",[23,24,25,26,7,177,29,174,106,989,2864,34,109,176,796],"篱笆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0bd9c4c0f112994180bc96e1aa3296d.jpg","17.4x76cm",[181,45],460,{"id":2870,"slug":2871,"title":2872,"dynasty":18,"author":257,"museum":442,"description":2873,"tags":2874,"thumbUrl":2875,"material":123,"size":2876,"collection":181,"collections":2877,"showCount":2878,"zanCount":918,"manualWeight":48,"mainColor":49},218620,"luo-shen-fu-tu-yi-ming-218620","洛神赋图","这幅卷轴是暗示顾恺之时代的众多卷轴之一，其中两幅在北京紫禁城和辽宁省博物馆。然而，大英博物馆有一幅与北京紫禁城流传下来的南宋亲笔画类似的画卷，这两幅画都是重新创作的版本，人物和风景之间的关系更加协调。故宫博物院研究员于辉认为，这卷书是抄自紫禁城内的南宋卷，可追溯到明朝初期。如果对两卷进行仔细比较，本卷明显优于南宋宫廷卷，应抄袭本卷，本卷应在南宋初年完成。不幸的是，这卷书损坏太严重，很少能买到。这个博物馆恰好有两卷高分辨率的图像，有识之士可以查看其装饰性，或者说剩下的字是不是假的。",[23,26,28,7,106,29,406,2234,2235,34,176,986],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8daa44aeeabdd0261586d0876b40f8f4.jpg","53.7x832.8",[181,42],458,{"id":2880,"slug":2881,"title":2882,"dynasty":76,"author":2883,"museum":442,"description":2884,"tags":2885,"thumbUrl":2886,"material":123,"size":139,"collection":90,"collections":2887,"showCount":2888,"zanCount":1003,"manualWeight":48,"mainColor":49},219036,"mu-dan-yu-lan-tu-jiang-ting-xi-219036","牡丹玉兰图","蒋廷锡","画面铺展间，花木扶疏尽显生机。玉兰绽如雪团，缀于虬枝，禽鸟栖停顾盼生姿；牡丹热烈盛放，粉白紫三色交织，花瓣层叠如锦，墨绿叶片衬得花容更艳，一抹朱红点缀其间，添了灵动。树下顽石苍古，纹理拙趣，旁生细草闲花，柔媚与苍劲相映。工笔细腻见匠心，线条婉转，设色相宜，既有富贵雍容之态，又不失清雅灵动之韵，仿佛闻花间细语，观禽鸟轻啼，一派生机盎然的春日盛景跃然眼前。",[23,24,25,83,28,7,292,365,209,62,1807,783,176,838],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed08238660ecdcb1bd2c392c1379139b.jpg",[90],456,{"id":2890,"slug":2891,"title":2892,"dynasty":18,"author":1474,"museum":191,"description":2893,"tags":2894,"thumbUrl":2896,"material":67,"size":2897,"collection":42,"collections":2898,"showCount":2899,"zanCount":414,"manualWeight":48,"mainColor":49},221490,"hua-lan-tu-li-song-221490","花篮图","图绘藤编花篮一只，竹篮编织精巧别致，里面盛满了各色鲜艳欲滴的花朵，白的、红的、粉的、淡黄的，有蜀葵、栀子、百合、广玉兰、石榴等，布置得错落有致，画家笔下一个小小的花篮，折射出的是繁花似锦的大自然，美丽而富有朝气，让人看了之后感到十分亲切，画家对自然、生命的热爱和关注由此跃然于绢上。",[23,194,24,25,81,28,7,83,229,2895,292,896,84,554],"花篮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8587f02c9ca8d9b82abaf7122913f6ac.jpg","26.1 x 26.3公分",[42,90,45],454,{"id":2901,"slug":2902,"title":2903,"dynasty":99,"author":1270,"museum":78,"description":2904,"tags":2905,"thumbUrl":2906,"material":123,"size":139,"collection":44,"collections":2907,"showCount":2908,"zanCount":918,"manualWeight":48,"mainColor":801},219411,"hui-shan-cha-hui-tu-wen-zheng-ming-219411","惠山茶会图","这幅画描绘了文徵明与朋友在无锡惠山茶会的情景。惠山泉水甘冽，号称“天下第二泉”，相传曾为陆羽亲品，历来是煮茶的佳选。文徵明等于正德十三年戊寅（1518）在此举行了一次茶会并绘此图，卷后由吴门书家蔡羽楷书惠山茶会序。",[23,24,25,26,7,29,106,34,989,1273,86,178,212,28,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c42cd6efe145c59f556f00949dd7fff.jpg",[44,181],452,{"id":2910,"slug":2911,"title":2912,"dynasty":18,"author":303,"museum":191,"description":2913,"tags":2914,"thumbUrl":2915,"material":7,"size":2916,"collection":45,"collections":2917,"showCount":2918,"zanCount":414,"manualWeight":48,"mainColor":49},219050,"zhen-guo-tu-qian-xuan-219050","珍果图","果篮静卧素绢间，缠枝纹饰与环扣精巧，线条婉转如流泉绕石。篮中珍果错落，桃实丰腴带粉晕，叶瓣脉络分明，翠色欲滴处间杂赭红，似凝着晨露的润意。叶片边缘微卷，若有风过轻颤。色彩晕染细腻却不艳俗，绢本的古雅底色衬得果物愈发温润。笔触工致中藏文人清逸，无匠气之拘，寻常果实成诗中意象，藏宋人的生活雅趣与自然观照。细节处见沉静美感，如摩挲旧物，触得到时光沉淀的温润。每一笔都似含着慢时光里的用心，将日常小景绘成耐品的雅致画卷。",[23,194,24,28,7,569,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ae85b115ae664ba777870700c2dcc5d.jpg","25.6x26.3",[45],451,{"id":2920,"slug":2921,"title":2922,"dynasty":76,"author":997,"museum":608,"description":998,"tags":2923,"thumbUrl":2924,"material":88,"size":139,"collection":90,"collections":2925,"showCount":2918,"zanCount":2368,"manualWeight":48,"mainColor":94},218128,"qiu-shui-he-ye-tu-shi-tao-218128","秋水荷叶图",[23,24,25,194,81,173,7,498,228,137,1488,265,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cfdd37fcf60f013839a1cf9ac9c4700.jpg",[90],{"id":2927,"slug":2928,"title":2929,"dynasty":302,"author":303,"museum":608,"description":2930,"tags":2931,"thumbUrl":2932,"material":88,"size":2933,"collection":44,"collections":2934,"showCount":2935,"zanCount":774,"manualWeight":48,"mainColor":94},220289,"yang-gui-fei-shang-ma-tu-qian-xuan-220289","杨贵妃上马图","《杨贵妃上马图》描绘唐玄宗与贵妃杨玉环准备出游的情景，玄宗骑马在前，回头望着贵妃，贵妃在两侍女协助下正往马鞍上爬，娇态毕现。\n作品构图接近唐代，人物分组而呈错落有致的横向排列，以人物间的顾盼联系各段，将全画串联起来，犹同舞台效果。\n《杨贵妃上马图》收录于《石渠宝笼续编·御书房》，画卷上现在仍可以清楚看到“御书房鉴藏宝”、“乾隆御览之宝”、“嘉庆御览之宝”等印，居中位置可看到“宣统御览之宝”的字样。说明一直为皇室所收藏，但不见《佚目》记载，未便肯定为《佚目》外的“东北货”。清王朝覆灭后，“末代皇帝”溥仪对故官藏画进行整理时，此画还在官中。后来随着太监的盗卖、溥仪对弟弟溥杰的“赏赐”以及其他流失途径，流出宫外，为湖州张珩购得，后经其叔张叔驯携带到美国出售他人，此画便流出国门，后进入美国弗利尔美术馆。",[23,24,25,26,28,7,106,59,150,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff618d905a3604488c129f373b3e069d1.jpg","纵29.5厘米，横117厘米",[44,45],448,{"id":2937,"slug":2938,"title":2939,"dynasty":76,"author":2940,"museum":442,"description":2941,"tags":2942,"thumbUrl":2944,"material":123,"size":139,"collection":44,"collections":2945,"showCount":2935,"zanCount":343,"manualWeight":48,"mainColor":49},219574,"tian-nv-san-hua-tu-xu-mei-219574","天女散花图","徐玫","此作中天女身姿婉柔，发髻轻簪雅饰，宽袖长裙随云舒卷，衣带如流风回雪，将凌虚而行的轻盈尽显。她手托花盏，眉目低垂含婉，似正将满捧花雨播向凡尘。细劲灵动的墨线勾勒仙袂翩跹的柔美，淡彩晕染裙间纹饰，古旧绢底晕开朦胧云霭，愈衬得天女出尘脱俗，仿佛携着缥缈仙气自云间缓步而来，将神女温婉端丽与飘逸灵动融为一体，尽显清丽秀雅的仕女画格调，余韵悠然绵长。",[23,24,25,226,28,7,106,59,2943],"飘带","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8c2b641db2cfe3c536c5c9f958366b5.jpg",[44,45],{"id":2947,"slug":2948,"title":2949,"dynasty":99,"author":257,"museum":191,"description":2950,"tags":2951,"thumbUrl":2955,"material":123,"size":2956,"collection":44,"collections":2957,"showCount":2935,"zanCount":343,"manualWeight":48,"mainColor":49},214833,"ru-bi-tu-yi-ming-214833","入跸图","这是一幅皇帝扫墓的画，队伍从左到右，沿着水路往回走，战车和卫兵，以及大部分不能坐船的羽林军，沿着岸边行驶。从这幅画的特点和个别地理位置来看，这幅画中的皇帝不是别人，正是明朝的皇帝朱翊钧。明神宗是一位在历史上有很大争议的皇帝，但这幅画还是清楚地表明了明朝当时处于权力的巅峰。",[23,194,24,26,28,7,106,107,34,113,2952,2953,2954],"仪仗","皇家出行","历史画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48f5863d9951f963431189cd4b5e922e.jpg","92.10x3003.6",[44],{"id":2959,"slug":2960,"title":2961,"dynasty":76,"author":2200,"museum":316,"description":2962,"tags":2963,"thumbUrl":2964,"material":139,"size":139,"collection":90,"collections":2965,"showCount":2966,"zanCount":1379,"manualWeight":48,"mainColor":94},238119,"zi-teng-mu-dan-zhou-wu-chang-shuo-238119","紫藤牡丹轴","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。” 吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。 1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。",[24,7,83,135,292,178,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bfc622729b6d71aea89e743af379a39.jpg",[90,45],447,{"id":2968,"slug":2969,"title":2970,"dynasty":18,"author":647,"museum":316,"description":2971,"tags":2972,"thumbUrl":2973,"material":139,"size":139,"collection":139,"collections":2974,"showCount":2966,"zanCount":2368,"manualWeight":48,"mainColor":49},231852,"song-hui-zong-ti-hua-niao-tu-zhao-chang-231852","宋徽宗题花鸟图","赵昌，生于970-1040年，字昌之，北宋画家，广汉剑南（今四川剑阁之南）人。工书法、绘画，擅画花果，多作折枝花，兼工草虫。初师滕昌祐，后来发展出自身画风，没骨花鸟自成一派，有徐熙、黄荃遗风。在北宋时期与宋徽宗赵佶齐名，是宋代花鸟画坛的杰出画家。\n赵昌，字昌之，北宋时期（公元11世纪)，广汉剑南（今四川剑阁之南）人，生卒年不详。性情爽直高傲，刚正不阿。时州伯邵牧争求笔迹，不肯轻与。\n工书，擅画花果，多作折枝花，兼工草虫。初师滕昌祐，后过其艺，亦效徐崇嗣“没骨法”，常于清晨朝露未干，围绕花圃观察花木神态，调色描绘，自号“写生赵昌”。当时盛行厚彩重色，而赵昌所作一片平滑，明润匀薄，活色生香。真宗大中祥符（1008-1016）间，声誉益隆。丁朱崖奉白金五百为寿，昌感其意，亲往谢之。此时，朱崖邀其至东阁，求画生菜数窠及烂瓜生果等，昌挥笔遽成而去。晚年其自矜所作，往往深藏不市，若见自家画作流落市井，则复自购以归之，故世罕传。",[23,24,25,226,28,7,83,820,227,209,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4595cc6a353626e75beccdda5e1c00e.jpg",[],{"id":2976,"slug":2977,"title":2978,"dynasty":76,"author":997,"museum":608,"description":998,"tags":2979,"thumbUrl":2980,"material":88,"size":139,"collection":90,"collections":2981,"showCount":2982,"zanCount":918,"manualWeight":48,"mainColor":94},218131,"tao-hua-zhu-zhi-tu-shi-tao-218131","桃花竹枝图",[23,24,25,83,173,7,243,227,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82ae9fc9a5c2869c1270ee768459d876.jpg",[90],446,{"id":2984,"slug":2985,"title":2986,"dynasty":76,"author":257,"museum":316,"description":2987,"tags":2988,"thumbUrl":2989,"material":123,"size":139,"collection":44,"collections":2990,"showCount":2982,"zanCount":918,"manualWeight":48,"mainColor":49},216695,"hong-lou-meng-fu-tu-ce-yi-ming-216695","红楼梦赋图册","疏朗庭院间，虬枝松叶覆半面轩窗，雕花棂格透出彩绸轻曳。廊下女子或凭栏低语，或执扇凝眸；阶前二人衣袂相叠，似在话叙家常。坡上苔石生绿，丛花点染胭脂色，远处水榭隐于烟柳后，添几分悠远。淡彩晕染的笔触细腻勾勒园林景致，将红楼女儿的闲雅日常融于其间。温婉氛围如轻烟绕梁，既见深宅里的温柔情致，又藏着一丝难以言说的怅惘，似在静静诉说着那些藏于书页间的细腻心事。",[23,24,25,81,28,7,106,59,107,175,378,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf370b172b95445b5b66d2705d0e226e.jpg",[44],{"id":2992,"slug":2993,"title":2994,"dynasty":18,"author":1315,"museum":20,"description":2995,"tags":2996,"thumbUrl":2997,"material":123,"size":2998,"collection":181,"collections":2999,"showCount":3000,"zanCount":918,"manualWeight":48,"mainColor":49},218443,"qiu-lin-guan-quan-tu-li-tang-218443","秋林观泉图","这幅画描绘了峡谷口水流湍急，两岸岩石嶙峋，两个高士坐在水边的斜岩上，静静地看着山泉流淌。倾斜的岩石都用强烈的笔触凿出，体现出岩石坚硬的质地；森林茂密，不留缝隙，显示出浓郁的树荫。画家用画笔画出了树叶，强调了色彩。坡上和水中的落叶点缀了秋景。",[23,24,25,26,173,7,29,1172,109,176,106,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ccc94015347c81f6c539b56469c6225.jpg","24.7x112.3cm",[181],445,{"id":3002,"slug":3003,"title":3004,"dynasty":76,"author":997,"museum":78,"description":3005,"tags":3006,"thumbUrl":3008,"material":88,"size":3009,"collection":44,"collections":3010,"showCount":3011,"zanCount":918,"manualWeight":48,"mainColor":94},220358,"xi-yuan-ya-ji-tu-juan-shi-tao-220358","西园雅集图卷","此长图景物繁复。庭园中芳草如茵，劲松盘根虬曲，柳树成荫，石桥流水，曲径通幽，清溪深处翠荫茂密，处处雅静怡人。此图布局严密，繁而不乱，密而不塞。通过作者苦心经营，将诸多不同人物、树木、山石、草木、花木及一些陈设，巧妙地统一在这幅长卷中。全卷结构井然有序，运思精妙，布局停匀。通卷虽不留空白，而疏密有致。\n全图共写人物24人，神态不一，衣着各异，人物组合有疏有密，却与空间的景物浑然一体。人物形象均以墨线勾写，几乎全为白描，设色淡雅，衣纹等看似信笔率意而成，实则深具功力，笔笔送到。人物形象逼真生动，有的造形略有夸张。总体来说，此画用笔淋漓纵率之中显得工致缜密，沉着痛快，墨色浓淡得宜。人物俱用细笔，所谓一种“细笔石涛”，精气逼人。山石、松木、芭蕉等，均在工写之间，形象精到，而又意趣动人。故此画不但是石涛的代表作，更是清代人物画发展中的精品。",[23,194,24,25,26,7,177,106,29,108,109,378,379,3007],"桌子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38f5d3c589f09a558783d6079a9170b7.jpg","纵36.5厘米，横328厘米",[44,45],443,{"id":3013,"slug":3014,"title":3015,"dynasty":18,"author":391,"museum":20,"description":3016,"tags":3017,"thumbUrl":3018,"material":67,"size":3019,"collection":42,"collections":3020,"showCount":3021,"zanCount":889,"manualWeight":48,"mainColor":49},221345,"fu-rong-jin-ji-tu-zhao-ji-221345","芙蓉锦鸡图","作为独立的画科，宋代的花鸟画无论在绘制技巧还是表现形式方面都已经达到高度的艺术水准，《芙蓉锦鸡图》便是其中的一幅精品。此图是描绘金秋景色的花鸟画作。图中芙蓉盛开，随风轻轻颤动，蝴蝶翩跹，相互追逐嬉戏，引得落在枝上的锦鸡回首凝视，目不转睛。本幅右上宋徽宗赵佶以瘦金体题“秋劲拒霜盛，峨冠锦羽鸡。已知全五德，安逸胜凫鹥”，右下书款“宣和殿御制并书”，草押书“天下一人”。鸡在中国向有“德禽”之称，《韩诗外传》载：“鸡有五德：头戴冠者，文也；足搏距者，武也；敌在前，敢斗者，勇也；见食相呼者，仁也；守夜不失者，信也”，可见其文武兼备、仁勇俱存、信守专一的性格为世人所激赏，难怪才艺绝代的一代帝王也会留下“已知全五德，安逸胜凫鹥”的诗句，流露出对安逸高贵之品格的赞许，由此体现了中国花鸟画的人文寓意。\n目前流传于世题为赵佶的作品中，艺术风格呈现出工致细丽与简朴生拙两种迥然有别的面目，工致细丽者如《芙蓉锦鸡图》、《腊梅山禽图》（台北故宫博物院藏）等，简朴生拙者如《柳鸦图》（上海博物馆藏）、《枇杷山鸟图》等。通过笔墨风格的比较分析，徐邦达先生指出前者不是赵佶所作，而是画院画家的作品，后者则为他的亲笔画迹，这一观点为多数艺术史研究者所认同。此外，现存记载南宋宫廷藏画的《南宋馆阁续录》卷三将此画列入与“御画”并列的“御题画”一类，表明《芙蓉锦鸡图》仅仅是由赵佶亲笔题诗的一幅花鸟画，并非其本人绘制。所以说，尽管图上有赵佶的题字，但此图作者却是一位没有留下姓名的画院高手。\n作为中国历史上最为关注艺事、醉心书画的帝王，宋徽宗赵佶在位期间广收名画巨迹，编纂皇家绘画收藏的书画著录——《宣和书谱》与《宣和画谱》，建立翰林图画院并完善其制度，还依据自己的审美观念亲自指导画院画家的学习与创作。关于绘画创作，赵佶在注重对被描绘对象细致入微的再现的同时，还要求画面蕴含诗歌的意境，令人观之有回味无穷的艺术体验，《芙蓉锦鸡图》无疑完美地体现出这位极具艺术修养的皇帝的美学思想。全图所用双钩法线条细劲，不仅花卉枝叶和锦鸡造型准确，芙蓉为锦鸡所压的低垂摇曳之态也能如实体现，加之色彩晕染得层次清晰，浓淡相宜，富丽堂皇中蕴涵端庄典雅的气质，堪称“形神兼备，曲尽其妙”。就构图而言，画幅左侧集中着芙蓉、锦鸡，与右上轻盈飞舞的蝴蝶遥相呼应，使得错综的布局显得密中见疏，揖让有度。以清瘦劲健的笔体写就的诗文和精致艳丽的图画更是互为辉映，相得益彰。",[23,24,194,25,28,7,83,634,1284,484,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u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[1] 该画是中国现存最古老的帛画。",[24,25,65,352,7,106,406,3144],"凤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F875bb7f0c8c432a8d3b746c93c5ec5bd.jpg","绢本淡设色","纵31.2厘米，横23.2厘米",[],421,{"id":3151,"slug":3152,"title":3153,"dynasty":18,"author":1588,"museum":316,"description":3154,"tags":3155,"thumbUrl":3156,"material":529,"size":3157,"collection":42,"collections":3158,"showCount":3149,"zanCount":2368,"manualWeight":48,"mainColor":49},221183,"mei-zhu-tu-ye-2-ma-lin-221183","梅竹图页2","画幅构图空灵简逸，笔墨勾勒韵染逼真，敷彩凸凹清丽雅洁。深绿沉厚的双钩竹叶润染，更凸显出雪白洁净的梅花。寒梅数枝，绿竹穿行，劲挺横斜，偃仰扶疏，笔墨虚实，极具工致灵动之妙。",[23,194,24,25,81,28,7,83,820,227,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f445c4f5d50251bdb395a7dcb9cb889.jpg","26.5×26厘米",[42,90,45],{"id":3160,"slug":3161,"title":3162,"dynasty":302,"author":2603,"museum":191,"description":3163,"tags":3164,"thumbUrl":3166,"material":1307,"size":3167,"collection":181,"collections":3168,"showCount":3169,"zanCount":1233,"manualWeight":48,"mainColor":94},220816,"qiu-shan-cao-tang-tu-zhou-wang-meng-220816","秋山草堂图轴","1308－1385元画家。字叔明，号香光居士，湖州（今浙江吴兴）人。外祖父赵孟頫、外祖母管道升、舅父赵雍、表弟赵彦徵都是元代著名画家。王蒙的山水画受到赵孟頫的直接影响，后来进而师法王维、董源、巨然等人，综合出新风格。王蒙能诗文，工书法。尤擅画山水，得外祖赵孟頫法，以董源、巨然为宗而自成面目。写景稠密，布局多重山复水，善用解索皴和渴墨苔点，表现林峦郁茂苍茫的气氛。山水之外，兼能人物。所作对明、清山水画影响甚大，仅次于黄公望，后人将其与黄公望、吴镇、倪瓒合称为“元四家”。\n“王叔明画，从赵文敏风韵中来。……泛滥唐宋诸名家，而从董源、王维为宗，故其纵逸多姿，往往出文敏规格之外”。王蒙的画法，善变而多巧妙，喜画重山复岭之繁景，常用解索皴和焦墨点苔。所写山林树木，苍郁茂密而具有浑远的空间感。《秋山草堂图》画高山崇岭，茂树清淡，山脚草堂临水，水际荻花萧瑟堂内隐者怡然自得。表现出江南自然山川的湿润，创造出蓊郁深秀、浑厚华兹的境界。",[23,24,173,7,177,226,29,378,3165,109,174,108,795,212],"草堂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67f99ee1ba33b0552bd4f03b90e05f53.jpg","123.3×54.8",[181,163],412,{"id":3171,"slug":3172,"title":1383,"dynasty":18,"author":3173,"museum":191,"description":3174,"tags":3175,"thumbUrl":3177,"material":123,"size":3178,"collection":181,"collections":3179,"showCount":3169,"zanCount":1379,"manualWeight":48,"mainColor":49},214668,"shan-shui-tu-guo-zhong-shu-214668","郭忠恕","远处，两排大雁在天际尽头飞起；中间，两座山峰对峙，中间，一条河和一个湖缓缓浮现；附近，坡岸上有树木，河岸边隐约可见几座帐篷。湖面开阔而平静，一艘小独木舟，船头有一个渔夫在独自钓鱼，两只苍鹭，一只站在船边，另一只伸出翅膀盘旋，似乎在寻找水下的动静。",[24,194,29,245,174,796,795,353,109,808,3176,7],"屋舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2e63ec359e565f04c7e56a4c5ceb37a.jpg","53x72.2",[181],{"id":3181,"slug":3182,"title":3183,"dynasty":256,"author":3184,"museum":316,"description":3185,"tags":3186,"thumbUrl":3194,"material":599,"size":600,"collection":3195,"collections":3196,"showCount":3197,"zanCount":2368,"manualWeight":48,"mainColor":2504},225614,"rembrandt-harmensz-van-rijn-019-lun-bo-lang-225614","Rembrandt Harmensz.van Rijn - 019","伦勃朗","伦勃朗（Rembrandt Harmensz. van Rijn）所创作的这幅作品，聚焦于耶稣受难这一经典场景。画面正中央，被钉于十字架之上的耶稣，其身躯扭曲，呈现出极度痛苦的模样，十字架巍峨矗立，瞬间抓住观者的目光，形成一种极具震撼力的视觉冲击感。\n\n环绕在耶稣身旁的诸多人物，每一位皆被赋予了鲜明独特的个性。他们的神情姿态丰富多样，或面露悲痛之色，眉眼低垂，泪水几欲夺眶而出；或虔诚祈祷，双手合十，双唇微启念念有词；亦或驻足观望，眼神中交织着震惊、悲悯与思索。伦勃朗凭借其细腻入微的笔触，将这些人物刻画得栩栩如生，淋漓尽致地展现出他超凡脱俗的绘画技艺，以及对人物内在情感深邃且精准的洞察与把控能力。特别值得留意的是，画面左下角有一人躺卧在地，从其姿态与场景氛围推测，大概率为已逝去之人，这一细节无疑进一步渲染烘托出整幅画面所弥漫的悲剧色彩。\n\n目光移至画面背景处，可见阴沉压抑的苍穹笼罩在上空，仿若一块铅灰色的幕布，沉甸甸地压将下来。远处城市的轮廓若隐若现，影影绰绰间尽显萧瑟之感。整幅画作以灰暗色调为主调，恰似一层厚重的阴霾，将悲伤、压抑的情绪丝丝缕缕地渗透出来，营造出一种仿若全世界都被裹挟于耶稣受难这一沉重阴影之下的氛围感。伦勃朗在创作过程中巧妙运用光影效果，精准地突出了画面核心 —— 耶稣及周边人物，令观者的视线不由自主地聚焦于此。这一独特的光影处理方式，便是在绘画史上赫赫有名的 “伦勃朗光”，成为其作品标志性的艺术特征之一。\n\n总体而言，这幅画作绝非仅仅局限于宗教题材层面，它更是伦勃朗对人性幽微、苦难磨砺以及救赎希望等一系列深刻主题深入骨髓的艺术诠释，承载着极高的艺术审美价值，同时也积淀着深厚的历史文化底蕴，成为人类艺术宝库中熠熠生辉的瑰宝。",[3187,260,106,3188,3189,7,3190,3191,3192,3193],"油画","十字架","明暗对比","人物群像","梯子","地面","光影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce05a7aa063b679cb1cba4e79fb37994.jpg","油画精选",[3195],409,{"id":3199,"slug":3200,"title":3201,"dynasty":18,"author":1599,"museum":20,"description":3202,"tags":3203,"thumbUrl":3204,"material":40,"size":3205,"collection":42,"collections":3206,"showCount":3197,"zanCount":414,"manualWeight":48,"mainColor":49},221541,"si-jing-shan-shui-tu-quan-juan-liu-song-nian-221541","四景山水图全卷","此卷图画分为四段，分别绘春、夏、秋、冬四时景象。\n第一幅，踏青，春花烂漫，杨柳葱翠；\n第二幅，纳凉，夏木浓荫，碧荷点点；\n第三幅，观山，秋高气爽，霜叶尽染；\n第四幅，赏雪，山裹银装，万籁俱寂。\n画面以人物活动为中心，结合界画技法，精心构建庭院台榭等建筑，工整精巧，或富丽，或古朴。山石以小斧劈皴法出之，苍逸劲健，行笔设色严谨而注重法度，画中人物虽小而形神完备。整幅作品面貌古朴，笔法精严，极富南宋画院作品的特色。临安（今浙江杭州）作为南宋都城所在，高官显贵们的庭园别墅建造甚多，刘松年身为画院画家，长年生活其间，描绘起来自然得心应手。此图立意于表现士绅官僚优裕闲适的生活，画家的注意力从山川自然的野韵转移到人工营造修饰的景物，这种题材风格的转变，从侧面反映出南宋时期，一大批无心复国的官僚们，专注于享乐的生活态度。正如诗云：“暖风薰得游人醉，只把杭州作汴州”。",[23,24,26,28,7,29,175,107,108,109,106,176,34,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaa115d24c28f3208afa166893f49c7a.jpg","纵40厘米，横69厘米",[42,181,163],{"id":3208,"slug":3209,"title":3210,"dynasty":18,"author":391,"museum":20,"description":3211,"tags":3212,"thumbUrl":3213,"material":40,"size":3214,"collection":42,"collections":3215,"showCount":3216,"zanCount":2368,"manualWeight":48,"mainColor":49},221336,"mei-hua-xiu-yan-tu-ye-zhao-ji-221336","梅花绣眼图页","本幅款识：“御笔”、“天下一人”。钤“御书”朱文葫芦形印一方。鉴藏印钤“阿蒙秘笈”。\n图中梅枝瘦劲，枝上疏花秀蕊，一只绣眼俏立枝头，鸣叫顾盼，与清丽的梅花相映成趣。此图虽然景物不多，却颇为优美动人。所绘梅花为宫梅，经过不断剪枝，人工修饰痕迹较重。此种梅的画法精细纤巧，敷色厚重，自有一种富贵气息，这样的风格趣味为宫廷所好尚，显然代表了皇家的审美意味。",[23,194,24,25,81,28,7,83,820,209,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3454d67dcf054bf343b75f96d35a1c22.jpg","纵24.5厘米，横24.8厘米",[42,90,45],408,{"id":3218,"slug":3219,"title":3220,"dynasty":76,"author":3221,"museum":78,"description":3222,"tags":3223,"thumbUrl":3224,"material":88,"size":3225,"collection":90,"collections":3226,"showCount":3216,"zanCount":918,"manualWeight":48,"mainColor":94},214283,"pi-pa-tu-xu-gu-214283","枇杷图","虚谷","枇杷图是清代画家虚谷的一幅代表作。这幅画作描绘了枇杷树的生长过程。\n\n在这幅画作中，虚谷巧妙地捕捉了枇杷树的生长特征。他用浓墨重彩的画法，勾勒出了枇杷树的树冠和树干。他还用细腻的线条勾勒出了枇杷树的果实，让人感受到了枇杷树的自然韵味。",[23,194,24,25,7,83,173,498,1036,211,554,569],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3c08115f1f5f8532ace747821d30036.jpg","112.5x52",[90],{"id":3228,"slug":3229,"title":1442,"dynasty":76,"author":77,"museum":20,"description":3230,"tags":3231,"thumbUrl":3232,"material":770,"size":139,"collection":139,"collections":3233,"showCount":3234,"zanCount":1379,"manualWeight":48,"mainColor":94},234300,"yun-shou-ping-hua-hui-ce-yun-shou-ping-234300","恽寿平（1633年-1690年），初名格，字惟大，后改字寿平，以字行。别号南田。作为明末清初著名的书画家，他开创了没骨花卉画的独画风，是常州画派的开山祖师。自小敏慧，却一生坎坷\n恽（yùn）寿平出生于官宦之家，又是书香门第，曾祖父、祖父、爹爹、叔父不是为官就是为学，从小敏慧，长相出众，8岁便有咏莲花之诗。清初遭遇战乱，年仅12岁的恽寿平随父远走浙、闽、粤几省，风餐露宿，历尽艰险。后参加了福建建宁王祈的抗清队伍。\n顺治五年（1648年），闽浙总督陈锦率六万清军强攻建宁，15岁的恽寿平坚守孤城。城陷后，与兄皆被虏至清兵营。陈锦无子，其妻见寿平聪明清秀，收为养子。恽寿平虽在总督府生活优裕，但思亲之情未绝。五年后，遇灵隐寺方丈相救，才得以与家人团聚。此后，他刻苦钻研学问，古文、诗词、书画无不精擅。",[24,25,81,82,7,178,212,292,84,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dc8ee0032281ae979767d6d432d5240.jpg",[],407,{"id":3236,"slug":3237,"title":3238,"dynasty":18,"author":1350,"museum":2671,"description":3239,"tags":3240,"thumbUrl":3242,"material":123,"size":3243,"collection":42,"collections":3244,"showCount":3234,"zanCount":1003,"manualWeight":48,"mainColor":49},218630,"song-yan-guan-pu-tu-ma-yuan-218630","松岩观瀑图","一个高士酒后半躺在一棵松树下，山上的树干虬结，树枝斜向伸展，长长的、稀疏的树叶自由伸展，在用大笔画渲染的树木和岩石之间，充满了生命力。",[23,194,24,25,29,173,7,106,1133,3241,1426,109,230,378],"岩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9a25dcebcb10f5241aac60004e04959.jpg","26.3x24.6",[42],{"id":3246,"slug":3247,"title":1195,"dynasty":99,"author":3248,"museum":191,"description":3249,"tags":3250,"thumbUrl":3251,"material":88,"size":3252,"collection":90,"collections":3253,"showCount":3254,"zanCount":889,"manualWeight":48,"mainColor":94},214731,"sui-chao-tu-bian-wen-jin-214731","边文进","仿古铜罐上装饰着十种花，包括梅花、兰花、茶花、水仙、天竺葵、灵芝、松树、柏树、柿子和如意，象征着十全十美。花瓶里的花的重心在较低的一侧，而上面的梅花的茎通向较高的一侧，这与现实相对应。",[24,25,226,7,28,83,820,1133,229,212,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdd7df13b5b3b22f5b5a78294d592780.jpg","108x46.1",[90],404,{"id":3256,"slug":3257,"title":3258,"dynasty":18,"author":1350,"museum":316,"description":3259,"tags":3260,"thumbUrl":3261,"material":123,"size":3262,"collection":44,"collections":3263,"showCount":3264,"zanCount":1233,"manualWeight":48,"mainColor":49},218652,"song-xia-tan-qin-tu-ma-yuan-218652","松下弹琴图","这幅画的构图是马远的绘画风格，有岩石、松树和一个和尚，或者是 伯牙鼓琴 的典故。树木的叶子是用双钩和填充的方法进行层压和绘画的。石头的纹理是用斧头表达的，这使它们具有很好的质感。松针画得非常仔细，笔法严谨而纯粹。",[23,24,25,7,106,1273,176,34,261,195,177,28,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaf693032a9cf5c8cec0275d6ef70b42.jpg","166.50x99厘米",[44],402,{"id":3266,"slug":3267,"title":3268,"dynasty":189,"author":3269,"museum":2754,"description":3270,"tags":3271,"thumbUrl":3272,"material":123,"size":3273,"collection":90,"collections":3274,"showCount":3275,"zanCount":918,"manualWeight":48,"mainColor":49},219095,"shou-tao-tu-ding-qian-219095","寿桃图","丁谦","桃实饱满，粉白肌理间晕开胭脂般的红晕，似刚从枝头摘下，还带着晨露的润意。环绕的叶片深浅交织，墨绿老叶与黄绿新叶相映，蜷曲叶缘藏着自然生机，叶脉走向如细密思绪，勾勒出叶片柔软质感。绢本古旧色调裹着画中鲜活，笔墨轻缓却藏饱满情致，仿佛把一段丰收与吉祥的时光定格，每一笔都透着中式美学的雅致，让人在静谧中感受生命的温润与美好。",[24,28,7,2288,554,211,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f630b561defc6ba2065e820e3396041.jpg","纵24.1横48.6厘米",[90],399,{"id":3277,"slug":3278,"title":1142,"dynasty":18,"author":647,"museum":191,"description":3279,"tags":3280,"thumbUrl":3281,"material":123,"size":3282,"collection":90,"collections":3283,"showCount":3284,"zanCount":918,"manualWeight":48,"mainColor":49},219031,"mu-dan-tu-zhao-chang-219031","湖石下的鸢尾花、兰花和灵芝，以及湖石后盛开的牡丹，让人眼前一亮。虽然丝绸已经发黄发旧，但仍有光泽的感觉。",[23,194,24,25,28,7,83,292,554,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f8b5880085e0d0be159ea0e1946d21d.jpg","143.5x59.3",[90],397,{"id":3286,"slug":3287,"title":3288,"dynasty":18,"author":1350,"museum":132,"description":3289,"tags":3290,"thumbUrl":3291,"material":123,"size":3292,"collection":42,"collections":3293,"showCount":3284,"zanCount":1379,"manualWeight":48,"mainColor":94},218077,"song-di-ming-ti-ce-ma-yuan-218077","宋帝命题册","这画册共含十页，每页左侧为一幅绘画，右侧配一书法。画心尺寸长28厘米、高27厘米，设色绢本，水墨与青绿设色间有。\n在“开禧北伐”之后，宋败给了金国，还有了“嘉定议和”。议和之后的宋宁宗便失去了大权。之后，宋宁宗开始钟情于山水。本十开册页描绘的是当时临安凤凰山皇宫的十个不同景点。\n根据考证，图中的白衣高士均是宁宗的化身，他将自己融入到自然山水中，写下了这10幅诗，再命当时的御前画师马远配图。\n10幅画作皆是根据杨万里、王安石等前贤及宋徽宗的诗句而创作，册页里的10幅配诗书法作品皆为宋宁宗所书。",[23,194,24,25,81,104,7,177,29,107,1273,1169,176,34,37,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4f18219cdd8de698e8ca906fbb1bca8.jpg","纵28厘米、横27厘米",[42,181],{"id":3295,"slug":3296,"title":3297,"dynasty":18,"author":391,"museum":132,"description":3298,"tags":3299,"thumbUrl":3301,"material":123,"size":139,"collection":90,"collections":3302,"showCount":3284,"zanCount":1379,"manualWeight":48,"mainColor":49},216940,"yu-ying-tu-zhao-ji-216940","御鹰图","御鹰图是赵佶的一幅画作。赵佶是宋朝的一位著名的画家，他的画作被认为是中国画的典范，很受人们的喜爱。\n\n御鹰图描绘了一只雄健的鹰，看起来非常壮观。赵佶用细腻的笔法和精湛的技巧描绘了鹰的羽毛，使得整幅画看起来栩栩如生。\n\n赵佶的御鹰图被认为是宋朝画的代表作之一，它的风格独特，表现力强，被认为是宋朝画的典范。它被广泛收藏，并在许多艺术展览中展出。",[194,24,25,28,7,67,226,3300,1530,836],"鹰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b3210a771bedb5e6e81fe9066e3c66e.jpg",[90],{"id":3304,"slug":3305,"title":3306,"dynasty":99,"author":3307,"museum":20,"description":3308,"tags":3309,"thumbUrl":3310,"material":2365,"size":3311,"collection":90,"collections":3312,"showCount":3284,"zanCount":774,"manualWeight":48,"mainColor":94},216204,"zhu-qin-tu-lv-ji-216204","竹禽图","吕纪","此幅景物简洁，一竿修竹自左下斜出，呈对角线贯穿画面。主干秀挺，侧枝细劲，叶片疏密有致，是宋元文人画竹之法。两只喜鹊在枝头鸣叫，带有吉祥平安的寓意。作品构图明朗，风格清秀，用小写意笔法，设色清新淡雅，与吕纪其他作品富贵面貌有所不同。",[24,25,226,28,7,83,227,1530],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b9dc4cfeb5b56018cf4b7bdb04e8a8c.jpg","纵148.5厘米，横467.7厘米",[90],{"id":3314,"slug":3315,"title":3316,"dynasty":302,"author":3317,"museum":101,"description":3318,"tags":3319,"thumbUrl":3320,"material":500,"size":3321,"collection":181,"collections":3322,"showCount":3323,"zanCount":2368,"manualWeight":48,"mainColor":49},221810,"song-xuan-chun-ai-tu-zhou-zhang-yu-221810","松轩春霭图轴","张羽","此图表现了春山“纵使晴明天雨色，入云深处亦沾衣”的意态。近景处坡石曲折，树林阴翳，一湾溪水逶迤而过，茅舍数椽隐于林中，静谧无人；中景山腰白云缭绕，亭台楼阁闪现其间；远景画一主峰突兀，山色浓重浑然。山石的结构以披麻皴勾写，层次丰富，脉络井然；山体以米氏横点层层积染，并以墨点和色点相互交错。尤其是主峰的刻画，丰富而充满生机，能与高克恭相媲美。全图笔调粗放，墨色氤氲，青、蓝、墨、赭，融合于一片春色之中。",[23,24,25,226,173,7,29,1273,37,808,34,177,176,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1bbf82b9a395bf951704715997109750.jpg","纵91.5cm，横31.5cm",[181,45],396,{"id":3325,"slug":3326,"title":3327,"dynasty":99,"author":1196,"museum":442,"description":3328,"tags":3329,"thumbUrl":3330,"material":123,"size":3331,"collection":44,"collections":3332,"showCount":3323,"zanCount":1233,"manualWeight":48,"mainColor":49},218350,"ren-wu-gu-shi-ce-tang-yin-218350","人物故事册","这是一本关于人物故事的小册子，每幅画中的明代题款似乎是一个人的作品，所以可以肯定这是清人伪托唐伯虎的画作，但画作本身还是很出色的，如果能刻上他的原名，那将是一套很好的人物画。",[23,24,25,81,7,352,106,59,212,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57f6934a53787d0888fc281c204938c0.jpg","32x40.5",[44],{"id":3334,"slug":3335,"title":3336,"dynasty":99,"author":100,"museum":191,"description":3337,"tags":3338,"thumbUrl":3339,"material":88,"size":3340,"collection":44,"collections":3341,"showCount":3342,"zanCount":1233,"manualWeight":48,"mainColor":94},219374,"guan-shi-yin-pu-sa-chou-ying-219374","观世音菩萨","“观音大师踩一朵青色莲花，捧一柳，一盏水杯，从云端而来。他头上的皇冠离开了梨花佛的位置，但他没有画佛像，说明此作 这幅画卷的色彩明快、纯洁、淡雅，除了用细致的线条勾勒出轮廓外，脸部、手部和衣服也被晕染，表现出立体的效果。虽然有秋影（ 约1494-1552年）画中不过，这支卷轴笔和秋影的笔触与描绘的精细度，还是有相当大的差距，应该是后人冒用秋影之名的作品。",[194,24,25,226,260,106,28,7,2235,212,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7abb1842c0f8a808d878fbae1f0f0b1.jpg","纵104.2横52.5厘米",[44,45],393,{"id":3344,"slug":3345,"title":3346,"dynasty":76,"author":375,"museum":132,"description":3347,"tags":3348,"thumbUrl":3349,"material":88,"size":3350,"collection":90,"collections":3351,"showCount":3352,"zanCount":774,"manualWeight":48,"mainColor":49},219131,"xi-que-shuang-xi-tu-shen-quan-219131","喜鹊双喜图","虬枝盘曲间，梅蕊初绽如雪，几点淡红晕染枝头，似早春私语。一只喜鹊翘尾立于枝上，羽色浓淡相宜，墨羽如缎，白腹似雪，喙尖微抬，似欲鸣春；另一只栖于老干，回眸相顾，长尾垂落如墨线，与枝干的苍劲相映成趣。旁侧新竹数竿，青影摇曳，添几分生机。工笔细描见匠心，枝干皴擦显古拙，花瓣晕染含雅致，禽鸟神态毕肖。动静之间，春意流转，喜意暗生。整幅画韵致清和，既有自然野趣，又藏吉祥寓意，尽显传统花鸟之雅韵，观之令人心生愉悦。",[23,194,24,25,226,28,7,83,820,227,245,1530],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe247e4c33f78d42b4640f989a2d41eb8.jpg","131x53.5cm",[90],391,{"id":3354,"slug":3355,"title":3356,"dynasty":76,"author":3357,"museum":316,"description":3358,"tags":3359,"thumbUrl":3360,"material":599,"size":600,"collection":139,"collections":3361,"showCount":3362,"zanCount":1233,"manualWeight":48,"mainColor":94},290612,"he-hua-zhou-wang-tu-bing-290612","荷花轴","王图炳","王图炳（1668-1743）：清朝江南华亭县（今上海市金山区）张堰镇人，一品大学士王顼龄之子。康熙五十一年（1712年）御赐进士，选庶吉士，授编修，官至礼部侍郎，降官侍读，加詹事衔。清代著名诗人、书画家。",[24,226,28,7,83,136,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6326436ed40ce4fc7bdd96e5c4b3674d.jpg",[],390,{"id":3364,"slug":3365,"title":3366,"dynasty":18,"author":391,"museum":132,"description":3367,"tags":3368,"thumbUrl":3370,"material":123,"size":2788,"collection":90,"collections":3371,"showCount":3372,"zanCount":1233,"manualWeight":48,"mainColor":49},218932,"you-hua-xiao-qin-tu-zhao-ji-218932","幽花小禽图","古绢底色如浸了岁月的茶褐，晕开一层幽淡气息。三丛菊花攒聚枝头，瓣瓣纤柔层叠，白蕊间泛着浅金，似把秋阳的暖融凝在花芯。枝叶以墨绿勾染，脉络纤细如丝，笔致细腻入微。一只小禽栖于枝侧，羽色褐棕相间，喙尖轻垂，仿佛正凝睇花叶，又似在聆听风过叶隙的轻响。鸟的灵动与花的静婉相映成趣，于静谧中暗涌着鲜活生机。整幅画工细却不板滞，色彩古雅而含清润，将宋人的审美意趣藏于方寸间——于细微处见天地，于幽花间蕴生机。",[194,24,25,28,7,83,897,3369,212],"禽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5909a4d473eb21332f4d99779aadd870.jpg",[90],389,{"id":3374,"slug":3375,"title":3376,"dynasty":18,"author":2414,"museum":191,"description":3377,"tags":3378,"thumbUrl":3379,"material":123,"size":3380,"collection":181,"collections":3381,"showCount":3382,"zanCount":1379,"manualWeight":48,"mainColor":94},218894,"xian-shan-lou-ge-tu-zhao-bo-ju-218894","仙山楼阁图","这幅仙山仙阁的画作，色彩鲜艳，白云在山腰盘旋，显得格外高雅。这幅画是由黄君璧捐赠的。",[23,24,25,226,27,7,28,104,29,107,34,37,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e587eae532bf826f5b62f202f510946.jpg","159.9x84.2",[181],388,{"id":3384,"slug":3385,"title":3386,"dynasty":302,"author":2603,"museum":20,"description":3387,"tags":3388,"thumbUrl":3390,"material":770,"size":3391,"collection":181,"collections":3392,"showCount":3393,"zanCount":1379,"manualWeight":48,"mainColor":94},220822,"ge-zhi-chuan-yi-ju-tu-wang-meng-220822","葛稚川移居图","元代道教盛行，表现道教题材的绘画作品为数众多，此图描绘的是晋代著名道士葛洪携家移居罗浮山修道的故事，截取了葛洪在移居路上的一段情景。\n画面以山水为主体，重山复岭，丹柯碧树，飞瀑溪潭，茅亭草舍，一派深秋山林佳境。全画构图繁复，但层次井然，飞瀑、山径引导观者的视线层层深入，使画面气脉贯通，虽满而不迫塞。图中山石纯用水墨，皴擦点染兼参，干湿浓淡互用，勾画缜密，而树木、人物、屋宇则施以赭石、藤黄、花青，设色沉稳浑厚，极富古雅的韵致。整个画面谨严、深秀，创造出一幅理想的隐居环境。\n王蒙与葛洪虽然年代相隔久远且身份迥异，但在许多方面却有着相同之处：二人皆出自名门，都欲入世作官，却均遭世弃，最终都选择了避世隐居。此图是反映王蒙避世隐居思想的最具代表性的作品。",[23,194,24,25,226,7,177,29,106,150,151,108,109,1273,686,3389,35,212],"山路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1720976154baf26a78451dd84987d4a2.jpg","纵139厘米，横58厘米",[181,45],385,{"id":3395,"slug":3396,"title":3397,"dynasty":76,"author":77,"museum":20,"description":3398,"tags":3399,"thumbUrl":3400,"material":88,"size":3401,"collection":90,"collections":3402,"showCount":3403,"zanCount":558,"manualWeight":48,"mainColor":94},220275,"tao-hua-tu-yun-shou-ping-220275","桃花图","图绘一花团锦簇的折枝桃花斜入画面。笔法轻快疏秀，设色淡雅清丽，充分体现了以没骨法点染物象的独特魅力，不仅表现出花之媚，叶之柔，同时表现出春光下桃花含烟带雾、“习习香熏薄薄烟”的诗意。",[23,24,25,226,2746,82,7,243,211,554],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bd26c1e63df902ca04500cd59486069.jpg","纵133厘米，横55.5厘米",[90],384,{"id":3405,"slug":3406,"title":3407,"dynasty":99,"author":100,"museum":442,"description":3408,"tags":3409,"thumbUrl":3410,"material":123,"size":139,"collection":44,"collections":3411,"showCount":3403,"zanCount":889,"manualWeight":48,"mainColor":49},219568,"yan-le-tu-chou-ying-219568","宴乐图","仇实父画楼观人物，大都远宗顾陆，近接鸥波，此卷用意精深，造景超妙，又得之天真，使我敛手敬服，当以瓣香赠之。今为石川银台所藏，深得其主，后世未尝不与顾陆并传也。嘉靖丁亥（1527年）二月，徵明识。",[23,24,25,26,28,7,104,106,107,34,176,150,175,115,245,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb093140a79abe931a475190696310633.jpg",[44,45],{"id":3413,"slug":3414,"title":3415,"dynasty":99,"author":3416,"museum":78,"description":3417,"tags":3418,"thumbUrl":3419,"material":123,"size":3420,"collection":90,"collections":3421,"showCount":3422,"zanCount":918,"manualWeight":48,"mainColor":94},218891,"bi-ye-xiu-yu-tu-zhou-wen-chu-218891","碧叶绣羽图轴","文俶","文俶（1594-1634），字端容，文徵明孙文从简之女，丈夫是其父的弟子赵灵均。天性明慧，善绘花鸟虫草，鲜妍生动。\n是图署款“辛未小春天水赵氏文俶画。”为崇祯四年（1631）作者37岁时的作品。",[194,24,25,226,28,7,83,209,62,554,212],"https:\u002F\u002Foss.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字实父，号十洲，原籍江苏太仓，后移居吴县（今苏州），明代绘画大师。\n仇英出身寒门，幼年失学，曾习漆工，后拜师周臣，成为画家。\n仇英博取众长，集前人之大成，形成自己独特的艺术风格。他山水、花卉、界画、人物、仕女无所不能，既工设色，又善水墨、白描，能运用多种笔法表现不同的对象。 时人把他与周臣、唐寅誉称为院派三大家；后人又把他与沈周、文徵明、唐寅并称为“明四家”。",[23,24,26,105,28,27,7,29,106,150,1049,108,808,2954,3429,3430],"侍从","出行","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F962a3f309aa3a5c7f24e8b0909e8b7c2.jpg",[],380,{"id":3435,"slug":3436,"title":3437,"dynasty":99,"author":3438,"museum":3439,"description":3440,"tags":3441,"thumbUrl":3443,"material":123,"size":139,"collection":90,"collections":3444,"showCount":3445,"zanCount":1379,"manualWeight":48,"mainColor":49},219280,"feng-huang-mu-dan-tu-sun-yi-219280","凤凰牡丹图","孙忆","九州国立博物馆","凤凰顾盼生姿，翎羽层叠如锦缎铺展，青绿冠羽衬得朱喙明艳，蓝红翅羽与尾羽眼斑流转虹光，每缕纹理皆细腻入毫。牡丹雍容吐蕊，白瓣胜雪、红瓣似霞，枝叶缠络间缀细碎白花，与凤凰相映成趣。古雅绢本色调晕染出静谧祥瑞，工笔线条精准流畅，设色浓淡相宜，华贵中透着清雅。整幅画将凤凰的祥瑞之气与牡丹的富贵之姿融于一体，尽显盛世花鸟的雍容气象，笔墨间藏着对美好生活的祈愿，是工笔花鸟里兼具艺术性与寓意的佳作。",[24,25,28,7,83,381,292,84,3442],"翎毛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8785c401d091b29709625d8b0cf4c0e9.jpg",[90],379,{"id":3447,"slug":3448,"title":3449,"dynasty":76,"author":3450,"museum":191,"description":3451,"tags":3452,"thumbUrl":3456,"material":123,"size":3457,"collection":44,"collections":3458,"showCount":3459,"zanCount":918,"manualWeight":48,"mainColor":94},216951,"zhong-qiu-jia-qing-tu-zhang-ting-yan-216951","中秋佳庆图","张廷彦","这幅画描绘了一个亭子，仆人们忙着送盒子里的食物，皇帝和皇后在露台上与大臣和音乐家们一起欣赏秋月。这幅画的风格似乎受到了明代宫廷绘画的启发，但笔触有些稀疏。",[194,24,104,7,106,107,175,3453,212,3454,3455],"露台","中秋赏月","宫廷佳庆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77a0e35fc35d7564a8cd3792e88ea71f.jpg","134.5x65.4",[44],377,{"id":3461,"slug":3462,"title":3463,"dynasty":99,"author":100,"museum":132,"description":3464,"tags":3465,"thumbUrl":3467,"material":123,"size":3468,"collection":44,"collections":3469,"showCount":3470,"zanCount":889,"manualWeight":48,"mainColor":49},216111,"tang-ren-shi-yi-tu-ce-chou-ying-216111","唐人诗意图册","图绘四季时节帝王出游及行宫游乐题材，按图意依次为：“早朝入宫”、“卤簿云楼”、“帝王眺瞩”、“龙舟登阙”、“帝王览胜”、“云楼旌旗”、“御道行辇”、“端楼迎春”、“登楼望峰”、“青山云楼”、“楼船泛舟”、“帝王筵宴”、“龙舟竞渡”、“天子驾六”、“城堞赏春”、“琼殿迎新”。最后一图末尾有“仇英实父堇制”文字题款，每幅均有印章或一枚，或二枚，三枚不等。对幅有许初（公元16世纪）楷书题初唐应制诗三十二首，笔法出于颜柳之间，与绘画相得益彰，并篆书题引首“初唐应制”。册后有许初、文从简（1574 -1648）、许乃普（1787-1866）三人题跋。\n此册迭经明·王一鹏（生卒不详）、明·顾凝远（1580 -1645后）、清·何溥（19世纪）、清·李恩庆（?-1864）、清·许乃普（1787-1866）等人递藏。著录、出版先后见李佐贤《书画鉴影》卷十四， 1936年原田谨次郎编著的《中国名画宝鉴·明》与1985年艺术图书公司出版的《吴门画派》一书。全册格度严谨，精工巧丽之极，设色、山石、林木、人物，“资唐宋名家之长而浑合之”，种种臻妙，既有宋院体画的写实笔墨基础，又有文人画清雅脱俗的情怀气质。所用材质极为讲究，绢丝织造细密匀净，几近宫中“贡绢”，故本册具有极高的历史和艺术价值。书画鉴定大师徐邦达先生评仇英作品：“真笔不论粗细，无不具有文秀之致”。是品鉴本册绘画面貌的真实写照。",[23,24,25,81,28,7,104,27,29,106,107,175,109,174,108,245,353,3466,265,1049,59,230],"夕阳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37b854ba2273f162517cfa4e4c6012e5.jpg","每开纵24厘米，横27厘米",[44],376,{"id":3472,"slug":3473,"title":3474,"dynasty":99,"author":756,"museum":316,"description":3475,"tags":3476,"thumbUrl":3478,"material":139,"size":139,"collection":181,"collections":3479,"showCount":3480,"zanCount":48,"manualWeight":48,"mainColor":94},221983,"shan-shui-tu-li-zhou-wen-zheng-ming-221983","山水图立轴","文征明（文徵明）（1470-1559），初名壁，字征明（徵明），四十二岁起以字行，更字征仲，因先世衡山人，故号衡山居士，世称“文衡山”，停云生。长州（今江苏苏州吴县）人，曾官翰林待诏。生于明宣宗成化六年，卒于明世宗嘉靖三十八年，年九十岁。文受业于吴宽，学书于李应祯，学画于沈周。擅长诗文书画，为“吴中三家”之一。在书法上，早年受其父知友吴宽的影响写苏体，后受他岳父李应祯的影响，学宋元的笔法较多。小楷师法晋唐，力趋健劲。文征明功力深厚，楷书法度严谨，不仅深得《黄庭经》、《乐毅论》之诣，更多地则是采用欧阳询的笔意和体势，但在用笔上又更加削劲、挺健。明·谢在杭《五杂俎·卷七》称赞文征明小楷：“无真正楷书，即钟、王所传《荐季直表》、《乐毅论》皆带行笔。洎唐《九成宫》、《多宝塔》等碑，始字画谨严，而偏肥偏瘦之病，犹然不免。至本朝文征仲先生始极意结构，疏密匀称，位置适宜。如八面观音，色相具足。于书苑中亦盖代之一人也。”他的大字有黄庭坚笔意，苍秀摆宕，骨韵兼擅。与祝允明、王宠并重当时。",[23,24,7,107,1049,29,685,262,378,3477,36,173,498,226,638],"房","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6bd88c485b1bbe4124fde6a8ae986b8.jpg",[181,163],375,{"id":3482,"slug":3483,"title":3484,"dynasty":18,"author":3485,"museum":191,"description":3486,"tags":3487,"thumbUrl":3489,"material":123,"size":3490,"collection":42,"collections":3491,"showCount":3480,"zanCount":918,"manualWeight":48,"mainColor":94},219198,"ying-tao-huang-que-tu-ma-shi-chang-219198","樱桃黄雀图","马世昌","画中樱桃正熟，禽鸟顾盼，一派初夏光景。",[23,194,24,25,81,28,7,83,710,3488,245,210],"黄雀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce24ced8f0f9757eb0cf1f98628ecd12.jpg","27x25.3cm",[42,90],{"id":3493,"slug":3494,"title":3495,"dynasty":99,"author":257,"museum":442,"description":3496,"tags":3497,"thumbUrl":3498,"material":88,"size":139,"collection":181,"collections":3499,"showCount":3480,"zanCount":1379,"manualWeight":48,"mainColor":94},217954,"ming-ren-shan-shui-hua-ce-yi-ming-217954","明人山水画册","明朝是中国历史上一个重要的朝代，它的艺术创作也十分丰富多彩。其中，佚名的《明人山水画册》是一部非常著名的山水画集，被认为是明朝山水画发展的里程碑之一。\n\n《明人山水画册》收录了许多佚名画家的作品，这些画家均擅长运用山水画的技巧，描绘出了美丽的山水景观。这些画作以其精细的线条和细腻的色彩闻名，能够表现出山水的神韵和灵动。\n此外，《明人山水画册》还收录了一些诗文，这些诗文与画作形成了很好的呼应。这使得这部画册不仅是一部艺术作品，而且是一部文学作品。\n\n总的来说，《明人山水画册》是一部十分珍贵的艺术作品，它为我们展示了明朝山水画的高超技巧和精湛工艺，同时也为我们呈现了明朝文化的瑰丽风貌。",[23,24,25,173,7,81,29,174,245,353,230,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0798af0135642660cfeaaa1dabecdcc.jpg",[181],{"id":3501,"slug":3502,"title":3503,"dynasty":99,"author":3504,"museum":132,"description":3505,"tags":3506,"thumbUrl":3507,"material":88,"size":3508,"collection":90,"collections":3509,"showCount":3480,"zanCount":1379,"manualWeight":48,"mainColor":3510},216264,"ming-za-hua-ce-wang-zhong-216264","明杂画册","汪中","汪中指的是汪建中（1501-1593年），他是明朝时期的一位著名画家。明杂画册是指他绘制的一组绘画作品集，通常指其中一部名为《汪中杂画册》的作品。《汪中杂画册》是一部非常著名的画册，由汪建中在明朝末期绘制而成。它共有24册，收录了许多他的绘画作品，包括花卉、山水、虫鸟、人物等。这些作品都非常精美，被认为是中国画史上的杰作。《汪中杂画册》目前被认为是中国明朝时期最重要的画册之一，并被认为是中国画史上的经典之作。",[24,25,81,28,7,83,227,229,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F334fee082046ab9e1386c51d5de90a35.jpg","30x27cm",[90],"FDD835",{"id":3512,"slug":3513,"title":3514,"dynasty":76,"author":997,"museum":316,"description":3515,"tags":3516,"thumbUrl":3520,"material":139,"size":139,"collection":181,"collections":3521,"showCount":3522,"zanCount":1003,"manualWeight":48,"mainColor":94},224509,"shan-shui-tu-ce-8-kai-shi-tao-224509","山水图册8开","此作以淡墨晕染江波，留白铺就浩渺水色，似将朝雾笼于纸面。近岸以枯笔皴擦岩壁，赭石敷色晕出沙汀暖意，苔点错落点缀野趣。两间山居素净朴拙，静立崖边，与斜渡的赭帆渔舟相映成趣，暗合江天悠悠的闲逸氛围。\n\n笔致松秀灵动，虚实相生，将阔远山水缩于尺幅之间，题诗与画境相融，尽抒寄情丘壑的隐逸襟怀，淡远清和的意绪漫溢纸面。",[23,24,25,81,173,7,177,29,174,3517,3518,176,34,3519,212],"帆船","小屋","水面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40fd268d38073e0d113ca5d35047fc17.jpg",[181,45],374,{"id":3524,"slug":3525,"title":630,"dynasty":76,"author":2200,"museum":316,"description":3526,"tags":3527,"thumbUrl":3528,"material":770,"size":3529,"collection":90,"collections":3530,"showCount":3531,"zanCount":2368,"manualWeight":48,"mainColor":94},224230,"ju-hua-wu-chang-shuo-224230","吴昌硕所作之菊，线条凝练遒劲，刚柔并济；墨色浓淡相间，不落俗格。并伴以山岩、野石、溪水，或插入孤高细瘦的古瓶，皆与秋菊幽独淡雅、冷逸傲世的情态相映成趣。",[23,24,25,226,173,7,83,630,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e716d104f298492c68ba5d730a09c32.jpg","235*50cm",[90,45],373,{"id":3533,"slug":3534,"title":3535,"dynasty":189,"author":3536,"museum":316,"description":3537,"tags":3538,"thumbUrl":3540,"material":599,"size":600,"collection":139,"collections":3541,"showCount":3542,"zanCount":2368,"manualWeight":48,"mainColor":49},288331,"xie-sheng-zhen-qin-tu-huang-quan-288331","写生珍禽图","黄荃","图中画了鹡鸰、麻雀、鸠、龟、昆虫等动物二十余件，排列无序，但每一件动物都刻画得十分精确、细微，甚至从透视角度观之也无懈可击。",[23,194,24,26,28,7,83,245,1530,568,3539,212],"龟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb05a94c2863cccdf9561bc75fe1e17b4.jpg",[],371,{"id":3544,"slug":3545,"title":3546,"dynasty":99,"author":1782,"museum":1372,"description":3547,"tags":3548,"thumbUrl":3550,"material":529,"size":3551,"collection":181,"collections":3552,"showCount":3542,"zanCount":2368,"manualWeight":48,"mainColor":49},222032,"chun-geng-tu-zhou-dai-jin-222032","春耕图轴","这幅气度恢宏的作品取法两宋郭熙、李唐诸辈，笔法苍润，风格遒劲。形则春耕，实为寄寓淡淡哀愁与希望。其心志高远，胸怀宽壑，借春耕这一生活化的语言表达对社稷繁荣安定的渴望。画中一旁孤独思忖的老者，面对湍湍逝去的溪水，显出无奈寂寞的神情，俨然作者自身的写照。\n不知桥上玩耍的孩童，能否传承老者衣钵，以慰心志！ 此图由钱镜塘先生捐赠，该画上堂为沪上鉴定大家吴湖帆先生题鉴，下有钱镜塘先生亲笔跋文。",[23,24,25,226,29,106,151,108,109,378,177,7,3549],"春耕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff80401d4a9b5750d8677ebf9efd74019.jpg","144.2×105.1cm",[181,45],{"id":3554,"slug":3555,"title":3556,"dynasty":99,"author":2425,"museum":20,"description":3557,"tags":3558,"thumbUrl":3563,"material":3564,"size":3565,"collection":181,"collections":3566,"showCount":3542,"zanCount":48,"manualWeight":48,"mainColor":94},220902,"shan-shui-ce-2-dong-qi-chang-220902","山水册2","此图册是董其昌于明天启元年（1621年）游武林（今杭州）时创作的，董氏时年67岁。图册分别仿杨升、卢鸿、惠崇、米友仁、李公麟、吴镇、倪瓒、王蒙等唐宋元诸家山水。画面集取古人不同的山水画景观，同时融入画家自己对于天地、山川的感受，“以意取之”，“各出意造”。在构图上虽与古人相似，但在审美情趣上董其昌追求的是一种平淡古雅的意境和逸趣。如仿唐杨昇山水，在画法上使用没骨设方法，摒弃了原作者金碧山水的华丽浓艳，继承了其中的古拙和典雅，寓丰富而鲜艳的色彩于平稳和谐的色调之中，笔法精妙秀雅，笔致轻松生动，从而使画面传达出一种平静而不淡泊、明媚而不躁动的美感，具有董氏自己的特点。又如米友仁芾画潇湘烟雨之景，以董、巨笔法皴染山石，用笔沉着稳重，通过墨色干湿浓淡的变化烘染出远山近水的空间感以及烟云雾气的变化。树木及房屋用笔多变化，墨色酣畅淋漓，层次丰富。这种董其昌笔下的米家山水，平淡之中更见秀雅。其他几开山水画同样反映了董其昌所追崇的文人画情趣，均以董源、巨然为归依。在仿古山水画中，他尝试运用各种不同的绘画形式诠释古法，同时表现出对于古法的继承和发展，从而阐述了自己的审美观，这是他创作众多仿古山水画最为重要的意义。此外，此件作品对开中董其昌的题记对于人们认识董其昌的艺术同样具有重要的史料价值。",[23,194,24,25,3559,177,7,173,3560,29,1273,176,31,151,34,1169,3561,809,3562,37,1754],"山水画","文人画","近树","坡岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1d5fcdccb54e4ad4c6519be4ed88cbc.jpg","纸本，水墨和设色","每开纵26.3厘米，横25.5厘米。",[181,45],{"id":3568,"slug":3569,"title":3570,"dynasty":76,"author":3571,"museum":191,"description":3572,"tags":3573,"thumbUrl":3575,"material":123,"size":3576,"collection":181,"collections":3577,"showCount":3542,"zanCount":2368,"manualWeight":48,"mainColor":94},214285,"fang-fan-kuan-shan-shui-tu-tang-dai-214285","仿范宽山水图","唐岱","唐岱（1779-1853）是清代著名的画家，他擅长仿范宽山水画，其作品被视为中国画史上的杰出代表作。\n\n唐岱的画风受到范宽的影响，他追求写实，注重山水造型的和谐美。他在画山水的同时，还注重人物的写实，将人物融入山水之中，使作品更加生动。\n\n唐岱的代表作有《山水图》、《松鹤楼图》、《赏鸟图》等。这些作品展现了他对山水的深刻理解和传统山水画的精湛技艺。他的作品常常被收藏家所喜爱，具有很高的收藏价值。",[194,24,25,226,7,29,177,105,212,30,37,34,1273,686,3574,808,38],"亭子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3962d8e255212dd550a88ad89458204f.jpg","287.2x155.2",[181],{"id":3579,"slug":3580,"title":3581,"dynasty":76,"author":257,"museum":316,"description":3582,"tags":3583,"thumbUrl":3586,"material":599,"size":600,"collection":139,"collections":3587,"showCount":3588,"zanCount":2368,"manualWeight":48,"mainColor":49},288183,"mu-dan-yu-mao-tu-ye-yi-ming-288183","牡丹与猫图页","画面以工笔细绘庭院小景，蜷卧的白猫团作软雪，顶间墨斑与尾尖玄色相映，将睡梦憨态勾勒得灵动传神，似能轻闻浅鼾。旁侧牡丹柔瓣层叠，晕染出匀净粉白，枝叶舒展间带着温婉柔媚，古拙湖石皴擦苍劲，刚柔互衬晕开雅致意趣。整体色调清和古雅，绢底肌理晕开淡旧古韵，将庭院午后悠然静谧的闲情尽数铺展，笔意细腻写实，把日常小景绘得诗意悠然。",[23,24,28,7,292,745,3584,3585],"湖石","静谧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd65baef04b6a9c9fcdd55cfc5d2c2c7.jpg",[],370,{"id":3590,"slug":3591,"title":3592,"dynasty":76,"author":3593,"museum":20,"description":3594,"tags":3595,"thumbUrl":3597,"material":770,"size":3598,"collection":90,"collections":3599,"showCount":3600,"zanCount":889,"manualWeight":48,"mainColor":94},236307,"pu-tang-qiu-yan-zhou-yun-bing-236307","蒲塘秋艳轴","恽冰","荷，是南方最常见的水生植物，以历代文人墨客吟之以诗，形之以画。作者以写实的手法，成功地刻画了蒲塘秋日的丽景：碧水之上萍藻点点，绿荷盈盈。\n荷花在荷叶的衬托下，以含苞、初绽、怒放的三种生命形态展示着自然美。整幅运用仿恽南田笔意的没骨法，萍藻以色彩直接点就，显现出灵秀生动的物性。荷花以粉红色点染花尖，旋即以清水迅速晕开，色阶层次丰富，色调深浅过度自然，真实地展现出花瓣清淡雅丽之美以及荷花“出淤泥而不染，濯清涟而不妖”的内在神韵。\n恽冰，字清於，号浩如，别号兰陵女史，亦署南兰女子；卒年不详，武进（今江苏常州）人。清代乾隆、嘉庆、道光年间深得家传的一位女画家，诸生恽钟隆次女，恽南田族玄孙女。善花果，芊绵蕴藉，用粉精纯，作已辄题小诗，名著吴中。乾隆初，江苏巡抚君继善以恽冰画进呈孝圣太后，乾隆帝题诗嘉奖。",[24,25,226,28,7,83,228,136,137,720,3596],"水生植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9622bb894e71ccc81a2bebb607fb57db.jpg","纵126.41cm 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","描画了一位虬须戴巾、腰插马鞭的奚官准备出外放牧的情景。主题明瞭，情节简单，图中黑白双马，奚官虬髻戴头巾，手执缰缓行。此图线条纤细遒劲，勾出马的健壮体形，黑马身配朱地花纹锦鞍，更示出其神彩；人物衣纹疏密有致，结构严谨，用笔沉着，神采生动。",[23,24,194,25,28,7,106,150,746,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8144ec5912ae9e8da1db7870cd9b68a.jpg","纵27.5cm，横34.1cm",[44,163],{"id":3687,"slug":3688,"title":3689,"dynasty":76,"author":3593,"museum":20,"description":3690,"tags":3691,"thumbUrl":3692,"material":638,"size":139,"collection":90,"collections":3693,"showCount":3694,"zanCount":918,"manualWeight":48,"mainColor":94},236979,"zi-teng-yue-ji-zhou-yun-bing-236979","紫藤月季轴","恽冰，清代乾隆、嘉庆、道光年间深得家传的一位女画家，生卒年不详。字清於，号浩如，别号兰陵女史，亦署南兰女子。武进（今江苏常州）人。诸生恽钟隆次女，恽南田族玄孙女。善花果，芊绵蕴藉，用粉精纯，作已辄题小诗，名著吴中。乾隆初，江苏巡抚君继善以恽冰画进呈孝圣太后，乾隆帝题诗嘉奖。",[24,25,226,7,28,83,135,629,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F374a2ed75db25d5c170942d267887b07.jpg",[90],360,{"id":3696,"slug":3697,"title":3698,"dynasty":76,"author":3061,"museum":20,"description":3699,"tags":3700,"thumbUrl":3702,"material":123,"size":3703,"collection":44,"collections":3704,"showCount":3694,"zanCount":774,"manualWeight":48,"mainColor":49},220398,"shi-nv-zan-hua-tu-jin-ting-biao-220398","仕女簪花图","图中精致的家具、富丽的陈设所构筑出的典雅高贵的环境，表明此图表现的是宫廷女子日常生活的景象。梳妆打扮是贵族妇女每日生活中的重要内容之一，对此，她们不敢有丝毫的怠慢。图绘晨起的女子对镜理妆的情景。她为了取得良好的照镜角度，不禁起身而立，双目注视着桌上的铜镜，同时，左手缓缓地往云鬓上插玉簪。情节生动，人物举止自然，显示出作者细致入微的观察力和准确传神的艺术表现力。\n图中女子杏脸桃腮，皓齿朱唇，身段婀娜多姿，富于曲线变化，体虚力弱中显现出娇柔典雅的娟秀气，体现出清代仕女画清新俊秀的时代特征。人物衣纹用笔顿挫转折，线条遒劲刚健，与以界画方式表现的家具及室内装饰物所采用的守规守矩、见棱见角的线条相互呼应，笔墨格调于统一中显现出所绘物象不同的质感。此幅构图颇具机巧，近景为全身像的簮花女子，中景系若隐若现的理书侍女，远景是含烟带雾的翠竹一隅。繁复的画面，既未掩簪花的创作主题，又通过近、中、远三景的自然展现加强了画幅的立体、纵深效果，从而在有限的画面上扩展出无限的空间。",[23,28,7,106,59,229,63,64,84,278,3701],"室内陈设","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F836624fe83b39d31a2d2db2d60908583.jpg","纵223厘米，横130.5厘米",[44,45],{"id":3706,"slug":3707,"title":3708,"dynasty":99,"author":3709,"museum":191,"description":3710,"tags":3711,"thumbUrl":3713,"material":123,"size":3714,"collection":90,"collections":3715,"showCount":3694,"zanCount":918,"manualWeight":48,"mainColor":94},219412,"hua-niao-zhou-zhao-shou-219412","花鸟轴","赵寿","画面布局疏朗空灵，留白处似有清风徐来，漾开淡远意韵。山石皴法古拙，肌理如岁月镌刻，托举柔婉花枝与挺秀竹影。鸟羽覆墨褐光泽，喙带明黄，静立枝头凝望着白花——花瓣层叠如绢，蕊心浅晕鹅黄，与叶间红果相映成趣。水仙叶片舒展如带，花姿清雅；竹枝疏斜，添萧散之态。细腻笔触勾勒生机，淡雅色调晕染文人逸致，花鸟相依、石竹为伴，静谧中藏灵动意趣，仿佛能听见枝头轻啼，嗅到花间淡香，于方寸间尽显自然与人文交融的雅致。",[24,28,7,226,83,209,62,898,3712,263],"竹子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13055a8e50fdc8f77b496181a0f0a5cb.jpg","103.8x49.2",[90],{"id":3717,"slug":3718,"title":3719,"dynasty":99,"author":3720,"museum":78,"description":3721,"tags":3722,"thumbUrl":3723,"material":123,"size":139,"collection":44,"collections":3724,"showCount":3694,"zanCount":5,"manualWeight":48,"mainColor":49},218253,"shi-nv-juan-du-jin-218253","仕女卷","杜堇","长卷铺展间，亭台花木错落，数十位仕女于其间各展风姿。她们衣袂翩跹，眉目温婉，或倚栏低语，或临案抚琴，或捧卷凝思，或嬉戏于阶前竹下。笔墨细腻处，衣纹流转如行云，发饰精巧似蝶落；设色淡雅间，朱红轻点裙裾，墨绿晕染枝叶，层次隐现。庭院深深，竹影婆娑，山石静立，将闺阁的闲适与雅致悄然收纳。人物互动自然生动，仿佛能听见轻声笑语，嗅到草木清芬。整幅作品以流畅线条勾勒温婉神韵，用舒缓节奏铺陈宁静时光，尽显古代仕女生活的诗意与从容。",[23,24,25,26,28,7,106,59,107,115,278,1364,34,176,280,409],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfa7f600640a884b3f3a55ef2144af81.jpg",[44],{"id":3726,"slug":3727,"title":3728,"dynasty":76,"author":698,"museum":101,"description":3729,"tags":3730,"thumbUrl":3731,"material":88,"size":702,"collection":139,"collections":3732,"showCount":3694,"zanCount":889,"manualWeight":48,"mainColor":94},216256,"jing-fu-si-qi-dong-jing-tu-4-qian-wei-cheng-216256","景敷四气冬景图-4","此套《景敷四气》冬景图，是清乾隆时期画家钱维城的作品。此套画册共含十二帧，纯以水墨为之或薄施淡色擦染，构图简练，自出机杼。运笔较为多样，笔法松秀，墨色疏淡，用色恬然，具有很显著的文人绘画的样式。最后一幅有：甲午新正月御题。钤印：乾隆鉴赏、三希堂精鉴玺、宜子孙、乾隆。\n女史观星兆自嘉，净香竞体足风华。故应俯视黄金盏，只号人间醒酒花。钤印：水月两澂明",[24,25,194,81,7,28,83,898,84,554],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8eafcb674b80771b89f70439ef4ed54a.jpg",[],{"id":3734,"slug":3735,"title":3736,"dynasty":99,"author":3307,"museum":1577,"description":3737,"tags":3738,"thumbUrl":3744,"material":529,"size":3745,"collection":90,"collections":3746,"showCount":3747,"zanCount":774,"manualWeight":48,"mainColor":49},222392,"si-ji-hua-niao-tu-xia-lv-ji-222392","四季花鸟图-夏","吕纪（1429～1505），字廷振，号乐愚，鄞（今浙江宁波）人。明代画家。\n其花鸟初师边景昭，又学林良，并广泛师法唐宋诸家，所作有工笔重彩和水墨写意两种画法，前者描绘精工，色彩富丽，法度谨严；后者粗笔挥洒，随意点染，简练奔放，富有气势和动感。其山水宗法马远、夏圭，以大斧劈皴画山石，苍劲有力。人物亦法南宋院体，衣纹线条简练顿挫。初学边景昭工笔法，亦受林良水墨法影响，后临仿唐宋诸家名迹，遂自成一体，独步当代。其花鸟画风呈两种面貌，一作工笔重彩，精工富丽，多绘凤鹤、孔雀、鸳鸯之类，辅以树木坡石、滩渚流泉背景，既具法度，又富生气。另一类为水墨写意画，粗笔挥洒，简练奔放，接近林良的风格。他亦兼善人物、山水，宗法南宋马远、夏圭画法。他的花鸟画风在当时宫廷内外影响甚大，继承者不乏其人。\n明弘治年间，入值仁智殿，官至锦卫指挥使，是明代与边景昭、林良齐名的院体花鸟画代表画家。其绘画风格可分为两大类，一类是以水墨为主略淡彩，用笔较为豪纵，另一类则是设色浓丽，用和工致，具有富丽的宫廷装饰趣味。吕纪由水墨淡色画转为工笔重设色画，更直接的原因是为了适应不同皇帝的不同口味，具体说来就是弘治皇帝朱祐樘的欣赏口味不同于他的父辈成化皇帝朱见深，从而造成了吕纪多画凤凰、雉鸡、仙鹤、孔雀、鸳鸯之类，杂以花木草石，具有生气。工笔着色与水墨写意能，并善于将两体结合。吕纪初学唐宋各家和同时代的边景昭，后形成自己的风格。他的花鸟设色鲜艳，生气奕奕，被称为明代花鸟画第一家。据说吕纪在画作上常用寓意手法对皇帝劝谏，皇帝知其用心，曾说：“工执艺事以，谏吕纪有之。”其代表作品有《新春双雉图》《桂花山禽图》《残荷鹰鹭图》《秋鹭芙蓉图》《五德大吉图》 《狮头鹅图》等。\n吕纪，1477年生，鄞州（今浙江宁波）人。字廷振，号乐愚，弘治间（1488-1505）供事仁智殿，弘治间征入宫廷，为宫廷作画，供奉仁智殿，官锦衣卫指挥。擅画临古花鸟，初学边景昭，后研习唐宋诸家名作，继承两宋“院体”，以工笔重彩，又在水墨写意方面受林良影响。\n远宗南宋院体格，廷续了黄筌工整细致的画风及钩勒笔法，并予以发扬，多以凤凰、仙鹤、孔雀、鸳鸯之类鸣禽为题材，杂以浓郁花树，画面绚丽。亦作粗笔水墨写意者，笔势劲健奔放，与林良相近，与边景昭同为明代院体花鸟画中的临古派代表。传世作品有《桂菊山禽图》《榴花双莺图》《雪景翎毛图》《浴凫图》等。除画花鸟外，偶尔也画人物山水。他主要是以工整精丽的院体传统作画，造型准确，设色鲜艳。但也能画活泼生动兼工带写的花鸟画。他的画生动，笔墨清新，是当时与边景昭、林良齐名的花鸟名家。他作画时，常以寓意手法规谏皇帝，故明孝宗曾说：“工执艺事从谏，吕纪有之”。他是与边景昭、林良齐名的院体花鸟画代表作家。《狮头鹅图》，绢本，设色。纵191厘米，横104厘米。工笔画狮头鹅，侧身曲颈回顾古梅，鹅身洁白如玉，眼睛刻划有神，形象生动。古梅干枝苍劲，生机勃勃。树下衬以太湖石、月季花，石后有双勾竹隐露，色彩艳丽，衬托出狮头鹅之白身红冠。是明代院体花鸟画的杰作。款署“吕纪”。现藏辽宁省博物馆。\n《榴花双莺图》写石榴一枝，蘩花盛开，一对黄鹂栖于枝头，一上一下，鸣啼相应，神态活泼。工笔重彩，钩勒填色，绚丽多彩为明代中期院体画的典型风格。\n相比画家，吕纪的另一个身份更令人吃惊——历经明代成化、弘治、正德三代，官至锦衣卫指挥使(秘密警察头目)。吕纪的花鸟绘画，水墨淋漓，气势宏大，甚至是日本屏风画的来源之一。《柳荫双鸭图》和《幽涧双鹭图》曾在日本出版的《听松清鉴》中著录，郑振铎在上世纪四十年代遍访流传在海外的中国名画，并在其所编的《域外所藏中国名画》中收录。吕纪的两幅作品不仅是明代全景花鸟画的杰作，也是中国绘画影响日本绘画的证据代表作。",[23,24,194,2746,28,7,3739,3740,634,3741,176,3742,3743],"黄莺","野鸭","杜鹃","水岸","夏季","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47f39703be94e381648560a821fb184e.jpg","176.0×100.8",[90,45],358,{"id":3749,"slug":3750,"title":3751,"dynasty":18,"author":3752,"museum":191,"description":3753,"tags":3754,"thumbUrl":3756,"material":282,"size":3757,"collection":42,"collections":3758,"showCount":3747,"zanCount":918,"manualWeight":48,"mainColor":49},221443,"shuang-xi-tu-zhou-cui-bai-221443","双喜图轴","崔白","作品描绘出深秋时节，寒风萧瑟，枯木衰草，落叶调零，呈现出一派秋风肃杀的冷峭凄凉景象。整幅画面当中两只灰喜鹊之间，灰喜鹊与野兔之间，鸟、兽与自然环境之间，刻画的生动自然，情景交融，充分的表现出它们之间相互呼应的关系。\n画中各物在作者的笔下蠢蠢欲动，大得自然野趣",[23,24,194,25,226,28,7,83,746,2181,245,795,838,3755],"土坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb964503850a97e641885f534281620c1.jpg","纵193.7厘米、横103.4厘米",[42,90,45],{"id":3760,"slug":3761,"title":3762,"dynasty":1939,"author":257,"museum":132,"description":3763,"tags":3764,"thumbUrl":3767,"material":123,"size":139,"collection":90,"collections":3768,"showCount":3769,"zanCount":1233,"manualWeight":48,"mainColor":49},216908,"lu-yan-fu-rong-tu-yi-ming-216908","芦雁芙蓉图","芦雁芙蓉图是一幅佚名的隋代画作，它的创作时间大约在6世纪中期。这幅画的主题是芦雁和芙蓉，被认为是隋朝时期最优秀的花卉画之一。\n\n芦雁是一种常见的水鸟，在古代中国文学中常被描写为优美、品性高尚的鸟类。芙蓉是一种常见的花卉，被认为是一种具有极高艺术价值的植物。在这幅画中，芦雁和芙蓉被描绘得栩栩如生，使用的颜色十分丰富，线条流畅，构图巧妙，是一幅充满美感的艺术品。\n\n芦雁芙蓉图被认为是隋朝时期花卉画的代表作之一，其创作背景和风格反映了当时的文化、艺术特点。它对后世的艺术家们也产生了深远的影响。",[23,24,7,28,226,83,3765,634,1980,262,263,1530,84,264,3766],"雁","动物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a48aa75a4e73cbfea994365e8bccc65.jpg",[90],356,{"id":3771,"slug":3772,"title":3773,"dynasty":99,"author":3774,"museum":539,"description":3775,"tags":3776,"thumbUrl":3777,"material":500,"size":3778,"collection":90,"collections":3779,"showCount":3780,"zanCount":2368,"manualWeight":48,"mainColor":94},222369,"mu-dan-tu-zhou-lu-zhi-222369","牡丹图轴","陆治","画卷绘折枝牡丹二枝，枝头各自开放花朵，棕色在前，金色略被遮挡，花朵硕大饱满，花瓣层层叠叠，中间配以鹅黄花蕊。技法上，花朵以墨晕染，再以鹅黄点缀花蕊，绿叶细笔深绿构绘叶脉，后以淡绿晕染，清新脱俗。\n陆治，字叔平，明代画家。因居包山，自号包山。善行、楷，尤通绘事，点染花鸟竹石清新自然，山水受吴门派影响，也吸取宋代院体和青绿山水之长，用笔劲峭，景色奇险，意境清朗，自具风格。",[23,24,25,226,7,28,292,210,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd605f4b1d772948191c493247cd631c3.jpg","31.7x102.8厘米",[90,45],354,{"id":3782,"slug":3783,"title":3784,"dynasty":18,"author":391,"museum":316,"description":3785,"tags":3786,"thumbUrl":3787,"material":599,"size":600,"collection":139,"collections":3788,"showCount":3789,"zanCount":1379,"manualWeight":48,"mainColor":49},289007,"mo-zhang-xuan-guo-guo-fu-ren-you-chun-tu-zhao-ji-289007","摹张萱虢国夫人游春图","宋徽宗赵佶（1082年11月2日-1135年6月4日）[6]，号宣和主人，宋朝第八位皇帝（1100年2月23日-1126年1月18日在位），书画家。宋神宗第十一子、宋哲宗之弟。先后被封为遂宁王、端王。哲宗于元符三年（1100年）正月病逝时无子，太后向氏于同月立赵佶为帝，次年改年号“建中靖国”。\n宋徽宗即位之后启用新法，但是宋徽宗重用的蔡京等打着绍述新法的旗号，无恶不作，政治形势一落千丈。过分追求奢侈生活，在南方采办“花石纲”，在汴京修建“艮岳”。宋徽宗尊信道教，大建宫观，自称“教主道君皇帝”，并经常请道士看相算。重和元年（1118年），置道官二十六等、道职八等。宣和三年（1121年），令三京置女道录、副道录各一员，始立道学制度。在宋徽宗集团的腐朽统治下，内部农民起义风起云涌，宋江起义和方腊起义先后爆发，北宋统治危机四伏。但是宋徽宗在艺术上的造诣极高。宋徽宗对绘画的爱好十分真挚，他利用皇权推动绘画，使宋代的绘画艺术有了空前发展。他还自创一种书法字体被后人称之为“瘦金体”，他热爱画花鸟画自成“院体”。是古代少有的艺术型皇帝。\n靖康元年（1126年），金军兵临城下，受李纲之言，禅让给太子赵桓，靖康二年（1127年）三月，与钦宗赵桓被金人掳去。金天会十三年（1135年）死于五国城，时年54岁。南宋绍兴十二年（1142年）三月，棺椁被迎回南宋，葬于绍兴永佑陵。",[23,194,24,26,7,106,150,59,28,105,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfb526d78da24aa77a7005eb850f4b55.jpg",[],352,{"id":3791,"slug":3792,"title":3793,"dynasty":99,"author":100,"museum":191,"description":3794,"tags":3795,"thumbUrl":3796,"material":1307,"size":3797,"collection":181,"collections":3798,"showCount":3799,"zanCount":918,"manualWeight":48,"mainColor":94},222196,"xian-shan-lou-ge-tu-zhou-chou-ying-222196","仙山楼阁图轴","仇英此图即脱胎于南宋“院体”，又兼容文人画之长，具雅逸之致。\n画面青山白云，翠竹苍松，水阁临流，阁中二人对坐观望山景。特写的景致，劲遒的松枝，坚峭的山石，劲利的用笔，以及小斧劈皴等，都存“院体”遗规。\n而构图左右对称，趋于平衡，突破边角之景；用线细劲而含蓄秀润，少刻露之痕；皴法中夹以类似折带、乱柴皴的短斫，显得随意灵动；墨色轻淡融和，色调明快。\n如杨翰在《扫石轩画谈》中所评：“笔笔皆如铁丝，有起有止，有韵有情，亦多疏散之气，如唐人小楷、令人探索无尽。”\n画面上方楷书为陆师道所提，乃明代官员，师承文徵明，严整恭谨的概述与仇英的画面配合的相得益彰。",[23,24,25,226,104,28,7,29,107,176,34,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccc6047fc5802e4c930601cc55e6e5e9.jpg","110.5x42.1",[181,45],351,{"id":3801,"slug":3802,"title":3803,"dynasty":869,"author":870,"museum":3804,"description":3805,"tags":3806,"thumbUrl":3808,"material":139,"size":139,"collection":139,"collections":3809,"showCount":3799,"zanCount":918,"manualWeight":48,"mainColor":94},220597,"lian-hua-yu-long-fei-qi-bai-shi-220597","莲花与龙飞","Indianapolis Museum of Art at Newfields","枯墨勾勒荷茎与水草，苍劲老辣带着风霜质感，赭石晕染残荷，铺展出秋塘的疏淡萧瑟。朱砂点就的红莲，浓艳醒目，在枯寂里绽出鲜活暖意，稚拙圆润的莲蓬，藏着乡野间的朴拙意趣。翅羽轻颤的小虫寥寥数笔便形神兼具，翩然灵动，和沉郁静穆的残荷形成鲜明动静反差。\n\n整幅画以少胜多，大写意笔墨里藏着对自然的细微体察，将秋塘的清寂生机揉合一处，平淡天真间尽是悠然意韵。",[23,24,173,7,498,226,212,136,720,635,137,3807],"花梗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbede3ed88faf28cd4881cd596424cf78.jpg",[],{"id":3811,"slug":3812,"title":1938,"dynasty":1939,"author":1940,"museum":20,"description":3813,"tags":3814,"thumbUrl":3815,"material":67,"size":3816,"collection":2065,"collections":3817,"showCount":3818,"zanCount":1233,"manualWeight":48,"mainColor":94},221049,"you-chun-tu-zhan-zi-qian-221049","图中展现了水天相接的情形，上有青山叠翠，湖水融融，也有士人策马山径或驻足湖边，还有美丽的仕女泛舟水上，熏风和煦，水面上微波粼粼，岸上桃杏绽开，绿草如茵。\n画家用青绿重着山水，用泥金描绘山脚，用赭石填染树干，遥摄全景，人物布局得当，开唐代金碧山水之先河，在早期的山水画中非常具有代表性。\n该画是展子虔传世的唯一作品，也是迄今为止存世最古的画卷。\n画卷首段近处露出倚山俯水一条斜径，路随山传，自到妇人立于竹篱门前才显得宽展。\n山此向上，山限岸侧，树木掩映，通过小桥，又是平坡，布篷游艇，容于其中。\n下端一角，便是坡陀花树，围绕山庄。\n描绘出明媚春光和游人在山水中纵情游乐的神态。\n各种花树点满山野，桃红柳绿，相映成趣。\n中国古代山水画的发展，到了隋代出现了较大的变化，它不再作为人物故事画背景的一部分，而是从前者中分离出来，成为一门独立的画科。\n在此之前，依附于人物故事画的山水画在表现方法上有很大的局限性，按照古人的说法就叫做“人大于山”“水不容泛”，说明在表现自然景物与人物或其他物件的关系上，以及远近、层次等方面部存在着明显的不足，画家还没有找到适宜的艺术表现手法，来描绘壮阔秀丽的山川形貌。\n《游春图》即反映了山水画处于变化发展阶段特点。\n历史上对这幅作品是否出于展子虔之手，仍持有争议。\n有唐中叶说、有疑北宋摹本，张伯驹则保留其为展子虔原作的观点。\n对《游春图》的作者及创作年代提出疑问的代表人物是文学家沈从文。\n早在1947年,他就撰写了《读展子虔》的文章，虽然标题中肯认了《游春图》的作者是展子虔,但文章通篇都是在质疑这一作者归属。\n在文中，他称“半年中有机会前后看过这画八次”，认定展子虔作此画缺乏证据。\n他在文中交待，因为前代关于绘画作品的著录,包括《贞观公私画史》《宣和画谱》等都没有提到展子虔作此作品的事情。\n另外，画中男子的衣着、女人的坐式，都与隋代人的习俗不太相符，还有装裱等种种迹象也与当时情形不合。\n历史资料证实，人们是在元、明朝时才开始认定展子虔作《游春图》的。\n所以，沈从文认为，此画可能不是展子虔所作,也不是隋代作品。另外，也有人根据画中人物头上戴的幞头、建筑部件形制等，论证它并非隋代原作，而是北宋摹本。\n该图以全景方式描绘了广阔的山水场景，图中除描绘了山水树石外，还描绘了白云出岫，杂以楼阁、院落、桥梁、舟揖，并点缀着踏春赏玩的人物车马，展示出一幅杏桃绽开、绿草如茵、水波粼粼，春风荡漾的春日融融之景象。",[23,24,25,26,27,7,29,106,107,108,109,245,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96a9f8ced13bacd0b0f77ddd3245cb51.jpg","纵43厘米，横80.5厘米。",[2065],350,{"id":3820,"slug":3821,"title":3708,"dynasty":18,"author":3822,"museum":191,"description":3823,"tags":3824,"thumbUrl":3829,"material":123,"size":3830,"collection":90,"collections":3831,"showCount":3818,"zanCount":1003,"manualWeight":48,"mainColor":49},219395,"hua-niao-zhou-xiao-rong-219395","萧瀜","旧传为十一世纪辽画家萧瀜所作，但构图与北京故宫所藏吕纪〈桂菊山禽〉类似。加之在右幅石块上发现一「四明吕廷振印」之残印，推论此幅作品可能实为吕纪作品。图中描绘三只山鹧鸟俯盼于激流旁的岩石。上方舞动的竹叶的竹干，与下方的流水、及石上与空中鹊鸟的动向相互应和，形成一种吕纪花鸟特有的优雅却又互动频繁的构图。其中山鹧俗称拖尾练，常被误认为绶带鸟，而其中「绶」与「寿」谐音，而「竹」与「祝」谐音，用以表现祝寿之吉祥意。",[23,194,24,83,226,7,227,109,686,245,3825,3826,84,3827,3828],"山鹧","鹊鸟","祝寿","吉祥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84f2fe32238fe90f0171dc8b50979108.jpg","145x83",[90],{"id":3833,"slug":3834,"title":3835,"dynasty":76,"author":658,"museum":191,"description":659,"tags":3836,"thumbUrl":3839,"material":88,"size":665,"collection":139,"collections":3840,"showCount":3841,"zanCount":1233,"manualWeight":48,"mainColor":94},219884,"er-shi-si-fan-hua-xin-feng-tu-tu-mi-yu-lian-hua-dong-gao-219884","二十四番花信风图-荼蘼与楝花",[24,25,81,7,28,83,3837,3838,210,212,86],"荼蘼花","楝花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6f51c412db2e14d03f85201b5498c68.jpg",[],347,{"id":3843,"slug":3844,"title":3845,"dynasty":76,"author":257,"museum":191,"description":3846,"tags":3847,"thumbUrl":3851,"material":123,"size":3852,"collection":181,"collections":3853,"showCount":3854,"zanCount":48,"manualWeight":48,"mainColor":49},218493,"fang-zhao-meng-fu-que-hua-qiu-se-tu-yi-ming-218493","仿赵孟頫鹊华秋色图","平野旷远，秋气澹然。疏林错落于汀渚间，枯藤缀红，苍松凝翠，枝桠横斜藏萧瑟之韵；浅滩细草萋萋，水鸟翩跹，添野趣几分。左畔圆丘如覆，右峰尖峭似锥，淡墨晕染出层峦之态，远岫含烟，空蒙悠远。笔墨承古意，设色雅淡，将秋郊的旷疏与静谧凝于绢素。画面空灵澄澈，无喧嚣之扰，尽显宋元山水的悠然之境，似可闻风过林梢、水鸟轻啼，令人心驰神往。",[23,24,25,194,26,105,7,177,29,34,3848,1980,3849,3850,795],"平野","孤山","红叶树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76414e091a2fe78c9e55723e023ebb19.jpg","28.7x146cm",[181],346,{"id":3856,"slug":3857,"title":3858,"dynasty":76,"author":77,"museum":20,"description":3859,"tags":3860,"thumbUrl":3862,"material":88,"size":3863,"collection":90,"collections":3864,"showCount":3854,"zanCount":1233,"manualWeight":48,"mainColor":94},216084,"ying-su-hua-tu-yun-shou-ping-216084","罂粟花图","此图以恽寿平出古入新所创立的“没骨”法描绘盛开的罂粟花。花瓣、叶不用墨笔勾勒轮廓线，而全以色彩点染而成，颇具摇曳多姿的娇娆之美，达到了他所追求的色、光、态、韵俱佳的艺术境界。恽氏的这种注重形似，但又不以形似为满足的没骨写生法，不仅博得清皇室的喜爱，成为清代院体花鸟的正宗，同时也赢得了市民阶层的喜好。不过，以卖画为生的他，生前其画作并没有受到市场的追捧，58岁病故时，因家贫无力治丧，是王翚为他料理的殡事。",[23,1260,24,83,82,7,3861,212,86],"罂粟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52253e14b0a8d4b0eee043bf72225968.jpg","纵16.2厘米，横50.5厘米",[90],{"id":3866,"slug":3867,"title":3868,"dynasty":76,"author":3869,"museum":20,"description":3870,"tags":3871,"thumbUrl":3872,"material":638,"size":3873,"collection":181,"collections":3874,"showCount":3875,"zanCount":2368,"manualWeight":48,"mainColor":94},220330,"huang-shan-tu-ce-hong-ren-220330","黄山图册","弘仁","《黄山图册》共六十开，装裱成六册，又有题跋一册。可以说是弘仁在黄山纪游写生的最集中展现，在他的每一幅作品上都题写了纪游写生的地名，著名的有天都峰、莲花庵、小心坡、观音岩、一线天、光明顶、白龙潭、慈光寺、文殊院、桃花沟等等。",[23,24,25,81,7,29,1133,230,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a28d1fd70bd633868d57292ab972da0.jpg","21.5x18.3厘米",[181],344,{"id":3877,"slug":3878,"title":3879,"dynasty":189,"author":1730,"museum":3880,"description":3881,"tags":3882,"thumbUrl":3886,"material":1319,"size":3887,"collection":163,"collections":3888,"showCount":3889,"zanCount":1379,"manualWeight":48,"mainColor":2504},219166,"han-lin-zhong-ting-tu-dong-yuan-219166","寒林重汀图","日本兵库县黑川文学院","此图皴笔粗,苔点则兼用渴笔、焦黑、乱锋为素的空处相掩映,黑白对比变化多端。垂柳分列面相之,而运笔迅疾,力量饱满。除长披麻外,复于岸之顾盼,村舍延,远景近景连成一片。此画技法高超,阴面以碎笔打点,或聚或散,不仅线、点的墨色和乃难得的绝世佳作。",[23,24,173,7,177,29,3883,1734,3884,34,35,108,3885],"寒林","水域","平地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06d474576e331ddcfa77cd48b6650a19.jpg","纵181.5、横116.5厘米",[163],343,{"id":3891,"slug":3892,"title":3893,"dynasty":189,"author":3894,"museum":191,"description":3895,"tags":3896,"thumbUrl":3897,"material":123,"size":3898,"collection":90,"collections":3899,"showCount":3889,"zanCount":1003,"manualWeight":48,"mainColor":49},216758,"zhu-shi-jin-jiu-tu-huang-ju-cai-216758","竹石锦鸠图","黄居寀","古木巨石旁，荆竹丛生，一弯溪水潺湲流过。一群斑鸠悠闲地在此休憩：有的展翅翱翔，有的在树枝上梳理羽毛作日光浴，有的低首翘尾地站在溪旁饮水，有的站在巨石上，摆出鞠躬、鼓颈的姿势，向下方的斑鸠“咕－咕－咕－”地鸣唱示好。\n斑鸠俗称“粉鸟”，因为颈部羽色黑底白点有若珍珠，因此也名为“珠颈斑鸠”或“锦鸠”。斑鸠们平常多栖息在空旷的平野或树林，但因生性机敏，接近相当不易。在这幅作品里，画家以精妙的画笔捕捉这一幕斑鸠群集的画面，至为难得。此外，纵横乖张的古树枝丫、浓淡对比强烈的斑驳巨石、虚渺无际的溪畔，更为这幕自然增添不少奇幻诡谲的气氛。",[23,24,25,83,28,7,227,379,245,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb10bc776e6b793817d89e43e76fbdf3.jpg","23.6 x 45.7公分",[90],{"id":3901,"slug":3902,"title":3903,"dynasty":54,"author":257,"museum":191,"description":3904,"tags":3905,"thumbUrl":3906,"material":123,"size":3907,"collection":44,"collections":3908,"showCount":3909,"zanCount":889,"manualWeight":48,"mainColor":49},223394,"tang-ren-gong-le-tu-zhou-yi-ming-223394","唐人宫乐图轴","图描写後宫嫔妃十人，围坐於一张巨型的方桌四周，有的品茗，也有的在行酒令。中央四人，则负责吹乐助兴。所持用的乐器，自右而左，分别为筚篥、琵琶、古筝与笙。旁立的二名侍女中，还有一人轻敲牙板，为她们打著节拍。从每个人脸上陶醉的表情来推想，席间的乐声理应十分优美，因为连蜷在桌底下的小狗，都未被惊扰到！\n这件作品并没有画家的款印，原本的签题标为「元人宫乐图」。仔细观察画中人物的发式，有的发髻梳向一侧，是为「坠马髻」，有的把发髻向两边梳开，在耳朵旁束成球形的「垂髻」，有的则头戴「花冠」，凡此，都符合唐代女性的装束。另外，绷竹席的长方案、腰子状的月牙几子、饮酒用的羽觞，还有琵琶横持，并以手持拨子的方式来弹奏等，亦在在与晚唐的时尚相侔。所以，现在画名已改定成「唐人宫乐图」画题《韩干呈马图》",[23,194,24,25,226,28,7,106,59,195,196,745],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb907e859af37c3582daa5bb82bd4794.jpg","48.7x69.5",[44],342,{"id":3911,"slug":3912,"title":3913,"dynasty":76,"author":3914,"museum":78,"description":3915,"tags":3916,"thumbUrl":3917,"material":88,"size":3918,"collection":181,"collections":3919,"showCount":3909,"zanCount":918,"manualWeight":48,"mainColor":94},214612,"shan-shui-san-ye-wang-jian-214612","山水散页","王鉴","王鉴（1598-1677），明末清初画家。字玄照，后改字元照、圆照、元炤，号湘碧，自称染香庵主，江苏太仓人。王世贞孙。与王时敏为子侄行，因年岁相若，互相砥砺。家藏名迹亦相埒。工画山水，受董其昌影响，追踵董源、巨然，多拟仿宋元诸家，善于青绿设色，皴染兼长。风格华润，纤不伤雅，但较平实。当时和王时敏被推为画坛领袖。后人把他与王时敏、王翚、王原祁合称“四王”，加吴历、恽寿平亦称“清六家”。",[24,194,25,7,27,177,29,685,262,378,37,176,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F879022b3487ec1ad455bfe24af31707a.jpg","纵34.8厘米，横29.9厘米",[181],{"id":3921,"slug":3922,"title":3923,"dynasty":99,"author":170,"museum":316,"description":3924,"tags":3925,"thumbUrl":3926,"material":500,"size":139,"collection":139,"collections":3927,"showCount":3928,"zanCount":1379,"manualWeight":48,"mainColor":94},234135,"ting-quan-tu-juan-shen-zhou-234135","听泉图卷","明代中期，在苏州地区活跃着一批画家，他们在“浙派”风靡一时之后，继承元末江南地区文人画的传统，创立具有时代气息的文人画新潮流，后世称之为“吴门画派”，沈周是这一画派的创始人。\n\n沈周，长洲(今江苏苏州)相城(近阳澄湖)人。出身于文人世家，祖父澄、伯父贞吉、父恒吉，都未应科举，依靠开垦和租赁田地为生。沈周生活的时代，明王朝的政权已得到巩固，社会趋于稳定，经济处于上升阶段，沈周对于汉族统治的朱明王朝是采取拥护态度的。他一生不应科举，隐身乡里，其实是惮于明初治吏的峻刻和畏惧官场争斗的险恶，所采取的一种韬晦保身的处世方式。沈周以儒家道德规范律己，对父母兄弟尽孝悌之道，为人诚挚宽厚，乐于济人之难，善于奖掖后进，他结交的朋友不少是著名的诗人、书画家，又和一些朝廷显宦保持着亲密的友谊。沈周高洁的人品、恬淡温和的性格以及诗文书画的广博才能，深受社会各阶层人士的尊敬，誉重吴中，流播四方，自然地成为吴门艺苑的宗师",[23,194,24,25,26,173,7,29,109,175,106,174,176,177,227,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12fadc37a4d3a1f7171bd687b0589c04.jpg",[],341,{"id":3930,"slug":3931,"title":365,"dynasty":99,"author":170,"museum":191,"description":3932,"tags":3933,"thumbUrl":3934,"material":638,"size":3935,"collection":90,"collections":3936,"showCount":3928,"zanCount":1379,"manualWeight":48,"mainColor":94},222106,"yu-lan-shen-zhou-222106","沈周（1427-1509）明代杰出画家。字启南，号石田，又号白石翁、玉田生、有居竹居主人等。长洲（今江苏苏州）人。性情敦厚、博学多才，长于文学，亦工诗画，善画山水、花卉、鸟兽、虫鱼，皆极神妙。常草草点缀，即得意趣。亦常题诗词于画上，当时人称他为“二绝先生”。画宗黄大疾、吴镇，自成一家笔法。亦工墨笔花鸟，和他的学生文征明并称为“吴派”两大家。又与文征明、唐寅、仇英称“明四家”。他每画一画，落笔点苔，绝不苟且。他能从多方面摹习古人，又加自己的创造，更参以二米的笔趣，善用粗笔，圆润挺劲，厚重凝炼。出入于宋元名家，创作态度极为慎重。",[23,194,24,25,81,173,7,365,353,212,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F968bf12a3ae80ff7ce65c5d988345a5e.jpg","34.8×56.5厘米",[90,45],{"id":3938,"slug":3939,"title":3940,"dynasty":99,"author":170,"museum":316,"description":3941,"tags":3942,"thumbUrl":3943,"material":599,"size":600,"collection":139,"collections":3944,"showCount":3945,"zanCount":1379,"manualWeight":48,"mainColor":49},287403,"qing-lv-shan-shui-tu-zhou-shen-zhou-287403","青绿山水图轴","沈周（1427年11月21日—1509年8月2日），字启南，号石田，晚号白石翁，明代绘画大师，书法家，文学家，医学家，长洲（今江苏苏州）人。\n沈周出身富裕的书香绘画世家，少时师从陈宽学习诗文， 青年时期师从伯父沈贞，还有刘珏、杜琼、赵同鲁等学习绘画。其一生家居读书，吟诗作画，优游林泉，追求精神上的自由，从未应科举征聘，始终过着田园隐居生活。\n沈周与文徵明、唐寅、仇英并称“明四家”，是吴门画派的创始人，他师法元四家，并上溯董源、巨然，同时旁涉南宋院体画和浙派等，形成了独特的个人风格，在元明以来文人画领域有承前启后的作用。传世作品有《庐山高图》《魏园雅集图》《仿黄公望富春山居图》《沧州趣图》等。著有《石田集》《石田稿》《石田文钞》《石田咏史补忘录》《客座新闻》《续千金方》等，但大多散佚。",[23,194,24,226,27,7,29,108,109,353,176,106,1049,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff872528bc3534a2d31e5560b7703b289.jpg",[],340,{"id":3947,"slug":3948,"title":131,"dynasty":76,"author":77,"museum":316,"description":955,"tags":3949,"thumbUrl":3951,"material":139,"size":959,"collection":139,"collections":3952,"showCount":3945,"zanCount":918,"manualWeight":48,"mainColor":94},233896,"hua-hui-ce-yun-shou-ping-233896",[24,25,194,81,7,82,83,3950,783,212,86,178],"绣球花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1de138b415462f9c2198e7b482bf75a8.jpg",[],{"id":3954,"slug":3955,"title":3956,"dynasty":99,"author":1782,"museum":191,"description":3957,"tags":3958,"thumbUrl":3961,"material":67,"size":3962,"collection":181,"collections":3963,"showCount":3945,"zanCount":48,"manualWeight":48,"mainColor":49},222033,"chun-han-tu-dai-jin-222033","春酣图","《春酣图》纵长近三公尺，是传世戴进作品当中，尺幅最大的一件立轴。但是从叙事性、构图或是笔墨特征来判断，此画可能不是戴进的真迹，而应该是活动于正德到嘉靖年间之浙派画家郑文林。图中描绘春日祭祀村民醉酒而归之景。画中主山一分为二高耸入云，在此主山堂堂气势磅礡看似严肃的大山水下，画家以松树和蜿蜒的山径切割成的各个小画面空间中展现一组组人间戏剧，彼此之间眼神与动作，互动频繁多样，有一种充满俚俗的市井趣味。",[23,24,194,29,7,177,106,1273,108,109,174,353,3959,176,37,3960,796],"春景","行旅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3790bef21f3bd884f29002f2c7fcfc15.jpg","纵291.3cm，横171.5cm",[181,45],{"id":3965,"slug":3966,"title":3967,"dynasty":18,"author":1046,"museum":191,"description":3968,"tags":3969,"thumbUrl":3970,"material":3971,"size":3972,"collection":139,"collections":3973,"showCount":3974,"zanCount":2368,"manualWeight":48,"mainColor":49},231408,"zao-chun-tu-guo-xi-231408","早春图","《早春图》采全景式构图，上下留有天地，远、中、近景则巧妙地布置于“十字形”架构内。\n主山画于中轴上方，山石先以圆笔勾勒轮廓，中锋、侧锋并用，再于阴暗面以湿笔皴擦，层层淡墨反复地渲染，强化量体感，这种技法俗称“云头皴”、“卷云皴”、“乱云皴”或“鬼面皴”，能真实反映沉积岩地貌，也可使画面产生如云雾般变幻的效果，很适合描写初春乍暖还寒，淡冶如笑的山野景象。山腰部分则隐于烟岚中，如临深山幽壑，更显主峰雄伟气势，是为“高远”。\n树丛委以虚、实来营造前后距离，腰间右侧的亭台楼阁，此时环伺于水墨山水中，其下山涧瀑布流泉，与左侧缓坡谷地融雪化成的涓涓源水，蜿蜒地流向前方的江湾，显示水流绵长及山坳纵深。而中景左方是一片旷野河谷，虚渺的远山咫尺千里，是为“平远”，其间一行旅人正从曲涧栈道一端越过小桥，欲达彼岸。而观画者正是透过“S 形”山势引导，将视线从后方的主峰、山岚，中景的楼阁、流泉、行旅等，顺势牵引至近景，空间铺陈手法，是为“深远”。\n干长挺拔的大松伫立岩盘上，佐以蟹爪为树枝、梢末，而浑厚的“鬼面皴”大石雄踞中轴下方，有助于画面重心的稳固。而时值日暮，右方的渔樵收拾起渔网、泊舟登岸，左岸手抱婴孩的妇女及随侧稚童，也笑迎肩挑两担鱼篓的渔夫归来，邻近搭建的房舍，则是一家人准备共进晚餐，享天伦乐的居所。\n综观全幅，赋予观赏者北方大山大水的真实感受，从而能引发可行、可望、可游、可居共鸣的乐趣。",[23,24,194,25,226,173,7,177,29,808,686,34,109,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3107c7f430c4249bafcf20275e778fe2.jpg","绢本水墨","纵158.3公分，横108.1公分",[],338,{"id":3976,"slug":3977,"title":3978,"dynasty":76,"author":3979,"museum":20,"description":3980,"tags":3981,"thumbUrl":3985,"material":123,"size":3986,"collection":44,"collections":3987,"showCount":3988,"zanCount":1003,"manualWeight":48,"mainColor":49},214366,"bing-xi-tu-jin-kun-214366","冰嬉图","金昆","金昆（1734-1798）是清代著名的画家，他的作品《冰嬉图》是其代表作之一。\n\n《冰嬉图》描绘了一群人在冰上嬉戏的画面。金昆在画中运用了精细的笔墨和细腻的造型，勾勒出人物的动态感和气氛的欢乐。作品中的人物衣着艳丽，手持冰鞋、冰鞭，在冰上滑行、打闹，形成了一幅生动的冬日画面。\n\n《冰嬉图》被认为是金昆写意人物画风成熟时期的杰作，其作品在当时也受到了广泛的赏识。如今，《冰嬉图》也是收藏家们青睐的经典之作。\n\n金昆的《冰嬉图》是一幅描绘冬日活动的画作，它体现了中国传统文化中“冰上嬉戏”的理念。在中国传统文化中，冰上嬉戏是冬日的休闲活动之一，人们可以在冰上滑行、打闹，享受冬日的清新气息。金昆的《冰嬉图》不仅是一幅精美的画作，更是一首关于冬日活动的诗篇。",[23,28,7,106,107,34,3982,3983,3984,968],"旗帜","队列","冰面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff197d6b8677f087f4ec01dfab7441fea.jpg","35.2x581",[44],337,{"id":3990,"slug":3991,"title":3992,"dynasty":76,"author":77,"museum":78,"description":1143,"tags":3993,"thumbUrl":3994,"material":40,"size":3995,"collection":90,"collections":3996,"showCount":3997,"zanCount":918,"manualWeight":48,"mainColor":94},220993,"qiu-hai-tang-tu-yun-shou-ping-220993","秋海棠图",[23,24,25,83,82,7,1261,554],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09cce0beb88108cf460712c4b71d3339.jpg","42x60cm",[90,45],336,{"id":3999,"slug":4000,"title":4001,"dynasty":76,"author":4002,"museum":442,"description":4003,"tags":4004,"thumbUrl":4010,"material":123,"size":139,"collection":44,"collections":4011,"showCount":3997,"zanCount":774,"manualWeight":48,"mainColor":94},218432,"wan-guo-lai-chao-ban-hua-wang-jun-fu-218432","万国来朝版画","王君甫","祥云缭绕的宫殿之下，万国使者簇拥而至，构成喧腾热闹的朝贺图景。不同服饰的人物或携奇珍、或奏乐舞，神态各异却皆含恭谨；瑞兽与祥云交织，添几分祥瑞之气。线条工细流畅，设色明艳雅致，凝清代外交盛况于一纸。画面层次丰富而错落有致，人物繁而不乱，每处细节——使者的异域衣冠、手中珍玩器物，皆藏对盛世的期许与民间巧思。这幅图景不仅描摹外邦来朝盛景，更折射当时大国气象与文化自信，尽显传统版画的精湛技艺与深厚底蕴，让往昔荣光在纸间流转生辉。",[23,194,24,4005,4006,7,28,104,106,107,3661,4007,245,2952,280,409,4008,4009],"版画","木刻","车驾","异兽","传统绘画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F351671075a325173ad4852fd1aab53ec.jpg",[44],{"id":4013,"slug":4014,"title":4015,"dynasty":18,"author":1599,"museum":191,"description":4016,"tags":4017,"thumbUrl":4018,"material":123,"size":4019,"collection":44,"collections":4020,"showCount":3997,"zanCount":414,"manualWeight":48,"mainColor":49},215045,"tian-nv-xian-hua-tu-liu-song-nian-215045","天女献花图","本幅为「名绘集珍」册第十二幅，绘一菩萨身披璎珞，坐于华座之上，旁立比丘三人，均神情专注地看着文殊菩萨座前的天女与舍利弗。天女左手捧花盘，二指捻花，转身回首，比丘则双唇微启，二人似在对话，人物神情生动。此作原来可能为「维摩演教卷」的一部份，但因后半残损，重裱时，遂将其改为册页形式。",[23,194,24,25,260,106,28,7,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9d05d689ac3a90b6dfe91a9190be229.jpg","26.6x51.4cm",[44],{"id":4022,"slug":4023,"title":4024,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":4026,"thumbUrl":4029,"material":599,"size":600,"collection":139,"collections":4030,"showCount":4031,"zanCount":1233,"manualWeight":48,"mainColor":49},226460,"ku-zhu-shi-zao-jing-yi-ming-226460","窟主室藻井","莫高窟，俗称千佛洞，坐落在河西走廊西端的敦煌。它始建于前秦宣昭帝苻坚时期，后历经北朝、隋朝、唐朝、五代十国、西夏、元朝等历代的兴建，形成巨大的规模，有洞窟735个，壁画4.5万平方米、泥质彩塑2415尊，是世界上现存规模最大、内容最丰富的佛教艺术地。\n1961年，莫高窟被中华人民共和国国务院公布为第一批全国重点文物保护单位之一。1987年，莫高窟被列为世界文化遗产。\n莫高窟与河南洛阳龙门石窟、山西大同云冈石窟并称中国三大石窟，后加麦积山石窟称四大石窟。 2019年8月31日，由敦煌研究院等单位联合摄制的大型纪录片《莫高窟与吴哥窟的对话》在敦煌国际会展中心首映。纪录片以亚洲文明对话为题材，向人们展现了不同文明之间命运相通、文化相通、艺术相通的奇妙关联。\n2020年2月，为致敬奋斗在抗疫一线的医务工作者，景区在恢复运营后，对全国所有医护人员实行免费开放，直至2020年底。5月10日，莫高窟恢复开放。\n莫高窟始建于前秦宣昭帝苻坚时期，据唐朝《李克让重修莫高窟佛龛碑》一书的记载，前秦建元二年（366年），僧人乐尊路经此山，忽见金光闪耀，如现万佛，于是便在岩壁上开凿了第一个洞窟。此后法良禅师等又继续在此建洞修禅，称为“漠高窟”，意为“沙漠的高处”。后世因“漠”与“莫”通用，便改称为“莫高窟”。另有一说为：佛家有言，修建佛洞功德无量，莫者，不可能、没有也，莫高窟的意思，就是说没有比修建佛窟更高的修为了。\n北魏、西魏和北周时，统治者崇信佛教，石窟建造得到王公贵族们的支持，发展较快。\n隋唐时期，随着丝绸之路的繁荣，莫高窟更是兴盛，在武则天时有洞窟千余个。安史之乱后，敦煌先后由吐蕃和归义军占领，但造像活动未受太大影响。北宋、西夏和元代，莫高窟渐趋衰落，仅以重修前朝窟室为主，新建极少。\n元代以后敦煌停止开窟，逐渐冷落荒废。明嘉靖七年（1528年）封闭嘉峪关，使敦煌成为边塞游牧之地。清康熙五十七年（1718）平定新疆，雍正元年（1723）在敦煌设沙州所，三年（1725）改沙州卫，并从甘肃各州移民敦煌屯田，重修沙州城。乾隆二十五年（1760）改沙州卫为敦煌县，敦煌经济开始恢复。莫高窟开始被人们注意。\n清光绪二十六年（1900）发现了震惊世界的藏经洞。不幸的是，在晚清政府腐败无能、西方列强侵略中国的特定历史背景下，藏经洞文物发现后不久，英人斯坦因、法人伯希和、日人橘瑞超、俄人鄂登堡等西方探险家接踵而至敦煌，以不公正的手段，从王道士手中骗取大量藏经洞文物，致使藏经洞文物惨遭劫掠，绝大部分不幸流散，分藏于英、法、俄、日等国的众多公私收藏机构，仅有少部分保存于国内，造成中国文化史上的空前浩劫。",[511,7,260,1488,4027,4028],"飞天","卷草纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d0fd513cb82c0e435822e3003c47784.jpg",[],334,{"id":4033,"slug":4034,"title":4035,"dynasty":18,"author":257,"museum":316,"description":4036,"tags":4037,"thumbUrl":4040,"material":139,"size":139,"collection":90,"collections":4041,"showCount":4031,"zanCount":774,"manualWeight":48,"mainColor":49},223631,"lian-chi-shui-qin-tu-zhou-dui-zhou-yi-ming-223631","莲池水禽图轴对轴","此作设色清雅古拙，将夏末荷塘景致凝于绢素。粉荷或粲然盛放，或半含待绽，圆阔荷叶交错叠覆，枯荣相携，细茎缀着淡粉小花，晕开幽柔生机。\n\n两只白鹭一动一静，振翅者俯身掠空，尖喙直指水面，将俯冲的凌厉之势藏于翩然羽翼间；引颈者独立浅泽，昂首似作长鸣，意态娴静悠然。\n\n画笔工致写实，花叶勾勒细腻，禽鸟晕染层次丰盈，古雅的矿物色历经岁时依旧温润。静塘藏动意，野趣暗生，把江南水泽的澹澹诗意晕开在古绢之上，尽显清寂悠然的雅致意趣。",[23,194,24,25,226,7,28,913,136,137,4038,834,4039,245,2340],"莲","鹭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faab72c6cd475fe4f0cd76844911ed7c4.jpg",[90],{"id":4043,"slug":4044,"title":4045,"dynasty":18,"author":1350,"museum":1337,"description":4046,"tags":4047,"thumbUrl":4049,"material":638,"size":4050,"collection":42,"collections":4051,"showCount":4031,"zanCount":1003,"manualWeight":48,"mainColor":49},221536,"xi-yuan-ya-ji-tu-ma-yuan-221536","西园雅集图","宋代有很多绘画世家，其中最为出名的恐怕要属山西的马家。自北宋后期的马贲开始，马家先后有五代人在皇家画院供职。马氏家族形成了一个庞大的画室或作坊，在这个作坊内雇佣了助手、管理者或代理人，或许还有绘画材料的生产者及裱画匠。1086年（元佑元年），苏轼兄弟、黄庭坚、李公麟、米芾、蔡肇等十六位名士，于驸马王诜宅邸西园集会。马远据此所绘，长卷共分四段。此为其中一段，写米芾挥毫作书，诸文友或立或坐，凝神围观",[23,24,25,173,7,26,177,29,106,174,227,150,109,4048,686,34,796],"河岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61d61573298da75c39200eaa4a2d4892.jpg","29.5×302.3厘米",[42,181,45],{"id":4053,"slug":4054,"title":98,"dynasty":76,"author":4055,"museum":191,"description":4056,"tags":4057,"thumbUrl":4063,"material":67,"size":4064,"collection":44,"collections":4065,"showCount":4066,"zanCount":918,"manualWeight":48,"mainColor":49},222686,"qing-ming-shang-he-tu-sun-hu-222686","孙祜","此卷用色鲜丽明亮，用笔圆熟细致，界画桥梁、屋宇、人物皆细腻严谨，是院画中极精之作。\n“清院本”《清明上河图》开卷是远山、宽阔河面，柳林田畦、童手挑夫，比“明本”娶亲队伍，人数更多，色彩更鲜艳，场面也更热闹。“清院本”戏台上下也比“明本”规模大，用木柱基座搭建的席棚戏台上，演员表演认真，观众在蒙蒙细雨中翘首欣赏，观众身份不同，神态也各异。一片早春田园欢乐景象。离席台稍远处：文人模样男子站在高凳上，拈须而观，仆人高举雨伞为他遮雨；河畔船夫坐在船头船顶观看；女子足不出户却携子爬到屋顶远看；树上、戏台支架杆上及台后都有观众，凝神而视。河面拉船纤夫、赶猪牵牛放羊倌、骑驴抬轿推车赶车者，挑夫贩夫、打铁卖茶，好个热闹。\n在去“虹桥”的河两岸，人流不息。河北侧的禁军演武场，旌旗招展，骑兵飞奔，比“明本”更壮观。“清院本”的“虹桥”是一座石材拱桥，桥上和桥头的地面有明显的石料接缝。河面大船行驶，“虹桥”右侧停泊着正装卸的商船，左侧有高悬龙旗的官船。桥上两边排列着四十多个前后带沿边的店铺，比“明本”数量更多更整齐有序。桥头，吃喝的、说书的、看相的、修脚的、议价的，形象生动。临近城门，还有女子在走索表演。\n接下来是城楼，“清院本”的城楼，和“明本”城楼格局相似，都绘有长长城墙，不似“宋本”只有城楼没有城墙。“清院本”城楼为重檐歇山，加腰檐和擎檐柱，红柱、绿沿、黑瓦，雕梁画栋，城墙也比“明本”更宽。“清院本”“明本”的入城门比较相似，陆门和水门并列，均有瓮城。\n“清院本”的城内，有成片房屋建筑，路北首处房屋和“明本”相同，都是公所衙门。“清院本”和“明本”画面在城内“U”字形处，都有显赫的府邸，“明本”是“学士”“世登两府”，“清院本”则是“圣书”“状元及第”。“清院本”府邸，牌楼后是三进宅院，还有一座观波楼和一座桥亭，长堤横跨湖塘。庭院中楼台、亭桥、水榭环湖而建，园内假山、湖石藤萝架、绿树、桃花融合相配，别具一格。比“明本”更显富贵。\n“明本”和“清院本”与染坊相邻处，都绘有一座富丽堂皇的院落建筑，“明本”是高大粉墙、楼阁长廊、雕梁画栋。“清院本”是“虎皮”石墙、庭院深处有灰砖高楼、顶部塔形装饰物，似乎带有阿拉伯风格；湖水碧波荡漾、卷棚歇山顶楼阁、各色亭阁、游廊环绕、假山耸立、嘉木成林、桃花盛开、仕女荡秋千；院墙东门外有马夫、轿夫等待主顾。如此豪华之建筑，尽显主人地位不凡。\n城内街道上人声鼎沸，多种车辆络绎不绝。各行商贩神态各异。另外，出现“宋本”和“明本”只有药店诊所，“清院本”出现古医科的分支的咒禁科诊所。“清院本”还增添了踏青、表演、戏剧、猴戏、特技、擂台等明清时代的特殊风俗，画面较“宋本”和“明本”更加丰富多彩。\n画作至接近皇家御苑处是一码头，这是“宋本”“明本”所没有的。\n清院本清明上河图是按照各朝的仿本、集各家所长之作品，再加上明清时代特殊风俗，如踏青、表演等等娱乐活动，因此增加了许多丰富的情节，如戏剧、猴戏、特技、擂台等等，画的事物繁多，虽然失去了宋代古制，却是研究明清之际社会风俗不可缺的材料。\n由于西洋画风的影响，街道房舍，均以透视原理作画，并有西式建筑列置其中。此卷用色鲜丽明亮，用笔圆熟细致，界画桥梁、屋宇、人物皆细腻严谨，是院画中极精之作。\n作品以长卷形式，采用散点透视构图法，生动记录了清初中国城市生活的面貌。虽然并不是宋朝原作，但一定程度上也反映了明清时期人们的生活，具有很高的历史价值和艺术价值。\n全画使用了除花鸟画以外的许多画科的技法，如人物马用工笔设色、山水树石系用青绿曲法、建筑舟船用界田法、浮云流水用白描曲法，总的来看，该图属于工笔画。画家们用局部近似焦点透视、整体属于散点透视的取景方法展现了18世纪的以苏州城为主要特色的城市风貌该图的总体布局系陈枚的思路，十分紧凑，全无拖沓之嫌，画中高潮送起，将动态的高潮与静态的高潮巧妙地结合起来，一浪高过一浪，即充满节奏感、又戒除单调重复，富有戏剧性的艺术变化。如最早的动态小高潮是前段的娶亲活动，之后的静态小高湖是看戏活动。画中最热闹的大高潮是中段虹桥上下的人物与车船的活动，最清幽的静态大高潮是最后一段的皇家御苑。各高潮之间的过渡段均起到了视觉衔接、防止审美疲劳的作用。全卷宛如一曲交响乐，从曲调悠扬到渐渐亢奋，最后进入庄重和优雅的境界。\n全卷设色独具风格，色彩在柔和中显得主富而统用色较为简明，用笔颜具特色，润在天水，浓在林木，重在山石，红在木柱，鲜在佳丽，明在人物，艳在春色，稳在建筑。这是清宫院体高头大卷人物画风的基本特性。\n此画卷布局疏密、近远、简繁相间。全图对复杂的生活作了集中、生动的概括、以简练的笔法动静结合，再现了当时的汴京风貌，是艺术性与真实性的高度融合，为建筑、交通、车船制造、商业、饮食、医药、服饰、民俗等学科研究提供了可靠依据。在艺术手法上，画面以俯视角度摄取景物，场面宏伟，而众多人物、建筑等的安排有条不紊，结构严谨，人物形象生动传神。它有界画工整准确的优点，又充分发挥了半工半写人物画生动活泼的长处。此画卷用笔熟练，界画桥梁屋宇以及人物，无不精妙。设色用赭笔微加匀梁，自创新法而有雅澹之韵，为清院画中之佳作。",[23,28,7,104,26,4058,106,107,108,109,111,34,35,117,113,4059,4060,110,116,31,36,115,114,3129,4061,4062],"风俗","城郭","街道","交通工具","市集场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba48e0062ff6d8804c1adc57bd629c2b.jpg","纵35．6厘米，横1152．8厘米",[44,45],333,{"id":4068,"slug":4069,"title":4070,"dynasty":99,"author":2425,"museum":78,"description":4071,"tags":4072,"thumbUrl":4074,"material":88,"size":139,"collection":181,"collections":4075,"showCount":4066,"zanCount":1233,"manualWeight":48,"mainColor":94},214656,"qiu-xing-ba-jing-tu-ce-dong-qi-chang-214656","秋兴八景图册","此册描绘苏州到镇江一带的山水景色，或仿古，或写景，笔法虽然以师古人为主，但具有不少个性色彩。采取以颜色直接勾勒、渲染、皴擦等“没骨法”，又连用水墨，干湿兼施，层次分明。落笔细润清雅，色彩明亮秀丽。画笔较为谨严，从中可以品味出他学巨然、赵令穰、赵孟頫、黄公望等人的痕迹，但从整体来看，还是他独特画风的不同表现。\n款署“庚申（1620年）九月重九前一日书，是月写设色小景八幅，可当秋兴八首，玄宰”，为其66岁时的精心之作。",[24,25,81,7,177,178,86,212,29,685,262,378,379,37,1169,4073,34],"近石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffefa769413df82271d17a82b2ee80653.jpg",[181],{"id":4077,"slug":4078,"title":4079,"dynasty":99,"author":1196,"museum":20,"description":4080,"tags":4081,"thumbUrl":4082,"material":40,"size":4083,"collection":44,"collections":4084,"showCount":4085,"zanCount":889,"manualWeight":48,"mainColor":49},222351,"wang-shu-gong-ji-tu-zheng-ben-tang-yin-222351","王蜀宫妓图正本","此图原名《孟蜀宫妓图》，俗称《四美图》，由明末汪砢玉《珊瑚網·画录》最早定名，沿用至今。近经专文考证，当改为《王蜀宫妓图》，描绘的是五代前蜀后主王衍的后宫故事。画面四个歌舞宫女正在整妆待君王召唤侍奉。她们头戴金莲花冠，身着云霞彩饰的道衣，面施胭脂，体貌丰润中不失娟秀，情态端庄而又娇媚。蜀后主王衍曾自制“甘州曲”歌，形容著道衣的宫妓妩媚之态：“画罗裙，能结束，称腰身。柳眉桃脸不胜春，薄媚足精神。可惜许，沦落在风尘。”唐寅创作此画，则旨主揭示前蜀后主王衍荒淫腐败的生活，寓有鲜明的讽喻之意。\n此图为唐寅人物画中工笔重彩一路画风的代表作品，显示出他在造型、用笔、设色等方面的高超技艺。仕女体态匀称优美，削肩狭背，柳眉樱髻，额、鼻、颔施以“三白”，既吸收了张萱、周昉创造的“唐妆”仕女造型特色，又体现出明代追求清秀娟美的审美风尚。四人交错而立，平稳有序，并通过微倾的头部、略弯的立姿和攀连的手臂，形成动态的多样变化和相互的紧密联系，加强了形象的丰富性和生动感。笔墨技巧近法杜堇，远宗唐人，衣纹作琴弦描，细劲流畅，富有弹性和质感，冠服纹饰描画尤见精工，细致入微。设色鲜明，既有浓淡、冷暖色彩的强烈对比，又有相近色泽的巧妙过渡和搭配，使整体色调丰富而又和谐，浓艳中兼具清雅。作品画风带有雅俗共赏的艺术特色。",[23,24,25,226,7,28,106,59,64,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf6a69f4c7f9bc4763217d4951ac15c8.jpg","纵124.7厘米，横63.6厘米",[44,45],332,{"id":4087,"slug":4088,"title":4089,"dynasty":302,"author":4090,"museum":20,"description":4091,"tags":4092,"thumbUrl":4093,"material":529,"size":4094,"collection":181,"collections":4095,"showCount":4085,"zanCount":2368,"manualWeight":48,"mainColor":49},221858,"chun-shan-fan-zhou-tu-zhou-hu-ting-hui-221858","春山泛舟图轴","胡廷晖","整幅画面构图繁密，洋溢着一派春和景明的气象。图中布局兼具高远、深远、平远之法，描绘崇山峻岭，山势高耸入云，山间飞涧流泉，松木葱郁，屋宇台阁精工富丽，人物往来其间。山脚下，溪桥潭水，波光如鳞，三两人泛舟赏景。\n杨新撰文认为，胡廷晖是一个画工而非书画收藏家。画工的创作往往不署自己的名款，有的仅只钤盖个人印章，这是元至明初的习惯。吴升《大观录》著录的胡廷晖《月洞仕女图》也未署款，仅押“廷晖印”一方。这幅《春山泛舟图》也没有签署名款，所以“廷晖”残印不可能是收藏印，而只能是作者印。此图与台北故宫所藏《明皇幸蜀图》面貌相似，特别是勾勒下笔较重，悬崖的结构、松树的形态以及云彩的画法等均呈现出胡廷晖的个人风格。在色彩上两者都具有相似的绚丽色泽。此图保留唐代青绿山水的古法较多，与赵孟頫追求“古意”的画风不同，对于鉴别早期山水画有重要的价值。\n1998年，美籍华人、收藏家王季迁先生将此图捐赠故宫博物院。",[23,24,25,226,28,7,177,29,174,106,107,34,176,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8db66954c76bddaccd24a02539e4bf8.jpg","纵143厘米，横55.5厘米",[181,163],{"id":4097,"slug":4098,"title":4099,"dynasty":99,"author":100,"museum":608,"description":609,"tags":4100,"thumbUrl":4101,"material":123,"size":620,"collection":139,"collections":4102,"showCount":4103,"zanCount":48,"manualWeight":48,"mainColor":49},216363,"xi-xiang-ji-tu-ye-2-chou-ying-216363","西厢记图页-2",[24,25,81,28,7,106,150,108,109,29,34,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd2f417418f71dda24d7c8dff0d64502.jpg",[],331,{"id":4105,"slug":4106,"title":4107,"dynasty":76,"author":4108,"museum":191,"description":4109,"tags":4110,"thumbUrl":4111,"material":123,"size":139,"collection":45,"collections":4112,"showCount":4113,"zanCount":774,"manualWeight":48,"mainColor":94},218501,"fang-song-yuan-ben-jin-ling-tu-xie-sui-218501","仿宋院本金陵图","谢遂","本卷描绘了金陵城的城市和村庄的商店和街景，以及市场上的人们，细节丰富，气氛热烈。笔触非常准确，人物形象也很生动。根据作者在画板上的标记，这幅画完成于乾隆五十二年（公元1787年）。 在我们的收藏中，还有一卷杨大章模仿宋代画院的《金陵图》。",[23,194,24,25,26,28,7,105,106,107,108,109,34,151,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F228fa1458aedb60538e9a844ef33c75a.jpg",[45],329,{"id":4115,"slug":4116,"title":4117,"dynasty":99,"author":3416,"museum":539,"description":4118,"tags":4119,"thumbUrl":4121,"material":529,"size":4122,"collection":90,"collections":4123,"showCount":4124,"zanCount":1233,"manualWeight":48,"mainColor":49},222080,"qiu-hua-jia-die-tu-wen-chu-222080","秋花蛱蝶图","赵文俶(1595-1634年)字端容，今苏州人。文从简的女儿，适赵宦光子赵灵筠，故文俶常在画上落“天水赵氏文俶”款，钤“赵文俶印”。文俶生性聪慧，善绘画，见物既能摹写，年四十便去世。她的画擅长花卉，传说她平日居家偶然看见奇花异草、小虫怪蝶，都随手画下，共收集千种，合成一册，题名“寒山草木昆虫状”，可说写生功力极深，因此对捕捉花木草虫的性情特徵，有独到之处。",[23,24,25,28,7,83,3106,4120,264,210],"秋花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F336545c0cf2814e864937a1efd910257.jpg","纵105厘米，横67厘米",[90,45],328,{"id":4126,"slug":4127,"title":1302,"dynasty":99,"author":4128,"museum":191,"description":4129,"tags":4130,"thumbUrl":4132,"material":638,"size":4133,"collection":181,"collections":4134,"showCount":4124,"zanCount":48,"manualWeight":48,"mainColor":49},221921,"tai-ping-chun-se-zhou-qian-gong-221921","钱贡","本幅画农家丰年度岁之情景:厅堂盆火高烧,儿童围炉展纸,一人搦管欲书;屋外寒梅怒放,群儿欢聚嬉戏,一老叟策杖行于桥上。画面上一派生机盎然的景象。",[23,226,28,7,106,107,108,353,115,176,2385,4131,34,35],"炉火","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca3fd06b089f3ed8156b696b2d89afe7.jpg","122cm ×49.8cm",[181,45],{"id":4136,"slug":4137,"title":4138,"dynasty":76,"author":2883,"museum":316,"description":4139,"tags":4140,"thumbUrl":4141,"material":599,"size":600,"collection":90,"collections":4142,"showCount":4143,"zanCount":1379,"manualWeight":48,"mainColor":94},239249,"mu-dan-shi-liu-zhong-ce-jiang-ting-xi-239249","牡丹十六种册","蒋廷锡（1669年－1732年），字酉君、杨孙，号南沙、西谷，又号青桐居士，江苏常熟人，清朝康熙、雍正时期官员、画家、文献学家、藏书家。\n蒋廷锡为康熙四十二年（1703年）进士，授翰林编修。雍正帝即位后历任礼部侍郎、户部尚书等职。雍正六年（1728年）拜文华殿大学士，仍兼理户部事，并任《明史》总裁。次年（1729年）加太子太傅。累封一等阿达哈哈番。雍正十年（1732年）卒于任内，谥号“文肃”。\n蒋廷锡在官秉公抚政、剔除积弊，声誉甚著。为人博学精敏，尤善诗画。擅长花鸟，以逸笔写生，奇正率工，敷色晕墨，兼有一幅，能自然洽和，风神生动，得恽寿平韵味。点缀坡石，偶作兰竹，亦具雅致。曾画塞外花卉70种，被视为珍宝收藏于宫廷。今有《牡丹扇面》《岁岁久安图》《桃花鹦鹉图》《竹石图》轴及《花卉图》等传世。",[24,25,81,7,28,83,292],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21e4a8c5c08aea53092bfe51363d6ad0.jpg",[90,45],327,{"id":4145,"slug":4146,"title":4147,"dynasty":54,"author":4148,"museum":78,"description":4149,"tags":4150,"thumbUrl":4151,"material":67,"size":4152,"collection":44,"collections":4153,"showCount":4154,"zanCount":889,"manualWeight":48,"mainColor":49},221083,"gao-yi-tu-sun-wei-221083","高逸图","孙位","《高逸图》是孙位唯一存世的作品，也为目前屈指可数的几件唐代作品之一。画中表现的是魏晋时期著名的“竹林七贤”，目前画面仅剩四人，经考证是山涛、王戎、刘伶与阮籍。在技法上，孙位继承了顾恺之“劲紧连绵如吐丝”的行云流水的风格，但更加成熟。线条的变化更丰富，人物造型刻画更真实细致。《高逸图》著录于宋徽宗的《宣和画谱》里，画上钤印“宣和七玺”。作品的装裱保留了北宋的形式。",[23,24,25,26,7,106,230,1273,28,212,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb83ff393ed82ede490cdbdd60bca7d62.jpg","纵45.2厘米，横168.7厘米",[44,45],326,{"id":4156,"slug":4157,"title":4158,"dynasty":76,"author":77,"museum":1337,"description":1338,"tags":4159,"thumbUrl":4160,"material":1342,"size":1343,"collection":90,"collections":4161,"showCount":4154,"zanCount":918,"manualWeight":48,"mainColor":94},220999,"hua-hui-tu-ce-sui-han-san-you-tu-yun-shou-ping-220999","花卉图册·岁寒三友图",[23,24,194,25,81,82,7,83,1133,227,820],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb29a40cff960843c68f7263ecdb0bd8e.jpg",[90,45],{"id":4163,"slug":4164,"title":1689,"dynasty":76,"author":329,"museum":20,"description":4165,"tags":4166,"thumbUrl":4168,"material":123,"size":4169,"collection":90,"collections":4170,"showCount":4171,"zanCount":889,"manualWeight":48,"mainColor":94},219111,"hua-niao-tu-lang-shi-ning-219111","此图笔法精工细腻，色调绚丽多彩，造型抽象生动，注重展现禽鸟翎毛的细腻、花叶的阴阳向背以及明暗层次的差异，具有鲜明的西洋花鸟写实画的色调。",[23,28,7,212,83,292,209,353,4167,84,210],"蘑菇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43bf0edaaa3f25a2c4a60fa09e4aa741.jpg","纵63.7厘米，横32.3厘米",[90],323,{"id":4173,"slug":4174,"title":4175,"dynasty":18,"author":257,"museum":20,"description":4176,"tags":4177,"thumbUrl":4178,"material":173,"size":139,"collection":42,"collections":4179,"showCount":4180,"zanCount":2368,"manualWeight":48,"mainColor":801},214846,"lu-tong-peng-cha-tu-yi-ming-214846","卢仝烹茶图","卢仝烹茶图是一幅宋代的佚名画家的作品。它是一幅木板设色的水墨画，画面上描绘了卢仝品茶的场景。卢仝是一位著名的宋代文学家，也是一位品茶爱好者。在这幅画中，他正在品茶时，周围的人们也都在品茶。这幅画展现了宋代品茶文化的精髓，充满了浓浓的文化气息。\n\n卢仝烹茶图是一幅很有名的宋代水墨画，因为它出色地展现了宋代品茶文化的精髓。品茶是中国古代的一种传统文化，它的历史可以追溯到公元前三世纪。品茶不仅是一种消遣，更是一种品味生活的方式。它融合了中国传统的艺术、文化、哲学和美学思想，对中国的文化形成了深远的影响。\n\n在这幅画中，卢仝坐在一张桌子前，手持茶杯，正在品茶。周围的人们也都在品茶，气氛非常融洽。画面中还有许多细节，如茶壶、茶杯、茶几等，都反映了宋代品茶文化的特点。\n\n这幅画的画风精细，线条流畅，色彩鲜艳。它体现了宋代画家的高超技巧和精湛的艺术修养。这幅画不仅是一件艺术品，也是中国传统文化的瑰宝。",[23,24,25,173,7,28,352,177,86,212,106,35,34,176,2307,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2d777192da391bf2696d0105e63bf54.jpg",[42],322,{"id":4182,"slug":4183,"title":4184,"dynasty":76,"author":2200,"museum":20,"description":4185,"tags":4186,"thumbUrl":4187,"material":770,"size":4188,"collection":90,"collections":4189,"showCount":4190,"zanCount":2368,"manualWeight":48,"mainColor":94},224219,"sui-chao-qing-gong-tu-wu-chang-shuo-224219","岁朝清供图","岁朝指农历元旦，历代画家特别是文人画家都喜欢在这一天绘制《岁朝清供图》，作为新年伊始的首幅作品。吴昌硕作为一名文人画家，也几乎每年都画《岁朝清供图》，且多所变化，其最大的特点是很少取材于牡丹，他在《缶庐别存》中有一段话披露了其用意，文曰：“己丑除夕，闭门守岁，呵冻作画自娱。凡岁朝图多画牡丹，以富贵名也。予穷居海上，一官如虱，富贵花必不相称，故写梅取有出世姿，写菊取有傲霜骨，读书短檠，我家长物也，此是缶庐中冷淡生活。”此段话写于1889年，而在这幅1915年的《岁朝清供图》中仍然不见牡丹形象，其时吴氏的生活已有了极大改善，但仍不画牡丹，可见其富贵不移初志的高雅人格与画品。\n此图以瓶梅、水仙、蒲草、秀石诸品组合而成，并置于瓶盆等器物中，以示为案头清供之物。物品高下低昂、错落有致地安排于画面，并以右高左低的对角形式排列，左上角和右下角分别配以题识和印章，这是吴昌硕花卉画中常用的构图形式。画面左上角自题：“岁朝清供。岁朝写案头花，象古人所作岁时物之迁流也，兹拟其意。乙卯岁寒吴昌硕。”\n此图信手挥洒，真情流溢笔端。高颈古瓶中的一枝红梅，以及翠绿的水仙，纷披的蒲草，皆得其大意，笔法隽逸洒脱，极具清逸雅淡之气。用墨、设色也恰到好处，用墨浓淡相宜，设色俏丽鲜艳，雅妍相兼，双勾敷色的水仙花，更体现了吴氏晚年运笔遒劲古拙的独特风韵。",[23,24,25,226,7,173,178,212,498,83,820,898,230,2203,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe60ee9f04eb4937057270e254c03e2aa.jpg","纵151.6厘米，横80.7厘米",[90,45],321,{"id":4192,"slug":4193,"title":1142,"dynasty":76,"author":2200,"museum":316,"description":4194,"tags":4195,"thumbUrl":4196,"material":7,"size":139,"collection":90,"collections":4197,"showCount":4198,"zanCount":2368,"manualWeight":48,"mainColor":4199},224225,"mu-dan-tu-wu-chang-shuo-224225","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。”吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。\n清道光二十四年（1844年）8月1日，生于浙江省孝丰县鄣吴村（今湖州市安吉县）一个读书人家。幼时随父读书，后就学于邻村私塾。10余岁时喜刻印章，其父加以指点，初入门径。\n咸丰十年（1860年）太平军与清军战于浙西，全家避乱于荒山野谷中，弟妹先后死于饥馑。后又与家人失散，替人做短工、打杂度日，先后在湖北、安徽等地流亡数年。\n同治四年（1865年），中秀才。是年，海上先辈名家任薰与周闲合作，为吴昌硕绘画像。\n同治八年（1869年），赴杭州，就学于诂经精舍，从名儒俞樾习小学及辞章。编成《朴巢印存》。\n同治十一年（1872年），赴上海，得以认识高邕之。\n光绪六年（1880年），寓吴云（平斋）两礨轩，以《篆云楼印存》请教，吴云为之删削，更名为《削觚庐印存》。识吴秋农、金心兰、顾茶村、胡三桥、方子昕等。与杨岘（见山）结为朋友。\n光绪八年（1882年），居苏州。友人荐作小吏以维持生计。与虞山沈石友结为朋友。\n光绪九年（1883年），在沪识任伯年。任伯年为作《芜菁亭长小像》。\n光绪十三年（1887年），至沪，任伯年为作《棕荫纳凉图》。\n光绪十五年（1889年），在苏州。时伯年来访，为之作《酸寒尉像》，自题诗。施旭臣、谭复堂为《缶庐诗》作序。\n光绪十六年（1890年），居上海。识吴大澄。\n光绪十八年（1892年），任伯年又为作《蕉荫纳凉图》。\n光绪十九年（1893年），在上海编选壬辰年以前所作诗三卷刊行，题名《缶庐诗》。\n光绪二十（1894年），在北京以诗及印谱赠翁同龢。中日战争爆发，参佐吴大澄戎幕，北上抗日，兵败继续为吴大澄戎幕。\n光绪二十一年（1895年），任伯年为作《棕荫忆旧图》、《山海关从军图》。十一月，任伯年病殁沪上，作诗哭之并撰联。\n光绪二十五年（1899年）十一月，得丁葆元保举，任安东县令，一月即辞去。\n致力书画\n光绪二十六年（1900年），日本河井仙郎投之于门下。\n光绪二十九年（1903年），自订润格。编选壬寅以前所作诗为《缶庐诗》第四卷，连同前刊三卷，又《别存》一卷合为一册。\n光绪三十年（1904年），移居桂和坊19号，名其斋曰“癖斯堂”。赵子云（赵云壑）投门下。\n光绪三十五年（1909年），在沪加入上海豫园书画善会。\n民国元年（1912年），至杭州与西泠诸友宴集。始以字行。\n民国二年（1913年），西泠印社成立，任社长。秋，梅兰芳来会。与王一亭结为至交。王一亭在上海商界、金融界推介吴昌硕的书画金石艺术，使其名声大振。\n民国三年（1914年），王一亭为吴昌硕在六三园举办生平第一次个展，使吴派艺术开始为日本艺界所了解和推崇。上海书画协会成立，任会长。\n民国四年（1915年），上海“题襟馆书画会”推先生为名誉会长。\n民国六年（1917年），吴昌硕继配施氏夫人在上海去世。\n民国九年（1920年），日本长崎首次展出其书画，东京文求堂继刊《吴昌硕画谱》，长崎双树园刊行《吴昌硕画帖》。诸乐三列为门弟子。\n民国十年（1921年），赴杭西泠印社宴集。《汉三老碑》被日商购去，与西泠同仁奔走呼吁，作画义卖，终募款八千大洋将碑赎回。日本朝仓文夫为范铜像。\n民国十二年（1923年），潘天寿由诸闻韵引见来谒，撰联以赠。门弟子陈师曾去世。\n民国十四年（1925年），沙孟海由王贤引列为门弟子。为已逝师友周闲遗作《花卉长卷》作引首并题。\n民国十六年（1927年）十一月二十九日，逝于上海寓所。\n民国二十二年（1933年）十一月，迁葬于浙江余杭县塘栖附近超山报慈寺西侧山麓宋梅亭畔。\n\n篆刻:\n少年时他因受其父熏陶，即喜作书，印刻。楷书始学颜鲁公，继学钟元常；隶书学汉石刻；篆学石鼓文，用笔之法初受邓石如，赵之谦等人影响，以后在临写《石鼓》中融汇变通。行书得黄庭坚、王铎笔势之欹侧，黄道周之章法，个中又受北碑书风及篆籀用笔之影响，大起大落，遒润峻险。\n吴昌硕篆刻从“浙派”入手，后专攻汉印，也受邓石如、吴让之、赵之谦等人影响，善于留白，或对角欹斜，气象峥嵘，构图块面体积感极强。刀融于笔，篆刻雄而媚、拙而朴、丑而美、古而今、变而正。上取鼎彝，下挹秦汉，以“出锋钝角”的刻刀，将钱松、吴攘之切、冲两种刀法相结合治印。\n吴昌硕在继承前人冲刀法和切刀法优秀成果的基础上，融诸家之长，在大量的篆刻创作实践中，不断探索，将冲刀和切刀两种刀法融合在一起，形成了自己的冲切结合的刀法。这种刀法灵活多变，或冲中带切，或切中带冲，甚至切中带削……这种多变的刀法，把冲刀的猛利、挺劲、爽快与切刀的含蓄、浑朴融为一体，将书意和刀意表现得淋漓尽致，使他的篆刻刀法雄浑朴茂中寓秀逸的个性化特点凸现了出来。他与厉良玉、赵之谦并称“新浙派”的三位代表人物。\n残缺刀法是吴昌硕篆刻创作中的一种常用手法。我们知道，秦汉古印大多因年深日久，水土的浸蚀，自然的风化，印面及文字线条失去了原先的平整和光洁，变得残缺不全。恰恰是这些残缺给我们以古朴、含蓄、浑厚、苍拙等特殊的审美效果，这是自然的造化使然。吴昌硕善于巧夺天工，在传统的冲、切刀法的基础上，辅之以敲、击、凿、磨或借用砂石、鞋底、钉头等，极大地丰富了篆刻艺术的表现手法，并创造性地将篆刻艺术中刀石效果产生的金石味，上升到残缺美的审美新境界。\n主要篆刻作品：《寿山老坑巧色雕狮钮》《作了天下事》《读遍千古书》《好学为福》《黑青田》《一月安东令》《湖州安吉县》《泰山残石楼》《园丁生于梅洞长于竹洞》《暴书》《千寻竹斋》《千寻竹斋》3刻《吴俊卿信印日利长寿》《安吉吴俊章》《雷浚》《鲜鲜霜中菊》《归仁里民》。\n\n绘画:\n绘画的题材以花卉为主，亦偶作山水。前期得到任颐指点，后又参用赵之谦画法，并博采徐渭、八大、石涛和扬州八怪诸家之长，兼用篆、隶、狂草笔意入画，色酣墨饱，雄健古拙，亦创新貌。其作品重整体，尚气势，认为“奔放处不离法度，精微处照顾气魄”，富有金石气。讲求用笔、施墨、敷彩、题款、钤印等的疏密轻重，配合得宜。 吴昌硕自言：“我平生得力之处在于能以作书之法作画。”\n他以篆笔写梅兰，狂草作葡萄。所作花卉木石，笔力老辣，气势雄强，布局新颖，构图也近书印的章法布白，喜取“之”字和“女”字格局，或作对角斜势。用色上似赵之谦，喜用浓丽对比的颜色，尤善用西洋红，色泽浓艳。\n吴昌硕因以“草篆书”入画，状物不求写实，形成了影响近现代中国画坛的直抒胸襟，酣畅淋漓的“大写意”笔墨形式。\n他酷爱梅花，以写大篆和草书笔法为之，墨梅、红梅兼有，画红梅水分及色彩调和恰到好处，红紫相间，笔墨酣畅。又喜作兰花，喜以或浓或淡的墨色和用篆书笔法画成，刚劲有力。画竹竿以淡墨轻抹，叶以浓墨点出，疏密相间，富有变化，或伴以松、梅、石等，成为“双清”或“三友”。菊花也是他经常入画的题材，伴以岩石，或插以高而瘦的古瓶，与菊花情状相映成趣。菊花多作黄色，亦或作墨菊和红菊。墨菊以焦墨画出，菊叶以大笔泼洒，浓淡相间。\n晚年较多画牡丹，以鲜艳的胭脂红设色，含有较多水分，再以茂密的枝叶相衬，生气蓬勃。荷花、水仙、松柏也是经常入画的题材。\n菜蔬果品如竹笋、青菜、葫芦、南瓜、桃子、枇杷、石榴等也一一入画，极富生活气息。推崇周闲果蔬风格，作品色墨并用，浑厚苍劲，对于近世花鸟画影响深远。\n主要绘画作品：《天竹花卉》《紫藤图》《墨荷图》《五月枇杷图》《杏花图》《花卉十二屏风》《梅花》《花卉四屏》《牡丹》《兰石图》《松石图》《花卉》2幅《紫藤图》《杂画册（之—、二）》《依样》《天香露图》《杞菊延年》《泥盆菊草图》《牡丹图》《牡丹水仙图》《大富贵》《佛像图》《富贵神仙图》《红梅图》2幅《蔷薇芦桔图》《秋艳图》《三千年结实》《人物》《三千年结实之桃》《神仙福寿》《石梅》《石竹图》《松梅图》《岁寒交图》《桃实图》《瓜果》《灯下观书》《姑苏丝画图》等。\n①金石气息：吴昌硕绘画艺术的第一大特色是有金石气息。所谓金石气息，指的就是钟鼎上所铸的金文与刻在石碑上的文字所具有的味道。人们常说谁谁的画作有金石气息，其实这种评论标准都是从吴昌硕的绘画风格出现以后才有的。比如，人们在谈到徐青藤、八大山人时，就从来没有听说过评价他们的画作有金石气息。\n②笔力雄浑：吴昌硕绘画艺术的第二大特色是笔力雄浑。所谓笔力雄浑，指的就是其画作中的笔触朴拙、苍茫、老辣，极具浑圆、雄强的力量感。人们常说吴昌硕绘画的气息很厚、很重，按照书画圈儿里人的说法就是“笔头子”很大。所谓“笔头子”很大，并不是说他用的毛笔很大，而指他笔下的气息非常浑厚，一笔下去，浑金璞玉，力透纸背，又意蕴丰富、气象万千。\n③设色浓丽：吴昌硕绘画艺术的第三大特色是设色浓丽。过去人们总是说中国画不能搞那么多颜色，用太多颜色容易俗气。不过，张俊东却指出，吴昌硕绘画的用墨就特别浓，设色也特别大胆，特别鲜艳和浓丽。比如，吴昌硕画过很多牡丹，很多都是大红大紫的，但是却不会让人觉得俗气，而且非常有文人的那种风骨。所以张俊东认为，中国画设色的关键不在多少，而在谁来用以及怎么去用。\n④富于变化:吴昌硕绘画艺术的第四大特色是笔法和墨法富于变化。这里边又体现在几个方面。张俊东举例介绍说，比如吴昌硕在画菊花时，可以将一朵菊花无论是正面的，侧面的，静态的，动态的，都能画得非常丰富。\n\n书法:\n吴昌硕的楷书，始学颜鲁公，隶习汉代石刻，篆学石鼓文。行书学黄庭坚、王铎。\n吴昌硕书法作品，以篆书、行草为主，晚年所书隶书，结体变长，取纵势，用笔雄浑、饱满，具有篆书痕迹，将篆、隶溶为一体，形成独特面貌。\n吴昌硕的隶书遍临《汉祀三公山碑》《张迁碑》《嵩山石刻》《石门颂》等汉碑。中年以后，博览众多金石原件及拓本，选择石鼓文为主要临摹对象。数十年间，反复钻研，故所作石鼓文凝练遒劲，风格独特。60岁后所书尤精，圆熟精悍。喜将石鼓文字集语书写对联。晚年以篆隶笔法作草书，笔势奔腾，苍劲雄浑，不拘成法。\n\n诗文:\n吴昌硕善作诗文，苦吟数十年，未尝间断。其诗文，奇崛古朴，用典较多，不甚通俗。但有些绝句纯用白描手法，活泼自然，接近口语，具有明丽俊逸的特点，风格上与民歌很相近。有些绝句则活泼自然，接近口语，时含有讽刺意味，抒发生活实感。所作题画诗寄托深远，颇有浪漫主义气息；评论前人书画，尤多独到见地。早年所作五古，有一部分含有讽刺意味，揭露了当时黑暗社会某些不平现象。他的散文作品写得不多，大都是序跋、考证和题画小品之类，写的都很朴质淳厚，平易近人。题画小品中尤多精心之作。发抒生活实感，鞭挞丑恶现象，颇能以少胜多；读时依稀与作者一灯相对，娓娓而谈，意味非常深长。",[23,194,24,25,226,7,173,83,292,178,212,498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb324477af74ed2e0e3b9bd525ad134c3.jpg",[90,45],320,"FFFFFF",{"id":4201,"slug":4202,"title":4203,"dynasty":18,"author":257,"museum":78,"description":4204,"tags":4205,"thumbUrl":4207,"material":123,"size":4208,"collection":90,"collections":4209,"showCount":4198,"zanCount":889,"manualWeight":48,"mainColor":49},218540,"shu-kui-tu-yi-ming-218540","蜀葵图","这幅画描绘的是两枝蜀葵，枝头花开，粉红色和红色的花瓣清新娇艳，绿色的茎叶茂盛繁多。描绘细致工整，色彩丰富，墨线几乎看不到，着色漂亮，把花开的样子表现得淋漓尽致，令人陶醉。",[24,25,194,1260,7,28,83,4206,62,783],"蜀葵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F409cefad89ff6783fe33bcc0e3b49c14.jpg","21.5x22.9cm",[90],{"id":4211,"slug":4212,"title":4213,"dynasty":76,"author":3914,"museum":20,"description":4214,"tags":4215,"thumbUrl":4216,"material":123,"size":4217,"collection":181,"collections":4218,"showCount":4219,"zanCount":2368,"manualWeight":48,"mainColor":49},214365,"fang-ju-ran-shan-shui-wang-jian-214365","仿巨然山水","王鉴（1792-1867）是清代著名的画家，他的作品《仿巨然山水》是其代表作之一。\n\n《仿巨然山水》描绘了一幅山水画面，王鉴在画中运用了多种技法，如水墨浓淡、描边等，使作品充满了生动的质感。王鉴在《仿巨然山水》中仿照了巨然（元代画家）的山水画风，并加以提升，使作品更具艺术性。\n\n《仿巨然山水》被认为是王鉴写意山水画风成熟时期的杰作，其作品在当时也受到了广泛的赏识。如今，《仿巨然山水》也是收藏家们青睐的经典之作。\n\n王鉴的《仿巨然山水》不仅是一幅精美的画作，更是一首关于自然之美的诗篇。在这幅画作中，王鉴巧妙地运用了水墨画的技法，勾勒出山水的层次感和自然的秀美。作品中的山川、树木、花卉都表现出了自然界的细腻与丰富，使观者感受到大自然的魅力。",[23,24,226,105,177,7,29,685,262,1426,34,175,1171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde8dfd4e6285792e5a5e9c104ff6bf42.jpg","220.8x109",[181],319,{"id":4221,"slug":4222,"title":4223,"dynasty":76,"author":329,"museum":20,"description":4224,"tags":4225,"thumbUrl":4228,"material":581,"size":4229,"collection":44,"collections":4230,"showCount":4231,"zanCount":2368,"manualWeight":48,"mainColor":49},222724,"qian-long-huang-di-chao-fu-xiang-lang-shi-ning-222724","乾隆皇帝朝服像","画中的乾隆皇帝慈眉善目，端庄大方，透露着一国之君的威严。郎世宁所画的肖像画，都有着造型准确，并富有立体感的特点;同时为了适合东方民族的欣赏习惯与审美心理，在画面光线的运用上，一律取正面光照，从而使人物面部五官都处在明亮部位，观之非常清晰。\n该作品是根据清代宫廷礼制的需要，每位皇帝、皇后以及主要的嫔妃都画有穿戴整齐的朝服像，这些作品华丽工细，格式相似。此幅即是郎世宁为乾隆皇帝所画的朝服像。",[23,7,3187,28,106,406,4226,1011,1012,4227,63,280],"笔","砚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ea3a27eb07c0608d6f69acd2f551812.jpg","52cmx35cm",[44],318,{"id":4233,"slug":4234,"title":4235,"dynasty":76,"author":698,"museum":101,"description":4236,"tags":4237,"thumbUrl":4238,"material":88,"size":702,"collection":139,"collections":4239,"showCount":4240,"zanCount":2368,"manualWeight":48,"mainColor":94},216252,"jing-fu-si-qi-dong-jing-tu-6-qian-wei-cheng-216252","景敷四气冬景图-6","此套《景敷四气》冬景图，是清乾隆时期画家钱维城的作品。此套画册共含十二帧，纯以水墨为之或薄施淡色擦染，构图简练，自出机杼。运笔较为多样，笔法松秀，墨色疏淡，用色恬然，具有很显著的文人绘画的样式。最后一幅有：甲午新正月御题。钤印：乾隆鉴赏、三希堂精鉴玺、宜子孙、乾隆。\n不妨叶面擎微雪，雅称花心射晓晖。独恨品题遗陆羽，仍慙色相号杨妃。钤印：会心不远、徳充符",[24,25,28,7,212,83,661,554,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e691047e218ba377e5b36caab22cef1.jpg",[],317,{"id":4242,"slug":4243,"title":4244,"dynasty":302,"author":2603,"museum":132,"description":4245,"tags":4246,"thumbUrl":4247,"material":2365,"size":139,"collection":139,"collections":4248,"showCount":4249,"zanCount":2368,"manualWeight":48,"mainColor":94},214569,"shan-shui-ce-8-wang-meng-214569","山水册-8","王蒙是一位中国元朝时期的著名文人、画家、书法家。他最著名的作品之一是《山水册》。\n\n《山水册》是一本包含王蒙的山水画作品的册子。这本册子包含了王蒙的许多杰出的山水画作品，其中包括他的著名作品《黄山图》。王蒙的山水画作品以其精细的线条、细腻的填充和浓郁的气氛而闻名。他的画作展现出自然界的美丽和神奇，表达了他对自然的敬畏和尊重。\n\n王蒙的《山水册》是中国山水画史上的一个重要里程碑，对后世的山水画家产生了深远的影响。这本册子被誉为“中国山水画的经典之作”，至今仍广为流传。",[24,173,7,177,81,29,1273,989,808,263,34,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa979705b9e03b4cc5259e511244f05ad.jpg",[],316,{"id":4251,"slug":4252,"title":4253,"dynasty":18,"author":4254,"museum":442,"description":4255,"tags":4256,"thumbUrl":4257,"material":123,"size":4258,"collection":42,"collections":4259,"showCount":4260,"zanCount":2368,"manualWeight":48,"mainColor":49},220073,"xue-jing-shan-shui-tu-fan-kuan-220073","雪景山水图","范宽","范宽（约950—约1032），又名中正，字中立，陕西华原（今陕西铜川耀州区）人，宋代绘画大师。因为性情宽厚豁达，时人称之为“宽”，遂以范宽自名。范宽、董源、李成，并称“北宋三大家”。艺术成就使得范宽与李成齐名，并称“李范”，又与同为华原人的柳公权合称“柳范”。\n初学李成，后感悟“与其师于人者，未若师诸造化”，遂隐居终南、太华，对景造意，写山真骨，自成一家。其画峰峦浑厚端庄，气势壮阔伟岸，令人有雄奇险峻之感。用笔强健有力，皴多雨点、豆瓣、钉头，山顶好作密林，常于水边置大石巨岩，屋宇笼染黑色。作雪景亦妙。\n存世作品有《谿山行旅图》《雪山萧寺图》《雪景寒林图》等。\n2004年，美国《生活》杂志将范宽评为“上一千年对人类最有影响的百大人物”第59位。",[23,194,24,25,26,29,2562,177,173,7,685,379,378,795,1273,2086,808],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54eeadf145b59befb0339a43d1468bb6.jpg","31.6X422",[42,181],315,{"id":4262,"slug":4263,"title":4264,"dynasty":99,"author":2189,"museum":240,"description":4265,"tags":4266,"thumbUrl":4268,"material":500,"size":4269,"collection":90,"collections":4270,"showCount":4271,"zanCount":1379,"manualWeight":48,"mainColor":94},222557,"hua-hui-tu-ce-chen-chun-222557","花卉图册","此图册是陈淳晚年作品。卷尾自题“嘉靖庚子，余游玉山，过周氏六观草堂。主人出此册，具丹粉，欲图杂卉。留连累月，不觉盈帙，见者亦且以草本视之可也。道复志”。按照其生卒年推算， “嘉靖庚子” 陈淳应为58岁，此作亦为其是画风成熟之作。从其题跋可以得知陈淳游历数月，画作颇丰，认为此作为“草本”，可见其自觉并无刻意求工，描写大略而已。\n卷尾文彭题曰：“赵昌王友已无伦，更学徐熙更逼真。意到不论颜色似，笔端原有四时春。阅白阳杂花漫题。文彭。”充分体现了吴门花鸟画的文人雅趣，“意到不论颜色似”概括了文人写意的特征，而“漫题”也体现了题咏者的状态，反映出文人书画家的共同气质特点与审美追求。\n文人王穉登的题跋则突出了对陈淳花卉写生推崇与称赞。“写生贵在约略点染，天真烂如。不当以分葩计蕊为似，重丹叠翠为工。观此册陈道复先生所作，粉墨萧闲，意象自足，所谓千金骏骨，识者求之牝牡骊黄之外可也。”此段题跋强调了陈淳花卉写生最主要的特点，即约略点染，不求工细，而意象自足。\n卷尾的金农长跋也对陈淳“行笔绝无时蹊，设色亦未敷采炫目，画以意似而非以形似也”的风格进行梳理，论述了写意书写的源流。但这段题跋存在一些问题。其一，通篇书体较为拘谨，特别是每行末字，刻意缩减对齐，非常局促。其二，“后世临写纷纷，徒劳豪楮”中“豪”应为“毫”之误。此出自大文人之手，有些牵强。其三，“此册九叶，花草凡七，间以山水两帧。”所述并非此册，极有可能是将他处题跋移接此处所致。所以这段金农题字不足以为据，至于真伪原由的评断，是另外的话题。本文主要论及陈淳花卉写生的艺术特点，就不将此段金农的论述作为讨论的依据了。\n变化生动自然，是陈淳花卉写生的代表作。如果将此册置于陈淳传世花鸟画作品中做一纵向比对，可以发现其共性的特征集中体现在这件作品中，同时，这件作品还有一些不同于其他作品的独到之处，都统一在率意自足的书写风格之中。所以这件陈淳绘画风格成熟期的作品，总体来看，体现了陈淳如下几个方面的鲜明的艺术特点。",[23,24,25,83,81,498,173,7,84,292,263,210,4267],"兰草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F917a3d7d0165dfb34ce3f2d19087dabb.jpg","32.5×57.3厘米",[90,45],314,{"id":4273,"slug":4274,"title":4275,"dynasty":76,"author":538,"museum":442,"description":4276,"tags":4277,"thumbUrl":4278,"material":123,"size":4279,"collection":44,"collections":4280,"showCount":4271,"zanCount":48,"manualWeight":48,"mainColor":94},218338,"shen-xian-gu-shi-tu-ce-leng-mei-218338","神仙故事图册","这一卷是一幅关于神仙故事的画。笔触做得非常好，人物也很自然，比例匀称。虽然色彩强烈，但并没有压倒性的效果，而且景观、动植物和工具都被描绘得非常巧妙。",[23,24,28,7,81,106,378,176,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3701c85d791f88982b1c29414dcbb054.jpg","38x42",[44],{"id":4282,"slug":4283,"title":4284,"dynasty":76,"author":4285,"museum":20,"description":4286,"tags":4287,"thumbUrl":4289,"material":2365,"size":4290,"collection":90,"collections":4291,"showCount":4271,"zanCount":1233,"manualWeight":48,"mainColor":94},214364,"duan-wu-tu-zhou-wang-shi-min-214364","端午图轴","王时敏","墨笔点染的花草疏密有致，剑形菖蒲叶挺拔劲健，似携端午驱邪的古意；蜀葵叶片浓淡相宜，花瓣柔婉舒展；百合与细碎小花点缀其间，姿态娇俏。线条勾勒细腻传神，枝叶脉络清晰可见，墨色层次丰富，从浓墨到浅灰过渡自然。文人意趣融于一花一叶，素净中透出盎然生机，淡雅间藏着温润诗意。无艳色却自具清幽之美，尽显传统花卉画的雅致情韵与端午时节的独特氛围，让人于素纸上感受到自然的生机与文化的绵长。",[23,194,24,25,226,173,7,83,28,84,264,554,1187,4288],"菖蒲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3414e2605b1e19c796fba5f04650202d.jpg","100.8x40.1",[90],{"id":4293,"slug":4294,"title":4295,"dynasty":99,"author":3307,"museum":20,"description":4296,"tags":4297,"thumbUrl":4299,"material":4300,"size":4301,"collection":90,"collections":4302,"showCount":4303,"zanCount":1233,"manualWeight":48,"mainColor":49},222398,"gui-ju-shan-qin-tu-lv-ji-222398","桂菊山禽图","该画所绘主体花鸟：绶带鸟、八哥、桂花、秋菊，均属于祥瑞、珍贵之物，寓有富贵长寿和君子节操含意，内容明显地反映了皇家的艺术和审美旨趣。\n画中造型严密，布置合理，使鸟、树、花儿粗细两相映衬，而色彩的明艳夺目更是增加了该画的艺术气息。\n该画描绘的是秋天的情景，画中有一棵高大而茂盛的桂花树，树干苍健，树上绿叶茂密，桂花簇聚。\n桂树上栖落着几只八哥，有两只正隔着树枝对唱，一只正翘首远眺。\n在低一些的树枝上，有一只蓝色绶带正朝着树下鸣叫，它黑白相间的羽翼之间，长着蓝色的羽毛，嘴和爪子为红色。\n树下的三只绶带，正在争食一只草虫，它们翘起高高的羽翎。\n桂树下长着一些野草，还有一些形状各异的石头，石后几株菊花正开得鲜艳，颜色有红的、黄的、白的。\n明代画院花鸟画是以南宋院体为基础并发展的，讲究设色浓艳，笔势劲健且奔放，明代画家吕纪的《桂菊山禽图》就体现了这样的画风。\n吕纪工笔重彩花鸟画创作的时候，承袭五代 工整精细的画风， 在整体章法布局和背景树石用笔上，更多地接受了南宋 、 的影响，由此而逐渐形成了自己的风格特色，《桂菊山禽图》《山茶白鹇图》是其中的代表作。\n《桂菊山禽图》刻意精细，显然是奉召而作。\n《桂菊山禽图》中的物象真实地展现了生物的自然本性，也形象地表达了内涵的寓意。\n所绘主体花鸟：桂花、秋菊、八哥以及授带鸟，都是祥瑞吉庆之物、寓意着富贵长寿和君子的气节；殉丽的色泽与生动的景致，又营造出欢乐的气氛和华美的意境，明显地反映了皇家的艺术和审美旨趣。\n展开画轴，在画面的右下侧山石屹立，有的横卧，有的竖立，有一块较大的湖石，造型奇特，上大下小，山左倾斜，呈险势状；山石和土坡上点缀着花草、杂木；山石后有一簇盛开的菊花，山石旁有一棵老桂拔地而起，树干粗壮，长满了疤节，显然是一株老桂；树干向右斜倾，并将主干伸出画面之外，然后又从画外上方斜入画面右上部；另一枝杈，又从树干伸出向左上方，入画面中上部，这是妙笔，不但弥补了画幅左上端的空阙，而且对整个画面起到平衡作用。\n桂树花叶繁茂，树枝相互交错，错落有致，树枝上端繁花满枝，让人感到金桂的幽香阵阵，沁人心肺，与下端石旁盛开的各色菊花相互映发。\n由于一棵硕大桂树干重心偏向右侧，画家在构思上十分巧妙，将桂树向左倾斜伸出的枝权上安排了两只八哥，一只绶带鸟，用来平衡了画面。\n这两只八哥和右侧另一树枝上的一只八哥，翘着尾张嘴在树枝上叫鸣，遥相呼应，显得十分活泼，生动真切。\n画面左下角安排了一只绶带鸟，晃动着色彩艳丽的长尾，聚在坡间草丛中相互争食一只蚱蜢，显得热闹非凡。\n此画构图新颖，景物主要集中于画面右侧和下部，形成全幅构图既充实饱满，又疏密相间，景物配置得体，画幅左侧中部留有较大的空白，形成黑白强烈的对比。\n此画用笔秀劲，勾勒敷色，颇具功力。\n山石用斧劈皴。\n山石的笔法较为粗放，棱角方硬，具有立体感和质感。\n此画继承南宋院体中花鸟画法，工细中稍加放纵，形成精工富丽的艺术风格：细笔工绘，花、叶、鸟产生了强烈的对比；这种一工一写，相互映衬，达到粗细相间，却和谐统一，且显得自然生动：禽鸟造型准确，形象逼真，生动活泼，小趣盎然；设色方面，此图色彩浓重艳丽，厚重而无俗媚之气。\n绶带鸟斑斓的羽毛和艳丽的长尾，漂亮的红嘴，脚爪，描绘极为真实自然，色彩的深浅厚薄的变化，表现了羽毛的质感。\n八哥虽体以黑色为主，但却层次分明，活泼自然，生动毕肖，每一只八哥的神情刻画得特别贴切。\n花叶用石青染出，以浓淡分向背，极富有变化。\n作品的不足之处是八哥与绶带鸟之间缺少有机的联系。\n这反映了皇家贵胄多半要求画得繁多华丽的偏向，而宫廷画家不得不循以满足之。",[23,194,24,25,226,28,7,83,4298,897,245,230,836,84,1530],"桂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8206d9ae1c5854baf1d866a01f8809e8.jpg","绢本工笔","纵192厘米，横107厘米",[90,45],312,{"id":4305,"slug":4306,"title":4307,"dynasty":76,"author":257,"museum":316,"description":4308,"tags":4309,"thumbUrl":4314,"material":139,"size":139,"collection":139,"collections":4315,"showCount":4316,"zanCount":1379,"manualWeight":48,"mainColor":49},234383,"yin-zhen-shi-er-yue-jing-xing-le-tu-dan-pian-yi-ming-234383","胤禛十二月景行乐图单片","满池荷田田铺展，夏意随水汽漫过错落亭台。凭栏雅士闲赏菡萏，凌波画舫载着清趣缓行，庭院间仆从往来忙活，处处漾着松弛鲜活的意趣。\n设色柔润明丽，界画工细严整，人物情态鲜活入微，将消夏雅集的日常铺陈开来。笔底藏着雅致心思，把盛夏水乡的闲逸日常勾勒得细腻生动，尽显升平安逸的烟火意趣。",[24,104,7,28,106,107,136,109,4310,115,4311,4312,4313],"画舫","消夏","闲逸","雅集","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F508d9ece16a44c74182184ecba879fff.jpg",[],311,{"id":4318,"slug":4319,"title":4320,"dynasty":18,"author":1588,"museum":1577,"description":4321,"tags":4322,"thumbUrl":4324,"material":529,"size":4325,"collection":42,"collections":4326,"showCount":4316,"zanCount":1003,"manualWeight":48,"mainColor":49},221184,"mei-hua-shuang-que-tu-ma-lin-221184","梅花双雀图","《中国历代精品梅兰竹菊(卷一):梅卷》介绍了梅花具有顶风凌雪、先春而发的高尚品格，颇可象征刚正忠贞、横而不流的人格，因此也就自然成为文人骚客反复咏叹的对象。\n在中国文学史上，对梅花的咏赞往往都寓托了作者深远的精神内涵，如陈同甫之诗云“疏枝横玉瘦，小萼点珠光”，是赞美梅花的清贵高古；陆放翁云“当年走马锦城西，曾为梅花醉似泥”，表达出对梅的喜爱之情已臻如痴如醉之境；谢枋得在抗元失败后，隐居武夷，作诗称“几生修得到梅花”，更是以梅花坚贞的品格自期。\n同样，在中国画创作中，梅也是一个重要的题材，它与兰、竹、菊合称为“四君子”。\n并逐渐成为中国花鸟画基本功训练的重要内容，尤其是在意笔花鸟画兴起之后，但凡有成就者，几乎没有不擅长梅、兰、竹、菊的。",[23,24,25,194,81,28,7,83,820,4323],"雀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa49bdbf46314f2ed5ab10d9d675a4e7b.jpg","纵28厘米，横29厘米",[42,90,45],{"id":4328,"slug":4329,"title":4330,"dynasty":189,"author":1730,"museum":56,"description":4331,"tags":4332,"thumbUrl":4333,"material":67,"size":4334,"collection":181,"collections":4335,"showCount":4336,"zanCount":48,"manualWeight":48,"mainColor":49},221153,"xia-jing-shan-kou-dai-du-tu-juan-quan-juan-dong-yuan-221153","夏景山口待渡图卷全卷","《夏景山口待渡图》图中山势重叠，缓平绵长，植被丰茂，水汽若蒸，似江南夏日景色。起首处水面浩渺，扁舟隐现，中景山势重叠，林木疏朗挺直，竹丛杂处其间，茅屋隐约可见；卷末渡船未到，官客等待，点出主题。全图构思精细，设色雅淡，冈峦清润，林木秀密。技法上以披麻皴为主，多用苔点，色彩淡雅，为典型的江南山水",[23,24,194,25,26,29,109,174,34,1733,173,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1987f1d1f3d0d2e45e2314a9f565c70.jpg","纵50厘米，横320厘米",[181,163],309,{"id":4338,"slug":4339,"title":4340,"dynasty":99,"author":170,"museum":608,"description":4341,"tags":4342,"thumbUrl":4343,"material":88,"size":4344,"collection":181,"collections":4345,"showCount":4336,"zanCount":2368,"manualWeight":48,"mainColor":49},219997,"fang-wang-meng-shan-shui-tu-shen-zhou-219997","仿王蒙山水图","沈周（1427～1509）明代杰出书画家。字启南，号石田、白石翁、玉田生、有居竹居主人等。汉族，长洲（今江苏苏州）人。生於明宣德二年，卒於明正德四年，享年八十三岁。不应科举，专事诗文、书画，是明代中期文人画“吴派”的开创者，与文徵明、唐寅、仇英并称“明四家”。传世作品有《庐山高图》、《秋林话旧图》、《沧州趣图》。著有《石田集》、《客座新闻》等。",[23,24,25,29,7,173,177,105,108,109,176,34,1426,106,107,1171,353],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ee133c9090a1b144a80565865755e15.jpg","121.2 × 60.2 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淡黄色的太阳花瓣，粉红色的花瓣，娇嫩多彩，倒映着水花和芬芳的花瓣。\n水中的鸳鸯成双成对，在花间的叶子底下嬉戏玩耍。 发色抢眼，华丽，勾勒出画面。\n喜鹊在空中栖息飞翔，盘旋三圈，与莲花杆上的三人和声合唱。",[23,24,25,194,226,28,7,83,136,137,2014,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73f8825b07bf8e459260b47a52535640.jpg","绢本，立轴，设色","187x105.2",[90,45],{"id":4423,"slug":4424,"title":4425,"dynasty":869,"author":1841,"museum":1842,"description":4426,"tags":4427,"thumbUrl":4429,"material":139,"size":139,"collection":139,"collections":4430,"showCount":4411,"zanCount":48,"manualWeight":48,"mainColor":94},220497,"zhang-da-qian-lin-mo-dun-huang-bi-hua-chu-tang-ji-le-pu-sa-si-shen-xiang-zhang-da-qian-220497","张大千临摹敦煌壁画初唐伎乐菩萨四身像","四身伎乐菩萨环立莲台，眉目温婉静穆，气韵安然祥和。诸人各执乐器，或按排箫、或拨琵琶、或持拍板、或摇铃鼓，神态各殊却皆浸在丝竹雅韵之中。\n\n画作敷色浓烈妍丽，朱砂石青交相辉映，承袭初唐敦煌壁画的富丽厚重。铁线描勾勒衣袂婉转流动，晕染沉实细腻，精准复刻出古壁画的庙堂质感，将盛唐伎乐的雍容之美凝于绢上，让千年敦煌的梵音雅乐跃然眼前。",[23,24,25,105,1846,28,7,260,106,4428,195],"菩萨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F203948a899df0e2d4917b8f5c73e4421.jpg",[],{"id":4432,"slug":4433,"title":4434,"dynasty":18,"author":257,"museum":191,"description":4435,"tags":4436,"thumbUrl":4438,"material":123,"size":139,"collection":44,"collections":4439,"showCount":4411,"zanCount":1003,"manualWeight":48,"mainColor":2504},216983,"yu-lan-guan-yin-tu-yi-ming-216983","鱼篮观音图","鱼篮观音图是宋代佚名画家的作品，其中描绘了观音菩萨手持鱼篮的场景。观音菩萨是佛教中的一位观世音，被认为能够拯救苦难的众生。鱼篮观音图通常被用作冥想祈福的辅助图片，并且也被认为具有招财进宝的功效。这幅画作品流传至今，并且在许多佛教寺庙中都可以看到。",[24,25,194,226,260,106,28,7,212,4437],"鱼篮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda6e54f1af2dc55c1055152c478f86c4.jpg",[44],{"id":4441,"slug":4442,"title":205,"dynasty":76,"author":77,"museum":316,"description":596,"tags":4443,"thumbUrl":4444,"material":599,"size":600,"collection":139,"collections":4445,"showCount":4446,"zanCount":1233,"manualWeight":48,"mainColor":94},239431,"hua-niao-ce-yun-shou-ping-239431",[24,25,81,7,82,83,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5391d418d6a9273a2cb10bd932c4d201.jpg",[],302,{"id":4448,"slug":4449,"title":4450,"dynasty":76,"author":77,"museum":191,"description":290,"tags":4451,"thumbUrl":4452,"material":123,"size":294,"collection":139,"collections":4453,"showCount":4446,"zanCount":1003,"manualWeight":48,"mainColor":94},214304,"mu-dan-ce-2-yun-shou-ping-214304","牡丹册-2",[194,24,25,28,7,81,83,292,3074],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88c4f68ab97598a41c207c5c41a0ddba.jpg",[],{"id":4455,"slug":4456,"title":4457,"dynasty":76,"author":77,"museum":316,"description":596,"tags":4458,"thumbUrl":4459,"material":599,"size":600,"collection":139,"collections":4460,"showCount":4461,"zanCount":1233,"manualWeight":48,"mainColor":94},290526,"hua-hui-zhou-yun-shou-ping-290526","花卉轴",[194,24,25,226,7,28,83,292,365,1133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F060eeb289a0dda1a06b4c11a188ac1f7.jpg",[],301,{"id":4463,"slug":4464,"title":4465,"dynasty":302,"author":303,"museum":191,"description":4466,"tags":4467,"thumbUrl":4473,"material":67,"size":4474,"collection":42,"collections":4475,"showCount":4461,"zanCount":918,"manualWeight":48,"mainColor":94},221708,"hua-cao-mi-feng-qian-xuan-221708","花草蜜蜂","早晨披衣晨起，气温已升高，只有些微凉意。春天所剩只有两日，人生恨不得能大醉千百场。芳草随着渐行渐远的旅人连绵到天涯，柳丝百丈，也比不得旅人的愁闷那么长。花花朵朵已经没有了，但还有几分春色被蜜蜂藏起了蜂蜜里。\n烂醉恨无千百场：苏轼有词：百年里，浑教是醉，三万六千场。\n这首诗作于嘉泰元年（1201），作者时在山阴。",[23,24,194,7,28,380,721,263,83,25,4468,4469,4470,84,568,176,4009,4471,4472,689,650],"设色花鸟","工笔花鸟","元代绘画","工笔设色","花鸟题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bd7df0fb4cdfe9a940d95305f727f55.jpg","26.6x23cm",[42,90,45],{"id":4477,"slug":4478,"title":4206,"dynasty":18,"author":257,"museum":191,"description":4479,"tags":4480,"thumbUrl":4481,"material":123,"size":139,"collection":90,"collections":4482,"showCount":4461,"zanCount":918,"manualWeight":48,"mainColor":94},216104,"shu-kui-yi-ming-216104","画面中蜀葵悄然绽放，花瓣层叠如轻绡，粉晕从瓣尖漫向花心，似沾了晨露的柔媚。叶片脉络纤细如丝，墨绿间晕染浅碧，藏着风过的微颤。枝干斜逸有致，不带刻意雕琢的匠气，却透着自然生长的生趣。古雅的底色衬得花姿愈发清雅，每一笔都凝着宋人对万物的细腻观照——不追繁复，只撷取蜀葵最动人的一瞬，以温润笔触将娇妍与静谧锁于方寸。无炫技的华丽，唯有物态的鲜活与文人的雅致，恰是宋画“以形写神”的韵味：似能嗅到淡香浮动，触到叶片微凉，让观者于静穆中感知生命的鲜活。",[23,2003,24,194,1260,28,7,83,4206],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5b86c98450e1da128f001588b205adf.jpg",[90],{"id":4484,"slug":4485,"title":4486,"dynasty":99,"author":100,"museum":191,"description":4487,"tags":4488,"thumbUrl":4490,"material":1307,"size":4491,"collection":90,"collections":4492,"showCount":4493,"zanCount":1003,"manualWeight":48,"mainColor":94},222200,"shui-xian-la-mei-zhou-chou-ying-222200","水仙蜡梅轴","本幅画水仙两本，蜡梅一枝，以勾勒填彩法成之，着意无多，而清丽雅澹之韵，盎然绢素，乃仇英之精者，款书十五字，出项元汴手笔。此图另存一幅，现流传于国外。",[23,24,25,226,28,7,83,898,4489,212],"蜡梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16cf1c9094975ec18e1391b0dc61eace.jpg","195.8x44厘米",[90,45],300,{"id":4495,"slug":4496,"title":4497,"dynasty":54,"author":55,"museum":608,"description":4498,"tags":4499,"thumbUrl":4501,"material":123,"size":4502,"collection":44,"collections":4503,"showCount":4493,"zanCount":414,"manualWeight":48,"mainColor":49},219044,"nei-ren-shuang-lu-tu-zhou-fang-219044","内人双陆图","该画描绘了唐装贵族妇女以棋戏消遣的生活。图中间为二盛装贵族妇女对坐行棋，左右有亲近观棋，侍婢应候。",[2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百花》卷，各系一诗。传世作品有《白梅山茶图》、《太古云岚图》、《水仙红梅图》等。",[24,194,25,81,28,7,820,209,212,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F031b48b273c29caa21ee18f0cd382bb4.jpg",[90,45],292,{"id":4586,"slug":4587,"title":1641,"dynasty":99,"author":4588,"museum":442,"description":4589,"tags":4590,"thumbUrl":4591,"material":123,"size":139,"collection":44,"collections":4592,"showCount":4593,"zanCount":889,"manualWeight":48,"mainColor":49},219556,"shi-nv-tu-jiang-gan-219556","蒋干","春日深苑里，梅枝斜曳绽蕊，古殿檐角隐在花影后。两名仕女缓步游园，前者抬臂探花，似贪嗅浅淡春芳，后者抬手理鬓，眼波追随着花枝流转。\n\n衣纹以淡墨轻勾，敷色清妍柔润，朱红飘带轻垂摇曳，衬出仕女柔婉窈窕的身姿。山石花木晕染雅致，淡赭底色晕开暮春慵柔氛围，笔意秀逸灵动，将深闺仕女娇柔娴静的游园意趣藏在每一处笔触间，尽显清丽隽秀的古典风韵，把春日闲淡雅致的闺中情态铺陈得动人缱绻。",[23,24,25,226,28,7,106,59,614,662,107,380],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a387652910225c3f68016cca938aa4e.jpg",[44,45],290,{"id":4595,"slug":4596,"title":4597,"dynasty":189,"author":1642,"museum":191,"description":4598,"tags":4599,"thumbUrl":4601,"material":123,"size":4602,"collection":44,"collections":4603,"showCount":4604,"zanCount":1233,"manualWeight":48,"mainColor":49},219691,"he-ting-yi-diao-shi-nv-tu-zhou-wen-ju-219691","荷亭弈钓仕女图","画亭榭临池，前後碧柳四垂，二女亭中对奕。亭外池荷盛开，翠叶田田。仕女或倚栏垂钓或持扇观荷，一派夏日悠闲景象。通幅屋界、衣饰刻画精细，粉花绿叶著色清丽，本幅旧传为南唐周文矩之作，唯笔墨、器用皆显露出明清习气。",[23,24,194,25,226,28,7,106,59,175,136,107,1241,1364,278,4600],"弈","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe978a3e1bcbd02719a386cfad2d3d42b.jpg","195.1x98厘米",[44],287,{"id":4606,"slug":4607,"title":4608,"dynasty":76,"author":329,"museum":191,"description":1518,"tags":4609,"thumbUrl":4612,"material":7,"size":1521,"collection":139,"collections":4613,"showCount":4614,"zanCount":2368,"manualWeight":48,"mainColor":94},222738,"xian-e-chang-chun-tu-huang-ci-me-yu-yu-er-mu-dan-lang-shi-ning-222738","仙萼长春图黄刺么与鱼儿牡丹",[23,194,24,25,81,7,28,83,4610,4611,245,210],"黄刺玫","鱼儿牡丹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00d5d6ad2b6dcc4434e46f4033608090.jpg",[],286,{"id":4616,"slug":4617,"title":4618,"dynasty":76,"author":563,"museum":191,"description":564,"tags":4619,"thumbUrl":4621,"material":88,"size":139,"collection":139,"collections":4622,"showCount":4614,"zanCount":1379,"manualWeight":48,"mainColor":94},214861,"xie-sheng-ce-4-hua-yan-214861","写生册-4",[194,24,320,7,28,722,4620,319,212,83],"海螺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F185c3169af8452ffdbb9bb497462b957.jpg",[],{"id":4624,"slug":4625,"title":4626,"dynasty":54,"author":257,"museum":20,"description":4627,"tags":4628,"thumbUrl":4631,"material":123,"size":4632,"collection":181,"collections":4633,"showCount":4614,"zanCount":48,"manualWeight":48,"mainColor":49},214258,"gong-yuan-tu-yi-ming-214258","宫苑图","宫苑图是一幅作者不详的唐代画作。这幅画作描绘了唐朝皇宫的生活。\n\n在这幅画作中，画家巧妙地捕捉了唐朝皇宫的繁华景象。他用浓墨重彩的画法，勾勒出了皇宫的宏伟建筑。他还用细腻的线条勾勒出了皇宫中各种活动的场面，让人感受到了唐朝皇宫的繁荣景象。\n\n此外，画家在这幅画作中还描绘了皇宫周围的景色。他用色彩丰富的画法，描绘了皇宫周围的山川和河流。这些景色与皇宫的宏伟建筑形成了鲜明的对比，让人感受到了自然与人类活动的和谐共存。\n\n总之，宫苑图是一幅精美的画作，描绘了唐朝皇宫的生活。它让我们感受到了唐朝皇宫的繁荣景象，也让我们感受到了唐朝文化的魅力。",[23,194,24,25,7,104,107,29,4629,106,4630],"宫苑","繁华","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62f47a53857a3fc4ab82d75a1dd20f08.jpg","162.5×83.7",[181],{"id":4635,"slug":4636,"title":4637,"dynasty":76,"author":257,"museum":132,"description":4638,"tags":4639,"thumbUrl":4640,"material":123,"size":4641,"collection":90,"collections":4642,"showCount":4643,"zanCount":1233,"manualWeight":48,"mainColor":49},218955,"he-li-shi-zhu-tu-yi-ming-218955","鹤立石柱图","振翅的鹤，白羽层叠如凝雪，墨羽缀于翼尖似泼墨，长颈曲转间自有灵韵。双爪紧扣嶙峋石柱，石柱立于翻涌的浪涛之上，岩纹与水纹交织出苍劲古意。深褐底色衬得鹤羽愈发明净，动静相生间，似有清唳破风而来，尽显生灵与天地相融的傲然之态。笔意细腻处见羽毛纤毫，粗犷处显山石磅礴，于方寸间藏万千气象，足见匠心独运。",[24,25,28,7,226,245,60,230,408,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5174cd1ea8ffbe0f8da17cfa3f06a65b.jpg","171x89cm",[90],285,{"id":4645,"slug":4646,"title":4647,"dynasty":76,"author":997,"museum":316,"description":4648,"tags":4649,"thumbUrl":4650,"material":139,"size":139,"collection":139,"collections":4651,"showCount":4652,"zanCount":48,"manualWeight":48,"mainColor":94},229001,"jin-ling-sheng-ji-tu-ce-zhang-da-qian-ti-zhen-shi-tao-229001","金陵胜迹图册(张大千题)帧","此帧以淡赭晕染危崖，笔意简括古拙，衬出峭壁高峙之态。崖巅楼宇寥寥数笔，凭栏人影幽然，衬出山巅阒寂清旷。枯淡墨色点苔绘木，苍劲松灵，淡墨扫出空蒙天色，与赭色崖身相映，冷逸出尘。\n\n配行书题诗，诗书与画境相融，笔墨间浸透着清冷禅意，将冬初山阁清寂之景，与幽人寄怀合而为一，于尺幅间尽绘高旷出尘之致，尽显纵逸灵动的笔底才情，把山巅初消寒意的雅趣，晕染得淡远空灵，韵致悠长。",[23,194,24,25,81,7,177,212,86,29,107,378,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6ddb8b7cfbb4648cbf6458bf7f8aaa0.jpg",[],284,{"id":4654,"slug":4655,"title":4656,"dynasty":76,"author":77,"museum":1337,"description":1338,"tags":4657,"thumbUrl":4658,"material":67,"size":4659,"collection":90,"collections":4660,"showCount":4652,"zanCount":1233,"manualWeight":48,"mainColor":94},220995,"hua-hui-tu-ce-tao-hua-yun-shou-ping-220995","花卉图册·桃花",[23,24,25,81,7,82,83,243,84,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb300ee60f9ba34664528d3e4e7228c38.jpg","每帧纵32.5厘米，横25.5厘米",[90,45],{"id":4662,"slug":4663,"title":4664,"dynasty":99,"author":257,"museum":3038,"description":4665,"tags":4666,"thumbUrl":4667,"material":123,"size":139,"collection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"manualWeight":48,"mainColor":94},220081,"xi-shan-wu-jin-tu-ma-yuan-220081","溪山无尽图","马远《溪山无尽图》卷以水墨浅绛写江南四季景色，布局多取近景，突出崖岸，山石作大斧劈皴，方硬有棱角。山峰林立，峭壁悬崖间有流泉飞瀑，松柏蓊郁、云雾弥漫、长桥石栏、渔舟帆客、楼观村庄，清幽秀俊的江南景色成为一个整体，有着诗意般的意境。此卷画风当属南宋马远。构图布景与《溪山秋爽图》有异曲同工之妙。此卷绘于宋笺纸上，山石为马远典型的斧劈皴，乔松远树，皆用拖枝法，柳林含风，千笔万笔，笔笔不乱。画幅中间，数株红树，点缀溪山丛莽间，有画龙点睛之妙。而纸寿千年，其完好程度与绢本不可同日而语。此卷创作年代当稍晚于绢本，水法两卷亦有不同，此卷水的画法更接近马远《水图》。",[23,24,194,25,26,173,7,177,29,176,34,109,174,108,175,245,1049],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3068a8c76430171b9de9897301fc6bc0.jpg","纵33.8厘米，横469厘米",[181,45],{"id":4750,"slug":4751,"title":4752,"dynasty":99,"author":100,"museum":56,"description":4753,"tags":4754,"thumbUrl":4755,"material":529,"size":4756,"collection":181,"collections":4757,"showCount":4758,"zanCount":774,"manualWeight":48,"mainColor":49},222218,"wang-chuan-shi-jing-tu-chou-ying-222218","辋川十景图","《辋川十景图》是中国明代画家仇英的国画作品。该画为长卷。《仇英辋川十景图卷》名为写唐代王维隐居蓝田别墅的诗意，实际上正是明代的园林生活为粉本。屋舍界画的工整，花木杂树的精微，青绿设色的细丽，真称得上穷工极艳。\n《辋川十景图》十景各自独立成章，但又联贯为统一的大画面，随着画卷的展开，移步易景，引人入胜，山穷水尽，柳暗花明，令人目不暇接。对于中国画的创新，具有不容低估的积极意义。",[23,24,25,194,26,27,7,28,29,108,109,107,175,227,34,174],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5418cf86d3682d5764ef7dcd67e08986.jpg","纵30.5厘米 横987厘米",[181,45],279,{"id":4760,"slug":4761,"title":4762,"dynasty":302,"author":303,"museum":20,"description":4763,"tags":4764,"thumbUrl":4765,"material":500,"size":4766,"collection":90,"collections":4767,"showCount":4758,"zanCount":889,"manualWeight":48,"mainColor":94},221707,"ba-hua-tu-juan-qian-xuan-221707","八花图卷","此卷以分段法描绘海棠、梨花、杏花、水仙、桃花、牡丹等8种花卉，每种相对独立，合之又成为整体。8种花卉各具姿态，偃仰向背绝无雷同，笔致柔劲，一丝不苟，敷色清雅，浓淡相宜，整幅精工而不滞板，细腻而不纤巧。本幅前右下角钤“舜举”印一方，拖尾处有元代赵孟頫题跋：“右吴兴钱选舜举所画八花真迹，虽风格似近体，而傅色姿媚殊不可得。尔来此公日酣于酒，手指颤抖难复作此。而乡里后生多仿效之，有东家捧心之弊，则此卷诚可珍也。至元廿六年九月四日同郡赵孟頫。”",[23,24,25,26,7,28,83,898,292,1261,1806,1340,243,662,631],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd3daf5f7775f9a2ba3a9ee6a0616487.jpg","纵29.4厘米，横333.9厘米",[90,45],{"id":4769,"slug":4770,"title":4771,"dynasty":76,"author":77,"museum":539,"description":4772,"tags":4773,"thumbUrl":4775,"material":67,"size":4776,"collection":90,"collections":4777,"showCount":4758,"zanCount":414,"manualWeight":48,"mainColor":94},220989,"hu-shan-chun-nuan-tu-quan-tu-yun-shou-ping-220989","湖山春暖图全图","《湖山春暖图》 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落笔成形，然后以墨勾叶筋，荷花设色淡雅，清新自然。这一切都显示了画家的笔墨造形功力。",[24,194,226,83,7,28,136,2014,209,137,836,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F848b8317f95838a26d9b5f0806530d75.jpg",[90,45],272,{"id":4861,"slug":4862,"title":4863,"dynasty":99,"author":1196,"museum":191,"description":4864,"tags":4865,"thumbUrl":4866,"material":88,"size":4867,"collection":45,"collections":4868,"showCount":4859,"zanCount":1233,"manualWeight":48,"mainColor":94},219330,"hua-ji-zhen-ji-zhou-tang-yin-219330","画鸡真迹轴","石上雄鸡昂首而立，羽色斑斓间透着昂然气度，恰应题中“血染红冠锦满身”之态。旁侧菊丛竞艳，红英灼灼如霞，黄蕊灿灿似金，白瓣皎皎若雪，枝叶扶疏间衬以修竹数竿，清逸之韵自生。双蝶翩跹于花间，翅影轻摇，为静景添灵动生机。整幅画作工写相济，设色淡雅却层次分明，禽鸟花卉皆形神兼备。题诗笔墨洒脱，与画面意境交融，尽显文人画“诗画同源”之妙，于方寸间藏生机与风骨，读来令人心折。",[24,25,226,7,28,2703,897,227,484,62,230,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ca49404492f1b40b2f4829b76583fed.jpg","119.9x30.3",[45],{"id":4870,"slug":4871,"title":4872,"dynasty":18,"author":2509,"museum":191,"description":2510,"tags":4873,"thumbUrl":4877,"material":88,"size":139,"collection":44,"collections":4878,"showCount":4879,"zanCount":1233,"manualWeight":48,"mainColor":49},216964,"ying-xi-tu-su-han-chen-216964","婴戏图",[913,28,7,106,4874,115,114,4875,2512,4876,212],"婴孩","榻","花木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F683c03575faeba1accf39da01c82a0c5.jpg",[44],271,{"id":4881,"slug":4882,"title":4883,"dynasty":76,"author":77,"museum":191,"description":290,"tags":4884,"thumbUrl":4885,"material":123,"size":294,"collection":139,"collections":4886,"showCount":4879,"zanCount":774,"manualWeight":48,"mainColor":94},214303,"mu-dan-ce-3-yun-shou-ping-214303","牡丹册-3",[24,25,83,292,28,82,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdffa0ff34f933df084b45570f27fb53d.jpg",[],{"id":4888,"slug":4889,"title":4890,"dynasty":76,"author":4891,"museum":20,"description":4892,"tags":4893,"thumbUrl":4894,"material":139,"size":139,"collection":90,"collections":4895,"showCount":4896,"zanCount":1379,"manualWeight":48,"mainColor":94},238946,"tao-hua-ce-ye-ma-yuan-yu-238946","桃花册页","马元驭","马元驭（1669—1722）清代画家。字扶羲，号栖霞，又号天虞山人，江苏常熟人。",[24,25,81,7,83,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02c4fb8323fe9cc6ab422db9d25bae45.jpg",[90,45],270,{"id":4898,"slug":4899,"title":4900,"dynasty":76,"author":2883,"museum":4901,"description":4902,"tags":4903,"thumbUrl":4905,"material":123,"size":4906,"collection":90,"collections":4907,"showCount":4896,"zanCount":1003,"manualWeight":48,"mainColor":94},218975,"teng-hua-shan-que-tu-jiang-ting-xi-218975","藤花山雀图","日本大阪市立美术馆","描绘缠绕椿树生长的紫藤花，另有白头翁、兰花、灵芝及湖石等元素。画作右下角款「臣蒋廷锡恭画」，左上方有康熙皇帝御题唐代岑参（715-770）〈石上藤〉一诗。该作曾录于《石渠宝笈》，后辗转流出清宫，成为阿部房次郎（1868-1937）的收藏。",[23,24,25,226,28,7,83,1613,4904,245,230,34,631,809,686,4167],"山雀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8205a0f0caa95b529902b560707fb7c9.jpg","纵212.5横97.1cm",[90,45],{"id":4909,"slug":4910,"title":4911,"dynasty":18,"author":4912,"museum":316,"description":4913,"tags":4914,"thumbUrl":4915,"material":123,"size":4916,"collection":181,"collections":4917,"showCount":4918,"zanCount":1003,"manualWeight":48,"mainColor":49},218542,"qing-lv-shan-shui-tu-wang-shen-218542","青绿山水图","王诜","绢本之上，青绿设色古雅沉静。石青与石绿随山石肌理晕染，既有郭熙山水的雄健气势，又含文人画的清逸韵致。近处山石皴染结合，松枝苍劲挺拔；山间云雾淡墨轻扫，牵起远近峰峦呼应，营造深远空间感。林麓间隐现的小屋，与葱茏草木相映，藏着古人林泉高致的向往。古朴绢色衬出岁月沉淀的温润，自然山水的雄浑与文人情怀的雅致在此相融共生，尽显北宋青绿山水的独特韵味。",[24,25,27,7,177,29,808,34,176,809,114,1273],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa963a4c7fe39c603be18f16b97851252.jpg","93x36",[181],268,{"id":4920,"slug":4921,"title":4922,"dynasty":99,"author":1196,"museum":132,"description":4923,"tags":4924,"thumbUrl":4925,"material":88,"size":4926,"collection":181,"collections":4927,"showCount":4918,"zanCount":1379,"manualWeight":48,"mainColor":49},217036,"bi-shan-qi-shu-tu-tang-yin-217036","碧山琪树图","唐寅在画画方面有很高的造诣，他的作品涵盖了许多不同的题材，包括自然风景、人物、花鸟、山水、古典寓言故事等。\n\n碧山琪树图是唐寅的一幅著名作品。这幅画描绘了一片美丽的山林，山顶上有一棵琪树，下面是茂盛的松柏林。唐寅用笔轻柔地勾勒出了各种山石、枝叶、花草的线条，使画面看起来栩栩如生。",[24,226,29,7,177,685,378,175,1426,109,686,1273,689,1171,3176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf99aba7e79792d4e1f74ad4b1015736.jpg","123x58cm",[181],{"id":4929,"slug":4930,"title":4931,"dynasty":76,"author":698,"museum":101,"description":4932,"tags":4933,"thumbUrl":4934,"material":88,"size":702,"collection":139,"collections":4935,"showCount":4918,"zanCount":2368,"manualWeight":48,"mainColor":94},216246,"jing-fu-si-qi-dong-jing-tu-11-qian-wei-cheng-216246","景敷四气冬景图-11","此套《景敷四气》冬景图，是清乾隆时期画家钱维城的作品。此套画册共含十二帧，纯以水墨为之或薄施淡色擦染，构图简练，自出机杼。运笔较为多样，笔法松秀，墨色疏淡，用色恬然，具有很显著的文人绘画的样式。最后一幅有：甲午新正月御题。钤印：乾隆鉴赏、三希堂精鉴玺、宜子孙、乾隆。\n一瀑高悬银凿落，四山攅积玉参差。并刀剪水作花后，转语堪诠杜老诗。钤印：泼墨",[24,25,7,28,83,629,212,86,84,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6ef9652a7cd63623c4474d2e78468a1.jpg",[],{"id":4937,"slug":4938,"title":4939,"dynasty":18,"author":4940,"museum":316,"description":4941,"tags":4942,"thumbUrl":4943,"material":139,"size":139,"collection":139,"collections":4944,"showCount":4945,"zanCount":774,"manualWeight":48,"mainColor":49},227520,"hua-niao-tu-ye-wa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的题诗：“枫落吴江候，烟蓬破冷浮；聊存竿线意，讵为釜鬲求。\n山色早辞夏，波光宜是秋；思莼风味在，静与日相谋。\n”落款为：“戌子秋月御题”（戌子系乾隆二十三年，即1768年）下钤有“乾隆宸翰”朱文小方印。\n图右上角钤有“乾隆御览之宝”圆形朱文印，与“淳化轩图书珍秘宝”白文方形印二方。\n图左上方钤有“淳化轩”朱文长方印“乾隆宸翰”白文大方印，“信天主人”朱文大方印，左上角钤“乾隆鉴赏”圆形白文印，下接“三希堂精鉴玺”长方形朱文印与“宜子孙”白文长方印。\n这些印都是乾隆帝钤盖在宫廷所藏的精品之上的常用印鉴。\n该图左下裱边刊有“同治三年二月江阴何栻廉眆以此桢见诒，十月初付沅甫弟珍藏。",[23,24,28,7,177,226,29,4952,31,174,106,176,796,34,4953],"枫树","垂钓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facf664be593917b57e4ddec7d0838657.jpg","纵127厘米，横8.5厘米",[181,45],{"id":4958,"slug":4959,"title":4960,"dynasty":99,"author":170,"museum":539,"description":4961,"tags":4962,"thumbUrl":4963,"material":500,"size":4964,"collection":90,"collections":4965,"showCount":4945,"zanCount":1379,"manualWeight":48,"mainColor":94},222118,"ping-he-tu-shen-zhou-222118","瓶荷图","此画是沈周作品中比较少见的工笔花鸟画，画上绘一铜壶，内植荷花荷叶各三株，交错而生。荷叶向背以深浅不同绿色区分，多取其背，使画面变浓艳为淡雅，凸现清高风格。作品形象写实，用笔简括，色泽温润，格调质朴。插花所用的铜壶以墨笔勾轮廓，没骨法渲染明暗，立体感很强。",[23,24,25,226,7,136,137,229,28,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F551d511ecb28a9a711639a1773ee49c3.jpg","60x143cm",[90,45],{"id":4967,"slug":4968,"title":4969,"dynasty":99,"author":857,"museum":442,"description":4970,"tags":4971,"thumbUrl":4972,"material":123,"size":4973,"collection":90,"collections":4974,"showCount":4945,"zanCount":918,"manualWeight":48,"mainColor":49},214701,"ping-hua-tu-chen-hong-shou-214701","瓶花图","陈洪绶用菊花和霜叶画了一个瓶子，以庆祝另一个人的生日。有些学者认为，在明朝晚期没有这么大的玻璃瓶。",[23,24,25,28,7,266,897,62,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf52640088b9212d2c81a4c6b72f18a8.jpg","174.5x98",[90],{"id":4976,"slug":4977,"title":4978,"dynasty":99,"author":170,"museum":20,"description":4979,"tags":4980,"thumbUrl":4981,"material":770,"size":4982,"collection":139,"collections":4983,"showCount":4984,"zanCount":1003,"manualWeight":48,"mainColor":94},234233,"lu-mu-tu-shen-zhou-234233","庐墓图","故宫博物院收藏有一卷沈周《庐墓图》，画分四段，从不同角度描绘了山中墓地景色。因墓地题材并非古代山水画的主流，故而学者关注不多。尽管实物遗存有限，然从文献记载来看，描绘先人茔域的山水画，自元末以来直至沈周生活的明代中期应当颇为流行。本文试从沈周《庐墓图》出发，讨论这类茔域山水画的形成与使用及其流行背后的文化观\n构成《庐墓图》的四幅画面，皆纵37.5厘米，横65厘米，推测其原本的形式应为册页。根据卷前题跋，其被合装成手卷的时间约在咸丰初年[1]。第一、二、四开，画面左侧有沈周落款及印鉴；唯第三开未见沈周署款，画面右上方空白处钤有“锦衣徐将军画”朱文印一枚，清末的观者杨棨和李誉据此推测这一幅的作者为徐将军[2]。然而，此幅无论是尺幅、用纸，还是构建画面时选取的元素及其造型特点，都与其他三幅无异。从笔墨及其风格来看，当与其他三幅出自同一作者手笔，故而现代学界认为此幅作者亦是沈周。从印章本身提供的信息来看，如果印章主人确为画家，“锦衣”二字显示了其身份与宫廷的关联。然而，尽管不乏有明代宫廷画家被授予“锦衣指挥”“锦衣千户”等武职[3]，却未见有自称“锦衣将军”的例子。综上，不应将此枚印记理解为作者署款。\n乍一看来，此幅与常见于沈周笔下的山水并无二致：以墨笔写出层峦山脉，山前一湾清泉，坡岸上杂树丛生，山石罩染着一层淡淡的赭色，树木则以淡花青色渲染，营造出幽寂的氛围。这样的环境，不但是文人理想的隐居之所，也是反复出现在以沈周为代表的吴地画家笔下的山居景色。然而，画面中并未出现供文士居住和活动的房舍，取而代之的是一个圆形的土丘，丘前立有一块方碑，其隐现于山脚下茂密的柏林之中。尽管画家并未描绘更多的细节，但这足以说明，画家所要描绘的，乃是山中的墓地。或许因为此幅直接表现了故去之人的坟墓，为表敬重，故而沈周未加署款。其余三开，尽管未出现墓体与墓碑，但皆出现了相对而立的望柱，暗示了画面空间并非是单纯的山景，而是墓园。\n杨棨在题跋中说此图“首尾不完”。从四幅画面来看，每幅独立成景，然彼此之间又有联系，无法确知是否还有其他画幅与之一同被绘制，却在流传过程中如杨棨所言散佚了；亦没有同时代的题跋，提供可信的诸如绘制年代、受画人等信息。因此，若要讨论沈周为何制作这样一套描绘墓园的册页及其背后的文化观念，需将其置入描绘墓地的绘画传统中，才有可能得到比较清晰的答案。",[23,24,25,26,173,7,177,29,808,34,1133,109,176,175,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa085321cfa540a2ba8b92e25281a0a0c.jpg","37.5×65cm×4",[],266,{"id":4986,"slug":4987,"title":2210,"dynasty":18,"author":257,"museum":20,"description":4988,"tags":4989,"thumbUrl":4990,"material":40,"size":4991,"collection":139,"collections":4992,"showCount":4984,"zanCount":918,"manualWeight":48,"mainColor":94},234008,"chu-shui-fu-rong-tu-ye-yi-ming-234008","一朵盛开的粉红色荷花占据整个画面，在碧绿的荷叶映衬下抢眼而夺目，布局、设色端庄大气，将荷花“出淤泥而不染，濯清涟而不妖”的君子气质表现得十分完美。莲瓣的描绘技法类似后世的“没骨”法，不见勾勒之迹，渲染出花瓣既轻盈又腴润的质感。画家的写实功力极为扎实，每片莲瓣的形状、角度、色泽和光感都安排得无懈可击。至于瓣上红丝、蕊端腻粉，也一一仔细料理，微妙之处，使人叹为神工！旧题吴炳绘，无据。",[24,25,81,28,7,83,228,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17db9572c20d73e7f8a55e19111edd03.jpg","纵23.8cm，横25cm",[],{"id":4994,"slug":4995,"title":4996,"dynasty":18,"author":1977,"museum":20,"description":4997,"tags":4998,"thumbUrl":5000,"material":1884,"size":5001,"collection":42,"collections":5002,"showCount":5003,"zanCount":1233,"manualWeight":48,"mainColor":49},220260,"song-xia-ting-qin-tu-zhao-meng-fu-220260","松下听琴图","此作用青绿晕染铺展山水，层叠远山淡逸朦胧，坡岸苔点疏密错落，漾出幽寂林下氛围。几株古松虬曲苍劲，鳞皴老干垂挂松萝如翠帘轻垂，框出一方雅集天地。\n\n松下四人围坐，抚琴者垂目拨弦，听者或支颐凝思，或侧耳静聆，侍童恭立一旁，尽显文人雅聚的闲淡意趣。衣袂线条清隽简雅，暗合魏晋林下风流。题画诗与山水人物相映，笔墨间浸透知音相逢、寄怀林泉的雅兴，将丝竹之韵融在松风山色里，淡远悠长的文人情思溢满卷间。",[23,194,24,25,226,7,28,1133,106,29,4999,263,34,195],"琴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3759b8e137635ec8416cf0cc39860ba.jpg","纵123.6厘米、横60.4厘米",[42],265,{"id":5005,"slug":5006,"title":1383,"dynasty":302,"author":5007,"museum":191,"description":5008,"tags":5009,"thumbUrl":5010,"material":5011,"size":5012,"collection":181,"collections":5013,"showCount":5014,"zanCount":1379,"manualWeight":48,"mainColor":49},221755,"shan-shui-tu-sheng-mao-221755","盛懋","元代盛懋《山水图》，盛懋 ，元代画家，字子昭。嘉兴（今属浙江）武塘人。善画人物、山水、花鸟。早年并得画家陈琳指点，画山石多用披麻皴或解索皴，笔法精整，设色明丽。",[23,24,25,7,177,29,353,174,262,176,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8db6a22ddfe64262d4329b99efadcaf.jpg","纸本浅设色","120.5x40.6厘米",[181,45],264,{"id":5016,"slug":5017,"title":5018,"dynasty":76,"author":658,"museum":191,"description":659,"tags":5019,"thumbUrl":5021,"material":88,"size":665,"collection":139,"collections":5022,"showCount":5014,"zanCount":2368,"manualWeight":48,"mainColor":94},219883,"er-shi-si-fan-hua-xin-feng-tu-rui-xiang-yu-shui-xian-dong-gao-219883","二十四番花信风图-瑞香与水仙",[24,25,81,7,28,5020,898,176,211,1187,554,212],"瑞香","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ab8b06d96331425eb7144b02fc54b4d.jpg",[],{"id":5024,"slug":5025,"title":5026,"dynasty":76,"author":2849,"museum":191,"description":5027,"tags":5028,"thumbUrl":5032,"material":88,"size":139,"collection":44,"collections":5033,"showCount":5034,"zanCount":1003,"manualWeight":48,"mainColor":94},218044,"tian-wang-xiang-yao-wen-han-218044","天王像","绿面天王身披错彩镂金之甲，琵琶横抱，双目炯炯，威仪自生。衣纹流转如流云，祥云层叠似幻梦，衬得身形愈发雄健。身旁小兽灵动，背景人物隐现于山石间，添几分悠远。线条工细却不失劲道，色彩浓艳而协调，每一处纹饰皆精雕细琢，将护法神的威严与艺术的精巧融于一体，观之令人心生敬畏，更叹笔墨之妙。",[194,24,7,28,106,260,5029,5030,746,3661,176,34,5031,212],"护法神","琵琶","威严","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3382d15bc8135db2274f9d1bbb740ad.jpg",[44],263,{"id":5036,"slug":5037,"title":5038,"dynasty":54,"author":456,"museum":20,"description":5039,"tags":5040,"thumbUrl":5041,"material":40,"size":5042,"collection":163,"collections":5043,"showCount":5044,"zanCount":1379,"manualWeight":48,"mainColor":94},239524,"yan-li-ben-bu-nian-tu-juan-yan-li-ben-239524","阎立本步辇图卷","这是一幅历史画。它反映唐代初年一个重大的历史事件。公元七世纪，地处我国西南的吐蕃（今西藏地区）开始强大兴盛，其三十二世赞普松赞干布是个“骁勇多英略”的领袖。贞观八年（634年），他遣使臣到长安（今陕西西安），向唐王朝求婚联姻，唐太宗李世民答应了他的请求，决定将宗室女文成公主许配给松赞干布。贞观十五年（641年）春天，松赞干布派相国禄东赞到长安来迎接文成公主，唐太宗李世民则派礼部尚书江夏王宗室李道宗陪同文成公主进吐蕃。文成公主除了带去很多中原地区的文化典籍外，随行的还有许多各种行业的工匠，对于促进吐蕃经济、文化的发展起到了重要的作用。此后很长一段时间里，唐王朝和吐蕃之间关系融洽，和睦相处。\n阎立本以此为题，绘制了这幅歌颂古代汉、藏民族友好交往的作品。画幅描绘的是唐太宗李世民在宫内接见松赞干布派来的吐蕃使臣禄东赞的情景。李世民端坐在由六名宫女抬着的坐榻（又称步辇，图画即以此为名）上，另有三个宫女分别在前后掌扇和持华盖。唐太宗面前站立三人：最右者，身穿大红袍，是这次仪式的引见官员；中间是吐蕃的使臣禄东赞，拱手而立，发型和服饰与中原地区不同；最左为一穿白袍的内官。按照画家阎立本当时的地位和身份，他完全可能是这次历史性会见的目击者，所以他笔下的人物非常真实、生动。唐太宗李世民的威严，使臣禄东赞的干练、谦和，引见官员和内侍的恭谨，年轻宫女的天真活泼，都各具特点，跃然绢上，禄东赞和唐太宗等人在民族气质上的差别也有所表现。\n全画以细劲的线条塑造人物形象，线条纯熟，富有变化和表现力；设色浓重、鲜艳，是一幅出色的工笔重彩人物画作品。图中的李世民、禄东赞等人应当带有肖像画特征。",[23,194,24,25,26,7,106,28,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F421c10940154a8e201509088f4822cf0.jpg","纵38.5厘米，横129厘米",[163,2065],262,{"id":5046,"slug":5047,"title":5048,"dynasty":76,"author":5049,"museum":316,"description":5050,"tags":5051,"thumbUrl":5052,"material":599,"size":600,"collection":90,"collections":5053,"showCount":5044,"zanCount":1379,"manualWeight":48,"mainColor":94},239058,"shan-shui-hua-niao-ce-yang-jin-239058","山水花鸟册","杨晋","杨晋 （1644－1728），字子和，一字子鹤，号西亭，自号谷林樵客、鹤道人，又署野鹤，江苏常熟人。山水为王翚入室弟子，尝与绘圣祖南巡图颇精。晚年每多率笔，未免苍而不润，神气便少。然农村景物则颇工，尤长画牛，多写意，夕阳芳草，郊牧之风宛然在目，兼及人物写真，花鸟草虫。每侍翚出游，翚作图凡有人物、舆轿、驼、马、牛、羊等皆命补之。又尝摹内府所藏名迹，作副本进御。卒年八十五。",[24,25,81,173,7,83,228,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2612a5bb23dac773d1efcf83ecb99dd1.jpg",[90,45],{"id":5055,"slug":5056,"title":2622,"dynasty":256,"author":2623,"museum":316,"description":2624,"tags":5057,"thumbUrl":5059,"material":599,"size":600,"collection":139,"collections":5060,"showCount":5044,"zanCount":2368,"manualWeight":48,"mainColor":94},231826,"hua-yuan-shi-nv-tu-zhou-shang-cun-song-yuan-231826",[23,24,25,226,28,7,106,59,409,65,212,820,5058],"花瓣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a3c759e4883325592f1223e2b185251.jpg",[],{"id":5062,"slug":5063,"title":5064,"dynasty":99,"author":206,"museum":20,"description":5065,"tags":5066,"thumbUrl":5067,"material":88,"size":5068,"collection":90,"collections":5069,"showCount":5044,"zanCount":343,"manualWeight":48,"mainColor":49},219121,"yu-tang-zhi-lan-tu-sun-ke-hong-219121","玉堂芝兰图","图绘拳石之旁，玉兰、兰花竞相开放。花、石的技法均极工细，玉兰花用粉多次轻染分出浓淡，再用工笔勾勒烘托出花瓣的肥大白嫩。枝干双勾填色并施以皴擦，极富质感。山石的技法是先以淡墨勾出轮廓，然后用浓淡墨多次晕染，逐渐加深，直至显现出丰富的前后层次及石体的细腻。山石玲珑剔透而刚硬，玉兰和兰花​​​​​​​婀娜多姿而柔媚。本幅设色明丽清亮，层次细密，变化微妙，典雅端丽，属作者绘画山水之作品。",[23,24,25,226,28,7,83,365,579,176,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb622e2d3d8f5803168e0fa600c2995e.jpg","横59厘米，纵135厘米",[90],{"id":5071,"slug":5072,"title":5073,"dynasty":76,"author":658,"museum":191,"description":659,"tags":5074,"thumbUrl":5076,"material":88,"size":665,"collection":139,"collections":5077,"showCount":5078,"zanCount":918,"manualWeight":48,"mainColor":94},219875,"er-shi-si-fan-hua-xin-feng-tu-hai-tang-yu-qiang-wei-dong-gao-219875","二十四番花信风图-海棠与蔷薇",[194,24,25,81,7,28,86,1261,5075,84],"蔷薇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feff95e31a5963a95c6acd4e4eb61d50b.jpg",[],261,{"id":5080,"slug":5081,"title":5082,"dynasty":18,"author":2361,"museum":316,"description":3095,"tags":5083,"thumbUrl":5084,"material":139,"size":139,"collection":139,"collections":5085,"showCount":5086,"zanCount":1003,"manualWeight":48,"mainColor":94},227580,"wu-ma-tu-li-gong-lin-227580","五马图",[23,24,194,25,26,352,7,106,150,212,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff861a45a3281680f50e29e58b525d252.jpg",[],259,{"id":5088,"slug":5089,"title":5090,"dynasty":869,"author":870,"museum":3804,"description":5091,"tags":5092,"thumbUrl":5094,"material":139,"size":139,"collection":139,"collections":5095,"showCount":5096,"zanCount":48,"manualWeight":48,"mainColor":94},220592,"yi-pan-ying-tao-qi-bai-shi-220592","一盘樱桃","以大写意之笔将寻常鲜果绘就满幅生机。朱砂点染樱桃，颗颗圆润饱满，色泽浓艳透亮，仿佛带着刚摘下的清甜鲜活，攒簇盈盘，尽显丰实意趣。墨笔勾勒案几枝桠，笔法老辣简劲，浓淡相宜，与朱红鲜果撞出强烈视觉张力，素净留白更衬果色鲜亮。散落的两枚樱桃添得灵动野趣，毫无刻意雕琢之感。整画删繁就简，将日常烟火提炼成雅俗共赏的文人意趣，笔底藏着天真烂漫，于极简中见至味，把平淡日常晕染成动人的诗意图景。",[23,24,25,7,173,498,178,212,710,5093,229],"木盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc252eafe3195b552bc810b3b6f3a19dd.jpg",[],258,{"id":5098,"slug":5099,"title":5100,"dynasty":1939,"author":257,"museum":78,"description":5101,"tags":5102,"thumbUrl":5103,"material":123,"size":5104,"collection":44,"collections":5105,"showCount":5096,"zanCount":48,"manualWeight":48,"mainColor":49},218466,"qing-you-zun-zhe-xiang-yi-ming-218466","庆有尊者像","尊者面容褶皱如苍松凝霜，双目微阖藏禅意，嘴角轻扬带几分超脱。衣袍纹样交错，黑白菱形间暗纹隐现，披帛垂落如流云卷舒，线条勾勒如铁线银钩，织物质感触手可及。手中竹杖纹理斑驳，似经岁月摩挲；脚边小兽蜷卧，双目半睁若伴若侍，憨态中藏灵韵。画面设色沉雅古朴，褐蓝主调衬出人物沉静，细节处见匠心——衣纹转折流畅，毛发蓬松柔软，杖身肌理分明，皆细腻传神。整体姿态闲适，静中蕴动，禅意与生活气息交融，尽显古画的厚重与灵动，观之如临禅境，心自澄明。",[24,25,260,28,7,106,746],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13174c2841fec92e686a973c4f67e315.jpg","127.3x62.8",[44],{"id":5107,"slug":5108,"title":5109,"dynasty":99,"author":257,"museum":101,"description":5110,"tags":5111,"thumbUrl":5112,"material":123,"size":5113,"collection":44,"collections":5114,"showCount":5096,"zanCount":1379,"manualWeight":48,"mainColor":49},218278,"ba-xian-tu-dui-fu-yi-ming-218278","八仙图对幅","这幅画的主角是吕洞宾、韩湘子、张果老和何仙姑。其中，张果老倒骑毛驴，而南极则骑着仙鹤漂浮在空中。",[194,24,25,226,7,28,106,245,280,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4836b19ce99b951c2196e0bdabb8b82a.jpg","139.7x78.7",[44],{"id":5116,"slug":5117,"title":5118,"dynasty":18,"author":5119,"museum":191,"description":5120,"tags":5121,"thumbUrl":5122,"material":123,"size":5123,"collection":44,"collections":5124,"showCount":5096,"zanCount":2368,"manualWeight":48,"mainColor":49},216926,"gao-zong-shu-nv-xiao-jing-ma-he-zhi-bu-tu-di-yi-zhang-zhao-gou-216926","高宗书女孝经马和之补图第一章","赵构","高宗书女孝经马和之补图是赵构的一幅画作。赵构是中国宋朝时期的画家，他的作品大多集中在宋朝的文学、艺术和宗教方面。他的作品中有许多著名的孝道画，其中包括高宗书女孝经马和之补图。\n\n高宗书女孝经马和之补图讲述了一个关于孝道的故事。这幅画描绘了一个叫做马和的女子，她是一个忠诚的女儿，在她父亲去世后，她依然对她的父亲忠心耿耿，并为他做了许多孝事。这幅画是赵构用来表现女性孝道的精神的。\n\n高宗书女孝经马和之补图是赵构的一幅杰作，它展现了宋朝时期女性孝道的重要性，并且是中国历史上著名的孝道画之一。",[23,24,25,26,194,178,352,7,106,114,34,176,212,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d12d002f1f9b42abd5ddbbd30da0def.jpg","26.4x70.3",[44],{"id":5126,"slug":5127,"title":5128,"dynasty":18,"author":391,"museum":5129,"description":5130,"tags":5131,"thumbUrl":5132,"material":529,"size":5133,"collection":42,"collections":5134,"showCount":5135,"zanCount":1379,"manualWeight":48,"mainColor":49},221335,"tao-jiu-tu-zhao-ji-221335","桃鸠图","日本民间","整幅画桃花与枝叶钩勒精工，栖鸠动态自然而生动，用生漆点睛，卓有神采，整体色彩华丽，瘦金书稍稚嫩。\n此图桃花与枝叶钩勒精工，栖鸠动态自然而生动，用生漆点睛，卓有神采，整体色彩华丽，瘦金书稍稚嫩。流传日本已久，长期以来被作为徽宗的真迹，受到良好的保护，现在是日本的国宝级文物。\n本图有“大观丁亥御笔天”的题记，丁亥年是1107年，这一年徽宗26岁，是画家早期的作品。\n从这幅画来看，描法纤细，傅染鲜润，与徐熙（五代）的水墨画要素和徐崇嗣的色彩为中心的没骨法花鸟比较接近。总的看来，色彩的表现给人以强烈的视觉感受，但仔细观察就会发现细部的轮廓线仍然非常明确。\n此册页在传为宋徽宗的作品中比较特别。桃花与枝叶钩勒精工，栖鸠动态自然而生动，用生漆点睛，卓有神采，整体色彩华丽。传其为画家二十六岁时的作品。\n赵佶观察事物细致入微，这幅《桃鸠图》，画中的桃花与枝叶勾勒精工，栖息在树上的鸠鸟动态自然而生动，用生漆点睛，富有神采，整体色彩华丽，洋溢着悠扬的神韵，此画被誉为折枝花鸟画的典型。",[23,24,25,83,28,7,243,245,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19169b4c41d86b4cbbb34e3bf4af4222.jpg","28.5X27厘米",[42,90,45],257,{"id":5137,"slug":5138,"title":5139,"dynasty":76,"author":5140,"museum":20,"description":5141,"tags":5142,"thumbUrl":5144,"material":88,"size":5145,"collection":90,"collections":5146,"showCount":5135,"zanCount":1003,"manualWeight":48,"mainColor":94},220380,"hong-lian-lv-zao-tu-tang-guang-220380","红莲绿藻图","唐炗","此图是唐炗（音光）与恽寿平联手为祝王翚40岁诞辰所作。唐炗绘荷花，恽寿平画荇藻。荷花与荇藻皆采用了没骨法，透露出轻盈飘逸与湿润的感觉。微风中，仿佛莲叶与荷花的清香淡淡而来。水塘里荇藻则用一笔点画。状物形神兼备，风格清新淡雅。",[23,24,25,226,28,7,83,136,137,5143],"绿藻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbce64fa92c044787704676762c01daae.jpg","纵135.7厘米，横59厘米",[90,45],{"id":5148,"slug":5149,"title":5150,"dynasty":189,"author":1642,"museum":442,"description":5151,"tags":5152,"thumbUrl":5154,"material":123,"size":139,"collection":44,"collections":5155,"showCount":5135,"zanCount":1003,"manualWeight":48,"mainColor":49},219500,"juan-xiu-tu-zhou-wen-ju-219500","倦绣图","此作用柔婉工笔铺陈深闺日常，床帏内仕女斜倚，眉宇间带着绣作之余的慵懒倦怠，身侧侍女静立侍奉。左侧侍者端物缓步而来，右侧仕女凭桌伫立，似在打理妆台。边角案几陈设着盆栽器物，衬出闺阁的雅致静谧。设色清淡古雅，线条匀细柔丽，将深阁女子闲散松弛的情态刻画入微，晕染出日常闺中休憩的幽柔氛围，藏着平淡雅致的闺中诗意。",[23,194,24,25,26,28,7,106,59,5153,264,1552,212],"床帐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bc8762f2527e714db62518fa3278003.jpg",[44,45],{"id":5157,"slug":5158,"title":2753,"dynasty":189,"author":2083,"museum":191,"description":5159,"tags":5160,"thumbUrl":5161,"material":123,"size":5162,"collection":90,"collections":5163,"showCount":5135,"zanCount":414,"manualWeight":48,"mainColor":94},218755,"shan-cha-tu-huang-quan-218755","这幅画以丰富的色彩描绘了一朵退去的山茶花，花和叶子都用土金勾勒，丰富而美丽，是一场视觉盛宴。",[23,24,25,83,1260,28,7,661,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3b503e3c5d376270f52b0dba78e04e9.jpg","23.3x24.6厘米",[90],{"id":5165,"slug":5166,"title":5167,"dynasty":99,"author":100,"museum":191,"description":5168,"tags":5169,"thumbUrl":5170,"material":88,"size":5171,"collection":181,"collections":5172,"showCount":5135,"zanCount":2368,"manualWeight":48,"mainColor":94},218535,"zhu-lou-tu-qing-gao-zong-yu-ti-chou-ying-218535","竹楼图清高宗御题","画中湖光山色，长松亭榭，文人观水赏竹，画风接近文征明，也可能是文、丘在山水画上互相借鉴。",[194,24,25,226,28,7,104,29,107,1273,108,109,106,176,34,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d460703bfb3096969313beb6e056693.jpg","115.3x33.3cm",[181],{"id":5174,"slug":5175,"title":5176,"dynasty":76,"author":2200,"museum":316,"description":5177,"tags":5178,"thumbUrl":5179,"material":139,"size":139,"collection":90,"collections":5180,"showCount":5181,"zanCount":48,"manualWeight":48,"mainColor":94},236555,"mei-hua-zhou-wu-chang-shuo-236555","梅花轴","吴昌硕（1844—1927年），原名俊，字昌硕，以字行，号苦铁、缶庐等，浙江安吉人。早年习书，中年学画。曾任官府小吏，后以鬻书卖画为生。绘画以写意花卉著称于世，对近现代画坛影响极大。精篆刻，被推为“西泠印社”社长。书法一变前人成法，风格独特，长于摹写石鼓文，并以此擅名于近代书坛。与任伯年、高邕等在沪书画家相友善。著有《缶庐诗存》，后人整理出版其画集多种。",[194,24,25,226,173,7,662,230,498,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5cde97128964b36df30a12461f59e8a.jpg",[90,45],256,{"id":5183,"slug":5184,"title":5185,"dynasty":76,"author":5186,"museum":316,"description":5187,"tags":5188,"thumbUrl":5189,"material":500,"size":5190,"collection":181,"collections":5191,"showCount":5192,"zanCount":48,"manualWeight":48,"mainColor":94},236335,"lin-shen-zhou-lu-shan-gao-tu-huang-ding-236335","临沈周庐山高图","黄鼎","黄鼎（1650—1730），字尊古，号旷亭，又号闲圃、独往客，晚号净垢老人，江苏常熟 人。善画山水，初学画于邱屿雪，既而师王原祁，尤以王蒙法见长。\n此图根据明代画家沈周《庐山高图》临摹。此摹本比例与原幅不同，但是画幅的基本造型形象，笔法特点和许多细节，又都是忠实于原作，沈周原作今藏“台北故宫博物院”。",[194,24,25,105,7,177,29,1426,1273,176,809,37,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F663115a6e324514c054ddfbcd72b999f.jpg","226×83.4厘米",[181,163],255,{"id":5194,"slug":5195,"title":5196,"dynasty":18,"author":4254,"museum":5197,"description":4255,"tags":5198,"thumbUrl":5199,"material":500,"size":5200,"collection":42,"collections":5201,"showCount":5192,"zanCount":2368,"manualWeight":48,"mainColor":49},221415,"song-he-yan-nian-tu-zhou-fan-kuan-221415","松鹤延年图轴","苏州博物馆",[23,24,25,226,7,177,29,1133,60,176,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4f0d8728a8941335a80cd12781a857b.jpg","193.1x74.4 厘米",[42,181,45],{"id":5203,"slug":5204,"title":5205,"dynasty":99,"author":1196,"museum":78,"description":5206,"tags":5207,"thumbUrl":5208,"material":88,"size":139,"collection":44,"collections":5209,"showCount":5192,"zanCount":1003,"manualWeight":48,"mainColor":94},219407,"qiu-feng-wan-shan-tu-tang-yin-219407","秋风纨扇图","图绘庭园一角，一女子手执纨扇，在坡前沉思徘徊。图中的仕女体态端庄，风姿婉约，秀发挽成高髻，饰以淡色鬓朵，越发衬托出发光乌亮。披帛和衣裙随风飘拂，巧妙地寓“秋”意于其中。从她眉宇间微露忧伤感的神色，和欲行又止的动态，表明她正陷入沉思之中：忧郁、怅惘，却又无可奈何！背景仅用细竹数枝、湖石一角来点缀，显得疏落空旷，令人联想到引申画外的僻静境界，平添几分萧瑟气象。整幅画的笔墨凝练明快，极其传神。",[24,25,226,352,173,7,106,59,227,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1b5374ce013b2c7f9c2a6c4ac31ecab.jpg",[44],{"id":5211,"slug":5212,"title":5213,"dynasty":76,"author":329,"museum":20,"description":5214,"tags":5215,"thumbUrl":5219,"material":123,"size":5220,"collection":44,"collections":5221,"showCount":5222,"zanCount":1233,"manualWeight":48,"mainColor":49},215038,"ma-shu-tu-lang-shi-ning-215038","马术图","阿穆尔萨纳和先登上准噶尔汗国的达瓦齐因利益冲突而相互争斗，在他们失败后，阿穆尔萨纳要求加入清廷并拜访乾隆皇帝。乾隆皇帝对阿穆尔萨纳主动加入清朝感到欣喜若狂。阿穆尔萨纳投奔清廷后，康熙皇帝非常高兴，他对准噶尔帝国的内部情况有了更多的了解，并有信心利用准噶尔帝国的动乱完成其祖父康熙皇帝和父亲雍正皇帝的 未竟之业。考虑到阿姆尔-萨纳还没有感染水痘，在寒冷的冬季，听众在夏宫举行。",[23,194,24,7,106,150,5216,245,2954,5217,5218],"马术","郊野","秋景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8c5d061082897e962ce93759d1385c0.jpg","223.4x426.2",[44],254,{"id":5224,"slug":5225,"title":5226,"dynasty":99,"author":5227,"museum":78,"description":5228,"tags":5229,"thumbUrl":5230,"material":88,"size":5231,"collection":181,"collections":5232,"showCount":5222,"zanCount":1379,"manualWeight":48,"mainColor":94},214674,"san-jue-tu-yao-shou-214674","三绝图","姚绶","姚绶（1536年－1627年）是中国明朝时期著名的画家、书法家和诗人。他在明朝末年和清朝初年期间活跃，是中国古代四大书法家之一。姚绶的“三绝图册”是他的代表作之一，是他在晚年创作的一组绘画作品集。\n\n“三绝图册”共有三册，分别为“绝境图册”、“绝岭图册”和“绝川图册”。这三册作品均采用水墨画的方式，描绘了天山、岭川、峡谷等山水风光。姚绶的绘画风格具有浓郁的民族特色，笔墨简洁而凌厉，构图巧妙，色彩明快。这三册作品被认为是中国古代山水画的精品，被广泛收藏和展览。",[24,25,7,173,29,106,1273,838,263,796,1169,3519],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd490e9ed3930554b04863c0b5aa07e4.jpg","纵31.2 厘米 横48.3 厘米",[181],{"id":5234,"slug":5235,"title":5236,"dynasty":76,"author":77,"museum":191,"description":290,"tags":5237,"thumbUrl":5238,"material":123,"size":294,"collection":139,"collections":5239,"showCount":5222,"zanCount":2368,"manualWeight":48,"mainColor":94},214302,"mu-dan-ce-6-yun-shou-ping-214302","牡丹册-6",[24,25,81,7,83,292,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf3d8efc49ce810dd44e41bf1722ac45.jpg",[],{"id":5241,"slug":5242,"title":5243,"dynasty":76,"author":2200,"museum":20,"description":5244,"tags":5245,"thumbUrl":5246,"material":139,"size":139,"collection":90,"collections":5247,"showCount":5248,"zanCount":1379,"manualWeight":48,"mainColor":94},236892,"ba-jiao-mu-dan-zhou-wu-chang-shuo-236892","芭蕉牡丹轴","此画充分利用了水、墨二者的结合及浸渍变化，以饱含水分的笔触，率性而作，洗练简阔，却有神情气爽之感。\n吴昌硕（1844年~1927年），初名俊，后改俊卿，字昌硕，号缶庐、苦铁等，浙江安吉人。善书法，精篆刻，工诗擅画。其大写意花鸟，博取徐渭、八大、石涛、李鱓、赵之谦诸家之长，以篆、隶、狂草笔意入画，用笔雄健古拙，用墨酣畅淋漓，着色艳丽富贵，可谓匠心独运，为中国近代杰出的艺术家，海派主要画家之一。",[194,24,25,226,7,173,83,498,292,611],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40b7aefc21c35bfdb8ce148ec1e96f63.jpg",[90,45],252,{"id":5250,"slug":5251,"title":5252,"dynasty":18,"author":1588,"museum":101,"description":5253,"tags":5254,"thumbUrl":5255,"material":529,"size":5256,"collection":42,"collections":5257,"showCount":5248,"zanCount":48,"manualWeight":48,"mainColor":49},221189,"zhang-song-shan-shui-tu-ma-lin-221189","长松山水图","《长松山水图》是马麟传世作品中的经典之作，也是南宋院体山水画的代表作之一。\n由山崖蜿蜒转入山寺的路上，一位流连与山水之间的高士，在一株爬满枯藤的古松之下徜徉，仿佛与起伏的远山融为一体，构成了一幅人与自然合而为一的完美景象。画面构图简洁而高旷，下半部分的实与上半部分的虚形成鲜明对比，进而产生高而深远的意境。二者之间以一棵长松相连，使画面自然而然成为一个整体。由实及虚的三段递进，将最写实的建筑、虚实相间的山崖坡石以及淡远的山峦，组成了位于高处的平远构图。山石采用小斧劈皴简略画出，画面的层次主要依赖点染进行刻画。画的中央，摇曳的藤蔓是全画的点睛之笔，山水之间，清风徐来，画面一下子动了起来，让人感受到一种清凉与惬意。",[24,194,25,2003,7,177,29,1273,353,175,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36d7532cb2d0174426dfa5dc1b1abb0a.jpg","25.1×26cm",[42,181,163],{"id":5259,"slug":5260,"title":5261,"dynasty":54,"author":55,"museum":191,"description":5262,"tags":5263,"thumbUrl":5266,"material":123,"size":5267,"collection":44,"collections":5268,"showCount":5248,"zanCount":918,"manualWeight":48,"mainColor":49},218265,"ren-wu-juan-zhou-fang-218265","人物卷","它描绘了儿童在院子里玩灯笼，而女士们聚集在一起演奏音乐。详细描述了灯笼的种类和形状，但人物的脸和衣服与周家的不一样，所以这卷书一定是由后来的艺术家复制的。",[23,24,194,25,26,28,7,106,746,34,278,5264,5265,229],"小孩","大人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1bd5d7d833562e3e6f0969c27f3c1208.jpg","30.8x220",[44],{"id":5270,"slug":5271,"title":5272,"dynasty":76,"author":77,"museum":191,"description":290,"tags":5273,"thumbUrl":5274,"material":123,"size":294,"collection":139,"collections":5275,"showCount":5276,"zanCount":2368,"manualWeight":48,"mainColor":94},214300,"mu-dan-ce-7-yun-shou-ping-214300","牡丹册-7",[24,194,83,7,82,292],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0f7b2fc7446ee7009d16b458846da32.jpg",[],251,{"id":5278,"slug":5279,"title":5280,"dynasty":54,"author":2559,"museum":316,"description":5281,"tags":5282,"thumbUrl":5283,"material":599,"size":600,"collection":139,"collections":5284,"showCount":5285,"zanCount":1003,"manualWeight":48,"mainColor":49},289005,"wang-chuan-tu-wang-wei-289005","辋川图","《辋川图》主画面亭台楼榭掩映于群山绿水之中，古朴端庄。别墅外，山下云水流肆，偶有舟楫过往。《辋川图》里的人物，弈棋饮酒。投壶流觞。一个个的都是儒冠羽衣，意态萧然。\n《辋川图》开启了后人诗画并重的先河。《辋川图》在韩国获得了极高的赞誉，并对韩国古代的文人山水画和山水田园诗的创作产生了深远影响。在评价中国文人山水画时，韩国文人往往以《辋川图》作为最高的境界或标准。",[23,194,24,26,3559,7,177,29,107,34,31,174,4706,1557,3176,808],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a16151940e7ec69c8d6735f55d11672.jpg",[],250,{"id":5287,"slug":5288,"title":205,"dynasty":99,"author":5289,"museum":316,"description":5290,"tags":5291,"thumbUrl":5293,"material":599,"size":600,"collection":90,"collections":5294,"showCount":5285,"zanCount":1003,"manualWeight":48,"mainColor":94},235720,"hua-niao-ce-tan-zhi-yi-235720","谈志伊","谈志伊，字公望，号学山，一字思重，无锡人，明代画家。",[24,28,7,81,83,5292,210],"杨梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F181ec405e55e4ff9733d37e050394af1.jpg",[90],{"id":5296,"slug":5297,"title":5298,"dynasty":18,"author":647,"museum":191,"description":2326,"tags":5299,"thumbUrl":2330,"material":123,"size":5301,"collection":42,"collections":5302,"showCount":5285,"zanCount":1003,"manualWeight":48,"mainColor":94},220176,"xing-hua-tu-zhao-chang-220176","杏花图",[23,194,24,25,5300,7,28,83,2328,211,212],"团扇","纵25.2厘米，横27.3厘米",[42,90],{"id":5304,"slug":5305,"title":5306,"dynasty":18,"author":1350,"museum":191,"description":5307,"tags":5308,"thumbUrl":5309,"material":123,"size":5310,"collection":181,"collections":5311,"showCount":5285,"zanCount":918,"manualWeight":48,"mainColor":49},218612,"song-jian-yin-yue-tu-ma-yuan-218612","松间吟月图","本幅写松荫下，高士独坐对月。林间，曲水绕栏，薄雾掩映，一派宁谧之气，溢于画表。右下角石隙，虽署有「马远」款，但就画风论，应出自传承马夏流派的明人之手。",[24,25,226,173,7,177,29,1273,353,106,108,265,176,37,1171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b110f511e2b2dadd28b074b660cdf18.jpg","144.6x76.3cm",[181],{"id":5313,"slug":5314,"title":1641,"dynasty":99,"author":857,"museum":20,"description":5315,"tags":5316,"thumbUrl":5317,"material":123,"size":5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求高古奇骇的古拙之美，在色墨运用上崇尚淡彩的雅丽之美。\n他笔下的女性人物形象既具备了明清 时期女性纤弱清秀的时代气质，又通过“诗画相生”的艺术表达体现出中国文人画家的精神特质， 对后世女性人物形象塑造，乃至人物画的发展都产生了深刻影响。",[23,24,28,7,106,59,230,820,63,65,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ebe8c0fcec8f056598c9426139fbf89.jpg","纵173.5横95.3厘米",[44,45],249,{"id":5322,"slug":5323,"title":5324,"dynasty":99,"author":170,"museum":20,"description":5325,"tags":5326,"thumbUrl":5327,"material":638,"size":500,"collection":181,"collections":5328,"showCount":5329,"zanCount":2368,"manualWeight":48,"mainColor":94},220367,"cang-zhou-qu-tu-shen-zhou-220367","沧州趣图","此图所绘沧州为明代属直隶河间府的沧州，地处北方，沈周未曾到过，他只是表现山川之性和趣，故图名“沧洲趣”。画面作平远布局，主要撷取江南水乡的景致，山丘逶迤，水面浩渺，坡岸伸展，杂树成林，一派南方山川秀丽风光。同时又融入了北方山峦雄阔之势，积叠的山石多尖峻的棱角，显得坚硬凝重，坡岸、平台亦转折尖直，棱角分明，其质地多呈北方石山的特征，无疑增添了山川的雄健宏阔气势。画法亦源自董巨，运用善于表现江南山水的披麻皴、点苔、圆润中锋和水墨渲染等技法，然运笔于中锋中时见外笔、侧锋，转折粗重，平台轮廓多整饬线条，细劲有力；披麻皴也变为研拂式的短笔皴，率意凝重；点苔亦墨深笔厚，圆横交错。总体笔墨形式刚柔相济，苍中带秀，既具董巨的秀润之韵，又呈较强的硬度和力感，恰当地表现了沈周心目中的沧州之趣。\n后纸自题是对本图艺术表现的很好的注脚。意即作为文人画家所崇尚的前贤董源、巨然，描绘自然山水犹如名医仓扁用药，是先了解本性，后求其形状，于是无往而不易，必深得山水之真性情。倘一味摹仿董巨的笔墨形式，则仅得董巨之外表形貌，自然山水的真性情却丧失了，所谓“求董巨而遗山水”。沈周创作此画，即从表现自身所熟悉的自然山水出发，并着重揭示其本性和真趣，在此前提下才灵活运用董巨的笔墨，故虽自谓“予此卷又非敢梦董巨者也”，实则却深悟了董巨山水之妙并得其遗意。可见沈周对“师法古人”和“师法自然”两者的认识是相当辩证的，也是他卓然有成的原因之一。",[23,24,25,26,29,3560,173,7,177,178,86,176,34,109,108,174,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3340e8d4cf315e123b32737734c3c569.jpg",[181],248,{"id":5331,"slug":5332,"title":5333,"dynasty":76,"author":77,"museum":191,"description":290,"tags":5334,"thumbUrl":5335,"material":123,"size":294,"collection":139,"collections":5336,"showCount":5329,"zanCount":2368,"manualWeight":48,"mainColor":94},214301,"mu-dan-ce-4-yun-shou-ping-214301","牡丹册-4",[24,194,81,7,28,83,292],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62788f0a49f55255a39ab916f86585a7.jpg",[],{"id":5338,"slug":5339,"title":5340,"dynasty":76,"author":5341,"museum":316,"description":5342,"tags":5343,"thumbUrl":5344,"material":139,"size":139,"collection":139,"collections":5345,"showCount":5346,"zanCount":1233,"manualWeight":48,"mainColor":49},229041,"xi-huang-shang-ren-hua-niao-tu-ce-pu-ru-229041","羲皇上人花鸟图册","溥儒","此作为工笔小帧，虬曲梅枝缀满初绽花苞，粉白柔瓣轻晕胭脂色，深浅层叠间漾开融融春意。\n\n一只禽鸟振翅俯身，羽色晕染细腻写实，翅尖微张、爪部轻抬，将探花一瞬的灵动意态定格。古旧绢底晕开沉褐底色，愈发衬得花鸟鲜活清隽。笔致秀逸温婉，既得院体花鸟精工之妙，又裹挟文人画疏澹雅逸，将春日闲趣藏入古雅底色，把禽鸟探春的幽恬意韵勾勒入微，淡而不寡，静中生趣。",[24,25,81,7,28,83,245,820],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88269039c0cef8c5cb52798546158853.jpg",[],247,{"id":5348,"slug":5349,"title":5350,"dynasty":869,"author":1841,"museum":5351,"description":5352,"tags":5353,"thumbUrl":5354,"material":139,"size":139,"collection":139,"collections":5355,"showCount":5346,"zanCount":1379,"manualWeight":48,"mainColor":94},220502,"xiu-zhu-shi-nv-zhang-da-qian-220502","修竹仕女","龙美术馆西岸馆","画面里仕女黛眉轻蹙，腮凝新荔，手托香腮作沉思状，发髻簪花，温婉娴静的闺怨之态呼之欲出。衣纹勾勒秀劲舒展，青蓝衣袍配朱红卷草纹饰，浓丽雅致，尽显东方女性柔婉仪态。\n\n左侧修竹以淡墨写意挥就，笔致清劲挺秀，竹影扶疏间衬出仕女的幽寂怅惘，柔媚人物与清逸修竹相映成趣，将传统工笔的细腻与写意的简淡融为一体，晕染出清远雅致的古典意境，把闺中女子的缱绻情思藏进幽篁清影之中。",[24,7,28,106,59,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F548ed3ebfb17697cfd9745a87b1dadc6.jpg",[],{"id":5357,"slug":5358,"title":1361,"dynasty":76,"author":5359,"museum":20,"description":5360,"tags":5361,"thumbUrl":5362,"material":123,"size":5363,"collection":45,"collections":5364,"showCount":5346,"zanCount":1379,"manualWeight":48,"mainColor":49},219090,"han-gong-chun-xiao-tu-yuan-yao-219090","袁耀","此图名为汉代宫殿之景，实际上表现的是作者想象中的仙山琼阁，宫阙殿宇富有装饰趣味而不具写实性。图中山石形貌奇异，繁皴与密斫浑然一体，其活泼的蕴藉不仅展现出石质的厚实，同时加强了场景的动势，与工整精巧的殿宇楼阁形成粗放与华美、活泼与整洁的鲜明对比。",[24,194,104,7,28,29,107,108,109,175,34,176,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1aa2766d2513288b462cece660309b69.jpg","纵250厘米，横162厘米",[45],{"id":5366,"slug":5367,"title":5368,"dynasty":76,"author":658,"museum":191,"description":659,"tags":5369,"thumbUrl":5374,"material":88,"size":665,"collection":139,"collections":5375,"showCount":5376,"zanCount":2368,"manualWeight":48,"mainColor":94},219872,"er-shi-si-fan-hua-xin-feng-tu-mu-dan-yu-liu-hua-dong-gao-219872","二十四番花信风图-牡丹与柳花",[194,24,25,81,7,28,292,5370,5371,5372,211,5373],"柳花","花枝","柳叶","题款","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb09a9f572835af6efd69b2ef51c9f79a.jpg",[],246,{"id":5378,"slug":5379,"title":5380,"dynasty":99,"author":5381,"museum":191,"description":5382,"tags":5383,"thumbUrl":5384,"material":88,"size":5385,"collection":181,"collections":5386,"showCount":5376,"zanCount":2368,"manualWeight":48,"mainColor":94},214588,"xi-shan-xie-sheng-ce-yun-shan-xian-ge-bian-wen-yu-214588","溪山写胜册-云山仙阁","卞文瑜","卞文瑜是一位著名的明代画家，他的作品《溪山写胜册-云山仙阁》是一幅非常珍贵的古代中国山水画。\n\n这幅画的构图十分精巧，将整幅画分成上下两部分，上部为云山仙阁，下部为溪流和山峦。画中的云山仙阁高耸入云，状如玉龙，气势磅礴。下方的溪流清澈可见底，水流蜿蜒曲折，流动自然。山峦远近错落有致，山川相连，给人以深远的视觉冲击。\n\n卞文瑜在这幅画中运用了自然之美的理念，将自然与人文相结合，创造出了一幅充满生机和美感的画作。他运用了细腻的笔法和柔和的色彩，使得整幅画面看起来非常自然和舒适。\n总的来说，《溪山写胜册-云山仙阁》是一幅优秀的古代中国山水画，值得珍藏。",[24,25,81,7,29,104,107,108,795,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c88df2db3b86f6fbad65788ffbd4776.jpg","24.8x41.3cm",[181],{"id":5388,"slug":5389,"title":965,"dynasty":18,"author":2414,"museum":191,"description":5390,"tags":5391,"thumbUrl":5392,"material":123,"size":5393,"collection":181,"collections":5394,"showCount":5395,"zanCount":918,"manualWeight":48,"mainColor":49},218230,"shang-lin-tu-juan-zhao-bo-ju-218230","赵伯驹（生年不详，约卒于西元一一六二年），字千里，宋太祖七世孙，赵大年之子。仕至浙东兵马钤辖。善画山水、花果、翎毛及人物，楼阁界画尤妙。上林苑乃秦朝旧苑，汉武帝扩建。周围三百里，离宫七十所，规模宏伟。苑中饲养禽兽多种,，春秋二季皇帝时常至此围猎。本卷青绿设色，画上林苑帝王围猎情景。人物众多，车辇仪仗无一不备。",[23,24,25,26,27,7,29,106,107,34,245,176,808,38,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc4585d7f14f3b12fabf2d53658317cb.jpg","44x1169.4",[181],244,{"id":5397,"slug":5398,"title":5399,"dynasty":99,"author":1782,"museum":20,"description":5400,"tags":5401,"thumbUrl":5402,"material":123,"size":5403,"collection":181,"collections":5404,"showCount":5395,"zanCount":1003,"manualWeight":48,"mainColor":49},216244,"san-gu-mao-lu-tu-dai-jin-216244","三顾茅庐图","这幅画描绘了刘备在 三顾茅庐 拜访诸葛亮的故事。人物的刻画生动而细致，如刘备的恭敬神态、张飞的黝黑面孔和他的武艺高强的姿态，都让人浮想联翩。人物的动态变化掌握得非常准确。岩石采用大斧劈法，松枝高长，明显继承了南宋马远的风格，用笔简洁有力。这幅画的整体色彩清晰而优雅。明代宫廷画中有很多以 招贤纳士 为主题的历史叙事画，反映出皇帝寻找贤人的心情是多么迫切。",[23,24,194,25,226,7,177,29,106,1273,176,989,3712,109,175,3389,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb04d74abf76131e7ffb35a7870d8a078.jpg","172.2x107",[181],{"id":5406,"slug":5407,"title":5408,"dynasty":99,"author":1196,"museum":223,"description":5409,"tags":5410,"thumbUrl":5413,"material":1175,"size":5414,"collection":181,"collections":5415,"showCount":5416,"zanCount":1003,"manualWeight":48,"mainColor":49},222352,"qiu-shan-gao-shi-tu-juan-tang-yin-222352","秋山高士图卷","绘童子拱手侍立，圆凳旁之地面，铺设有席，席上散置纸笔书砚等物。中部三人相对畅谈，背景画树石苔草，运笔条畅有力，浓淡交织，极为精采。幅末设石桌，上置瓶炉，另一卷垂挂在地。",[23,24,26,7,29,177,28,5411,5412,174,109,175,34,176,35],"秋山","高士","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc2acdbaf836a548b0d716e2dd10782a.jpg","23.7＊352cm",[181,45],242,{"id":5418,"slug":5419,"title":5420,"dynasty":18,"author":1474,"museum":20,"description":5421,"tags":5422,"thumbUrl":5425,"material":40,"size":5426,"collection":139,"collections":5427,"showCount":5416,"zanCount":918,"manualWeight":48,"mainColor":49},221491,"huo-lang-tu-quan-juan-li-song-221491","货郎图全卷","古吴轩出版社主编的《李嵩货郎图》是《历代名画宣纸高清大图》系列之一，采用高清宣纸制作，力求体现画作整体的最高艺术水平，且添加内容简介、风格阐述、作者介绍，以方便读者鉴赏学习。\n此图是一幅人物风俗画卷，画面上货郎肩挑杂货担，不堪重负地弯着腰，欢呼雀跃的儿童奔走相告，喜悦之情溢于言表。\n画家借助货郎这一题材表现了南宋市井生活的一个侧面，是民俗学家不可多得的珍贵史料。",[23,194,24,25,26,28,352,7,106,2385,5423,5424,280,34,3766,61,212],"妇女","货担","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff486169f4887c2ad43e56c3c00718926.jpg","纵25.5厘米，横70.4厘米",[],{"id":5429,"slug":5430,"title":5431,"dynasty":18,"author":3752,"museum":191,"description":5432,"tags":5433,"thumbUrl":5434,"material":123,"size":5435,"collection":42,"collections":5436,"showCount":5416,"zanCount":1379,"manualWeight":48,"mainColor":49},219216,"zhu-ou-tu-cui-bai-219216","竹鸥图","本幅画翠竹、芦草随风摇曳，水波也起伏荡漾，白鹭一只立于水中，则是放低了姿势，采逆向迎风、涉水而行的姿态，动静之间，形成均衡画幅的力量。幅上虽有崔白二字款，若和院藏崔白的「双喜图」相比较，在刻划花鸟的情态、掌握自然环境中一刹那生动的情景，两者的风味相类；但在用笔方面，崔白的笔墨线条，无论粗细柔劲、浓淡干湿、起伏顿挫，都为表现物象的质感、动态，随物变化。而在「竹鸥图」中，画白鸥的线条细挺，画竹子、芦草和坡石则是时有断续、富有弹性的线条，与院藏宋人「翠竹翎毛」中那种起伏变化明显，偏向于南宋风格的线条较为接近，因此本幅虽非崔白所作，但属宋代受崔白影响的作品之一。崔白（活动于11世纪后半），字子西，濠梁（今安徽凤阳）人。宋仁宗时（1022-1062）画院学艺。举凡道释、人物、禽兽、花卉无不精绝，尤擅长于花竹、山兔、枯荷、水凫、野雁之类。",[23,24,83,7,28,227,1111,686,319],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6de49481fe805ec1b96d44ffd87decef.jpg","101.3x49.9cm",[42,90,45],{"id":5438,"slug":5439,"title":5440,"dynasty":76,"author":257,"museum":442,"description":5441,"tags":5442,"thumbUrl":5444,"material":88,"size":139,"collection":90,"collections":5445,"showCount":5416,"zanCount":918,"manualWeight":48,"mainColor":49},216736,"hu-tu-yi-ming-216736","虎图","猛虎蹲踞于地，双目炯炯凝视前方，蓄势待发的姿态暗藏山林王者的威慑。墨线勾勒斑纹，浓淡交错间晕染出毛发的细腻层次，笔触兼具工致与雄健。背景丛草以简笔写意，虚实相生中凸显虎的主体地位。整体色调古朴沉敛，虽佚名却见娴熟笔墨功底，将虎的威猛与沉静之态融于画面，尽显清代兽畜画写实与传神的特质，静中寓动，气韵生动。",[24,25,320,7,28,5443,746,838],"虎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb93c5c1a0ef67b390978f2e35d1221fd.jpg",[90],{"id":5447,"slug":5448,"title":5449,"dynasty":76,"author":2200,"museum":78,"description":5450,"tags":5451,"thumbUrl":5452,"material":638,"size":5453,"collection":90,"collections":5454,"showCount":5455,"zanCount":2368,"manualWeight":48,"mainColor":94},237437,"ju-hua-zhou-wu-chang-shuo-237437","菊花轴","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。” [2] 吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。 1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。",[24,25,226,173,7,83,897,229,212,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faac17540baab309bf666e37c3441ed42.jpg","纵119.9 厘米横51.6",[90],241,{"id":5457,"slug":5458,"title":5459,"dynasty":18,"author":257,"museum":191,"description":5460,"tags":5461,"thumbUrl":5463,"material":5464,"size":5465,"collection":139,"collections":5466,"showCount":5455,"zanCount":1233,"manualWeight":48,"mainColor":2504},223425,"song-ren-xi-mao-tu-zhou-yi-ming-223425","宋人戏猫图轴","本幅传为宋人所画，在庭园一角嬉戏的大小猫咪一共八只。画栏围绕，锦障高下相连，使园中彷佛别有洞天。群猫嬉戏於湖石、竹丛、桃树、牡丹之间，或静或动，生态盎然。画家观察入微，以瞳孔缩成线状的猫眼，点出了这场猫戏的时序，应该是日光强烈的日间。",[23,194,24,226,7,28,745,746,84,378,4355,229,5462],"鸟笼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4ef8f54780c0c3ec5ce4fde928d99fc.jpg","轴 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用笔圆劲，轩昂洒落，画风秀润处过于乃父。 ​",[23,24,25,28,7,83,1060,245,836],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71e0f84a2d62c330aaeff7eb6de993c8.jpg",[42,90,45],{"id":5545,"slug":5546,"title":5547,"dynasty":18,"author":2509,"museum":191,"description":5548,"tags":5549,"thumbUrl":5550,"material":67,"size":5551,"collection":42,"collections":5552,"showCount":5553,"zanCount":1003,"manualWeight":48,"mainColor":49},221355,"qiu-ting-xi-ying-tu-su-han-chen-221355","秋庭戏婴图","该画作描绘了在秋天的一富家庭院里，姐弟俩正围着螺钿漆墩玩着自制的小玩具的情景。急躁的小弟弟全神贯注，衣领滑下了肩，显示出他顽皮、好动的外向性格；细心的姐姐耐心地照看着小弟弟，她性情沉静温和。两个孩子玩得着了迷，似乎忘记了刚才发生的一切。在他们身后的另一张螺钿漆墩上，杂乱地摆放着其他玩具，可能刚才他们曾在花丛边追打嬉闹过。 [2]\n该画作左上角有清高宗乾隆所题绝句：庭院秋声落枣红，拾来旋转戏儿童。丹青讵止传神诩，寓意原存相让风。",[23,24,194,25,226,28,7,106,2385,230,634,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71807e6a7737f12c8af99f0cf3723a85.jpg","纵197.5厘米，横108.7厘米",[42,90,44,45],237,{"id":5555,"slug":5556,"title":5557,"dynasty":302,"author":5558,"museum":20,"description":5559,"tags":5560,"thumbUrl":5562,"material":67,"size":5563,"collection":181,"collections":5564,"showCount":5553,"zanCount":1379,"manualWeight":48,"mainColor":49},220764,"tian-chi-shi-bi-tu-huang-gong-wang-220764","天池石壁图","黄公望","此图描绘的是苏州城西吴县境内天池山的景色。天池山与灵岩山、天平山一脉相连，峰巅矗立巨石，远望巧若莲花，人称“华山”。山一侧的半山坳中长年积有一泓碧水，名曰“天池”，故山之这一面亦被称为“天池山”。\n画面兼用高远和深远的构图方法。近景丘陵溪涧，长松茂树。山径迂曲，通向主峰。画面正中层峦叠嶂，天池居于右上，两侧石壁对峙，池中水阁数椽。主峰两侧烟云流润，使画面虚实相生。\n此幅构图繁复，高坡陡崖错落分布，雄秀多姿。画家状物之笔虽较简略，杂树多用横点，山石作披麻皴，但线条却显得自然流畅，起落有序；笔法朴厚苍润，变化多端。设色采用“浅绛法”，多用淡赭，并以墨青、墨绿合染，冷暖互补，极佳地表现出山色的青葱与阳光的和煦。正如清吴修所云：“赭色微黄画里春，墨青墨绿染精神。”\n黄公望擅长的“浅绛法”在中国古代山水画的发展中具有重要地位，此图即其典范作品。另，本幅柳贯长题中称黄公望为“吴兴室内大弟子”，说明黄公望曾就学于赵孟頫，这是画史研究中的重要资料。",[23,177,173,7,29,808,5561,981,809,686,378,175],"石壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1df5e8d7eaf93e6a6599ee59965a71b.jpg","纵139.4厘米，横57.3厘米",[181,163],{"id":5566,"slug":5567,"title":5568,"dynasty":76,"author":658,"museum":191,"description":659,"tags":5569,"thumbUrl":5571,"material":88,"size":665,"collection":139,"collections":5572,"showCount":5553,"zanCount":1379,"manualWeight":48,"mainColor":94},219881,"er-shi-si-fan-hua-xin-feng-tu-ying-tao-yu-ying-chun-dong-gao-219881","二十四番花信风图-樱桃与迎春",[24,25,81,7,28,83,710,5570,836,1187,554,86,212],"迎春","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cbb4551c35981c815d28fac994eeefc.jpg",[],{"id":5574,"slug":5575,"title":5576,"dynasty":76,"author":658,"museum":191,"description":659,"tags":5577,"thumbUrl":5579,"material":88,"size":665,"collection":139,"collections":5580,"showCount":5553,"zanCount":1379,"manualWeight":48,"mainColor":94},219874,"er-shi-si-fan-hua-xin-feng-tu-mu-lan-yu-li-hua-dong-gao-219874","二十四番花信风图-木兰与梨花",[24,25,81,7,28,83,5578,1340,211,1187,86,212],"木兰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e7899210f12729525c86d211dedbbfe.jpg",[],{"id":5582,"slug":5583,"title":5584,"dynasty":76,"author":5585,"museum":442,"description":5586,"tags":5587,"thumbUrl":5588,"material":123,"size":5589,"collection":44,"collections":5590,"showCount":5553,"zanCount":2368,"manualWeight":48,"mainColor":94},218354,"shi-nv-tu-ce-li-ting-xun-218354","仕女图册","李廷薰","本卷描绘了四位美女，其风格与蔡奇和费丹旭相似。李廷勋，被称为秦贤和花痴，是一位罕见的艺术家，或者说是广东人。",[24,25,81,7,28,106,59,409,2439,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb19a6f600a83e3dfe0c423dd1fddcced.jpg","19x28",[44],{"id":5592,"slug":5593,"title":5594,"dynasty":76,"author":3914,"museum":78,"description":5595,"tags":5596,"thumbUrl":5597,"material":88,"size":5598,"collection":181,"collections":5599,"showCount":5553,"zanCount":2368,"manualWeight":48,"mainColor":94},216993,"fang-song-yuan-shan-shui-ce-wang-jian-216993","仿宋元山水册","王鉴（1598-1677），字玄照，后改字符照、圆照，号湘碧、染香庵主，江苏太仓人。王世贞曾孙。崇祯六年（1633）以荫授南京左府都事，约十一年（1638）至北京改任比部郎，十二年（1639）任廉州知府，仅两年即罢职归太仓，从此未入仕途。工画山水，得董其昌亲授，追踵董源、巨然，多拟仿宋元诸家。著有《染香庵跋画》。\n是册临宋元各家，淡墨层层积累、细腻丰富，水墨设色兼能、皴染兼长。在“四王”山水画中，王鉴的设色山水与其他三家有所差异。王鉴擅长青绿山水设色，用色只在青、绿、赭少数几种中选择，但色彩鲜明，特别是青绿两色的运用，清润高华。而仿陈惟允（陈汝言）一开可见其见识广博，陈汝言为元末明初人，后人临宋元山水鲜少涉及，这与他的个人收藏及交游圈不无关系。\n据其自跋：“予今岁偶来南翔（今属上海嘉定），谛交文庶社长，见其丰神超迈，雅善丹青，深得古人三昧，余因复临陈（陈廉）本赠之。”谓王时敏曾将所藏宋元各家真迹，嘱华亭陈明卿缩成一册，此册又临陈本。按，王时敏有缩临宋元各家山水册，董其昌为题“小中现大”者，为世所著称，此册除四页外，余俱与之相同，而所题各家名氏亦有异同。至所言王时敏一册出于陈明卿手，未见详细记述，或为另一册。\n陈廉（生卒年不详），字明卿，华亭（今上海松江）人。赵左弟子，年少时从赵左学习绘画，工巨幅山水，其笔墨清标，无烟火气，传世作品较少，上海博物馆藏《云间诸家书画散页》有其山水一开。王时敏《题陈明卿廉雪》卷云：“（陈廉）初以赵文度（赵左）为宗，既从余家纵观宋元真迹，多有悟入，所诣益深。为余摹诸名图，以寻丈巨轴，缩为方册，使能笔墨酷肖，毫发不遗，真画史之绝技。”又《题陈明卿仿黄子久》卷云：“明卿为赵文度高足弟子，初至娄时，尚守其师法，继为余临宋元诸名迹，缩小为本，因此大有悟入，画格遂为一变……”（《王奉常书画题跋》卷上）可与是册王鉴自跋相印证。",[23,24,27,7,29,177,105,81,108,109,175,378,176,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a18fc942c1098dabc52e73dc3535442.jpg","纵55.4厘米，横36.0厘米",[181],{"id":5601,"slug":5602,"title":5603,"dynasty":18,"author":5604,"museum":191,"description":5605,"tags":5606,"thumbUrl":5607,"material":123,"size":5608,"collection":90,"collections":5609,"showCount":5610,"zanCount":774,"manualWeight":48,"mainColor":94},215112,"xie-sheng-ying-su-tu-ai-xuan-215112","写生罂粟图","艾宣","此册共二十六开，包含许多精采的宋元册页。各别的作品曾经过南宋内府、十四世纪安徽收藏家吴志淳、十五世纪黔宁王沐璘、十七世纪山东收藏家张笃行等人收藏过。裱装形式上，除了少数有对题者，左边空白对幅皆以明代流行的金粟山藏经纸裱装之，并有风格统一的题签。配合裱纸上梁清标（一六二○－一六九一） 的收藏印，及比较院藏其他梁清标之题签，推测此册可能为梁清标所集，显示明末清初所理解的宋元画。",[23,194,24,25,1260,28,7,83,3861,84,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadad36eaac06d8f20b835860208428a2.jpg","23.7x24.3cm",[90],236,{"id":5612,"slug":5613,"title":5614,"dynasty":76,"author":997,"museum":20,"description":5615,"tags":5616,"thumbUrl":5617,"material":638,"size":5618,"collection":181,"collections":5619,"showCount":5620,"zanCount":2368,"manualWeight":48,"mainColor":94},233123,"yuan-ji-shan-shui-ce-shi-tao-233123","原济山水册","本册共八开。设色画山水小景。\n原济(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[24,498,7,173,81,177,29,1273,175,106,176,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F123c2863fe8464093b6bc302b984f3bf.jpg","纵33.2cm，横22.8cm",[181,45],235,{"id":5622,"slug":5623,"title":5624,"dynasty":18,"author":1033,"museum":191,"description":5625,"tags":5626,"thumbUrl":5628,"material":123,"size":5629,"collection":90,"collections":5630,"showCount":5620,"zanCount":2368,"manualWeight":48,"mainColor":94},218939,"xie-sheng-yu-zan-tu-lin-chun-218939","写生玉簪图","这幅画描绘了玉针花站在一个妃子身上，其香味吸引了蝴蝶飞来飞去。花和蝴蝶都是先用细墨线勾勒，然后上色的。白色的花瓣和绿色的叶子使芬芳的花朵更加美丽。在左下角的叶子下面可以看到林椿的签名。",[23,24,194,1260,28,7,566,83,5627,484],"玉簪花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0abbcbd3282deb21b8a8f4f226720bde.jpg","23.6x24.6",[90],{"id":5632,"slug":5633,"title":4969,"dynasty":18,"author":257,"museum":132,"description":5634,"tags":5635,"thumbUrl":5636,"material":123,"size":5637,"collection":90,"collections":5638,"showCount":5620,"zanCount":787,"manualWeight":48,"mainColor":49},218554,"ping-hua-tu-yi-ming-218554","画的是一个中心中空的竹制花篮，篮子里有几朵菊花和木槿。芙蓉花瓣由内而外由紫变淡红，大方得体，而粉色和白色的菊花层层叠叠，繁而不乱，画面不大，却诠释了秋天的多种色彩。",[24,25,7,28,83,897,229,634],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92ea7ee08022ee5215dc568f32303c97.jpg","21x19cm",[90],{"id":5640,"slug":5641,"title":5642,"dynasty":76,"author":5643,"museum":316,"description":5644,"tags":5645,"thumbUrl":5646,"material":770,"size":5647,"collection":139,"collections":5648,"showCount":5649,"zanCount":1379,"manualWeight":48,"mainColor":94},234803,"fang-yun-shou-ping-hua-hui-zhou-jiang-ji-xi-234803","仿恽寿平花卉轴","蒋季锡","蒋季锡，女（具体生卒年不详），从其画作上判断她大致活动于清康熙至雍正年间（公元1661－1735年），字苹南，江苏常熟人。陕西道监察御史、画家蒋伊之女，大学士蒋廷锡之妹。她出生与官宦书画世家，并常与父兄探讨画理，研习画艺。她的艺术功底深厚，思路开阔，在艺术上刻意求新。其花鸟画学马荃的勾染花卉法，兼学恽寿平的没骨写生法，同时巧妙地吸收了西洋的明暗技法，使她的画作工整细致、写实逼真、别有意境。\n落款自题七言诗一首：“一叶芳心任卷舒，客愁乡梦待何如。平生枉用藤溪纸，绿玉窗前好写书。仿瓯香馆笔意，苹南女史蒋季锡。”钤“苹南”、“季锡”印二方。",[24,25,226,83,7,82,897,611,84,105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7049879c68c188c33b57a9d26849b1c6.jpg","纵107厘米，横33.4厘米",[],234,{"id":5651,"slug":5652,"title":1142,"dynasty":76,"author":77,"museum":316,"description":5653,"tags":5654,"thumbUrl":5655,"material":139,"size":139,"collection":139,"collections":5656,"showCount":5649,"zanCount":1003,"manualWeight":48,"mainColor":49},230251,"mu-dan-tu-yun-shou-ping-230251","此作用没骨法写就，以色代线，晕染出牡丹娇柔丰腴之态。白粉牡丹瓣层轻叠，莹润如凝脂；朱砂秾艳不俗，紫花幽柔淡雅，色彩过渡自然清妍，不见勾勒却形神兼备。枝叶以深浅草绿斡染，俯仰顾盼间尽显舒展生机，古拙顽石衬于花下，旁缀幽兰数茎，添清寂古雅之趣。\n\n右上题诗与花木相映，将富贵之态融入澹逸文气，以秀雅之笔消解艳俗，淡而不薄，丽而不妖，把写生之功与文人意趣相融，尽显春日花盛的清和雅致。",[23,24,25,226,7,83,292,484,230,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85bcececee698ff8393e54eef5a76e67.jpg",[],{"id":5658,"slug":5659,"title":5660,"dynasty":99,"author":5661,"museum":316,"description":5662,"tags":5663,"thumbUrl":5664,"material":139,"size":139,"collection":90,"collections":5665,"showCount":5666,"zanCount":1003,"manualWeight":48,"mainColor":49},238075,"song-he-ling-xiao-zhou-wang-wei-lie-238075","松鹤凌霄轴","王维烈","王维烈字无竞，吴郡（今江苏苏州）人，游周之冕之门，明代苏州画家。\n王维烈[明]花鸟在周之冕下，高阳之上。泰昌元年（一六二o）作树石孔雀图。南京博物院藏有其崇祯十三年（一六四o）作寒雀争梅图。",[24,25,226,28,7,83,1133,60,176,84,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bd83a04879ea1f1f5ef9c405bd25556.jpg",[90],233,{"id":5668,"slug":5669,"title":5670,"dynasty":76,"author":742,"museum":20,"description":5671,"tags":5672,"thumbUrl":5675,"material":88,"size":139,"collection":90,"collections":5676,"showCount":5666,"zanCount":1233,"manualWeight":48,"mainColor":94},219292,"bo-luo-ju-xie-ye-ren-yi-219292","菠萝菊蟹页","画面以菠萝为底，菊丛旁逸，蟹螯张弛，茶壶静卧，四物相映成趣。红蟹墨螯，笔触劲挺如蟹螯探物；菠萝鳞甲层叠，墨色浓淡间见肌理之趣；蓝菊翠叶，水色晕染似含秋露；深褐茶壶，朴拙造型衬出雅致清欢。笔墨兼具工写，红与蓝撞色鲜活，墨与彩交融和谐。寻常蔬果水族，经笔底点染，既有文人画的逸趣，又含市井生活的鲜活，尽显海派画风的灵动与包容，仿佛一帧秋日常景，藏着岁月的温润与生机。",[23,24,7,83,498,81,5673,897,5674,229],"菠萝","蟹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0150d4cb986e4079fb87d6e7b65100b.jpg",[90],{"id":5678,"slug":5679,"title":5680,"dynasty":99,"author":257,"museum":101,"description":5681,"tags":5682,"thumbUrl":5683,"material":123,"size":5684,"collection":44,"collections":5685,"showCount":5666,"zanCount":1379,"manualWeight":48,"mainColor":49},218402,"song-zi-guan-yin-tu-yi-ming-218402","送子观音图","这块板子描绘了头戴王冠的观音菩萨，上面有一尊变身佛。他戴着耳环、项链、手镯、手链和腰部装饰品来装饰他的整个身体。她的面容庄重、慈悲、平和，她抱着一个用珠宝装饰的美丽孩子。观音菩萨坐在狮子座上，左脚上有一朵莲花。幸运的男孩在狮子的尾巴上拜了菩萨。笔触精准，色彩优雅，画风接近丁云鹏。",[23,860,24,25,226,260,28,7,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时隐时现，活跃了山林的气氛。远景的渔村、云山，布置深远，和近景遥相呼应。整个画面意境深辽开阔，气魄宏伟。\n技法:《江山小景图》在技法上延续了李唐在宣和画院时期的青绿山水画风，但略有改变，此卷中山石以浓重劲健的细线勾勒，以小斧劈皴之，但小斧劈皴用的相当随意放松，简练概括，画家没有将山石的体积感与重量感放在表现的首位，而是注重画面的整体性与抒情性；此卷的树以轻松、快速的横笔写出，溪口水的画法也轻松自由得多，根据水势用简练的几笔勾勒而成，江水虽然还是以鱼鳞纹为之，但用笔灵活随意，毫无紧张感与拘谨感。\n此图近景巨石与石峰的用笔方硬坚重，峰顶与岩石的设墨浓重，树木多用横笔点叶，偶有细笔夹叶，色调较浅。运墨大胆，多为浓厚墨色，如树干劲拔，有笔有墨，骨肉匀称，若隐若现于树叶的浓荫之中，增添了幽深之感。船、帆和船夫的用笔十分洗练，坚挺朴实。远景几抹淡墨，用笔超脱豪放，使云山淡隐，更具一种灵妙别致的风韵。",[23,24,194,26,29,177,7,176,34,5701,109,1426,118,1169,5702,38],"渔船","近岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2428cca3b084dd38d455514e3b16a629.jpg","纵49.7厘米，横186.7厘米",[42,181,163],232,{"id":5708,"slug":5709,"title":5710,"dynasty":99,"author":3307,"museum":132,"description":5711,"tags":5712,"thumbUrl":5714,"material":123,"size":5715,"collection":90,"collections":5716,"showCount":5706,"zanCount":1003,"manualWeight":48,"mainColor":49},218918,"fu-gui-rong-hua-tu-lv-ji-218918","富贵荣华图","吕纪，花鸟初师边景昭，又学林良，并广泛师法唐宋诸家，所作有工笔重彩和水墨写意两种画法，前者描绘精工，色彩富丽，法度谨严；后者粗笔挥洒，随意点染，简练奔放，富有气势和动感。其山水宗法马远、夏圭，以大斧劈皴画山石，苍劲有力。人物亦法南宋院体，衣纹线条简练顿挫。初学边景昭工笔法，亦受林良水墨法影响，后临仿唐宋诸家名迹，遂自成一体，独步当代。其花鸟画风呈两种面貌，一作工笔重彩，精工富丽，多绘凤鹤、孔雀、鸳鸯之类，辅以树木坡石、滩渚流泉背景，既具法度，又富生气。另一类为水墨写意画，粗笔挥洒，简练奔放，接近林良的风格。他亦兼善人物、山水，宗法南宋马远、夏圭画法。他的花鸟画风在当时宫廷内外影响甚大，继承者不乏其人。",[23,194,24,25,226,28,7,67,860,83,947,5713,3074,211],"白花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bcefe113f289970b9573cff9f3de1c6.jpg","49x25cm",[90],{"id":5718,"slug":5719,"title":5720,"dynasty":76,"author":2200,"museum":316,"description":4194,"tags":5721,"thumbUrl":5722,"material":500,"size":5723,"collection":90,"collections":5724,"showCount":5725,"zanCount":1003,"manualWeight":48,"mainColor":94},224221,"zhao-ri-hong-he-wu-chang-shuo-224221","朝日红荷",[23,24,25,226,173,7,83,136,137,498,86,178,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa674a2b082ee8c9527d6f7c106c9b861.jpg","93x46",[90,45],231,{"id":5727,"slug":5728,"title":5729,"dynasty":99,"author":1196,"museum":442,"description":5730,"tags":5731,"thumbUrl":5732,"material":123,"size":5733,"collection":44,"collections":5734,"showCount":5725,"zanCount":889,"manualWeight":48,"mainColor":49},219530,"tao-gu-zeng-ci-tu-tang-yin-219530","陶穀赠词图","唐寅（1470—1523年），字伯虎，一字子畏，号六如居士，吴县（今江苏苏州）人。出身商人家庭，自幼聪明伶俐。20余岁时家中连遭不幸，父母、妻子、妹妹相继去世，家境衰败，在好友祝允明的规劝下收心读书，29岁参加应天府公试，得中第一名“解元”，30岁赴京会试，却受考场舞弊案牵连被斥为吏。此后遂绝意进取，以卖画为生。正德九年（1514年）曾应宁王朱宸濠之请赴南昌半年余，后察觉宁王有图谋不轨，遂佯狂得以脱身而归。晚年生活困顿，54岁即病卒。他玩世不恭而又才气横溢，诗文擅名，与祝允明、文徵明、徐祯卿并称“江南四才子”，画名更著，与沈周、文徵明、仇英并称“吴门四家”。 其绘画擅长山水、人物、花鸟各科。画法早年受沈周、文徵明影响，多“吴派”痕迹，30余岁时拜周臣为师，主宗南宗“院体”一路，后泛学宋元诸家，自成一体。山水画有粗、细两种风格：粗笔一路源自周臣，仿学南宋“院体”，然于刚劲雄健中别具清俊秀逸之韵；细笔画属其本色，更多文人画笔意，景色简约清朗，用笔纤细有力，皴法灵活多变，墨色淋漓多变，风格奇峭而又秀润。人物画造诣也很深，兼善工笔重彩、工笔淡彩、白描、水墨写意诸法，形神俱备。",[23,24,194,226,7,28,106,59,378,84,229,63,195],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee4160d60f87f2087cb65dd4c2c4d435.jpg","纵171横103.8厘米",[44],{"id":5736,"slug":5737,"title":5738,"dynasty":18,"author":5739,"museum":316,"description":5740,"tags":5741,"thumbUrl":5743,"material":599,"size":600,"collection":139,"collections":5744,"showCount":5745,"zanCount":48,"manualWeight":48,"mainColor":49},288951,"shu-kui-you-mao-tu-mao-yi-288951","蜀葵游猫图","毛益","毛益（公元12世纪）〔南宋〕昆山（今属江苏）人，一作沛（今江苏沛县）人，生卒年不详。孝宗乾道(1165-1173)间画院待诏，工画翎毛、花竹，尤能渲染，似欲飞鸣。",[24,28,7,745,4206,898,5742],"闲适","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbe227c92570f7b4b3865f10d691aa7f.jpg",[],230,{"id":5747,"slug":5748,"title":5749,"dynasty":99,"author":5750,"museum":316,"description":5751,"tags":5752,"thumbUrl":5753,"material":770,"size":139,"collection":139,"collections":5754,"showCount":5745,"zanCount":48,"manualWeight":48,"mainColor":49},234196,"fang-shen-zhou-qiu-shan-shu-wu-juan-zhang-hong-234196","仿沈周秋山书屋卷","张宏","山水画方面此时吴门画派最为兴盛。他们重视继承古代人的笔墨传统，把对风格的追求作为艺术的重要目的。而且，由于他们具有深厚的文化修养，有各自的美学追求，从而也具有一定的创造性。他们的笔墨技巧和表现手法，对后来画坛有很大影响。涌现出一批师法自然，重视写生的优秀画家，张宏便是其中的佼佼者。张宏师法沈周，又重视写生，作品笔力峭拔，墨色湿润，层峦叠嶂，丘壑深邃。他在继承吴门画派风格和特色的基础上，加以创新，强调回归自然，到大山里去写生，师自然造化。在画中体现出超凡脱俗的精神境界，使山水画活了起来。的画以石面连皴带染为特色。又能画写意人物，形神俱佳，散聚得宜，在文人山水画方面另辟蹊径，创作出了富有生活气息的绘画作品。其代表作品有：《西山爽气图》、《延陵挂剑图》、《杂技游戏图》、《击缶图》、《阊门舟阻图》、《溪亭秋意图》、《浮岚暖翠图》、《兰亭雅集图》，藏首都博物馆《琳宫晴雪图》等十多种，其中《西山爽气图》被国家教委编入高二地理限选新教材，当做古代文人画的范例；收藏于台北故宫博物院的《布袋罗汉图》被台湾邮政设计成了邮票。受吴门派影响的晚期画家还有程嘉燧、李流芳、卞文瑜、邵弥、杨文骢等人。程嘉燧的山水枯简疏放，李流芳爽朗清秀，卞文瑜细秀，邵弥简逸，杨文骢兼具枯笔、秀润两种风貌。",[24,25,26,105,7,173,177,29,34,176,108,109,174,175,106,989,1169,5702,1170,38,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05ab01647707656c2100c6df41243d83.jpg",[],{"id":5756,"slug":5757,"title":5758,"dynasty":76,"author":698,"museum":101,"description":5759,"tags":5760,"thumbUrl":5761,"material":88,"size":702,"collection":139,"collections":5762,"showCount":5745,"zanCount":2368,"manualWeight":48,"mainColor":94},216248,"jing-fu-si-qi-dong-jing-tu-9-qian-wei-cheng-216248","景敷四气冬景图-9","此套《景敷四气》冬景图，是清乾隆时期画家钱维城的作品。此套画册共含十二帧，纯以水墨为之或薄施淡色擦染，构图简练，自出机杼。运笔较为多样，笔法松秀，墨色疏淡，用色恬然，具有很显著的文人绘画的样式。最后一幅有：甲午新正月御题。钤印：乾隆鉴赏、三希堂精鉴玺、宜子孙、乾隆。\n小艇沿溪兴致高，南枝春信屡相遭。还应傲得襄阳孟，何必探寻踏雪劳。钤印：得佳趣",[24,25,7,28,83,62,554,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d1b750876d25321dfc423a8a3b9d04e.jpg",[],{"id":5764,"slug":5765,"title":5766,"dynasty":76,"author":257,"museum":316,"description":5767,"tags":5768,"thumbUrl":5770,"material":139,"size":139,"collection":139,"collections":5771,"showCount":5772,"zanCount":48,"manualWeight":48,"mainColor":94},235370,"xu-gu-zi-teng-jin-yu-tu-zhou-yi-ming-235370","虚谷紫藤金鱼图轴","画面以写意紫藤搭配工笔金鱼，尽显悠然意趣。垂悬的紫藤花穗清浅柔润，叶片以浅绿、赭黄晕染，枝蔓舒展随性，将暮春的缱绻生机晕开。三尾红金鱼朱砂点染，身形莹润饱满，尾鳍轻摆，悠游于空濛水色间，鲜活灵动。\n\n淡墨轻点拟作浮萍水藻，留白托出澄澈池水，虚实相生间，营造出静谧空寂的池上氛围。左侧题字与绘景呼应，工写兼施，藤蔓写意求韵，游鱼工笔见形，把花下观鱼的闲雅日常定格于绢素，清逸秀雅的笔墨间，尽显文人情思与自然意趣。",[24,25,226,7,83,135,5769],"金鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae35a58a932d565bb295a3031cfb929c.jpg",[],229,{"id":5774,"slug":5775,"title":5776,"dynasty":76,"author":563,"museum":191,"description":564,"tags":5777,"thumbUrl":5780,"material":88,"size":139,"collection":139,"collections":5781,"showCount":5782,"zanCount":2368,"manualWeight":48,"mainColor":94},214862,"xie-sheng-ce-3-hua-yan-214862","写生册-3",[24,25,81,173,7,28,5778,5779,746,553,554,569,212],"松鼠","鼠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F479bc39b276eae548d0b8940a600d55f.jpg",[],228,{"id":5784,"slug":5785,"title":5786,"dynasty":302,"author":1977,"museum":20,"description":5787,"tags":5788,"thumbUrl":5789,"material":5790,"size":5791,"collection":44,"collections":5792,"showCount":5793,"zanCount":918,"manualWeight":48,"mainColor":94},220829,"ren-qi-tu-zhao-meng-fu-220829","人骑图","本幅绘一戴官帽腰系玉带的红袍青年男子骑于马背之上，男子微有髭须，左手牵缰，右手持鞭，右脚轻踩马镫，神态优雅自足。马匹孔健有力，左前蹄微起，呈行进之势。画面布局、人物形象和马匹写实画法，都深受唐代画马图影响。",[23,24,25,26,7,28,106,150,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F267dc888b93d2680f156c8524c0ca2da.jpg","纸本 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从总体布局到建筑形体大多不合建筑的规矩法度”，这和当时追求艺术视觉效果、忽视真实物理结构的审美要求有直接的关系，从中也可以看到市场机制对艺术创作的影响。",[23,24,28,7,104,29,107,176,37,34,108,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F999a1e953e91f93828c36f2429f91187.jpg","纵266.2厘米，横163厘米",[181,45],{"id":5824,"slug":5825,"title":5826,"dynasty":18,"author":1588,"museum":5827,"description":5828,"tags":5829,"thumbUrl":5830,"material":123,"size":5831,"collection":90,"collections":5832,"showCount":5802,"zanCount":2368,"manualWeight":48,"mainColor":49},219276,"xue-an-yuan-yang-tu-ma-lin-219276","雪岸鸳鸯图","耶鲁大学艺术博物馆","枯木虬枝横斜，皴擦间藏着岁月的肌理，寒梅疏花点点，似是雪夜里悄然绽放的星子。滩头双鸳相偎，绒羽层叠如软云，翅尖墨色晕染，静卧间漫出暖融的依偎。枝上雀鸟敛翅，瞳仁如豆，似在聆听风过梅梢的轻响。雪岸清寂，却因这几处生灵的动静相映，添了几分温润的生气。淡赭铺就的寒汀，与浓墨点染的枝干相衬，工致笔触里藏着写意的疏朗，宋人的雅致与对生命的细腻观照，尽在这方寸画卷里流转，每一处留白都似凝着冬日的清寒，却又裹着一丝不易察觉的暖。",[23,24,194,28,7,83,2014,820,378,209,2086,1135,446,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a755de7d0ae42e6354319de9befc494.jpg","188.5cmx99.8cm",[90,45,42],{"id":5834,"slug":5835,"title":5836,"dynasty":18,"author":5837,"museum":191,"description":5838,"tags":5839,"thumbUrl":5842,"material":123,"size":5843,"collection":42,"collections":5844,"showCount":5802,"zanCount":918,"manualWeight":48,"mainColor":94},219214,"xue-jing-han-qin-tu-wang-ding-guo-219214","雪景寒禽图","王定国","王定国，（公元12世纪）〔南宋〕汴（今河南开封）人，生卒年不详。建炎元年（1127）随吴郡王渡江，居临安(今浙江杭州)。工花鸟，师李安忠，亦学崔白兄弟笔法，傅色轻淡，清雅不凡，人所不及。后吴郡王奏荐入仕，赐金紫。",[23,24,25,1260,7,28,83,2562,5840,210,5841],"寒禽","浆果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf83af5f258b7e3cf2ddcfd3f3c7dabe.jpg","纵24.3厘米，横26厘米",[42,90],{"id":5846,"slug":5847,"title":5848,"dynasty":99,"author":100,"museum":608,"description":609,"tags":5849,"thumbUrl":5850,"material":123,"size":620,"collection":139,"collections":5851,"showCount":5802,"zanCount":48,"manualWeight":48,"mainColor":49},216358,"xi-xiang-ji-tu-ye-8-chou-ying-216358","西厢记图页-8",[24,28,7,104,106,59,3712,34,176,1364,278,3701],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5046b988d6bf229c2bd14e1dcebb96ed.jpg",[],{"id":5853,"slug":5854,"title":5855,"dynasty":99,"author":857,"museum":191,"description":5856,"tags":5857,"thumbUrl":5858,"material":123,"size":5859,"collection":139,"collections":5860,"showCount":5861,"zanCount":1379,"manualWeight":48,"mainColor":94},290313,"sui-chao-tu-zhou-chen-hong-shou-290313","岁朝图轴","插图》《水浒叶子》《博古叶子》等版刻传世，工诗善书，有《宝纶堂集》。",[24,194,25,226,7,28,83,820,661,365,229,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe43f471122fe189fc01200784df42f1f.jpg","90.2x41.1",[],225,{"id":5863,"slug":5864,"title":5865,"dynasty":189,"author":5866,"museum":316,"description":5867,"tags":5868,"thumbUrl":5869,"material":599,"size":600,"collection":139,"collections":5870,"showCount":5861,"zanCount":48,"manualWeight":48,"mainColor":49},287365,"qing-lv-shan-shui-tu-ye-li-sheng-287365","青绿山水图页","李昇","擅墨竹，喜作窠石平远山水，颇有清趣。至正六年(1346)作有《淀湖送别图》卷(藏上海博物馆)，画面清波荡漾，湖上有小桥、扁舟，远望峰峦高耸，树林参差，山间古寺隐约可见，景色清幽，一派送别离人的气氛。清代词人朱彝尊很推重此画，题跋云：“松林清疏，峰岚渲以焦墨，淡林赢青作遥山，信称逸品。”",[23,24,25,29,27,7,107,108,109,176,34,212,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfdcad8870526ab254f3adb825fe8b72.jpg",[],{"id":5872,"slug":5873,"title":5874,"dynasty":76,"author":2200,"museum":316,"description":3526,"tags":5875,"thumbUrl":5876,"material":770,"size":3529,"collection":90,"collections":5877,"showCount":5861,"zanCount":2368,"manualWeight":48,"mainColor":94},224231,"ju-hua-2-wu-chang-shuo-224231","菊花2",[23,24,25,194,226,7,173,498,630,176,211,554],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67cb43cd66a1da94239b42b0c422a249.jpg",[90,45],{"id":5879,"slug":5880,"title":5881,"dynasty":256,"author":257,"museum":1846,"description":4025,"tags":5882,"thumbUrl":5894,"material":599,"size":600,"collection":44,"collections":5895,"showCount":5896,"zanCount":48,"manualWeight":48,"mainColor":49},226158,"yu-lin-ku-003-ku-zhu-shi-nan-pi-yi-ming-226158","榆林窟003窟主室南披",[511,260,7,5883,106,5884,5885,5886,5887,5888,5889,5890,5891,5892,5893],"佛像","装饰图案","几何纹样","花纹边框","传统纹样","连续造像","图案装饰","色彩装饰","宗教形象","造像群","纹样组合","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ac18271bb005bee4242c71c4670c0b0.jpg",[44],223,{"id":5898,"slug":5899,"title":5900,"dynasty":18,"author":1315,"museum":191,"description":5901,"tags":5902,"thumbUrl":5905,"material":88,"size":5906,"collection":181,"collections":5907,"showCount":5896,"zanCount":1379,"manualWeight":48,"mainColor":49},218180,"qiu-jiang-dai-du-tu-li-tang-218180","秋江待渡图","宋朝时期，李唐是一位著名的画家。他的作品《秋江待渡图》是一幅非常出色的水墨画，被认为是宋朝画风的代表作之一。\n\n这幅画描绘的是一个夜晚的景象，展现了秋天的气息。画面中的主人公是一个渔夫，他正站在船尾，眺望远方。他身后是一条江河，江水平静，荡漾着微微波光。空气中弥漫着淡淡的月色和落叶的气息。渔夫似乎在等待什么，也许是夜幕降临后的渔猎，也许是渡江的船只。\n\n这幅画展现了李唐独特的画风，他善于运用水墨画的浓淡变化，描绘出江水平静而又柔和的氛围。画中的色彩也十分丰富，月色柔和，落叶自然，渔夫身上的衣服呈现出深深的紫色。整幅画浓郁的秋意和深沉的气氛使人感到沉静和温馨。",[24,25,226,29,173,177,7,5903,174,5904,1169,106,212,989],"江水","枯藤老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F832191f2125231cc863d337a44ca0a33.jpg","118.6x48.6cm",[181],{"id":5909,"slug":5910,"title":2892,"dynasty":18,"author":647,"museum":1577,"description":5911,"tags":5912,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吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。 [3] 1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。",[24,226,7,498,83,5942,1819,553,554,62],"葡萄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff132055bd0237aacfdd9ba4bc4e35645.jpg","纵174.7cm，横47.5cm",[],221,{"id":5948,"slug":5949,"title":1142,"dynasty":76,"author":3593,"museum":5950,"description":5951,"tags":5952,"thumbUrl":5953,"material":139,"size":5954,"collection":90,"collections":5955,"showCount":5946,"zanCount":1379,"manualWeight":48,"mainColor":94},222816,"mu-dan-tu-yun-bing-222816","郑州博物馆","绘牡丹花卉数枝，牡丹枝叶繁茂，绚丽多彩，争奇斗艳。画面右上题署：“南田公曾有此画法，兰陵女氏清於冰写”。",[23,24,25,83,7,28,212,292],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17ca7be60e424c9bda0e6befeafb4a8a.jpg","纵106厘米 横39.4厘米",[90],{"id":5957,"slug":5958,"title":5959,"dynasty":18,"author":5960,"museum":316,"description":5961,"tags":5962,"thumbUrl":5963,"material":5964,"size":5965,"collection":42,"collections":5966,"showCount":5946,"zanCount":1003,"manualWeight":48,"mainColor":49},221504,"he-cao-chong-tu-wu-bing-jia-221504","禾草虫图","吴炳嘉","宋代花鸟在中国花鸟绘画史中达到了一个高峰，院体花鸟画下了很多传世精品，还有大量的典藏记载。其中，花鸟小品占据了主要地位，花鸟画以小品形式迅速发展，成为美术史上的一个代表艺术之一。宋人小品花鸟画形制多为圆中见方的尺牍小幅，以内敛的结构和开合呼应的构图方式，描绘特定的场境和瞬间情态，于状物精微的同时力求构思新奇，营造格调优雅而隽永的意境，表现出独特的趣味。",[23,194,24,25,7,28,83,838,636,484,635,721,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ff6d56f3d921df6f611ba36478d1d50.jpg","绢本；设色","纵：49cm，横：30cm",[42,90,45],{"id":5968,"slug":5969,"title":5970,"dynasty":302,"author":257,"museum":101,"description":5971,"tags":5972,"thumbUrl":5973,"material":123,"size":5974,"collection":90,"collections":5975,"showCount":5946,"zanCount":48,"manualWeight":48,"mainColor":49},218992,"zhu-he-shuang-qing-tu-yi-ming-218992","竹鹤双清图","孤鹤独立，长颈微垂似引幽思，红顶一点如丹砂缀雪。白羽凝霜般细腻，墨尾泼黛般沉劲，单足踏虚，恍若与天地静默对语。侧畔墨竹横斜，枝桠苍劲带古意，叶影疏疏拂过褐调绢本，斑驳处似藏元时的风。背景沉雅如陈酿，旧痕里漫出清寂气息。鹤之仙骨、竹之劲节相映，尽得“双清”之韵——清在羽片的莹白，清在竹枝的挺秀，更清在那份遗世独立的静穆。整幅画如一卷被时光浸润的诗，将高逸之气凝于笔端，任观者在古雅的色调里，触摸那份跨越千年的清雅风骨。",[24,25,226,7,83,60,227,230,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3c8b105b375a4049c70ca392d54fc4a.jpg","纵165.9横100.8厘米",[90],{"id":5977,"slug":5978,"title":5979,"dynasty":18,"author":257,"museum":191,"description":5980,"tags":5981,"thumbUrl":5983,"material":123,"size":5984,"collection":90,"collections":5985,"showCount":5946,"zanCount":918,"manualWeight":48,"mainColor":49},215138,"shan-hua-mo-tu-tu-yi-ming-215138","山花墨兔图","本幅绘野菊粟穗，一只墨兔伸着脖子，昂首嗅探，仿佛可以感觉到鼻息微动，栩栩如生。墨兔以墨色染成，并以浓淡不同的墨笔在深浅处丝出葺葺细毛，形态极为生动。　　本幅无作者款印，旧签称其出自宋人之手，然野菊、粟竿的用笔均与宋人不类，当为晚期画家根据宋代画稿所绘之作。",[23,194,24,25,28,7,173,83,2181,5982],"山花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34438c417608bca9dc57b060c9180a9f.jpg","37.5x42cm",[90],{"id":5987,"slug":5988,"title":5989,"dynasty":54,"author":55,"museum":316,"description":5990,"tags":5991,"thumbUrl":5992,"material":139,"size":139,"collection":139,"collections":5993,"showCount":5994,"zanCount":1233,"manualWeight":48,"mainColor":49},223650,"diao-qin-chuai-ming-tu-zhou-fang-223650","调琴啜茗图","画面铺陈出一段安闲的深闺日常，丰腴端丽的仕女们浸在松弛的氛围里。左侧女子正俯身调弦，指尖起落间，仿佛已有泠泠琴音将要漫开，身侧侍女垂首持物，屏气静待。右侧仕女凭坐支颐，默然凝神，似在等候琴音漫入耳畔，身旁侍女低首伫立，敛声待命。\n画作设色柔雅清和，衣纹细劲流畅，将女子丰肌秀骨的仪态勾勒尽致。浅淡花木点缀背景，留白恰到好处，把庭院的静谧雅致烘托尽显。只以极简场景，将深闺女子慵懒温婉的情态，与平淡悠长的闲居意趣，细腻晕染，尽显仕女画的隽永韵致。",[23,24,194,28,7,59,106,195,230,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F370401cc1eb8d1d6c4fbccb225172add.jpg",[],220,{"id":5996,"slug":5997,"title":5998,"dynasty":302,"author":1977,"museum":20,"description":5999,"tags":6000,"thumbUrl":6001,"material":40,"size":6002,"collection":44,"collections":6003,"showCount":5994,"zanCount":889,"manualWeight":48,"mainColor":49},220891,"qing-xi-long-yue-yu-ma-tu-juan-zhao-meng-fu-220891","青溪龙跃浴马图卷","图中绘夏日疏林间，奚官在水塘为骏马洗浴纳凉的情景。人物与马各具姿态，生动自然，相互呼应，营造了一个轻松的氛围。人物衣纹流畅，树木坡石勾勒简练，色不掩墨，青绿与浅绛结合，色彩清丽雅致。",[23,194,24,25,26,28,7,150,151,106,34,109,212,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7886ceca9be6e9768ee8afb4d0ac6d0.jpg","纵28.5厘米，横154厘米。",[44,45],{"id":6005,"slug":6006,"title":6007,"dynasty":76,"author":742,"museum":20,"description":6008,"tags":6009,"thumbUrl":6010,"material":88,"size":6011,"collection":90,"collections":6012,"showCount":5994,"zanCount":48,"manualWeight":48,"mainColor":49},219290,"mu-dan-shuang-ji-tu-ren-yi-219290","牡丹双鸡图","双鸡栖于顽石间，一昂首红冠耀目，白羽墨翅错杂生姿；一低首绒羽蓬松，神态憨拙可亲。侧畔枝桠横斜，新叶带露泛红，墨笔勾枝与赭色点芽相映，漾出淡淡春息。鸡身羽毛以浓淡墨晕染，层次细腻；爪部线条劲挺，力透纸背。顽石用枯笔皴擦，质感厚重朴拙。整幅画兼工带写，禽鸟之灵趣与草木之生机浑然一体，笔墨生动间，尽显自然意趣与生活情味。",[23,24,194,226,7,83,498,2703,292,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F769282408829ec883984c71495ff83f2.jpg","纵103.8cm，横44.5cm",[90,45],{"id":6014,"slug":6015,"title":6016,"dynasty":54,"author":6017,"museum":191,"description":6018,"tags":6019,"thumbUrl":6022,"material":123,"size":6023,"collection":181,"collections":6024,"showCount":5994,"zanCount":1379,"manualWeight":48,"mainColor":49},218963,"chun-shan-xing-lv-tu-li-zhao-dao-218963","春山行旅图","李昭道","这幅画描绘了唐明皇在前往四川寻求庇护以躲避安史之乱的途中放弃长安的场景。\n画面以绿色为主色调，有山有水，枝繁叶茂，春意盎然，二十多个人和十几匹马结伴而行，在蜿蜒而荒芜的道路上可以看到人影。虽然场景是春天，马儿在滚动，人们靠着树休息，看起来很轻松，但通往圣地的道路和沿途的崎岖转弯的气氛也会让人觉得很困难。\n该场景用细密的笔触勾勒出线条，然后用绿色和蓝色作画，使其优雅而美丽。",[23,24,25,27,7,29,106,107,176,34,1049,3960,3389,6020,6021],"云气","勾勒填色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3f5bf3ce17fdd366423076e69f86db4.jpg","95.5x55.3厘米",[181],{"id":6026,"slug":6027,"title":6028,"dynasty":99,"author":170,"museum":316,"description":6029,"tags":6030,"thumbUrl":6031,"material":139,"size":139,"collection":139,"collections":6032,"showCount":6033,"zanCount":1379,"manualWeight":48,"mainColor":94},228834,"qing-yuan-tu-shen-zhou-228834","清园图","此图绘湖山秋色。\n该图结构严整均衡，局部富于穿插变化，使画面景物参差有致，一派清幽逸趣。\n在用笔上，该图多用秃笔中锋，将勾、皴、擦、点有机配合，实中求虚。\n【名称】《 青园图 》 【年代】明代 【作者】沈周 【简介】长卷，纸本，设色，纵19.1厘米，横188.7厘米。\n旅顺博物馆藏。\n沈周（1427年—159年）明代杰出画家。\n字启南、号石田、白石翁、玉田生、有居竹居主人等，是明中叶画坛上四大艺术家（另三人为文徵明、唐寅、仇英）之一，人称江南“吴门画派”的班首，在画史上影响深远。\n沈家世代隐居吴门，居苏州相城,故里和墓在今相城区阳澄湖镇。\n沈周的曾祖父是王蒙的好友，父亲恒吉，又是杜琼的学生，书画乃家学渊源。\n父亲、伯父都以诗文书画闻名乡里。\n沈周一生家居读书，吟诗作画，优游林泉，追求精神上的自由，蔑视恶浊的政治现实，一生未应科举，始终从事书画创作。\n他学识渊博，富于收藏。\n交游甚广，极受众望，平时平和近人，要书求画者“屦满户外”，“贩夫牧竖”向他求画，从不拒绝。\n甚至有人作他的赝品，求为题款，他也欣然应允。\n有曹太守其人，新屋落成欲图其楹庑，搜罗画家，沈周亦在其中，隶往摄之，沈周曰：“毋惊老母，旦夕往画不敢后”客人颇不平曰：“太守不知先生，何贱先生于此？渴贵游可勿往。\n”沈周答曰：“往役义也，岂有贱哉？谒而求免，乃贱耳。\n”沈周的书画流传很广，真伪混杂，较难分辨。\n文征明因此称他为飘然世外的“神仙中人”。\n沈周在元明以来文人画领域有承前启后的作用。\n他书法师黄庭坚，绘画造诣尤深，兼工山水、花鸟，也能画人物，以山水和花鸟成就突出。\n所作山水画，有的是描写高山大川，表现传统山水画的三远之景。\n而大多数作品则是描写南方山水及园林景物，表现了当时文人生活的幽闲意趣。\n在绘画方法上，沈周早年承受家学，兼师杜琼。\n后来博取众长，出入于宋元各家，主要继承董源、巨然以及元四家黄公望、王蒙，吴镇的水墨浅绛体系。\n又参以南宋李、刘、马、夏劲健的笔墨，融会贯通，刚柔并用，形成粗笔水墨的新风格，自成一家。\n沈周早年多作小幅，4岁以后始拓大幅，中年画法严谨细秀，用笔沉着劲练，以骨力胜，晚岁笔墨粗简豪放，气势雄强。\n沈周的绘画，技艺全面，功力浑朴，在师法宋元的基础上有自己的创造，发展了文人水墨写意山水、花鸟画的表现技法，成为吴门画派的领袖。",[23,24,25,26,173,7,29,175,3712,378,109,212,86,178,35,176,1241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee310328773a26ff40d5f949cac4d0f3.jpg",[],219,{"id":6035,"slug":6036,"title":6037,"dynasty":18,"author":1588,"museum":20,"description":6038,"tags":6039,"thumbUrl":6040,"material":67,"size":6041,"collection":42,"collections":6042,"showCount":6033,"zanCount":1003,"manualWeight":48,"mainColor":94},221180,"ceng-die-bing-xiao-tu-zhou-ma-lin-221180","层叠冰绡图轴","图中所画两枝梅花据称为绿萼梅，是梅花中的名贵品种。枝干细秀劲挺，花朵繁密俏媚，皆以双勾填色法绘之。画法精细，层次鲜明，枝干的转折，花朵的向背，处理得面面俱到。\n在绢素上画疏枝绿萼白梅两枝，枝瘦花繁，一枝高昂扬起，伸至画面右中部，枝疏花密，花朵绽开；一枝低垂叶艳，由画幅右侧横出，伸展画幅中部与另一挺拔高枝相呼应。两枝枝干清瘦如铁。\n本幅款识：“臣马麟。”另有宋宁宗皇后杨氏题“层叠冰绡”，并题诗：“浑如冷蝶宿花房。拥抱檀心忆旧香。开到寒梢尤可爱，此般必是汉宫妆。赐王提举：”钤“杨蛙之章”、“丙子刊宁翰墨”朱文。\n鉴藏印有：“项元汴印”朱文、“墨林山人”白文、“项氏子京”白文、“楠李项氏之家宝玩”朱文、“项墨林鉴赏章”白文、“项子京家珍藏”朱文、“墨林秘玩”朱文、“商丘宋荦审定真迹“朱文、“汝修”白文、”顾氏口阁珍藏”朱文、“典礼纪察司印”朱文半印，另一方印文不辨。\n地轴裱有题记：“嘉靖丙寅秋，用四十五金得于妻弟陆氏，共二幅，共直百金。顾从德记”“宋马麟《层叠冰绡图》。明项元汴清秘。用前价得藏于天籁阁”。钤“墨林山人”白文、“子京父印”朱文。裱边钤“教育部点验之章”朱文。",[23,24,25,226,28,7,820,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0b5f8ab1f8c9f8f0a1fb245c1b08d17.jpg","纵101.7cm，横49.6cm",[42,90,45],{"id":6044,"slug":6045,"title":6046,"dynasty":869,"author":4525,"museum":6047,"description":6048,"tags":6049,"thumbUrl":6051,"material":139,"size":139,"collection":139,"collections":6052,"showCount":6033,"zanCount":1003,"manualWeight":48,"mainColor":94},220526,"lan-mao-xu-bei-hong-220526","懒猫","中央美术学院美术馆","明黄葵朵肆意盛放，苍劲枝叶舒展铺陈，将晴日生机晕染满幅。两只猫儿卧于石上，一猫懒腰哈欠，蓬松毛发纤毫毕现，娇憨慵懒之态跃然纸面；另一猫蜷身假寐，神态松弛安适。\n\n画作融西画写实与东方笔墨，以水墨晕染葵叶苍润质感，重彩点亮花瓣明妍鲜活，生灵造型精准生动，于日常闲景中，将繁花蓬勃与猫儿慵懒相映成趣，静动之间晕开松弛悠然的雅致意韵，尽显闲淡生机。",[23,24,25,7,173,498,6050,745,211,554],"向日葵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56021136e3f49aa5e8fa268f00e74249.jpg",[],{"id":6054,"slug":6055,"title":6056,"dynasty":99,"author":100,"museum":442,"description":6057,"tags":6058,"thumbUrl":6059,"material":123,"size":6060,"collection":44,"collections":6061,"showCount":6033,"zanCount":1003,"manualWeight":48,"mainColor":49},219544,"xun-mei-tu-chou-ying-219544","寻梅图","仇英博取众长，多学于赵伯驹、刘松年，发展了南宋李唐、刘松年、马远、夏圭的'院体画'传统，集前人之大成，形成自己独特的艺术风格。他在山水、花卉、界画、人物、仕女等素材方面造诣极高，既工设色，又善水墨、白描，能运用多种笔法表现不同的对象。时人把他与周臣、唐寅誉称为院派三大家；后人又把他与沈周、文徵明、唐寅并称为'明四家'。",[23,194,24,28,7,106,59,820,353,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbaa20363f9665e27d71a3435ec5364b.jpg","102.7x50.7厘米",[44],{"id":6063,"slug":6064,"title":6065,"dynasty":76,"author":2837,"museum":316,"description":6066,"tags":6067,"thumbUrl":6069,"material":599,"size":600,"collection":139,"collections":6070,"showCount":6071,"zanCount":2368,"manualWeight":48,"mainColor":94},288453,"shui-xian-shan-shi-tu-ye-ju-lian-288453","水仙山石图页","居廉（1828年9月22日－1904年5月5日），广东省广州府番禺县隔山乡人，原籍江苏扬州宝应县 [1] ，字士刚，号古泉、隔山樵子、罗湖散人，是中国近代岭南地区著名的国画画家，和其从兄居巢并称“二居”。 [2] 他初时学宋光宝和孟丽堂，后吸收各家之长，自成一家。笔法工整，设色妍丽，在继承和发展恽寿平没骨画法基础上，广泛运用了撞水和撞粉法，继承、发展和完善了“居派”艺术。代表作品有《十二分春色》。",[23,24,25,7,28,83,898,230,6068,212,86],"飞虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08f14912099b74f3d5a6aa2685fc8db4.jpg",[],218,{"id":6073,"slug":6074,"title":954,"dynasty":76,"author":77,"museum":316,"description":955,"tags":6075,"thumbUrl":6076,"material":139,"size":139,"collection":139,"collections":6077,"showCount":6071,"zanCount":1003,"manualWeight":48,"mainColor":94},233911,"hua-hui-shan-shui-ce-yun-shou-ping-233911",[24,25,81,82,7,83,84,1261,837],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F365b8ee143cb6b67cd7e5ece42f851e1.jpg",[],{"id":6079,"slug":6080,"title":6081,"dynasty":99,"author":100,"museum":608,"description":609,"tags":6082,"thumbUrl":6085,"material":123,"size":620,"collection":139,"collections":6086,"showCount":6071,"zanCount":48,"manualWeight":48,"mainColor":49},216361,"xi-xiang-ji-tu-ye-3-chou-ying-216361","西厢记图页-3",[24,28,7,104,6083,106,59,6084,107,34,136,2340,278,115],"册页","男子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8160bed9793b09c0f8860270b639bc52.jpg",[],{"id":6088,"slug":6089,"title":6090,"dynasty":99,"author":1196,"museum":20,"description":6091,"tags":6092,"thumbUrl":6093,"material":770,"size":6094,"collection":181,"collections":6095,"showCount":6096,"zanCount":1379,"manualWeight":48,"mainColor":49},222332,"shi-ming-tu-quan-juan-tang-yin-222332","事茗图全卷","本幅中作者自题：“日長何所事，茗碗自賚持。料得南窗下，清風滿鬢絲。吳趨唐寅。”钤“唐居士”。\n“事茗”姓陈，为王宠友邻，与唐寅交往亦甚密。唐寅以陈氏名号为题作此图，并将“事茗”二字嵌入题诗中。此图布局别出新意，虚实相生，层次分明。近景巨石侧立，巨石墨色浓黑，皴擦细腻，凹凸清晰可辨。屋舍、坡岸淡雅清润，屋中主人临窗品茗，描绘出幽静宜人的理想化的生活环境。透过画面，似可听到潺潺的流水，闻到淡淡的茶香。\n本幅中另有清乾隆御笔题记：“记得惠山精舍里，竹罏沦茗绿杯持。解元文笔闲相仿，消渴何劳玉虎丝。甲戌闰四月雨余，几暇偶展此卷，因摹其意，即用卷中原韵题之，并书于此。御笔。”钤印“古香”白文方、“太缶”朱文方。尾纸陆粲款署：“嘉靖乙未孟秋之吉，平原陆粲著。”钤印“陆氏浚明”白文方、“贞山”朱文方。鉴藏印钤：耿昭忠“丹诚”、“千山耿信公书画之章”、“信公珍赏”、“信公鉴定珍藏”、“琴书堂”、“都尉耿信公书画之章”；耿嘉祚“耿会侯鉴定书画之章”、“耿嘉祚印”、“耿湛恩章”、“湛恩记”、“漱六主人印”；索额图“也园索氏收藏书画”、“长白索氏珍藏图书印”、“九如清玩”、“乐庵”、“乐圣且衔杯”、“御赐忠孝堂长白山索氏珍藏”等诸家印记多方，另有清内府鉴藏诸印。\n清内府《石渠宝笈·初编》卷十五著录。",[23,24,25,26,173,7,29,106,989,34,176,109,86,212,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3579c3ee10391bfe105f8f09fe4d831d.jpg","纵31.1厘米，横105.8厘米",[181,45],217,{"id":6098,"slug":6099,"title":6100,"dynasty":99,"author":6101,"museum":191,"description":6102,"tags":6103,"thumbUrl":6104,"material":123,"size":6105,"collection":90,"collections":6106,"showCount":6096,"zanCount":2368,"manualWeight":48,"mainColor":49},216220,"fu-rong-bai-lu-tu-zheng-shi-216220","芙蓉白鹭图","郑石","郑石的《芙蓉白鹭图》是一幅著名的绢本花鸟画。这幅画描绘了一只芙蓉花和二只白鹭鸟，画面非常精致优美。这幅画是郑石最著名的作品之一，被认为是明朝花鸟画的代表作之一。郑石是明朝时期著名的画家，他的画风清新自然，画面精致细腻，对后世艺术家产生了很大的影响。",[23,860,24,25,226,28,7,83,634,1111,1241,84,1530],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51b6278a19e0cd0b6464e8d5101b347b.jpg","144.4x74.3cm",[90],{"id":6108,"slug":6109,"title":6110,"dynasty":99,"author":2275,"museum":316,"description":6111,"tags":6112,"thumbUrl":6113,"material":599,"size":600,"collection":139,"collections":6114,"showCount":6115,"zanCount":343,"manualWeight":48,"mainColor":49},287613,"si-shi-hua-niao-tu-zhou-zhi-mian-287613","四时花鸟图","周之冕（1521—？）明代杰出画家，字服卿，号少谷，长洲（今江苏苏州）人。卒年不详，活跃于万历年间。擅花鸟，注重观察体会花鸟形貌神情，及禽鸟的饮啄、飞止等种种动态。善用勾勒法画花，以水墨点染叶子，画法兼工带写，人称勾花点叶法。所作花鸟，形象真实，意态生动，颇有影响。写意花鸟，最有神韵。设色亦鲜雅，家畜各种禽鸟，详其饮啄飞止，故动笔具有生意 。特以嗜酒落魄，不甚为世重耳。又善古隶。",[23,24,26,7,28,83,820,227,292,634,243,245,1530,84,957],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F784a8955d2b4f0279d0683708db84ee1.jpg",[],216,{"id":6117,"slug":6118,"title":6119,"dynasty":76,"author":658,"museum":191,"description":659,"tags":6120,"thumbUrl":6122,"material":88,"size":665,"collection":139,"collections":6123,"showCount":6115,"zanCount":1379,"manualWeight":48,"mainColor":94},219878,"er-shi-si-fan-hua-xin-feng-tu-li-hua-yu-xing-hua-dong-gao-219878","二十四番花信风图-李花与杏花",[24,7,28,86,212,6121,2328,230,836,1187],"李花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F985d944013ffd751b9d943e22980248d.jpg",[],{"id":6125,"slug":6126,"title":6127,"dynasty":18,"author":1350,"museum":191,"description":6128,"tags":6129,"thumbUrl":6130,"material":123,"size":6131,"collection":181,"collections":6132,"showCount":6115,"zanCount":48,"manualWeight":48,"mainColor":49},219598,"zhu-he-tu-ma-yuan-219598","竹鹤图","若无若有望中迷。独立黄冠仙客携。识赏分明印坤卦。何云为寿赐都提。甲辰（西元一七八四年）仲冬中浣再题。\n不祷自安缘寿骨。人间难得是清名。浅斟仙酒红生颊。永保长生道自成。赐王都提举为寿。\n布景期神弗期格。分明马远署臣名。胎仙近远相鸣和。绘也羲经与注成。甲辰（西元一七八四年）孟冬上浣御题。",[23,24,25,226,173,7,177,227,106,29,212,109,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F905155f3f4ed0840a0e14b1248544c85.jpg","124.3x56.6公分",[181,44],{"id":6134,"slug":6135,"title":205,"dynasty":76,"author":77,"museum":316,"description":596,"tags":6136,"thumbUrl":6137,"material":599,"size":600,"collection":139,"collections":6138,"showCount":6139,"zanCount":2368,"manualWeight":48,"mainColor":94},239432,"hua-niao-ce-yun-shou-ping-239432",[194,24,25,81,82,7,83,84,210,569],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48e378a87f8912632f7510fda2eb40c7.jpg",[],215,{"id":6141,"slug":6142,"title":131,"dynasty":76,"author":77,"museum":316,"description":955,"tags":6143,"thumbUrl":6144,"material":139,"size":959,"collection":139,"collections":6145,"showCount":6139,"zanCount":2368,"manualWeight":48,"mainColor":94},233895,"hua-hui-ce-yun-shou-ping-233895",[194,24,25,81,7,82,83,84,629,554],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e39781d8731f909f8ad4b52da88dd7d.jpg",[],{"id":6147,"slug":6148,"title":6149,"dynasty":54,"author":2559,"museum":608,"description":6150,"tags":6151,"thumbUrl":6153,"material":123,"size":6154,"collection":181,"collections":6155,"showCount":6139,"zanCount":1379,"manualWeight":48,"mainColor":49},220072,"jian-ge-xue-zhan-tu-wang-wei-220072","剑阁雪栈图","此图栈道着墨不多，主要是表现剑阁山川，雪景布置，积雪盈道。倘若鉴定无误的话，此图应属现存最早的一幅反映古栈道题材的山水画了。当然，它也就是最早的一幅蜀山栈道图。",[23,24,25,29,226,7,177,685,686,378,2086,6152],"栈道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1f73cf8b8868701ceb5e30b67a1f890.jpg","187.0X96.2",[181],{"id":6157,"slug":6158,"title":6159,"dynasty":76,"author":742,"museum":20,"description":6160,"tags":6161,"thumbUrl":6163,"material":88,"size":6164,"collection":44,"collections":6165,"showCount":6139,"zanCount":1379,"manualWeight":48,"mainColor":94},219630,"su-wu-mu-yang-tu-ren-yi-219630","苏武牧羊图","在任颐众多的人物故事画中，“苏武牧羊”是他描绘较多的题材之一。《汉书·苏武传》中记载：苏武，字子卿，曾奉汉武帝命以中郎将身分出使匈奴，单于欲降苏武，苏武不屈，被留放北海(今贝尔加湖)长达19年，苏武“杖汉节牧羊，卧起操持，节旌尽落”，表现了强烈的爱国精神。作为出身于市民，又一度随太平军转战的任颐，面对加速殖民化的国土，深感“身居十里洋场，无异置身异域”，甚至寄希望于“草莽英雄”，正是这种思想驱使他在画中寄托忧患意识，歌颂高尚的爱国情操。图中苏武手持汉节，如坚石般站立于画面中心，双目望于画外，似在遥望汉国，目光坚定自信，表现了不屈的精神。\n画中人物造型比例准确，除保持了陈洪绶人物奇古伟岸的特征之外，还融汇了西洋画速写、素描的技法，线条凝练概括，具有力度，与主题相统一。色墨的渲染协调统一，尤其是羊群运用写意的手法，在黑、白、灰的墨色变化中准确地描绘出羊群的造型，同时也描绘出群羊因寒冷而挤作一团的情景，以此衬托出环境的恶劣，从而突出了人物不畏艰难险阻的刚毅气节。",[23,194,24,25,226,7,498,106,6162,746],"羊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25c2700d0183a4f433fabbc66c36e14d.jpg","纵149.5厘米，横81厘米",[44,45],{"id":6167,"slug":6168,"title":1007,"dynasty":18,"author":429,"museum":316,"description":430,"tags":6169,"thumbUrl":6175,"material":599,"size":600,"collection":139,"collections":6176,"showCount":6177,"zanCount":1379,"manualWeight":48,"mainColor":49},288520,"han-xi-zai-ye-yan-tu-song-mo-ben-song-gong-ting-hua-jia-288520",[23,24,194,25,26,6170,28,7,1931,106,1551,6171,6172,6173,6174,86,212],"人物画","乐舞","听乐","观舞","休憩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde43b93040d57e342c67c97ee8336009.jpg",[],214,{"id":6179,"slug":6180,"title":6181,"dynasty":54,"author":2559,"museum":132,"description":6182,"tags":6183,"thumbUrl":6184,"material":67,"size":6185,"collection":139,"collections":6186,"showCount":6177,"zanCount":48,"manualWeight":48,"mainColor":49},232621,"e-pang-gong-tu-juan-wang-wei-232621","阿房宫图卷","提到王维，人们都会想到他的朗朗上口的诗文，比如空山新雨后，天气晚来秋；比如独在异乡为异客，每逢佳节倍思亲；再比如红豆生南国，春来发几枝等等。他也是我很喜欢的一位诗人。其实他是唐朝书，画，诗三方面都很有成就的一个人。\n王维，字摩诘，盛唐时期的著名诗人，官至尚书右丞，原籍祁（今山西祁县），迁至蒲州（今山西永济），崇信佛教，晚年居于蓝田辋川别墅。善画人物、丛竹、山水。唐人记载其山水面貌有二：其一类似李氏父子，另一类则以破墨法画成，其名作《辋川图》即为后者。可惜至今已无真迹传世。传为他的《雪溪图》及《济南伏生像》都非真迹。苏轼评价说“味摩诘之诗，诗中有画；观摩诘之画，画中有诗。”他是唐代山水田园派的代表。开元进士。任过大乐丞、右拾遗等官，安禄山叛乱时，曾被迫出任伪职。其诗、画成就都很高，苏东坡赞他“诗中有画，画中有诗”，尤以山水诗成就为最，与孟浩然合称“王孟”，晚年无心仕途，专诚奉佛，故后世人称其为“诗佛”。\n王维的水墨画风，几乎影响着中唐以后的中国山水画发展的全部历史。至少可以说，占据中国古代山水画主流的文人画，都接受了王维的影响。苏轼的“诗中有画，画中有诗”的赞语，奠定了王维在中国绘画史上的地位。明朝董其昌的文人画理论，把文人画的内涵，全部具体化于王维，称王维是南宗画之祖。",[23,24,25,26,7,27,104,28,29,107,108,106,176,34,114,6020],"https:\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bottle of white roses","梵高","文森特·威廉·梵高（Vincent Willem van Gogh，1853年3月30日—1890年7月29日），荷兰后印象派画家。代表作有《星月夜》、自画像系列、向日葵系列等。\n梵高出生于1853年3月30日荷兰乡村津德尔特的一个新教牧师家庭，早年的他做过职员和商行经纪人，还当过矿区的传教士最后他投身于绘画。他早期画风写实，受到荷兰传统绘画及法国写实主义画派的影响。1886年，他来到巴黎，结识印象派和新印象派画家，并接触到日本浮世绘的作品，视野的扩展使其画风巨变。1888年，来到法国南部小镇阿尔，创作《阿尔的吊桥》；同年与画家保罗·高更交往，但由于二人性格的冲突和观念的分歧，合作很快便告失败。此后，梵高的疯病（有人记载是“癫痫病”）时常发作，但神志清醒时他仍然坚持作画。1889年创作《星月夜》。1890年7月，梵高在精神错乱中开枪自杀，年仅37岁。",[3187,2594,84,6239,6240,6241,7,6242,6243,6244,6245],"白色玫瑰","花瓶","厚涂","绿色","桌面","笔触奔放","色彩鲜明","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61092a1c7e00462e6c53a81e571c9644.jpg",[3195],{"id":6249,"slug":6250,"title":6251,"dynasty":76,"author":658,"museum":191,"description":659,"tags":6252,"thumbUrl":6254,"material":88,"size":665,"collection":139,"collections":6255,"showCount":6231,"zanCount":1233,"manualWeight":48,"mainColor":94},219882,"er-shi-si-fan-hua-xin-feng-tu-shan-fan-yu-lan-hua-dong-gao-219882","二十四番花信风图-山矾与兰花",[24,25,81,7,28,84,6253,631,263,86,212],"山矾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa300fd27248f7782bac6bc2754e41f05.jpg",[],{"id":6257,"slug":6258,"title":6259,"dynasty":76,"author":6260,"museum":191,"description":6261,"tags":6262,"thumbUrl":6263,"material":88,"size":6264,"collection":44,"collections":6265,"showCount":6231,"zanCount":1003,"manualWeight":48,"mainColor":94},216965,"ba-jiao-mei-ren-tu-xu-liang-biao-216965","芭蕉美人图","许良标","在这幅画中，一位面容姣好的少女坐在湖边的岩石上，手里拿着一把扇子，望着栏杆外的荷花田，陷入沉思。景物清晰，色彩鲜艳，构图上远近透视标准，色彩刻意镂空，可能是受到西方绘画的影响。",[24,194,25,7,28,59,611,136,175,108,230,278,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe47e4dd41db8abae7aa0d7492be0846b.jpg","171.8x93.9",[44],{"id":6267,"slug":6268,"title":6269,"dynasty":99,"author":100,"museum":608,"description":609,"tags":6270,"thumbUrl":6271,"material":123,"size":620,"collection":139,"collections":6272,"showCount":6231,"zanCount":48,"manualWeight":48,"mainColor":49},216357,"xi-xiang-ji-tu-ye-7-chou-ying-216357","西厢记图页-7",[194,24,25,7,28,106,107,109,59,227,115,34,195],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c2092ecff88dc4c51551d1cdeaf7c87.jpg",[],{"id":6274,"slug":6275,"title":6276,"dynasty":99,"author":170,"museum":316,"description":3941,"tags":6277,"thumbUrl":6279,"material":599,"size":600,"collection":139,"collections":6280,"showCount":6281,"zanCount":2368,"manualWeight":48,"mainColor":49},287522,"shu-shan-qin-shu-tu-juan-shen-zhou-287522","蜀山秦树图卷",[23,194,24,26,25,3559,173,7,177,808,981,1173,4706,108,109,6278,116,178,86,212],"亭舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F092ad35e202a88d58b87a0f168f8fe23.jpg",[],211,{"id":6283,"slug":6284,"title":6285,"dynasty":99,"author":100,"museum":191,"description":6286,"tags":6287,"thumbUrl":6288,"material":123,"size":6289,"collection":45,"collections":6290,"showCount":6281,"zanCount":2368,"manualWeight":48,"mainColor":49},219318,"zhou-jin-tang-zhou-chou-ying-219318","昼锦堂轴","〈相州昼锦堂记〉是北宋欧阳修（1007-1072）为宰相韩琦（1008-1075） 所做的一篇记文，指出衣锦还乡本人之常情，且古今所同，而韩琦却建昼锦堂以为鉴诫，并未因富贵而夸耀，高节值得推崇。本幅又是所谓文征明书写题记，仇英绘图的合璧之作。苏州作坊多有这种形式的制作，优雅又具文化意涵，用来馈赠为官或显贵者，颇为恰当。画幅左方先图绘韩琦轻骑简装于返乡途中，接着越过山岭，则见到回到家中创建有昼锦堂的韩琦，正素衣凭几而坐。形成中国叙事画中所谓异时同图的表现方式。画家同时也采取了象征的手法，堂前的松树与堂",[24,194,25,226,28,27,7,29,107,106,353],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb655f51653565200dcbc0cddbe1a8ccf.jpg","192.7x 96.3",[45],{"id":6292,"slug":6293,"title":6294,"dynasty":18,"author":846,"museum":78,"description":6295,"tags":6296,"thumbUrl":6297,"material":123,"size":6298,"collection":90,"collections":6299,"showCount":6281,"zanCount":1003,"manualWeight":48,"mainColor":49},219174,"zhu-que-tu-wu-bing-219174","竹雀图","此图写棘竹丛生，枝桠横出，枝头有一雀鸟正在悠闲地啄理羽毛。整幅场景景物聚于下侧，可见南宋构图新风的影响。图中竹枝用双钩技法，雀鸟在用颜色没骨画出后，重点部位再用墨线描出。这是吴炳传世佳作中的代表作。",[194,24,25,28,7,83,227,4323,245,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd20dd6d46a7daa28f75681df47a33321.jpg","纵25厘米，横25厘米",[90],{"id":6301,"slug":6302,"title":6303,"dynasty":99,"author":100,"museum":608,"description":609,"tags":6304,"thumbUrl":6305,"material":123,"size":620,"collection":139,"collections":6306,"showCount":6281,"zanCount":48,"manualWeight":48,"mainColor":49},216359,"xi-xiang-ji-tu-ye-6-chou-ying-216359","西厢记图页-6",[28,7,81,106,59,107,109,136,227,175,278,2340],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F770eb7aaf55cdeaa8253a4ef63c814ab.jpg",[],{"id":6308,"slug":6309,"title":6310,"dynasty":18,"author":3752,"museum":316,"description":6311,"tags":6312,"thumbUrl":6313,"material":599,"size":600,"collection":139,"collections":6314,"showCount":6315,"zanCount":2368,"manualWeight":48,"mainColor":49},287576,"shuang-xi-tu-cui-bai-287576","双喜图","两宋时期，中国古代花鸟画空前发展并取得重大成就。北宋前期，宫廷画家黄居采继承了其父黄筌的花鸟画风格，使细腻艳丽的富贵风格成为评判当时宫廷花鸟画优劣的准绳，直到崔白等人的出现，才打破了它一直以来的主导地位。崔白与黄筌一样注重写生、造型准确，但在画面中多了几分生趣，正是这种对禽鸟神态的关注，表明了花鸟画进入到一个新的发展阶段。画家将场景设定在深秋野外，被惊扰的野兔回首注视着一对喳喳直叫的山鹊，透过野兔的眼神，我们看到了它驻足回首时的惊异神情。有些诧异，却没有恐惧，因为它知道山鹊对自己没有威胁。它与山鹊之间的动作呼应、位置关联，一定是平日写生的结果，准确而生动。",[23,194,24,226,28,7,245,2181,795,83,746,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64ec422a7f31392c01473ad0cdcb93a1.jpg",[],210,{"id":6317,"slug":6318,"title":6319,"dynasty":54,"author":2559,"museum":4901,"description":6320,"tags":6321,"thumbUrl":6323,"material":7,"size":139,"collection":44,"collections":6324,"showCount":6315,"zanCount":1379,"manualWeight":48,"mainColor":49},219167,"fu-sheng-shou-jing-tu-wang-wei-219167","伏生授经图","图中的伏生席地而坐，手持书卷，形象清矍苍老，似正在认真讲授。其神情专注而和蔼。从画中清晰可见伏生额头的皱纹与身体上极为松弛的皮肤，非常生动而且真实的描绘出了当时伏生的身体状况。通过画面中对伏生神态的描绘，可以想象，年老的伏生讲授《尚书》时的吃力。此图线描手法高超，敷色清雅。",[23,24,25,106,28,352,7,212,6322,63],"典籍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8701c647bf80d991a6ae005e685af840.jpg",[44],{"id":6326,"slug":6327,"title":6328,"dynasty":189,"author":1642,"museum":191,"description":6329,"tags":6330,"thumbUrl":6331,"material":123,"size":6332,"collection":44,"collections":6333,"showCount":6315,"zanCount":1003,"manualWeight":48,"mainColor":49},218748,"an-le-tu-zhou-wen-ju-218748","按乐图","这幅画描绘了一个有朱色栅栏的花园，花台上种着一棵香蕉，还有五个宫廷女乐师，两个人吹着竹笛和琵琶，一个人打着拍板，另外两个人拍着手掌，很和谐。这些人物身着双球，头发上插着半月形的角梳，每个人都有丰富的色彩。笔触如丝，色彩优雅明快，说明是南宋绘画大师所作。女士坐在朱漆的方凳上，藤椅的轮廓在两腿之间巧妙地形成了壶门的形状，腿和脚则是如意的形状。院子里的帐篷，有一根长长的横杆，两端都有灵芝花的装饰，上面挂着带有莲花图案的锦缎披风。",[23,24,1260,28,7,106,59,195,230,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0036a38b7087699df87e8643fee08137.jpg","23.5x24.9",[44],{"id":6335,"slug":6336,"title":6337,"dynasty":76,"author":1207,"museum":419,"description":1208,"tags":6338,"thumbUrl":6339,"material":123,"size":1211,"collection":139,"collections":6340,"showCount":6315,"zanCount":2368,"manualWeight":48,"mainColor":49},214431,"xiu-yuan-tu-4-wang-yun-214431","休园图-4",[23,24,7,104,28,107,34,176,265,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a073b1ae9a5267aafce1e667ff03c94.jpg",[],{"id":6342,"slug":6343,"title":6344,"dynasty":76,"author":329,"museum":191,"description":1518,"tags":6345,"thumbUrl":6348,"material":7,"size":1521,"collection":139,"collections":6349,"showCount":6350,"zanCount":48,"manualWeight":48,"mainColor":94},222729,"xian-e-chang-chun-tu-bai-he-hua-yu-chan-zhi-mu-dan-lang-shi-ning-222729","仙萼长春图百合花与缠枝牡丹",[23,194,24,25,28,7,83,896,6346,6347,210],"牡丹花","缠枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c55f7cc59936a5a8c9fc4611e39f44d.jpg",[],209,{"id":6352,"slug":6353,"title":6354,"dynasty":76,"author":658,"museum":191,"description":659,"tags":6355,"thumbUrl":6358,"material":88,"size":665,"collection":139,"collections":6359,"showCount":6350,"zanCount":2368,"manualWeight":48,"mainColor":94},219876,"er-shi-si-fan-hua-xin-feng-tu-tang-di-yu-tao-hua-dong-gao-219876","二十四番花信风图-棠棣与桃花",[194,24,25,81,7,28,83,6356,243,6357,86,212],"棠棣","花信风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba17cf988bcf65f78a9b85775c599311.jpg",[],{"id":6361,"slug":6362,"title":6363,"dynasty":76,"author":375,"museum":78,"description":6364,"tags":6365,"thumbUrl":6366,"material":88,"size":6367,"collection":90,"collections":6368,"showCount":6350,"zanCount":2368,"manualWeight":48,"mainColor":94},218903,"hua-niao-tu-zhou-shen-quan-218903","花鸟图轴","沈铨善绘花鸟翎毛，用笔细腻传神，设色富贵浓艳。他的绘画多以描绘松、梅、竹、鹿、鹤、雉等寓意祥瑞富贵的题材为多。是图设色名丽脱俗，极富装饰性。琵琶树下，繁花斗艳，一对锦鸡嬉戏其间，树梢果实累累，绿叶掩映，群鸟相鸣，给人喜庆祥和的视觉感受。此作绘于乾隆二十七年（壬午，1762），作者时年八十一岁。",[194,24,28,7,83,245,34,1187,210,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab98048035316f1f40ef1a094497f236.jpg","纵171.6厘米，横95.9 厘米",[90],{"id":6370,"slug":6371,"title":6372,"dynasty":18,"author":1588,"museum":132,"description":6373,"tags":6374,"thumbUrl":6376,"material":123,"size":6377,"collection":90,"collections":6378,"showCount":6350,"zanCount":918,"manualWeight":48,"mainColor":49},218555,"mo-li-shu-fang-tu-ma-lin-218555","茉莉舒芳图","绢本古雅的底色上，茉莉枝蔓婉转伸展，白花团簇如凝雪，瓣瓣细腻温润，似含轻露未干。叶片以深浅墨绿晕染，脉络清晰可见，老叶的厚重与新叶的鲜嫩相映成趣。枝梗用笔挺劲又不失灵动，穿插错落间留白恰到好处，尽显疏密有致的构图巧思。整幅画精工雅致，将茉莉的清芬与静谧之美凝于绢素，仿佛能闻见淡淡花香，尽显南宋花鸟的细腻与诗意。笔墨间藏着对自然生灵的细致观察，每一处细节都透着温婉的匠心，让清雅之气溢于画面，是兼具技法与意境的佳作。",[194,24,25,28,7,83,6375,210,212],"茉莉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9afa3f161454d0740d10b8abcc3695ff.jpg","22.8x22.8cm",[90],{"id":6380,"slug":6381,"title":6382,"dynasty":99,"author":2425,"museum":132,"description":6383,"tags":6384,"thumbUrl":6385,"material":88,"size":139,"collection":181,"collections":6386,"showCount":6350,"zanCount":2368,"manualWeight":48,"mainColor":94},217035,"fang-gu-shan-shui-ce-liu-kai-dong-qi-chang-217035","仿古山水册六开","董其昌是明朝时期著名的画家，他的仿古山水册六开是他的代表作之一。这本册子包含了六幅仿古山水画，每幅画都经过精心绘制，画面细腻，线条流畅，再现了古代山水的美感。董其昌在绘制这些画的时候，采用了仿古的手法，借鉴了古代画家的画风，使得这些画看起来非常传统和古朴。这本册子被广泛认为是董其昌最优秀的作品之一，也是明朝仿古山水画的典范。",[23,24,25,81,173,7,29,230,34,178,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6c86fc6883114d3cb2271f4635b98dd.jpg",[181],{"id":6388,"slug":6389,"title":1383,"dynasty":18,"author":1350,"museum":1577,"description":6390,"tags":6391,"thumbUrl":6392,"material":6393,"size":6394,"collection":42,"collections":6395,"showCount":6396,"zanCount":48,"manualWeight":48,"mainColor":49},221521,"shan-shui-tu-ma-yuan-221521","马远擅长山水画，继承和发展了北派山水的画风，能自出新意，下笔遒劲严整，设色清润；用大斧劈皴描画方硬奇峭的山石；树木用笔简要多姿，树叶有夹笔，树干用焦墨，多横斜曲折之态；楼阁大都运用界尺，而加衬染；点景人物自然生动，用不同的线描表现不同条件下的各种水势，对自然观察详细，写实能力高超。\n他的画被当时评价为：“边角之景”，“峭峰直上而不见其顶，或绝壁直下而不见其脚，或近山参天而远山则低，或孤舟泛月而一人独坐”；人称“马一角”，后人也有认为这是南宋偏安的写照。他是南宋时期最重要的画家之一；他的画受到当时皇室的青睐，多有当时宋宁宗杨皇后的题字；与夏圭并称“马夏”、又谓“马一角、夏半边”。马远与李唐、刘松年、夏圭合称为“南宋四家”。",[23,24,25,173,7,177,29,685,262,353,175,1785],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e4962268301cf0bc93362fcc04d9949.jpg","绢本墨画淡彩","28.2×38.3cm",[42,181,163],208,{"id":6398,"slug":6399,"title":6400,"dynasty":54,"author":6017,"museum":191,"description":6401,"tags":6402,"thumbUrl":6403,"material":123,"size":6404,"collection":181,"collections":6405,"showCount":6396,"zanCount":2368,"manualWeight":48,"mainColor":49},214748,"qu-jiang-tu-li-zhao-dao-214748","曲江图","李昭道（675年－758年），字希俊，陇西成纪 （今甘肃省秦安县）人。唐朝宗室、画家，唐太祖李虎六世孙，彭国公李思训之子。\n门荫入仕，起家太原府仓曹，迁集贤院直学士，官至太子中舍人。乾元元年，去世，时年八十四岁。\n擅长青绿山水，世称小李将军。兼善鸟兽、楼台、人物，并创海景。画风巧赡精致，虽“豆人寸马”，也画得须眉毕现。由于画面繁复，线条纤细，论者亦有“笔力不及思训”之评。",[194,24,25,26,27,7,28,104,29,107,106,109,111,34,986,36,380],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F682e2f680d06328c7f09e4666d6122a5.jpg","171.2x111.3",[181],{"id":6407,"slug":6408,"title":6409,"dynasty":76,"author":329,"museum":20,"description":6410,"tags":6411,"thumbUrl":6412,"material":40,"size":6413,"collection":44,"collections":6414,"showCount":6415,"zanCount":2368,"manualWeight":48,"mainColor":3510},222796,"yong-zheng-chao-fu-xiang-zhou-lang-shi-ning-222796","雍正朝服像轴","此幅画面上雍正皇帝身着明黄色彩云金龙夏朝服，头戴夏朝冠，顶贯珠三重，冠前饰金佛。胸前佩戴东珠朝珠，其上间系绿松石纪念三串，腰系朝带，足蹬石青色朝靴，这是雍正皇帝参加盛大典礼时的服饰。此图用笔工整精致，色彩华丽鲜艳，人物神态端庄威严，是宫廷画家精心创作的皇帝肖像画。从“冠上无梁”（“梁”为清帝朝冠顶座左右两侧的n形装饰，雍正晚期出现）的装饰风格看，当属雍正早期的绘画作品。\n一代冠服自有一代之制。清代满族统治者传承中国古代传统文化的精髓，把“衣作绣，锦为缘”、“续衽钩边”和“朝服祭服，襞积（朝袍腰部叠褶处称襞积）无数”这些中国古代服饰的传统形制与带有满民族风格的“披肩领”和“马蹄袖”巧妙地结合起来，不仅彰显了其“马上得天下”的辉煌历史，同时亦注重到实用性，并最终使其制度化，成为中国古代服饰制度改革中的典型范例。\n清代冠服制度规定：朝服分蓝、红、月白、明黄四种颜色，根据不同的礼仪功能和场合穿用不同颜色的朝服。祭天穿蓝色，祭日穿红色，祭月穿月白色，而明黄色朝服一般用于典礼（登基、元旦、万寿、金殿传胪、颁诏受贺等）和祭祀（祭太庙、先农坛、社稷坛、先师孔子、历代帝王等）活动。典礼和祭祀穿着的明黄色朝服又有区别，典礼朝服衣袖为石青色，而祭祀朝服衣袖为明黄色。",[23,7,28,106,406,63,65,226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f084389b4a5403ca87fac736d099533.jpg","纵277厘米，横143厘米",[44,45],207,{"id":6417,"slug":6418,"title":6419,"dynasty":99,"author":257,"museum":2023,"description":6420,"tags":6421,"thumbUrl":6424,"material":511,"size":6425,"collection":139,"collections":6426,"showCount":6415,"zanCount":1003,"manualWeight":48,"mainColor":49},222144,"di-shi-tian-tu-dong-bi-yi-ming-222144","帝释天图东壁","帝释梵天图位于大殿内后墙壁两侧，共两铺，高3.2米,长14米，面积44.8平方米。壁画主要内容是以帝释梵天为首的二十诸天礼佛护法的行进队伍，故全称为帝释梵天礼护法图。绘二十诸天及侍从共36人物，每一人物高1.2米——1.6米。诸路天神鬼众浩浩荡荡，敬佛护法，各显其能。气势森严，排列有序，三五不一，相互呼应。纷至遝来，令人目不暇接。\n佛教壁画中表现帝释梵天的作品，在南朝梁代（400——450年）已见描绘，到唐、五代就广为流行，不少著名的画家都表现过这一题材。在唐两京、成都等地寺院就画过不少释梵天众图像。这些作品的内容不尽相同，技艺亦各异。诸天不仅为护法神，也被视为是方便导化众生的佛的化身。宋元以后，特别是明清，寺院的壁画中帝释梵天图极为流行。同时由于后期佛道掺杂，佛教图像中有了不少道教的神像，如道教中的紫微大帝、东岳大帝、雷神、风神等，也进入佛教图像行列，变为二十四天、三十三天等。法海寺壁画帝释梵天图基本上是按唐代的内容画出来的，二十诸天中没有道教神像，而且构图布局和形象处理与早期有着更多的传承关系。要看唐宋时代佛教一脉相承的“帝释梵天图”的形象，只能在法海寺壁画中看到。\n法海寺壁画完全保留了原来的密宗体系，具有唐代传统的模式，但法海寺壁画中人物形象又有着明显的时代特征。“一图说破天下事，诸般神灵眼内观”。帝释梵天图是我们了解佛教文化的一个窗口。（点击各图进入详解）",[23,511,24,260,28,7,106,3661,6422,2459,6423],"神兽","华丽服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8069c6224709f156398f01bf2c3e79a0.jpg","高3.2米,长14米",[],{"id":6428,"slug":6429,"title":6430,"dynasty":18,"author":1474,"museum":316,"description":6431,"tags":6432,"thumbUrl":6433,"material":40,"size":1039,"collection":42,"collections":6434,"showCount":6415,"zanCount":1003,"manualWeight":48,"mainColor":49},221586,"guo-qin-tu-ye-li-song-221586","果禽图页","李安忠，南宋画家。钱塘(今浙江杭州)人，生卒年不详。宋徽宗宣和(1119-1125)时为画院祗候，历官成忠郎。南渡后绍兴(1131-1162)间复职画院，赐金带。子公茂，世其家学，然不逮父。\n工画花鸟、走兽，尤长于“捉勒”(鹰鹘之类)，《画继补遗》谓其“工画捉勒，得其 鸷攫及畏避之状”。亦间作山水。马臻题其《雪岸寒鸦图》诗云：“北风万里吹石裂，古树槎桠摧朽铁，群乌哑哑如苦饥，倦飞还向空林歇。孤村荒寒得食远，日暮沙边啄残雪，回情诉意各有态，羡杀画师心更切。我尝记得天随诗，至今读之心激越，妇女衣襟便佞态，始得金笼日提挈。老乌，老乌，尔身毛羽黑离离，况复人间厌尔啼，何不飞鸣丈人屋，丈人屋头春柳绿。”",[23,24,25,28,7,83,567,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5d0bec16d60826eb99359fe54491c93.jpg",[42,90,45],{"id":6436,"slug":6437,"title":6438,"dynasty":302,"author":1977,"museum":191,"description":6439,"tags":6440,"thumbUrl":6441,"material":638,"size":6442,"collection":2065,"collections":6443,"showCount":6415,"zanCount":1379,"manualWeight":48,"mainColor":94},220835,"qian-hou-chi-bi-fu-he-juan-zhao-meng-fu-220835","前后赤壁赋合卷","《前后赤壁赋》又称《赤壁二赋帖》，是元代书法家 于元大德五年创作的行书书法作品。\n此帖是应友人之约而书，为纸本册页，全帖共书八十一行，其中《赤壁赋》四十六行、《后赤壁赋》三十二行，署款三行，并有 像于帖首。\n在此二赋中，原文作者苏轼凭吊古迹，抒发了对江山风物的热爱与旷达的心胸，但是也有对人生虚无的消极思想。\n《前后赤壁赋》中前后二赋为赵孟頫同时所书，风格却略有不同，但该帖总体上分行布白疏朗从容，用笔圆润遒劲，宛转流美，风骨内含，神彩飘逸，尽得魏晋风流遗韵。\n《前后赤壁赋》为广大行书书法爱好者所推崇，是当代热门法帖，被誉为中华十大传世名帖之一。\n《前后赤壁赋》起笔以一拓直下为主，收笔善留。几乎所有笔画起笔都是承接上笔的一拓直下或者露锋入纸，很少藏锋。如《后赤壁赋》第一行的“岁”字，其“山”字头三个竖画起笔都是露锋入纸，下部撤画与横画为一拓直下；“十”字横画起笔也是典型的一拓直下，或者叫做“欲横先竖”。收笔处多意到即止，常用回锋或者短小的出锋。如刚才提到的“十”字，其竖画就是用笔锋轻轻上提收笔；而类似《后赤壁赋》中“少”、“降”字末笔的出锋形态者则比较少见，多数露锋收笔都是如“脱”、“叶”等字那样缩短笔画长度。\n同时，此作品提按丰富，笔锋弹性表现充分。书法笔法不外乎用锋和运笔，这件作品在笔锋的运用上很有特点。首先是用锋。从点画的轻重变化上看，其毛笔锋尖弹性极好，如《赤壁赋》第二行“下”、“清”、“来”、“水”四字笔画轻处如游丝，而于”、“赤”、“风”、“徐”等字则较重，提按对比比较明显。其次为运笔。与张旭、怀素的草书相比，赵孟頫作品运笔速度与节奏的变化显得不是十分突出，但是，如果与颜柳的楷书相比，其变化还是比较明显的。如《赤壁赋》第六行中“水光”、“所如凌”等字运笔速度快，而“接”字以下五字速度较慢，节奏变化小。与此相类似，几乎五六字形成一个段落，往往前两三字运笔速度慢，后两三字运笔速度加快，一段段循环往复，从而形成整幅作品运笔上的变化。\n释文:壬戌之秋，七月既望，苏子与客泛舟游于赤壁之下。清风徐来，水波不兴。举酒属客，诵明月之诗，歌窈窕之章。少焉，月出于东山之上，徘徊于斗牛之间。白露横江，水光接天。纵一苇之所如，凌万顷之茫然。浩浩乎如冯虚御风，而不知其所止；飘飘乎如遗世独立，羽化而登仙。\n于是饮酒乐甚，扣舷而歌之。歌曰：“桂棹兮兰桨，击空明兮溯流光。渺渺兮予怀，望美人兮天一方。”客有吹洞箫者，倚歌而和之。其声呜呜然，如怨如慕，如泣如诉，余音袅袅，不绝如缕。舞幽壑之潜蛟，泣孤舟之嫠妇。\n苏子愀然，正襟危坐而问客曰：“何为其然也？”客曰：“月明星稀，乌鹊南飞，此非曹孟德之诗乎？西望夏口，东望武昌，山川相缪，郁乎苍苍，此非孟德之困于周郎者乎？方其破荆州，下江陵，顺流而东也，舳舻千里，旌旗蔽空，酾酒临江，横槊赋诗，固一世之雄也，而今安在哉？况吾与子渔樵于江渚之上，侣鱼虾而友麋鹿，驾一叶之扁舟，举匏樽以相属。寄蜉蝣于天地，渺沧海之一粟。哀吾生之须臾，羡长江之无穷。挟飞仙以遨游，抱明月而长终。知不可乎骤得，托遗响于悲风。”\n苏子曰：“客亦知夫水与月乎？逝者如斯，而未尝往也；盈虚者如彼，而卒莫消长也。盖将自其变者而观之，则天地曾不能以一瞬；自其不变者而观之，则物与我皆无尽也，而又何羡乎!且夫天地之间，物各有主,苟非吾之所有，虽一毫而莫取。惟江上之清风，与山间之明月，耳得之而为声，目遇之而成色，取之无禁，用之不竭，是造物者之无尽藏也，而吾与子之所共适。”\n客喜而笑，洗盏更酌。肴核既尽，杯盘狼籍。相与枕藉乎舟中，不知东方之既白。\n后赤壁赋:是岁十月之望，步自雪堂，将归于临皋。二客从予过黄泥之坂。霜露既降，木叶尽脱，人影在地，仰见明月，顾而乐之，行歌相答。已而叹曰：“有客无酒，有酒无肴，月白风清，如此良夜何！”客曰：“今者薄暮，举网得鱼，巨口细鳞，状如松江之鲈。顾安所得酒乎？”归而谋诸妇。妇曰：“我有斗酒，藏之久矣，以待子不时之需。”于是携酒与鱼，复游于赤壁之下。江流有声，断岸千尺；山高月小，水落石出。曾日月之几何，而江山不可复识矣。予乃摄衣而上，履谗岩，披蒙茸，踞虎豹，登虬龙，攀栖鹘之危巢，俯冯夷之幽宫。盖二客不能从焉。划然长啸，草木震动，山鸣谷应，风起水涌。予亦悄然而悲，肃然而恐，凛乎其不可留也。反而登舟，放乎中流，听其所止而休焉。时夜将半，四顾寂寥。适有孤鹤，横江东来。翅如车轮，玄裳缟衣，戛然长鸣，掠予舟而西也。\n须臾客去，予亦就睡。梦一道士，羽衣蹁跹，过临皋之下，揖予而言曰：“赤壁之游乐乎？”问其姓名，俯而不答。“呜呼！噫嘻！我知之矣。畴昔之夜，飞鸣而过我者，非子也邪？”道士顾笑，予亦惊寤。开户视之，不见其处。",[23,194,24,25,26,178,352,173,7,106,29,174,109,265,230,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d97a6be3b2a91e08cf6524bf2f30626.jpg","40x196厘米",[2065],{"id":6445,"slug":6446,"title":6447,"dynasty":869,"author":1841,"museum":1842,"description":6448,"tags":6449,"thumbUrl":6450,"material":139,"size":139,"collection":139,"collections":6451,"showCount":6415,"zanCount":1003,"manualWeight":48,"mainColor":94},220499,"zhang-da-qian-lin-mo-dun-huang-bi-hua-shi-jia-shuo-fa-tu-zhang-da-qian-220499","张大千临摹敦煌壁画释迦说法图","主尊释迦端立莲台，朱红袈裟线条劲挺饱满，晕染柔和自然，尽显慈悲庄严。胁侍眷属仪容秀雅，衣饰华丽繁复，璎珞飘带灵动舒展，各持礼器法物，神态虔敬肃穆。背景宝树垂饰精巧，华盖仪仗规整庄严，整体色彩浓丽明妍，还原敦煌盛唐遗韵。\n\n此作以精妙笔墨复刻石窟古画，既保留原作雄浑厚重的西域风貌，又融入细腻笔情墨趣，让千年壁画神采跃然绢上，尽显传统工笔重彩的典雅华滋，是临摹敦煌壁画中的精品。",[23,24,105,1846,511,260,7,106,1488,1489],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10e6e538e6e12a841cd7a62f448f4e64.jpg",[],{"id":6453,"slug":6454,"title":6455,"dynasty":99,"author":857,"museum":6456,"description":6457,"tags":6458,"thumbUrl":6459,"material":123,"size":6460,"collection":44,"collections":6461,"showCount":6415,"zanCount":2368,"manualWeight":48,"mainColor":2504},218407,"yin-cha-tu-chen-hong-shou-218407","饮茶图","香港艺术馆","该场景画在一个开放的空间里，用石头、木桌、茶具和荷花装饰。两个高卓人相对而坐，最近的一个已经弹完了古筝，而对面的人则坐在一张大香蕉叶上，一起喝香茶。",[23,24,25,28,7,106,230,228,229,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe38a7bfcb0587783355bda0d2f3e792b.jpg","86x47",[44],{"id":6463,"slug":6464,"title":6465,"dynasty":76,"author":742,"museum":419,"description":6466,"tags":6467,"thumbUrl":6468,"material":88,"size":6469,"collection":44,"collections":6470,"showCount":6415,"zanCount":2368,"manualWeight":48,"mainColor":94},217065,"san-yang-kai-tai-tu-ren-yi-217065","三羊开泰图","这是一幅三羊开泰的画作，象征着三羊开泰 的含义。这幅画画在生纸上，是艺术的杰作，人物形象显著，有老莲的传承。三只羊的排列也很引人注目，黑羊只露出眼睛和两个长角，进一步显示了作者的创造性和天才。",[23,24,7,173,28,226,106,6162,746],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafaf294ec271b5da04f59a3aa051ce5f.jpg","145x75",[44],{"id":6472,"slug":6473,"title":6474,"dynasty":99,"author":257,"museum":5827,"description":6475,"tags":6476,"thumbUrl":6478,"material":123,"size":139,"collection":90,"collections":6479,"showCount":6415,"zanCount":1233,"manualWeight":48,"mainColor":49},216906,"lian-chi-cang-lu-tu-yi-ming-216906","莲池苍鹭图","莲池苍鹭图是明朝时期的一幅著名图画，作者不详。这幅图画描绘了一个山间池塘，池塘中有许多莲花，并有一只苍鹭在池塘中游荡。图画中还有许多树木和山峰，构成了一幅优美的山水画。莲池苍鹭图被认为是明朝时期山水画的代表作之一，其中融合了中国传统的山水画风格和新兴的写意山水画风格，反映了明朝时期的艺术特点。",[23,24,7,28,226,83,136,137,6477,245],"苍鹭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd08681f58d681525cfd1a7c86c9d4cc8.jpg",[90],{"id":6481,"slug":6482,"title":205,"dynasty":76,"author":77,"museum":316,"description":596,"tags":6483,"thumbUrl":6484,"material":599,"size":600,"collection":139,"collections":6485,"showCount":6486,"zanCount":2368,"manualWeight":48,"mainColor":94},239444,"hua-niao-ce-yun-shou-ping-239444",[24,25,81,7,28,83,245,838,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19250735f901fd0882f83c6edac72376.jpg",[],206,{"id":6488,"slug":6489,"title":6490,"dynasty":302,"author":1977,"museum":20,"description":6491,"tags":6492,"thumbUrl":6493,"material":40,"size":6494,"collection":90,"collections":6495,"showCount":6486,"zanCount":1379,"manualWeight":48,"mainColor":49},220867,"qiu-jiao-yin-ma-tu-juan-zhao-meng-fu-220867","秋郊饮马图卷","赵孟頫擅长人马图，总体追求刻意写实，一笔不苟。具体画风有两类：一是宗唐人韩干之法，马尚丰肥，用色华丽，衬以山水树石背景，人、马、景合为一体；一是仿北宋李公麟之作，笔墨清淡，着力于线条，注重描法与形象、质感的统一，不施色彩，以墨代色加以轻染。人马画中的人物均著唐装，风格既具“复古”的唐画之韵，又带浓郁的文人气息，有一定的创新性。\n此图属仿唐人的工笔设色画法。清秋郊野，一唐装圄官在池畔牧马，红色衣袍在大青绿的草坪映衬下显得尤为夺目，有力地突出了主体人物。所率十匹骏马均骨肉停匀，活跃多姿，它们或奔腾追逐，或徐步缓行，或俯首就饮，或引颈长鸣，意态生动。\n此图在布局上富有特色，以中景露地不露天及右开式构图，把平视、仰视、俯视三种造景方式有机地加以揉合，灵活地处理景物，使画面开阔舒展，疏密有致。画法亦将唐人的青绿重彩法与宋以来的文人笔墨法加以融合，别具新意。如人物线描工细劲健，又类似篆籀用笔，古朴中见隽秀；树石、坡陀行笔凝重，勾、皴、破、染并用，工谨中含清逸；青绿、大红重色中又兼施赭石、水墨，于浓丽中显清雅。总体风格行、利相兼，妙、逸并具，精逸技巧与文人雅韵结合，反映了赵孟頫晚年成熟的人马画面貌。",[23,24,25,26,7,28,178,86,150,106,378,5218,912,109,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F923838da80859608e45f25b27e081087.jpg","纵23.6厘米，横59厘米",[90,45],{"id":6497,"slug":6498,"title":6499,"dynasty":76,"author":77,"museum":539,"description":1182,"tags":6500,"thumbUrl":6501,"material":123,"size":1189,"collection":139,"collections":6502,"showCount":6486,"zanCount":1003,"manualWeight":48,"mainColor":49},216108,"yun-shou-ping-hua-guo-shu-cai-ce-ye-3-yun-shou-ping-216108","恽寿平花果蔬菜册页-3",[24,25,81,7,82,83,5942,553,554,569],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e662822fd50f45acad8354abff8c0d6.jpg",[],{"id":6504,"slug":6505,"title":6506,"dynasty":99,"author":170,"museum":316,"description":3941,"tags":6507,"thumbUrl":6509,"material":599,"size":600,"collection":139,"collections":6510,"showCount":6511,"zanCount":1003,"manualWeight":48,"mainColor":801},287521,"lin-mao-wu-tu-juan-shen-zhou-287521","林茅屋图卷",[23,194,24,25,26,173,7,29,989,227,34,176,108,175,178,212,6508],"清逸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd357ed146fa7ee50540d33597d420cd.jpg",[],205,{"id":6513,"slug":6514,"title":6515,"dynasty":76,"author":997,"museum":608,"description":998,"tags":6516,"thumbUrl":6518,"material":88,"size":139,"collection":90,"collections":6519,"showCount":6511,"zanCount":1379,"manualWeight":48,"mainColor":94},218126,"yu-xiang-jiao-ye-tu-shi-tao-218126","雨乡蕉叶图",[23,24,173,7,178,212,6517,838],"蕉叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d80c7cb86c795587ab382481f9fcbed.jpg",[90],{"id":6521,"slug":6522,"title":6523,"dynasty":99,"author":100,"museum":20,"description":6524,"tags":6525,"thumbUrl":6527,"material":123,"size":6528,"collection":181,"collections":6529,"showCount":6511,"zanCount":918,"manualWeight":48,"mainColor":94},216385,"zhi-gong-tu-juan-chou-ying-216385","职贡图卷","字实父，号十洲，江苏太仓人，寓居苏州。初为漆工，后改学绘画。移居苏州后得识文徵明，并拜周臣为师，主宗南宋“院体”，形成以严谨劲利为主调的艺术风格。中年时画名渐起，经常接受富商和收藏家邀请，至其家中作画。嘉靖十六年（1537年）应昆山鉴藏家周凤来延聘居其家六年。尔后又至嘉兴大收藏家项元汴家作画，长达十余年，其间广泛接触、观摩和临摹古代名迹，技艺大进，尤其在继承唐宋传统的工笔重彩人物和青绿山水方面取得了突出成就。晚年与文徵明父子及其门生交往密切，又吸取了“吴派”文人画之长，使作品增添了清雅的气息，其声誉与沈、文、唐相并埓，有“吴门四家”之称。",[23,24,26,25,28,27,7,106,29,34,113,6526,86,178],"职贡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F147faf5fa860f47d5379f373a9bfd3bd.jpg","29.5*580.3",[181,44],{"id":6531,"slug":6532,"title":6533,"dynasty":256,"author":3184,"museum":316,"description":6534,"tags":6535,"thumbUrl":6536,"material":599,"size":600,"collection":3195,"collections":6537,"showCount":6538,"zanCount":2368,"manualWeight":48,"mainColor":49},225618,"rembrandt-harmensz-van-rijn-0207-lun-bo-lang-225618","Rembrandt Harmensz.van Rijn - 0207","伦勃朗·哈尔曼松·凡·莱因（Rembrandt Harmenszoon van Rijn，1606年7月15日～1669年10月4日）是欧洲17世纪最伟大的画家之一，也是荷兰历史上最伟大的画家。\n伦勃朗早年从师P.拉斯特曼，1625年在家乡开设画室。画作体裁广泛，擅长肖像画、风景画、风俗画、宗教画、历史画等领域。",[3187,7,106,245,3189],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c81820f2d9795594b1a6e1439271023.jpg",[3195],204,{"id":6540,"slug":6541,"title":6542,"dynasty":99,"author":3504,"museum":20,"description":6543,"tags":6544,"thumbUrl":6545,"material":67,"size":6546,"collection":90,"collections":6547,"showCount":6538,"zanCount":2368,"manualWeight":48,"mainColor":49},222048,"mei-gu-hua-hui-tiao-fu-wang-zhong-222048","没骨花卉条幅","绘花鸟虫石一幅，湖石立于地面，棱角尖锐，内部多孔，其四周有月季、金银花穿插之中，花儿娇艳，虫蝶生动活泼。汪中，字容甫，清朝时期著名的哲学家、文学家、史学家，与阮元、焦循同为“扬州学派” 的杰出代表。",[23,24,25,226,82,7,83,230,84,484,635,553,210,1187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a80d2f3763b05356d5be7d88d57866d.jpg","54.4x113.9",[90,45],{"id":6549,"slug":6550,"title":6551,"dynasty":18,"author":391,"museum":78,"description":6552,"tags":6553,"thumbUrl":6555,"material":638,"size":6556,"collection":42,"collections":6557,"showCount":6538,"zanCount":48,"manualWeight":48,"mainColor":49},221334,"liu-ya-lu-yan-tu-zhao-ji-221334","柳鸦芦雁图","此图共分为二段，前段画柳鸦，后段画芦雁。鸦的头顶和腹部施以白粉，鸦身敷浓墨，黝黑如漆。柳树的斑驳老干，富有质感。柳鸦的墨彩很酣，笔势很壮，显示出赵佶用墨的特色。后段四只芦雁在芦草蓼花边栖息，以浅赭设色，增强了秋天萧疏的气氛。\n画卷的右半部分，高大的柳树枝上停着三只鸟鸦，其中两只背靠偎依，静观自得，另有一只向下俯视而鸣，似在呼唤躲藏于树根部的一只乌鸦。\n画卷的左半部分，一道清澈的水滩上，芦竹高耸，蓼花低垂，两雁傍水而饮，一雁趋前，作欲饮之状，另有一雁，好像已经饮完水，正啮咬湖中的摹花茎，姿态各不一致，形象生动有趣。\n图上钤有“宣和中秘”和“紫宸殿御书宝”两印。图后的赵佶落款，系后人勾填，右上角“紫宸殿御书宝”及“御书”葫芦印亦是后人描画的。卷后有南宋荣传辰、邓谏从题跋。另有邓易从、范逾跋，系后人伪作。卷首有清高宗弘历题“神韵天然”引首，并有弘历题诗。清梁清标题签。",[23,194,24,25,26,28,7,1241,3087,1980,6554,3712,245,212],"大雁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cc8c5e72610db5404dd3907fbf5fc8a.jpg","纵34厘米，横223.2厘米",[42,90,45],{"id":6559,"slug":6560,"title":1729,"dynasty":189,"author":1730,"museum":20,"description":1731,"tags":6561,"thumbUrl":6563,"material":67,"size":1736,"collection":181,"collections":6564,"showCount":6538,"zanCount":1379,"manualWeight":48,"mainColor":94},221155,"xiao-xiang-tu-dong-yuan-221155",[23,24,26,25,3559,173,7,177,29,1734,6562,985,106,37,3131],"苇渚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70becfd35b6cdfbc2d291fa6d7b037e1.jpg",[181,163],{"id":6566,"slug":6567,"title":6568,"dynasty":76,"author":257,"museum":132,"description":6569,"tags":6570,"thumbUrl":6572,"material":123,"size":6573,"collection":90,"collections":6574,"showCount":6538,"zanCount":2368,"manualWeight":48,"mainColor":49},218956,"gui-he-yan-nian-tu-yi-ming-218956","龟鹤延年图","丹顶朱冠，白羽墨翅，仙鹤或昂首引颈似欲唳天，或曲颈垂首若啄苔矶，姿态灵动。修竹挺翠，叶影婆娑，掩映其间；侧畔飞瀑流泉，漱石鸣玉，云雾氤氲如缕，漫笼山隰。笔墨古雅，设色沉朴，仙鹤的灵秀与竹石的清逸相映成趣，流露出祥瑞康宁的意蕴。画面古朴静谧，仿佛将自然生机凝于绢素之上，尽显岁月沉淀下的雅致与吉祥。",[24,28,7,227,60,3539,109,176,83,6571],"长寿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77cfda5f494d8b62a606671a72d79ae1.jpg","111x54cm",[90],{"id":6576,"slug":6577,"title":6578,"dynasty":99,"author":6579,"museum":132,"description":6580,"tags":6581,"thumbUrl":6583,"material":88,"size":6584,"collection":181,"collections":6585,"showCount":6538,"zanCount":1233,"manualWeight":48,"mainColor":49},217879,"feng-ye-chun-yu-tu-chen-huan-217879","枫野春雨图","陈焕","枫野春雨图是明朝画家陈焕的著名作品之一。这幅画描绘了一个清新的春天景象，画面中有花开的枫树和悠扬的柳树，还有漫天的淡蓝色的春雨。\n\n陈焕是明朝时期的一位著名画家，他的作品多以山水画见长，枫野春雨图也是其中的杰作。这幅画不仅描绘了自然的美景，还有足够的空间来表达艺术家的情感和思想。枫野春雨图中的春雨表现出了明朝时期人们对自然和谐的向往，而枫树和柳树的生机勃勃则象征着明朝的繁荣和繁茂。\n\n总的来说，枫野春雨图是一幅优美而富有感情的山水画，它不仅展示了陈焕的艺术才华，还反映了明朝时期人们对自然和谐的向往。",[23,24,7,29,28,177,685,262,378,175,174,6582,108,109,176,37,212],"蓑笠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb9b68f66e9d9331884c00f7b78f3e3f.jpg","33.5x65.7cm",[181,45],{"id":6587,"slug":6588,"title":6589,"dynasty":76,"author":257,"museum":2816,"description":6590,"tags":6591,"thumbUrl":6592,"material":638,"size":139,"collection":44,"collections":6593,"showCount":6538,"zanCount":1379,"manualWeight":48,"mainColor":2504},216870,"xi-xiang-ji-tu-ce-yi-ming-216870","西厢记图册","清辉漫洒的月夜，太湖石皱透玲珑，似藏幽怀几许。垂丝柳如缕拂墙，枝丫间漏下细碎银光。石畔佳人绿衫红襟，凭石凝眸，眉梢轻锁着朦胧心事；墙侧书生探身倚柳，目光灼灼，暗将情愫托与风。阶前细草缀淡紫小花，与石上苔痕相映成趣，更衬天地幽寂温柔。画面以淡彩晕染，线条婉转，凝住西厢记里墙头遥望的经典场景——不须言语，只眼波流转、柳丝轻拂，便把欲说还休的情愫，揉进月色朦胧的园囿中。",[24,7,28,81,106,59,230,265,1241,278,380],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd228540a2e55badb58a67f3b014301b9.jpg",[44,45],{"id":6595,"slug":6596,"title":205,"dynasty":76,"author":77,"museum":316,"description":596,"tags":6597,"thumbUrl":6598,"material":599,"size":600,"collection":139,"collections":6599,"showCount":6600,"zanCount":1003,"manualWeight":48,"mainColor":94},239434,"hua-niao-ce-yun-shou-ping-239434",[24,7,82,83,81,632,553,554,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68f83bf355d91cd4fd4d269c81b711e7.jpg",[],203,{"id":6602,"slug":6603,"title":6604,"dynasty":76,"author":2200,"museum":20,"description":6605,"tags":6606,"thumbUrl":6607,"material":6608,"size":6609,"collection":139,"collections":6610,"showCount":6600,"zanCount":1379,"manualWeight":48,"mainColor":94},233734,"zi-teng-tu-wu-chang-shuo-233734","紫藤图","此图是1905年吴昌硕62岁作，为花卉四条屏之末条。款：“乙巳（1905年）八月八日，安吉吳俊卿擬十三峰草堂”。钤“吴俊之印”。绘藤叶凌空倚势，宛若龙翔凤舞。藤条盘绕回曲，缠石数重。作者娴熟地运用狂草般的笔法，飞动迅疾，一气呵成。同时，此画画气不画形，追求书法中气贯神通的审美意趣。正如他自言：“草书作葡萄，笔动走蛟龙”，又言：“临抚石鼓琅玡笔，戏为幽兰一写真”等。这种以书入画的画风别开蹊经，对近现代中国画的创作有着深远的影响。\n此外，该图施墨浑厚沉稳而又淋漓酣畅，构图不拘陈法，巧于设陈布势。挥洒之中妙趣横生，生动的笔墨赋予紫藤生机勃勃，其显现出的画境充分地印证了本幅题画诗：“繁英垂紫玉，條系好春光。歲歲花長好，飄（飄）滿畫堂。”的诗境。",[24,226,7,498,83,135,553,2266,173,1070],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79c251ae9fe1e9537d5a6fe03ea212be.jpg","金笺，设色","纵163.4厘米，横47.3厘米",[],{"id":6612,"slug":6613,"title":6614,"dynasty":76,"author":329,"museum":20,"description":6615,"tags":6616,"thumbUrl":6617,"material":123,"size":6618,"collection":90,"collections":6619,"showCount":6600,"zanCount":1379,"manualWeight":48,"mainColor":94},216752,"wan-ji-shuang-lang-shi-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街头生活图卷","长卷铺展，市井烟火缓缓流淌。画面中，人物百态跃然绢上：挑担商贩步履匆匆，执伞行人衣袂轻扬，孩童追蝶跑过街巷，工匠俯身专注劳作。半掩的店门后，掌柜笑脸依稀；巷口茶摊边，老者围坐闲谈。伞的弧线、担的轮廓、车的轱辘，交织成动态的生活图景。每一处细节都藏着鲜活故事，仿佛能听见吆喝声、欢笑声、器物碰撞声，在时光里轻轻回响。这是对日常的温柔描摹，将平凡岁月里的热闹与鲜活，永远定格在素净的绢帛之上，让观者瞬间跌入那充满烟火气的旧时光。",[23,6673,194,26,7,28,352,106,1896,4060,157,116,3766,120,152,6674,6675],"日本画","摊位","日常","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32e3a1210052e7e7d88509d4781dd6f9.jpg",[44],{"id":6679,"slug":6680,"title":6681,"dynasty":869,"author":870,"museum":2349,"description":6682,"tags":6683,"thumbUrl":6684,"material":2354,"size":139,"collection":139,"collections":6685,"showCount":6686,"zanCount":48,"manualWeight":48,"mainColor":94},220585,"hu-lu-he-san-zhi-kun-chong-qi-bai-shi-220585","葫芦和三只昆虫","明黄葫芦以没骨法晕染，色块鲜亮通透，留白巧显葫身莹润质感。焦墨藤蔓如虬龙游走，狂放苍劲，墨叶大笔泼写，浑朴厚重，大写意的疏朗随性扑面而来。\n\n三只草虫用工笔细绘，蝶翅纹路纤毫毕现，蝈蝈、蚱蜢肢体灵动鲜活，工细与写意形成强烈对冲，将乡野秋意揉入画面。枯湿浓淡的墨色层次分明，老辣笔触带着稚拙生机，把篱边闲趣晕染得鲜活动人，俗世清欢藏在笔墨之间，尽显东方水墨的悠然意韵。",[24,25,226,173,7,83,1819,553,484,1820,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61c47104068ce7e480840a2e1fddebeb.jpg",[],199,{"id":6688,"slug":6689,"title":1269,"dynasty":302,"author":303,"museum":6690,"description":6691,"tags":6692,"thumbUrl":6694,"material":123,"size":6695,"collection":42,"collections":6696,"showCount":6686,"zanCount":1233,"manualWeight":48,"mainColor":49},220394,"pin-cha-tu-qian-xuan-220394","大坂市立美术馆","本幅虽名为「品茶」，实与唐代以降「斗茶」的绘画传统有关。画中男子六人，左侧男子或持壶，或注汤点茶，或提笼注视对方；右侧三人或正举杯畅饮，或在等待取茶品尝。唯画中人物表情板滞，用色单调，画风不若钱选精细文雅，应是后人託名之作。",[23,24,194,7,106,6693,4725,229],"品茶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb62aeab0bda969cca855a01b6bc6889e.jpg","35.5x68cm",[42],{"id":6698,"slug":6699,"title":6700,"dynasty":99,"author":1196,"museum":608,"description":6701,"tags":6702,"thumbUrl":6703,"material":7,"size":139,"collection":45,"collections":6704,"showCount":6686,"zanCount":1003,"manualWeight":48,"mainColor":49},219250,"chun-shan-you-qi-tu-tang-yin-219250","春山游骑图","层岩叠嶂间，松涛与溪流相和。板桥之上，游骑缓行，衣袂带风；山间茅舍旁，雅士或谈或立，意趣悠然。山石勾勒劲挺，皴染兼具刚柔，尽显嶙峋之态；林木疏密有致，春枝带露，点点新红缀于枝桠，春意盎然。整幅画融自然之秀与人文之雅，藏着明代文人寄情山水的闲逸心怀——山行的清欢，友聚的惬意，都在笔墨间流转，每一处细节都似在诉说春日里与山水相逢的诗意。",[23,24,25,7,177,29,106,150,108,109,176,34,243,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c9d535bdc2346ee40e7ff15b0a6f825.jpg",[45],{"id":6706,"slug":6707,"title":6708,"dynasty":76,"author":1207,"museum":419,"description":1208,"tags":6709,"thumbUrl":6712,"material":123,"size":1211,"collection":139,"collections":6713,"showCount":6686,"zanCount":2368,"manualWeight":48,"mainColor":49},214432,"xiu-yuan-tu-3-wang-yun-214432","休园图-3",[23,24,25,28,7,104,175,6710,34,3712,245,106,115,1557,114,6711],"回廊","浅绛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28f04a94cbad1ffb2d8f40ee56dc85b8.jpg",[],{"id":6715,"slug":6716,"title":6717,"dynasty":302,"author":1977,"museum":20,"description":6718,"tags":6719,"thumbUrl":6720,"material":67,"size":6721,"collection":44,"collections":6722,"showCount":6723,"zanCount":1233,"manualWeight":48,"mainColor":2504},220856,"yu-ma-tu-juan-zhao-meng-fu-220856","浴马图卷","画上有一湾溪水，清澈透亮，溪水边有梧桐和垂柳，绿色成荫相映成趣，溪水中和岸边还有十四匹骏马，九名马倌。绘画中马的姿态各不相同，每一匹马的神态都非常生动，有的在水中站立，有的在喝水，有的在吃草，有的还在昂首嘶叫，有的卧在地上还在左顾右盼。马倌们牵着马在溪水边，有的人在给马洗澡，有的人在河岸边休息。在画面中，一位马倌洗完马后骑在马背上，等着马喝完水便准备上岸；一人一马，马在回眸主人而人则右手舀水，左手为马擦拭，眼神与马相对，表现爱惜之情，此时的人和马似乎心神交会了；马倌赤着上身坐在水边的岩石上，一只脚穿靴，而另一只脚却光着，悠闲地翘着二郎腿，面带微笑，马匹昂首目视前方，神气十足。\n唐宋绘画严谨的法度意趣建立在文学化境界上，元代以后绘画体现为书法化写意性和对于宣纸、水性的把握上，《浴马图》就体现了这种画风明显的演变过渡痕迹。\n《浴马图》是元武宗的命题之作，赵孟頫不敢大意，除了连日到宫中的养马之处现场观察外，他还细心揣摩元武宗的意图。元武宗是在一场血腥的宫延政变中上台执政的，当上皇帝后他大兴土木、对外用兵，和察合台汗国联手干掉了窝阔台汗国，结果引发了财政危机；他又滥发银钞，引发了严重的通货膨胀，但他却命令赵孟頫要在这幅关于马的画作里，表现出和平盛世的气氛。赵孟頫冥思苦想之后，终于创作出了《浴马图》。此画是赵孟俯中年时的作品。\n水中正在洗马的几个马倌，多是半裸，这在古代绘画中比较少见。人物的衣纹飘逸流动，面孔正侧向背各有特征，人和马之间，充满了一种友爱的感情。\n背景的笔法古朴遒劲，树干坡石，被法洗练而结实，无论是清澈透明的溪水，还是婆要多姿的水草，双钩填绿的梧桐、柳树及其他夹叶树，画法皆有特色。\n此画的特点之一，在画中有阳光感，与清澈的河水和岸边梧桐垂柳荫形成鲜明的冷热对照。这种表现手法在赵氏的其他作品中很少见。在技法方面，此画用工笔重彩，刻意学唐人，画法精工细致，这种工细紧密的线描似唐人手笔。人物造型趋肥胖，个个面如傅粉，华滋润泽，马体肥硕，追踪唐马造型。同时此画作者将书法用笔落于绘画之中，如人马线描工细劲健，犹如篆籀，古朴严谨中而蕴隽秀。\n《浴马图》场面宏大，共画马倌九人，骏马十四匹。马的造型准确，各种姿态跃然纸上，形态肤色各不相同；人物形象俊美，年龄、相貌、动作皆富于个性。\n骏马体格雄健，神态各异，或低头饮水，或引颈嘶鸣，或昂首顾盼，或卧在岸边，或在低首吃草等，意态生动。马倌有老少之别，穿着各种不同颜色服装，或立在水中为马洗刷，或牵马临溪，或跨马下水，或驱马上岸，或骑马上张望，或在岸边小憩等动态多样。河边绿茵如席，梧桐垂柳，婀娜多姿，环境清爽怡人。图中所有的形象有动有静，疏密有致，既不相扰，又互为照应，其人和马的动作互相呼应，生动有致，既突出了主题，又给观者以回味的余地。\n此图为工笔着色画。故马有黑、白、红、黄、灰、花斑诸色。画树、坡岸行笔凝重，勾、皴、染并用，苍逸中含清润，其背景用青绿敷染。人物鞍马分别施不同色彩，设色浓润，风格清新秀丽。",[23,24,25,26,7,28,150,106,378,109,151,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc608c918408f5c92a9bf9ef5f91842ca.jpg","纵28.5cm,横154cm",[44,45],198,{"id":6725,"slug":6726,"title":1045,"dynasty":302,"author":257,"museum":20,"description":6727,"tags":6728,"thumbUrl":6729,"material":123,"size":6730,"collection":181,"collections":6731,"showCount":6723,"zanCount":2368,"manualWeight":48,"mainColor":49},218083,"xi-shan-xing-lv-tu-yi-ming-218083","溪山行旅图是元朝时期的一幅名画，出自佚名画家之手。这幅画描绘了一位旅人在溪山间游玩的情景。\n\n在画面的左侧，可以看到一座小山丘，上面种满了树木。旅人正站在山丘的山顶上，俯视着前方的景色。他手持竹筒，似乎是在欣赏周围的美景。\n\n在画面的右侧，是一条清澈的小溪，溪水潺潺流过。旅人似乎正准备沿着小溪走去，去寻找下一个游玩的地方。\n\n整幅画的画风浑然天成，笔触轻柔，描绘了大自然的美丽景色。这幅画不仅是一幅艺术作品，也是对元朝时期生活的一个精彩纪录。",[24,173,7,177,29,174,176,353,109,808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sculptures），为中国文化的重要组成部分。中国古代雕塑艺术的主要内容分别是陵墓雕塑（包括地上的纪念性石刻与墓室随葬俑）、宗教雕塑、民俗性及其他内容的雕塑。\n大型陵墓石刻肇始于汉代墓前的石人、石兽。存世的古代陵墓石刻主要为南朝宋、齐、梁、陈及唐、北宋、明、清各代帝陵和勋臣贵戚墓的遗存。北魏、辽、金、西夏等朝代陵墓遭严重破坏，仅有少量石刻遗留下来。南朝和唐代的作品代表了陵墓石刻的最高成就。自唐代乾陵起，以迄北宋，石刻的内容、配置方式，逐步形成定制，并为明、清两代所承袭。宗教雕塑主要保存于寺庙和石窟寺之内，由于寺庙毁损严重，石窟寺雕塑便成为宗教雕塑遗存的主要代表。石窟寺是开凿于山崖之上的宗教寺庙。以佛教为主，也有少量道教或其他宗教内容的造像。石窟形制源自印度，约于 3世纪传至中国。造窟风气最盛的时期为南北朝至唐代中期，约当5～8世纪。重要石窟多以皇室或勋臣贵戚雕造的大像为中心，由众多的窟、龛、摩崖造像等，构成庞大的石窟群。雕造的时间常延续10多个世纪。每个窟内又以立体雕塑本尊佛造像为中心，由弟子、菩萨（以后增加天王、力士）组成群像，四壁布满浮雕或壁画，形成浓厚的宗教氛围。由于造像和壁画、浮雕内容、样式的差异，而形成不同时期、不同地区的艺术风格。功能\n中国雕塑既可以是一个国家文化的标志和象征，又可作为该民族文化积累的产物。雕塑述说着民族发展的历史，凝聚着民族的精神和传统，代表着每一历史时期的精神面貌，反映着自古至今，人们的无限追求与执着信仰，展现价值观念及审美情趣。中国雕塑，城市建筑等，都是一个民族精神文明与物质文明最直观、最集中的表现。\n中国雕塑不仅仅是文化的产物，同时也是一个国际不可或缺的经济投资点。中国雕塑和其他其他国际建筑等共同构成世界高雅美丽的环境，使生活在城市中的人们受到优越的审美体验，感受到文化的魅力与美的精神，中国雕塑的存在影响了中国环境，提升了文化形象，产生了视觉空间的凝聚力，这就创造了一种对于环境的投资潜能。",[24,6767,7,106,260,6768,6769,1488,65],"彩绘","佛教","地藏菩萨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0d01f9871874d39add34560f2264bbe.jpg",[],{"id":6773,"slug":6774,"title":6775,"dynasty":76,"author":6776,"museum":191,"description":6777,"tags":6778,"thumbUrl":6779,"material":529,"size":6780,"collection":139,"collections":6781,"showCount":6782,"zanCount":2368,"manualWeight":48,"mainColor":94},232816,"mo-chou-ying-xi-yuan-ya-ji-tu-ding-guan-peng-232816","摹仇英西园雅集图","丁观鹏","丁观鹏在乾隆朝曾绘制大量摹古作品，然其仿制的对象有许多已被证实为明代商业伪作，此即一例。此幅底本目前仍藏台北故宫博物院，全幅以白描画成，由其较为修长瘦弱的造型判断，很接近尤求的白描风格，这类白描作品在苏州片伪古书画作品中常被冠以仇英之名。乾隆皇帝在此底本题诗表示「底须著色求形肖」，也成为此摹作用力之处。丁观鹏摹作在构图上保留原图，然在人物、家具与植物部分施彩，如吴派之淡雅，然更为明亮。亭子屋顶结构、柱子、湖石等，则具有西洋素描般的渐层光影效果，整幅作品可说是明代商业白描风格、吴派风格与外来西洋画法的结合。",[24,25,226,105,7,28,106,175,378,379,278,1010,615,1554,212,86,178,115,611],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1229909206e7c4c7bdb804c648b9f594.jpg","95.1×43.9cm",[],195,{"id":6784,"slug":6785,"title":6786,"dynasty":76,"author":6787,"museum":316,"description":6788,"tags":6789,"thumbUrl":6790,"material":139,"size":139,"collection":44,"collections":6791,"showCount":6782,"zanCount":48,"manualWeight":48,"mainColor":94},223079,"shui-hu-ren-wu-ren-xun-223079","水浒人物","任薰","任薰(1835-1893)，字 舜琴 ，又字阜长，其父任椿，兄 任熊 都是画家。少丧父，从兄学画，青年时在 宁波 卖画为生，1868年与任颐去苏州，后寓居苏州、上海。任颐、 任预 均从其习画。人物与其兄同师 陈洪绶 ，常用高古游丝、铁线、行云流水、兰叶几种描法。\n任薰治学严谨，在写生、临摹上均下了苦功夫。任薰兼工人物、花鸟、山水、肖像、仕女，画法博采众长，面貌多样，富有新意。 与 顾文彬 子顾承相友善，曾为设计怡园。 1888年54岁时双目失明，后病卒于苏州。 与任熊、任颐时称"三任"，合任预为"四任"，并为 海上画派 代表画家之一。\n任薰作画题材广泛，对人物、山水、花卉、翎毛、走兽(马、羊等)无所不能，更擅长花鸟、人物。粗写意、细双勾。技法初学其兄谓长，后吸取陈老莲的传统技法。用笔沉着力。\n在构图上有其特长，在大小不同的画面上，创作出许多新颖、宽广、意境深远的作品，尤其适应扇面上的表现技法，能笔随意转，在极小的团扇、折扇画面上，开拓出广阔、妙趣盎然的意境。\n任薰作品在结构上比较严谨，很重视疏密虚实的主从关系，无论一人、一花、一鸟的主从关系都能巧心安排得体。平淡中亦能出奇，宁静中又能生动。画面上给人一种空灵明快之感。\n他的另一特点是工于着色，浓淡相宜，清新可爱，绝无柔媚习气。他尤长于使用重彩着色，能把对比鲜明的色彩调和统一起来，使画面上的景色更显壮丽，又能从鲜艳色彩中透出古朴的意趣。任薰人物画，线条遒劲圆韧。尤其晚年人物衣褶，运笔如同书法中行草，似有行云流水之感，形态多奇伟的身躯，出乎 寻常容貌，带有性格的神态，别出心匠。",[23,194,24,25,226,7,28,106,63,2439],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc87cbb4b2700dc7566d2985222762f7.jpg",[44],{"id":6793,"slug":6794,"title":6795,"dynasty":76,"author":4285,"museum":539,"description":6796,"tags":6797,"thumbUrl":6799,"material":88,"size":6800,"collection":45,"collections":6801,"showCount":6782,"zanCount":2368,"manualWeight":48,"mainColor":94},220000,"shan-shui-hua-han-shi-hou-yi-ri-hua-yu-xi-tian-mao-she-wang-shi-min-220000","山水画-寒食后一日画于西田茅舍","王时敏出身于仕宦之家，祖父王锡爵是万历内阁首辅大臣。由于父亲王衡早逝，而他又是独子，自小就是和祖父生活在一起。《国朝画征录》记载，王锡爵极为喜爱这个孙子，专心培养他的“好古之心”。王时敏在董其昌和陈继儒等的辅导下，绘技大进。董其昌把他视为南宗画派的不二继承人，“可备传灯一宗，真源嫡派”。王时敏受祖荫出仕后担任尚宝丞和太常寺少卿等官，降清后作为明朝的遗民，退隐山野，专心绘事。他继承和扩大了南宗画派影响，发展了清代绘画的笔墨，创建了著名的娄东画派，成为当时艺术界不可撼动的泰斗，被视为清代正统画派的开山鼻祖。",[24,25,173,7,177,29,685,379,34,3176,37,1171,6798],"传统山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74a4fe667946ab4386529b843dc33e21.jpg","22.5x27.5",[45],{"id":6803,"slug":6804,"title":1195,"dynasty":76,"author":6805,"museum":191,"description":6806,"tags":6807,"thumbUrl":6808,"material":123,"size":6809,"collection":90,"collections":6810,"showCount":6782,"zanCount":2368,"manualWeight":48,"mainColor":94},219529,"sui-chao-tu-yun-shou-ping-wang-hui-da-chong-guang-yang-jin-219529","恽寿平王翚笪重光杨晋","四人联袂共绘，将岁朝清供融于一帧。松针攒簇挺劲，尽显凌霜坚姿，翠竹疏枝摇曳，清韵自生；山茶柔瓣晕染温润，梅枝横斜疏花缀枝，水仙舒展冰姿玉骨，南天竹丹实累累，点染出新年吉庆。\n\n笔墨兼具没骨设色的雅致柔润与勾勒皴擦的苍劲秀逸，融四家所长，各尽其意却浑然一体。花木俯仰错落，冷暖色调相映，清刚与妍柔相融，暗合岁朝迎新的吉庆意趣，将文人清雅审美与岁时雅俗交融，淡墨轻色间，尽显岁朝清供的隽永意韵。",[194,24,25,226,7,83,1133,820,579,898,86,212,4009],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F625da687a11dea55340262634b2ab88f.jpg","80.7x50.4公分",[90],{"id":6812,"slug":6813,"title":6814,"dynasty":189,"author":362,"museum":191,"description":6815,"tags":6816,"thumbUrl":6818,"material":123,"size":6819,"collection":45,"collections":6820,"showCount":6782,"zanCount":1379,"manualWeight":48,"mainColor":49},219338,"rong-que-tu-xu-xi-219338","蓉雀图","芙蓉烂漫绽放，墨骨淡彩晕出娇嫩肌理，花瓣层叠间藏着自然野趣。苍劲枝干上，雀鸟或翘首啼鸣，或敛翅小憩，羽翼以细墨勾描，淡彩点染，神态活灵活现。空中飞鸟振翅，地面双雀啄食，动静交织间满是生机。徐熙“落墨法”的韵致尽显——墨线勾勒轮廓，淡彩晕染层次，不刻意求工，却于自然中见真趣。无宫廷富贵气，唯有山野花鸟相依的清逸，仿佛能闻雀鸣花语，触到风过花枝的轻颤，尽显五代花鸟的野逸之美。",[24,25,7,83,634,6817],"雀鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06a8ec8db619167b3ec5865d642cfe66.jpg","75.8×62.2cm",[45],{"id":6822,"slug":6823,"title":6824,"dynasty":99,"author":6825,"museum":191,"description":6826,"tags":6827,"thumbUrl":6828,"material":1319,"size":6829,"collection":90,"collections":6830,"showCount":6782,"zanCount":2368,"manualWeight":48,"mainColor":49},214733,"mei-hua-tu-lu-fu-214733","梅花图","陆复","这幅《雪梅图》是元末王冕画法的衍生品，略有不同。枝干用飞白涂抹，然后用淡墨勾勒，花瓣则用油脂沾染，轻轻勾勒，红色的花蕊也被晒干，增强了梅花的优雅精神。",[24,226,7,28,820],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4128fe7627228b3bb64d50437c275998.jpg","205.3x108.7",[90],{"id":6832,"slug":6833,"title":6834,"dynasty":76,"author":997,"museum":316,"description":6835,"tags":6836,"thumbUrl":6837,"material":139,"size":139,"collection":181,"collections":6838,"showCount":6839,"zanCount":2368,"manualWeight":48,"mainColor":94},224497,"shan-shui-ce-shi-tao-224497","山水册","此作以峡谷江流铺展画卷，春水澹澹载扁舟穿峡而过，舱中旅人静对山光。浅绛轻施晕染山石，清润柔和间见嶙峋风骨，枯笔皴擦点染枯枝，苍劲朴拙，与柔缓水色相映成趣。\n题诗伴画，将羁旅闲愁融进山岚烟波，画随诗添寂廖清旷之致。笔意灵动不拘一格，以淡墨轻岚晕开早春空蒙水雾，把文人隐逸襟怀寄寓在山水间，简淡画面中藏着悠长余韵，尽得山水写意之妙。",[23,24,7,173,177,81,29,174,109,176,353,796],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe13ec00a8f9b85ce3fb668f29eabc877.jpg",[181,45],194,{"id":6841,"slug":6842,"title":6843,"dynasty":76,"author":698,"museum":191,"description":6844,"tags":6845,"thumbUrl":6846,"material":770,"size":6847,"collection":90,"collections":6848,"showCount":6839,"zanCount":48,"manualWeight":48,"mainColor":94},222697,"hua-chun-hua-san-zhong-zhou-qian-wei-cheng-222697","画春花三种轴","钱维城（1720 —1772）于第二次南巡时陪同南下，不但于苏州绘「借山斋」一景，稍早经过家乡常州时，亦为乾隆皇帝绘制当地名胜苏轼「舣舟亭」，颇似御用的随行写生画家。此作描绘苏州虎邱一带的景致，承续「四王」山水风格，并揉合地貌与建筑，呈现出清代宫廷正统派山水画的风貌。乾隆皇帝于虎邱所题诗句「林泉印证真亲切，秀丽从来说虎邱」，显示出他以艺术品「即景印证」的习惯，并不囿于古代名迹，当朝词臣的画作亦可添助游兴。",[23,24,25,194,226,7,28,83,84,292,365,210,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F644cd5f86ffa087cae3a9551bfee9b91.jpg","260x101.4",[90,45],{"id":6850,"slug":6851,"title":6852,"dynasty":99,"author":100,"museum":1337,"description":6853,"tags":6854,"thumbUrl":6855,"material":67,"size":6856,"collection":181,"collections":6857,"showCount":6858,"zanCount":1379,"manualWeight":48,"mainColor":94},222211,"xun-yang-song-bie-tu-chou-ying-222211","浔阳送别图","该画画面主体部分描绘舟泊江畔的情景，面以青绿山水作为主调，工细的人物穿插其间。山石无皴法，仅以勾着色近用草绿，渐为石绿青，水均作白一鳞纹，虽山勒略为板重，却表现出精装饰之美。\n该画描绘白居易骑着白马到浔阳江边送客，忽闻琵声，主人下马，归舟不发面二舟并列，一舟华丽肃当为白居易送客之行舟一小舟隐约于山石树丛徽露船头，应是商人之妇船。远处是开阔的江面，投射在江心，一片静谧寂画面上群山及远处的村隐没在山岚夜雾间，林木由黄转朱，正是秋天景色。\n卷尾款“实父仇英制”。",[23,24,25,26,27,7,28,178,86,29,174,106,175,109,108,107,34,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F921ac539921535935fc5c4ffdadb5838.jpg","纵33.6厘米，横399.7厘米",[181,45],193,{"id":6860,"slug":6861,"title":6862,"dynasty":18,"author":6863,"museum":78,"description":6864,"tags":6865,"thumbUrl":6867,"material":529,"size":6868,"collection":42,"collections":6869,"showCount":6858,"zanCount":48,"manualWeight":48,"mainColor":49},221558,"xi-shan-xing-lv-tu-ye-zhu-rui-221558","溪山行旅图页","朱锐","《溪山行旅图》又名《盘车图》。图中描绘在一座大山脚下的浅滩流水畔，岸边有一条小路蜿蜒伸向山坳。小路的转弯口已有一辆车子在上坡，坡度很陡峭，所以，车轮后一个仆人正在帮助往上推动。水边不远的小路上还有一个刚上岸的行人，头戴毡帽，身穿夹袄，伛偻着身子冒寒赶路。",[23,24,25,6083,173,7,177,29,1353,353,6866,150,106,1049,230,809,685],"马车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff647a9e5ead2727a854a195017222b3d.jpg","纵26.2厘米，横27.3 厘米",[42,181,163],{"id":6871,"slug":6872,"title":6873,"dynasty":99,"author":100,"museum":191,"description":6874,"tags":6875,"thumbUrl":6876,"material":123,"size":6877,"collection":45,"collections":6878,"showCount":6858,"zanCount":48,"manualWeight":48,"mainColor":49},219315,"yuan-lin-qing-ke-tu-zhou-chou-ying-219315","园林清课图轴","林竹繁茂的乡野，有一座院落人家，院中布置著厅堂、房舍、书斋、作坊；穿过花篱是为园池区，馆舍、亭榭围绕池畔而构筑。有读书、涤砚、纺纱、游园等活动。使富有园林之胜的画面，充满雅逸的生活情趣。",[194,24,28,7,104,1557,107,29,34,106,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5236c98ca348fc2e3b6d92db44b00431.jpg","82.8x106.5",[45],{"id":6880,"slug":6881,"title":6882,"dynasty":99,"author":4128,"museum":101,"description":6883,"tags":6884,"thumbUrl":6885,"material":123,"size":139,"collection":44,"collections":6886,"showCount":6858,"zanCount":2368,"manualWeight":48,"mainColor":94},214853,"lan-ting-sheng-jing-tu-qian-gong-214853","兰亭胜景图","钱贡（1235年～1314年）是明朝时期的画家，他的作品《兰亭胜景图》被认为是明朝画家中最杰出的作品之一。《兰亭胜景图》是一幅巨幅山水画，画面中描绘了兰亭序中所描述的风景。画中的山水景色优美，山峦起伏，水流潺潺，树木葱茏，景致十分优美。钱贡使用了自然色彩，并运用了很多技巧来表现山水的细节和神韵。此外，他还使用了大量的线条来勾勒出画面中的山峰、岩石和树木，使得画面更加立体。《兰亭胜景图》是钱贡最著名的作品，被认为是明朝画家中最杰出的作品之一。",[23,24,25,26,173,7,28,177,29,106,175,108,109,34,379,86,4313],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9efdffc694b35b2a9fe0995728b86130.jpg",[44],{"id":6888,"slug":6889,"title":6890,"dynasty":76,"author":257,"museum":6891,"description":6892,"tags":6893,"thumbUrl":6894,"material":123,"size":6895,"collection":44,"collections":6896,"showCount":6858,"zanCount":1003,"manualWeight":48,"mainColor":49},214337,"da-bei-shen-zhou-fo-xiang-yi-ming-214337","大悲神咒佛像","普林斯顿大学图书馆","描绘了《大悲咒》的前四十三句及其插图，最后一页为护法韦驮尊天菩萨。书中有一句话和一幅插图，经文在青色书中，解释在朱色书中。",[23,24,7,28,106,260,1488],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e895004504e57c59c94e87ae8fcdf58.jpg","27.5x16",[44],{"id":6898,"slug":6899,"title":6900,"dynasty":18,"author":257,"museum":20,"description":6901,"tags":6902,"thumbUrl":6903,"material":6904,"size":6905,"collection":42,"collections":6906,"showCount":6907,"zanCount":2368,"manualWeight":48,"mainColor":49},223549,"luo-shen-fu-tu-quan-juan-yi-ming-223549","洛神赋图全卷","曲折細緻而又層次分明地描繪着曹植與洛神真摯純潔的愛情故事。人物安排疏密得宜，在不同的時空中自然地交替、重疊、交換，而在山川景物描繪上，無不展現一種空間美。 全畫用筆細勁古樸，恰如“春蠶吐絲”。山川樹石畫法幼稚古樸，所謂“人大於山，水不容泛”，體現了早期山水畫的特點。",[23,24,26,28,7,352,106,59,29,1654,406,245,34,176,107,150,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9f91a02ada093698df90828a9cfe6c6.jpg","长卷 绢本 设色","28x699厘米",[42,44,45],192,{"id":6909,"slug":6910,"title":6911,"dynasty":869,"author":870,"museum":2349,"description":6912,"tags":6913,"thumbUrl":6917,"material":2354,"size":139,"collection":139,"collections":6918,"showCount":6907,"zanCount":2368,"manualWeight":48,"mainColor":94},220586,"li-zi-shu-he-san-zhi-kun-chong-qi-bai-shi-220586","李子树和三只昆虫","以焦墨挥写虬曲枝干，苍劲老辣带着朴拙野趣。明黄果实以没骨点染，圆厚饱满，鲜亮明快。墨色叶片兼工带写，叶缘焦墨棘刺点缀，粗粝间暗藏灵动。\n\n蝉踞枝桠、蝼蛄游于纸间，草虫刻画纤毫毕现，与大写意的花果形成强烈的工写对比，一简一繁，将乡野小景的生机尽致铺展。构图疏密错落，斜逸的枝条串联起满幅花果，鲜活虫趣让静态画幅瞬间鲜活，尽显自然天趣与田园诗意，于平淡中晕开醇厚的烟火意趣。",[194,24,2746,226,173,7,1036,2352,6914,483,6915,6916],"蝼蛄","工写结合","田园意趣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c2ed094ae70ff55be21c091139f419b.jpg",[],{"id":6920,"slug":6921,"title":6922,"dynasty":99,"author":6923,"museum":442,"description":6924,"tags":6925,"thumbUrl":6930,"material":123,"size":6931,"collection":44,"collections":6932,"showCount":6907,"zanCount":918,"manualWeight":48,"mainColor":49},220445,"ming-dai-bei-jing-gong-cheng-tu-zhou-zhu-bang-220445","明代北京宫城图轴","朱邦","图中左立者即明代紫禁城的设计者、苏州人蒯祥（1398～1481年），他出身于木工世家，官至工部左侍郎，时称“蒯鲁班”。幅上有作者自署“丰溪”（于画幅中与蒯祥相对的右侧），此系朱邦的号“丰溪道人”之缩写，下钤“朱邦之印”（朱文）。\n不过这件作品道出了朱邦的一些经历，从画面的布局来看，这是画死者肖像，可知该图绘于蒯祥卒后不久，画中的蒯祥下朝后手执笏板，立于承天门（即清代天安门）金水桥西侧，其身后是午门、奉天门（即清代太和门）、奉天殿（即清代太和殿），其前面是大明门、正阳门，着明朝官服的官员们弓身立在正阳门外，这是通往苏州的必经之门，该是迎蒯祥魂归故里。\n该图的绢质不是内廷之物，不会是为宫里所画，应是为在北京从事苏帮建筑的行会绘制，供行会的伙计们供奉之用。这样的画幅现存的还有三件，分别藏于中国国家博物馆、南京博物院和台北故宫博物院，其构图、风格大体相近，只是大英本中的蒯祥立于画幅的左侧。根据画幅的内容，可以推定朱邦在成化（1465～1487年）末年是在北京谋生。",[23,194,24,25,226,104,7,28,6926,107,968,106,150,6927,114,6928,2952,6929,3429,34,36,153],"宫城","驴","城池","官员","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63d8e9904a7a6b6f9bed22d400ac4d39.jpg","高170厘米，宽110.8厘米",[44,45],{"id":6934,"slug":6935,"title":2562,"dynasty":18,"author":1350,"museum":191,"description":6936,"tags":6937,"thumbUrl":6939,"material":123,"size":6940,"collection":181,"collections":6941,"showCount":6907,"zanCount":2368,"manualWeight":48,"mainColor":49},218867,"xue-jing-ma-yuan-218867","枝条扭曲而低垂，叶子被剥落，枝条像弯曲的铁一样结实，有马远的 拖枝法 和角落构图的传承。山丘和石头是用淡墨画的，没有用粉笔，表面用白粉染色，使整幅画雪亮。建筑物的门窗用破碎的、颤动的线条代替尺子来画，从外面可以看到内部的情况。高石和仆人男孩弯着脖子坐在火上取暖，使室内外充满了寒冷。",[23,24,25,7,28,29,107,106,795,2086,177,6938,353],"边角构图","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68f0c0719bf8c7117400a007cafca3c6.jpg","26.7x27",[181],{"id":6943,"slug":6944,"title":1641,"dynasty":76,"author":257,"museum":2754,"description":6945,"tags":6946,"thumbUrl":6947,"material":123,"size":6948,"collection":44,"collections":6949,"showCount":6907,"zanCount":2368,"manualWeight":48,"mainColor":49},218422,"shi-nv-tu-yi-ming-218422","画面中仕女身姿窈窕，衣袂轻垂如流云。左侧二人发髻簪饰精致，神态温婉相依，似低语絮谈；右侧小鬟恭立，身形纤弱，尽显娴静恭谨之态。线条细腻婉转，勾勒衣纹柔缓褶皱；设色古朴淡雅，棕褐基调晕染时光沉淀的温润质感。背景素净无华，更衬人物清雅气韵。虽佚名之作，细节处见匠心：发间金饰隐现微光，腰间丝带垂坠有致，衣料纹理细腻传神。笔墨间传递传统仕女画的含蓄之美，尽显闺阁女子温婉情致与古典韵致，如一缕旧时光里的清风，拂过观者心田。",[24,25,7,28,106,59,63,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd5a96fcffa4d742d6230cf50a67fe0a.jpg","115x60.4",[44],{"id":6951,"slug":6952,"title":6953,"dynasty":869,"author":870,"museum":20,"description":6954,"tags":6955,"thumbUrl":6958,"material":88,"size":6959,"collection":90,"collections":6960,"showCount":6907,"zanCount":48,"manualWeight":48,"mainColor":94},216931,"zong-shu-guo-guo-tu-qi-bai-shi-216931","棕树蝈蝈图","赭色树干以浓淡墨线勾皴，如老藤盘结，墨叶纷披似风过梢头，洒脱不羁。画面一隅，蝈蝈翅脉分明，肢足灵动，朱红与赭黄晕染出鲜活质感，似欲振翅而鸣。工细的虫与豪放的树形成鲜明对照，笔意间藏着对生活的细腻观察。简淡的纸本上，墨色苍劲与设色明丽相映成趣，寻常景物里溢出盎然生机，尽显白石老人以小见大、以俗见雅的艺术妙趣。",[23,24,7,173,28,83,6956,6957,212],"棕树","蝈蝈","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34160a48a9de7587fb99671f3678ca1f.jpg","69.5x34.3cm",[90],{"id":6962,"slug":6963,"title":6964,"dynasty":302,"author":6965,"museum":132,"description":6966,"tags":6967,"thumbUrl":6968,"material":88,"size":6969,"collection":90,"collections":6970,"showCount":6907,"zanCount":1379,"manualWeight":48,"mainColor":49},216665,"ba-jun-tu-zhao-yong-216665","八骏图","赵雍","该幅画平畴林野牧马的景致，画骏马五匹或磨肩，或依偎，或觅食于树荫下，不管在结构或造形上，皆显示画家对马匹曾做仔细的观察与了解，轻而易举地掌握复杂的造型。圉人倚松假寐，状至悠闲逍遥。人马以中锋钩画，人物表情生动，马匹结体雄壮。树叶以近似图案的工整格式画出，装饰性强，饶古拙之趣。画家更利用平镜无纹的湖水，及罗列的远山，加强空间的推衍及层次感，呈现阔远松秀的画面。其青绿设色及用笔虽颇有唐人遗意，但因结合设色与皴法，远较唐之青绿山水雅淡，充分地发挥笔墨情趣。\n\n这幅画是赵雍为色目人官员─孛颜忽都所画的。画风主要承袭自隋唐时代"青绿山水"，设色主要填染了石青、石绿，色彩浓丽；还有，如画树叶先勾出轮廓，再填入颜色，正是工笔画中"夹叶填彩"的画法。此外，马匹高大肥硕的体型，也是追法唐代画马的意趣。不过，赵雍的这幅画还揉合了五代画家董、巨一派的笔意，例如：表现远山质感、那种类似苎麻纤维的线纹，叫做"披麻皴:。综而观之，《元赵雍骏马图轴》的人物、马匹及山水背景，虽具唐宋古意遗韵，但在构图上一水两岸的平远景致，依旧是典型的元人特色。赵雍在元代复古的风潮中，也开拓了新的时代风格。",[24,25,26,28,7,150,378,230,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F774a3902ef0909cc4272f189e62ad7bd.jpg","36x270cm",[90],{"id":6972,"slug":6973,"title":6974,"dynasty":99,"author":6975,"museum":316,"description":6976,"tags":6977,"thumbUrl":6978,"material":40,"size":6979,"collection":90,"collections":6980,"showCount":6981,"zanCount":1003,"manualWeight":48,"mainColor":49},222574,"ju-hua-li-zhou-lu-kui-222574","菊花立轴","陆逵","图绘秋日之景色，树叶凋零，几片枝头叶片，摇摇欲坠；秋菊开放，叶茂花艳，数朵菊花争相开放。此图绘枯树时有些讨巧，枯树的枝杆上半部分如长在湖石上，与湖石融为一体，观之惊叹。陆逵，字仪吉，善人物及花草，明代画家。",[23,194,24,25,226,7,28,83,630,353,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f856c432f5898dc9292bd2ea35d5eba.jpg","48.4x169cm",[90,45],191,{"id":6983,"slug":6984,"title":6985,"dynasty":18,"author":1350,"museum":20,"description":6986,"tags":6987,"thumbUrl":6988,"material":40,"size":6989,"collection":42,"collections":6990,"showCount":6981,"zanCount":1379,"manualWeight":48,"mainColor":49},221534,"bai-qiang-wei-tu-ye-ma-yuan-221534","白蔷薇图页","画中的白蔷薇花朵硕大，枝叶繁茂，光彩夺目。画家以细笔勾出花形，用白粉晕染花瓣，以深浅汁绿涂染枝叶，笔法严谨，一丝不苟，画风清丽活泼，颇具生气，代表了南宋画院花鸟画的典型风貌。\n宋代画院花鸟画继承了五代的传统，并在此基础上有所创新，黄荃“勾勒填彩、旨趣浓艳”的富贵风格统治着画坛近百年。其画法先以极工细的线条勾出轮廓，然后敷以重彩，层层晕染，往往掩盖住黑线，展现出一种极为工稳细腻和华贵富丽的风韵。",[23,194,24,25,28,7,83,5075,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd668d914b96b091a563b3ef5d0520878.jpg","纵26.2厘米，横25.8厘米",[42,181,45],{"id":6992,"slug":6993,"title":6994,"dynasty":18,"author":1315,"museum":101,"description":6995,"tags":6996,"thumbUrl":6997,"material":6998,"size":6999,"collection":42,"collections":7000,"showCount":7001,"zanCount":1379,"manualWeight":48,"mainColor":49},221576,"jin-wen-gong-fu-guo-tu-li-tang-221576","晋文公复国图","此图绘于北宋末年，描述了晋文公（重耳）被他父亲放逐在外19年后即位复国的故事。全图共分六段，采用连环绘图的形式进行描绘，晋文公的形象多次出现，可每段都有树石、车马、房屋作配景。所绘人物形象各具神态，文公的雍容庄重，侍臣的恭敬、武士的威严、仕女的秀雅以及仆役的畏怯等，都刻画得细致入微、准确生动、栩栩如生。整个横幅图式处理得疏密有致，线条的粗细、曲直、虚实、轻重，富于变化，恰到好处。图中人物的服饰尽可能还原春秋时的模样。北宋末年，康王赵构的经历和艰难与重耳类似，所以图中以宋高宗赵构手书的《左传》作暗景，目的是激发南宋君臣，不怕困难，不畏艰险，忍辱负重，为复国雪耻而努力。这种隐喻可谓饱含深情、用心良苦，可惜的是赵构不是重耳，他不听劝阻，也没有复国的决心与愿望，甚至为了贪图个人享乐和一己之私，甘愿偏安一隅，不惜谋害忠良，重用奸佞之臣等。",[23,24,25,26,7,28,212,106,150,353,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe47339394ffdf5384ea908fa5ebe6c90.jpg","绢本 设色 手卷","纵29.4厘米 横827厘米",[42,44,45],190,{"id":7003,"slug":7004,"title":1142,"dynasty":18,"author":257,"museum":132,"description":7005,"tags":7006,"thumbUrl":7007,"material":123,"size":139,"collection":90,"collections":7008,"showCount":7001,"zanCount":1233,"manualWeight":48,"mainColor":94},218556,"mu-dan-tu-yi-ming-218556","这幅牡丹图尽显宋人工笔花鸟的精妙意趣。花瓣层叠繁复，却以细腻线条勾勒得一丝不苟，粉白渐变间晕染出娇嫩柔润之态，花心处细微纹理亦清晰可见，足见画师对物象观察之深。叶片以浓淡不一的翠绿设色，叶脉勾勒精准，翻转向背间尽显生机，与花瓣的柔美形成刚柔呼应。古朴绢色背景更衬出牡丹的雍容雅致，无过多修饰却意境悠远。宋画重“格物”，此作于写实中蕴含诗意，将牡丹的华贵与清逸完美融合，虽为佚名之作，却不失宋代院体画的严谨与神韵，是宋代花鸟小品中的上乘之作。",[23,28,7,83,292,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59cec98d7c1e9e0929c01e3c92e11d37.jpg",[90],{"id":7010,"slug":7011,"title":7012,"dynasty":302,"author":1977,"museum":442,"description":7013,"tags":7014,"thumbUrl":7015,"material":123,"size":7016,"collection":44,"collections":7017,"showCount":7001,"zanCount":1233,"manualWeight":48,"mainColor":49},218424,"xi-ma-tu-zhao-meng-fu-218424","洗马图","《洗马图》以长卷形制铺展，笔墨生动传神。数匹骏马姿态各异，或昂首伫立，或缓步徐行，线条勾勒精准流畅，兼具书法笔意，马的肌肉纹理与鬃毛质感细腻可见。人物与马互动自然，牵马者神态悠然，骑马者身姿从容，衣袂线条飘逸洒脱。设色淡雅古朴，水墨为主辅以淡彩，营造出清逸雅致的氛围。画面疏密有致，节奏舒缓，既显写实功底，又含文人意趣，将日常洗马场景升华为富有诗意的艺术图景，尽显元代文人画的独特韵味与画家对生活的深刻体察。笔墨间流淌着雅致情韵，于细微处见真章，是元代画坛兼具技法与意境的佳作。",[23,24,25,26,7,106,150,28,178,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbea5c78c3647eca859103177fa91693b.jpg","31.7x255.4",[44],{"id":7019,"slug":7020,"title":7021,"dynasty":302,"author":1977,"museum":191,"description":7022,"tags":7023,"thumbUrl":7024,"material":88,"size":7025,"collection":44,"collections":7026,"showCount":7001,"zanCount":2368,"manualWeight":48,"mainColor":94},216973,"chui-xiao-shi-nv-tu-zhao-meng-fu-216973","吹箫仕女图","这幅画宋濂定为是赵孟頫的真迹，并把它与《道德经》小卷前的老子画像和行书《赤壁赋》前的东坡画像逐一进行了比较。宋濂的碑文越老，越是笨拙，全盛时期的亭子里的楷书越是小。",[24,25,226,7,106,59,230,195,264,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53774ccebb8879781edf0e87cf8e7962.jpg","75.1x26",[44],{"id":7028,"slug":7029,"title":7030,"dynasty":18,"author":257,"museum":316,"description":7031,"tags":7032,"thumbUrl":7034,"material":139,"size":139,"collection":139,"collections":7035,"showCount":7036,"zanCount":1003,"manualWeight":48,"mainColor":49},227842,"ye-he-hua-tu-ye-yi-ming-227842","夜合花图页","《夜合花图》，宋， 佚名，绢本，设色，纵2.9 横25.4厘米 上海博物馆藏 图中夜合花一根两枝，右枝花朵含苞未放，左枝花朵半开半合，洁白如玉，清雅绝尘。\n花朵轻勾淡染，用白粉点画花蕊，用四绿加少量淡墨分染花拖，花叶先以细笔勾勒轮廓和筋脉，后用汁绿与花青染之，最后用焦茶描绘其杆。\n绿叶穿插向背，白花绿叶，色泽淡雅，使人赏心悦目。",[23,194,24,25,28,7,6083,83,7033,212],"夜合花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe31ecf760311e803b651aa46969280b1.jpg",[],189,{"id":7038,"slug":7039,"title":7040,"dynasty":18,"author":7041,"museum":191,"description":7042,"tags":7043,"thumbUrl":7045,"material":638,"size":7046,"collection":44,"collections":7047,"showCount":7036,"zanCount":1003,"manualWeight":48,"mainColor":49},221217,"hua-fan-xiang-juan-zhang-sheng-wen-221217","画梵像卷","张胜温","《大理国梵像卷》是大理国（937－1254）（与五代和宋代同一时代）传世的唯一画卷，全卷设色贴金，绘製精谨，共分四段：第一段画大理国王利贞皇帝礼佛图，第二段绘佛、菩萨、佛母、天王和护法等数百位佛教人物，第三段为多心和护国宝幢，第四段是十六国王图。全卷内容丰富，素有「南天瑰宝」之誉。 内容大致为蛮王礼佛国、四金刚护法、八大龙王、十六观世音菩萨、五佛会图。 七佛图、维摩经变、四大菩萨、六佛母、十六罗汉、禅宗六祖、人大高僧、十二天神、宝塔经幢、十六国主众等组成。 《梵像卷》反映了佛教在南诏、大理国时期十分兴盛的历史， 是研究当时大理国崇奉密宗的历史和文化艺术的珍贵资料。",[23,24,25,26,260,28,7,106,5883,4428,4027,7044,212],"经文","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1b98f57c5c0b171cfb25668ee54783e.jpg","全长1635.5厘米，宽30.4厘米",[44,45],{"id":7049,"slug":7050,"title":7051,"dynasty":99,"author":257,"museum":132,"description":7052,"tags":7053,"thumbUrl":7054,"material":123,"size":139,"collection":90,"collections":7055,"showCount":7036,"zanCount":1379,"manualWeight":48,"mainColor":49},216749,"hai-tang-fei-qin-tu-yi-ming-216749","海棠飞禽图","海棠花是一种常见的中国花卉，通常被认为是爱情、美好愿望和幸福的象征。这幅画的画风精细，笔法优美，极富艺术魅力。",[194,24,25,28,7,83,1261,245,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F131241bc6542bdd047d08b2abfb54967.jpg",[90],{"id":7057,"slug":7058,"title":7059,"dynasty":76,"author":658,"museum":191,"description":659,"tags":7060,"thumbUrl":7063,"material":88,"size":665,"collection":139,"collections":7064,"showCount":7065,"zanCount":1379,"manualWeight":48,"mainColor":94},219879,"er-shi-si-fan-hua-xin-feng-tu-cai-hua-yu-wang-chun-dong-gao-219879","二十四番花信风图-菜花与望春",[24,25,7,28,81,86,178,7061,7062,380],"菜花","望春","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0d78a5260915fc3e83cdf201b35e28e.jpg",[],188,{"id":7067,"slug":7068,"title":7069,"dynasty":189,"author":1642,"museum":3038,"description":7070,"tags":7071,"thumbUrl":7072,"material":123,"size":139,"collection":44,"collections":7073,"showCount":7065,"zanCount":1233,"manualWeight":48,"mainColor":49},219590,"xiu-zhu-mei-ren-tu-zhou-wen-ju-219590","修竹美人图","幽庭春深，修竹亭亭映着绽蕊花枝。仕女发髻高绾，衣袂轻垂，静立凝望稚童，眉梢眼底浸着世家深宅的温婉闲静。红衣稚童攀折花枝，鲜活灵动的身影，恰好衬出仕女的娴柔静穆。\n\n笔墨苍润清逸，淡墨晕染竹木，细劲线条勾勒人物体态，设色古雅柔和，将深闺春日里闲散静好的日常晕染开来，把缱绻柔婉的东方诗意藏在花木竹石间，尽现古典雅致的闺中幽情。",[23,24,25,226,28,7,106,59,2385,227,820],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3506e1a0eb430a5f568336d083e69bc2.jpg",[44],{"id":7075,"slug":7076,"title":7077,"dynasty":99,"author":857,"museum":442,"description":7078,"tags":7079,"thumbUrl":7080,"material":123,"size":7081,"collection":44,"collections":7082,"showCount":7065,"zanCount":1379,"manualWeight":48,"mainColor":49},219531,"bu-gun-tu-chen-hong-shou-219531","补衮图","衮是古代君王的礼服，补衮有补救规谏帝王过失的寓意。图中绘有四人，发髻高耸，雍容华贵。",[23,24,25,28,7,106,59,229,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d0bcfbcf40168efa236701b517fe221.jpg","纵109横78.5cm",[44,45],{"id":7084,"slug":7085,"title":3356,"dynasty":76,"author":7086,"museum":316,"description":7087,"tags":7088,"thumbUrl":7089,"material":599,"size":600,"collection":139,"collections":7090,"showCount":7091,"zanCount":1003,"manualWeight":48,"mainColor":94},235426,"he-hua-zhou-lu-hui-235426","陆恢","陆恢（1851—1920），清末民初著名画家。原名友恢，一名友奎，字廉夫，号狷叟，一字狷盫，自号破佛盫主人，原籍江苏吴江，居吴县（今江苏苏州）。",[24,25,226,7,173,83,136,137,319],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24e20f7c46d85cc1273ebbc0538eb92b.jpg",[],187,{"id":7093,"slug":7094,"title":7095,"dynasty":18,"author":257,"museum":316,"description":7096,"tags":7097,"thumbUrl":7098,"material":139,"size":139,"collection":139,"collections":7099,"showCount":7091,"zanCount":1379,"manualWeight":48,"mainColor":49},227352,"fu-gui-li-mao-tu-yi-ming-227352","富贵狸猫图","宋朝人喜欢猫，原因归根于宋朝建立后，随着绝对君权的建立与官僚体制的完善，文人士大夫的社会地位有了很大提高，但也逐步失去了盛唐人那种“致君尧舜上”的历史条件。\n\n同时，宋代封建经济的发展水平远超过唐代，手工业、农业、商业的发展使得中小地主日益兴盛起来，商品经济更加活跃，城市经济繁荣发达，市民队伍迅速壮大。民众安居乐业，故而从曾经追求事业成功的“外王” 转变为重个体修养的 “内圣”之中；人们的审美情趣，也从盛唐的“大漠孤烟直，长河落日圆”了，转而变为“庭院深深深几许，杨柳堆烟”，“衣带渐宽终不悔，为伊消得人憔悴”这样的深庭小院式的浅吟低唱，细琐平易，浅斟低唱，走进更为细腻的官能感受和情感色彩捕捉追求中，更加重视对日常狭小生活的兴致。",[24,194,28,7,292,745],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd40deffda1a591cba6dd3190f0d63c8c.jpg",[],{"id":7101,"slug":7102,"title":745,"dynasty":76,"author":742,"museum":539,"description":1373,"tags":7103,"thumbUrl":7104,"material":500,"size":7105,"collection":139,"collections":7106,"showCount":7091,"zanCount":1003,"manualWeight":48,"mainColor":94},223234,"mao-ren-yi-223234",[23,24,7,173,498,746,745,611,264,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73a86222d0db22e107ac26316d3450be.jpg","150cmx40cm",[],{"id":7108,"slug":7109,"title":7110,"dynasty":18,"author":2244,"museum":316,"description":7111,"tags":7112,"thumbUrl":7113,"material":123,"size":7114,"collection":90,"collections":7115,"showCount":7091,"zanCount":1233,"manualWeight":48,"mainColor":49},218538,"ming-hua-yan-se-tu-li-di-218538","名花艳色图","绢本底色如陈年素笺，托出一朵淡粉牡丹。花瓣层叠若堆雪，边缘晕染浅绯，似被晨雾轻笼；花心处颜色稍浓，藏着几分含蓄的艳。墨叶以中锋勾筋，浓淡相间的绿里，叶脉如丝缕清晰，翻卷姿态带着自然野趣。宋人的笔触不疾不徐，于细腻中见真意：没有浓妆艳抹，却让花的柔润与叶的苍劲相映成趣。整幅画如无声的诗，将名花的雍容与雅致凝于方寸，静立眼前，似能嗅到穿越千年的清淡花香，沉于这片刻古典诗意里。",[23,24,25,194,28,7,83,292],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73b4d04bd069c3b826fdbe71d4b8e325.jpg","30x34",[90],{"id":7117,"slug":7118,"title":7119,"dynasty":76,"author":2837,"museum":316,"description":7120,"tags":7121,"thumbUrl":7125,"material":139,"size":139,"collection":139,"collections":7126,"showCount":7127,"zanCount":48,"manualWeight":48,"mainColor":94},224380,"hua-hui-chong-cao-ju-lian-224380","花卉虫草","这套册页小品十二帧各成天地，明丽柔润的设色晕开草木清辉。花卉姿态各异，或是垂枝含露、或是灼灼盛放，以太湖石为衬，衬出花木的绰约清姿。\n\n笔墨兼具工细与写意，虫草点缀其间，翅脉纹路纤毫毕现，似将振翅而起，把四季花木的生机封藏尺幅间。不做繁复铺陈，尽显细腻写实的画韵，一花一叶皆藏灵趣，浅淡花香仿佛随画漫出，虫翼轻振的细碎声响似在耳边，将庭院闲趣绘成隽永诗意，把山野小景晕染成清逸雅致的东方意趣。",[23,24,25,194,6083,7,83,84,7122,7123,28,498,7124],"虫草","太湖石","清逸雅致","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4ccd78c842f80eedfe55c2cef019efe.jpg",[],186,{"id":7129,"slug":7130,"title":7131,"dynasty":18,"author":257,"museum":7132,"description":7133,"tags":7134,"thumbUrl":7136,"material":7,"size":7137,"collection":44,"collections":7138,"showCount":7127,"zanCount":2368,"manualWeight":48,"mainColor":49},220245,"rui-guang-ta-si-tian-wang-xiang-yi-ming-220245","瑞光塔四天王像","苏州瑞光寺塔","是可供研究唐代吴道子画风的一件重要绘画遗存。\n吴道子一生以宗教画创作为主，留下壁画三百余壁，但从唐武宗会昌五年（845）废寺毁佛像以后，存留就寥寥无几了。不过，他的画风由唐代粉本，和后世画家的仿作中所保存下来的还是不少。四天王像的创作年代在大中祥符六年（1013）之前，距吴道子逝世两个半世纪左右，当时，吴画原作还有少量寺庙壁画遗存。他的画风在宗教画中有强大影响。从四天王像中，就明显地可以看到吴道子画风的几个富有特征的表现。",[18,260,106,7,28,746,7135],"木质","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb600a4c58790b06121a6db55967ede52.jpg","42.5X123厘米",[44],{"id":7140,"slug":7141,"title":6199,"dynasty":76,"author":7142,"museum":78,"description":7143,"tags":7144,"thumbUrl":7152,"material":88,"size":139,"collection":44,"collections":7153,"showCount":7127,"zanCount":343,"manualWeight":48,"mainColor":94},218255,"shi-nv-ce-wu-jia-you-218255","吴嘉猷","细腻笔触晕染出闺阁的温婉时光。仕女们或临窗研墨，或凭栏观鸟，或围坐品茗，或抚琴寄怀。庭院花木扶疏，轩窗屏风雅致，每一处细节都藏着东方生活的诗意。衣袂褶皱、器物纹理、人物神态皆被精心勾勒，尽显古代女性的娴静灵秀。一幅幅日常场景串联成流动画卷，将清人闺阁的雅致情趣与审美意趣悄然铺展，引人沉醉于那份古典的温柔与从容。笔墨间流淌的不仅是生活片段，更是东方美学里独有的温婉与雅致，让观者仿佛踏入时光回廊，触摸到古代仕女的细腻心境。",[23,24,81,28,7,614,59,115,107,7145,279,4876,245,7146,7147,7148,7149,7150,7151,280,1557],"轩窗","抚琴","品茗","研墨","温婉","娴静","雅致","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fbf079b3eb908aacb932a649ab3bd75.jpg",[44],{"id":7155,"slug":7156,"title":6363,"dynasty":76,"author":329,"museum":20,"description":7157,"tags":7158,"thumbUrl":7160,"material":40,"size":4169,"collection":139,"collections":7161,"showCount":7162,"zanCount":1379,"manualWeight":48,"mainColor":94},233878,"hua-niao-tu-zhou-lang-shi-ning-233878","此图笔法精工细腻，色调绚丽多彩，造型写实生动，注重描绘禽鸟翎毛的质感、花叶的阴阳向背以及明暗层次的变化，具有鲜明的西洋花鸟写实画的风格。",[24,25,28,7,243,209,836,380,7159,212],"老干","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60f9fa2985d7c169d06da5861e1fdfec.jpg",[],185,{"id":7164,"slug":7165,"title":7166,"dynasty":189,"author":1642,"museum":316,"description":7167,"tags":7168,"thumbUrl":7169,"material":139,"size":139,"collection":139,"collections":7170,"showCount":7162,"zanCount":1003,"manualWeight":48,"mainColor":94},226711,"zhong-ping-hui-qi-tu-juan-zhou-wen-ju-226711","重屏会棋图卷","《重屏会棋图》卷，五代，周文矩绘，绢本，设色，纵40.3厘米，横70.5厘米。\n本幅无作者款印。经徐邦达先生鉴定，此系宋人摹本。尾纸除有明代沈度、文徵明的伪款题跋外，还有近人于怀的墨题真迹。钤元柯九思“緼真斋”，清安仪周“棠邨审定”、“安仪周家珍藏”及清内府“乾隆御览之宝”等鉴藏印共16方。其中的“緼真斋”、宋徽宗的“双龙小玺”、“宣和”、“政和”等宋元诸印均伪。\n图绘摆设精美的室内，四位身份高贵的男子于棋桌前的情景。他们神态各异，举止不同，有的催促落子，有的举棋不定，有的观棋不语，真实地反映出观棋者与弈棋者不同的神态。画中没有标注这些人物的姓名。目前，经过几代学者的深入研究，才逐渐确认出本幅作品的画面主人公及其内容。图中描绘的是五代南唐中主李璟的宫廷行乐生活。有关此图情节的记载最早见于北宋《王文公集》卷五十中王安石的《江邻几邀观三馆书画》诗，诗中指认出图中头戴高帽者为李璟；南宋初年的王明清在《挥尘三录》中记载了他以家藏的李璟肖像画与此图进行考辨的过程；元代袁桷《清容居士集》和陆友仁《研北杂志》则考证出会棋者是李璟兄弟四人，屏风所画为白居易《偶眠》诗意。最终指明图中人物具体方位的是清吴荣光《辛丑销夏记》所录庄虎孙的跋语：“图中一人南面挟册正坐者，即南唐李中主像；一人并榻坐稍偏左向者，太北晋王景遂；二人别榻隅坐对弈者，齐王景达、江王景逿。”\n作为写实性的绘画作品，作者在逼真地刻画出人物肖像特征的同时，也真实地描绘出室内的生活用具，如投壶、屏风、围棋、箱箧、榻几、茶具等，为后人研究五代时期各种生活器用的形制以及中国早期皇室的行乐雅集活动提供了重要的形象资料。作者以“颤笔描”绘制图中人物的衣纹，表现出布纹的质感，并准确地勾勒出不同动态下人物的形体变化，展示了周文矩以线塑型的深厚功底。此图的设色虽多用矿物颜料，但未层层积染或浓涂重抹，而只是在勾线后清淡地施以颜色。在几案边的花纹上勾染了略显深重的石青、石绿；而李璟的衣袍虽也用朱砂晕染，却甚为简淡，只是侍童的衣带用较重的朱砂，以与浅淡的衣袍形成对比。其余三人的衣着竟一色不染。\n由于此图背景的屏风中还画有屏风，因此人们称此图为“重屏”图。它受到了历代画家广泛的传移摹写，并被宋内府《宣和画谱》、明张丑《清河书画舫》、清卞永誉《式古堂书画汇考》等数十种书著录。故宫所藏的这幅画即使不是周文矩原作，也应是接近于原作的宋人摹本精品。\n此图自清宣统朝流出宫廷后散落民间。1949年后，国家文物局从吉林省长春文物商于莲客手中购得此图，随后将它与元代高克恭《秋山暮霭图》、任仁发《二马图》卷一并入藏故宫博物院。\n清安仪周《墨缘汇观》、胡敬《西清札记》、内府《石渠宝笈三编》等著录。\n周文矩，生卒年不详，活动于10世纪，句容（今属江苏）人，南唐画院翰林待诏。中主李璟时，他便以擅绘人物、车马、界画楼台以及宫廷贵族生活题材画而知名。后主李煜执政期间，他常受诏作画，曾像顾闳中一样被派去窥绘韩熙载的夜宴生活，只是他所画的韩氏夜宴图未能传世。他的画风受后主李煜的颤笔法影响很大，喜以瘦挺颤掣的笔法入画，以别具特色的画风称誉画坛。",[23,24,25,26,28,7,352,86,212,106,4355,229,3701],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a9f5fda46eb059b27ecc01f52d1e757.jpg",[],{"id":7172,"slug":7173,"title":7174,"dynasty":99,"author":1196,"museum":316,"description":7175,"tags":7176,"thumbUrl":7177,"material":123,"size":139,"collection":44,"collections":7178,"showCount":7162,"zanCount":48,"manualWeight":48,"mainColor":49},218408,"wang-xian-zhi-xiu-qi-tang-yin-218408","王献之休妻","疏柳垂丝如诉，嶙峋山石衬出几分萧索。白衣男子立于其间，衣袂轻扬却难掩眉宇间的复杂——是决绝？还是隐于礼法下的无奈？旁侧两位女子相拥而立，罗裙轻垂，身影柔弱如风中飘絮，彼此依偎的姿态似是对命运的无声抵抗。\n\n线条流转细腻，设色淡雅却见功底，人物神情的描摹尤见匠心：男子微蹙的眉头藏着隐衷，女子低垂的眼眸裹着悲戚，连垂落的柳枝都似在替人拭泪。整幅画以景衬情，将旧闻里的礼法束缚与情长纠葛凝于笔墨间，每一处细节都在轻声诉说：那些被时光掩埋的无奈，从来都藏在人物的一颦一笑、山石草木的一呼一吸里。",[194,24,25,226,7,28,106,29,353,176,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9c441d0be13c6b563da78fdded2b86c.jpg",[44],{"id":7180,"slug":7181,"title":1689,"dynasty":99,"author":3307,"museum":442,"description":7182,"tags":7183,"thumbUrl":7184,"material":123,"size":7185,"collection":90,"collections":7186,"showCount":7162,"zanCount":2368,"manualWeight":48,"mainColor":49},216730,"hua-niao-tu-lv-ji-216730","吕纪明朝画家，也被称为吕笃简。他是著名的花鸟画家，并且在当时期间担任过朝廷画家。吕纪的花鸟画精细细腻，注重画面的组合构图，对后世的花鸟画产生了很大的影响。他的著名作品有《花鸟图》和《四季花卉图》。",[23,24,28,7,83,1241,835,245,3519,5371,378],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fc9c824b65ade19907e1c12b75fb4b1.jpg","200x102.8cm",[90],{"id":7188,"slug":7189,"title":7190,"dynasty":99,"author":756,"museum":316,"description":7191,"tags":7192,"thumbUrl":7193,"material":139,"size":139,"collection":139,"collections":7194,"showCount":7195,"zanCount":889,"manualWeight":48,"mainColor":49},228905,"lan-ting-xu-juan-quan-juan-wen-zheng-ming-228905","兰亭序卷全卷","此作书画合璧，意韵悠然。设色山水清丽秀雅，层岩叠壑间松荫浓郁，曲溪萦回，茅亭内雅客清谈，将兰亭修禊的幽雅致趣融于林泉之间，尽显古雅文心。\n书法兼具行楷题跋与集字奇构：题跋笔致秀润端劲，尽显温润秀逸的吴门风神；集字兰亭排布巧思独具，别出新意。鉴藏朱印错落铺陈，为整卷更添古雅厚重之感，将晋人雅集的文思与明代文人的审美意趣相融无间。",[23,24,25,26,7,29,178,177,28,175,108,109,34,106,212,1133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7122d5b6c8e477bd2e66f1602a2f182d.jpg",[],184,{"id":7197,"slug":7198,"title":1689,"dynasty":76,"author":2467,"museum":316,"description":7199,"tags":7200,"thumbUrl":7201,"material":7202,"size":7203,"collection":90,"collections":7204,"showCount":7195,"zanCount":889,"manualWeight":48,"mainColor":49},222662,"hua-niao-tu-ma-quan-222662","马荃（生卒年不详），字江香，江苏常熟人。清代女画家。马元驭之（1669—1722）女（一作马元驭孙女），逸妹。生活于康熙、乾隆年间，\n时与女画家恽冰齐名。\n龚克和妻。工花卉，妙得家法。其夫亦工书、画，偕游京师，以绘事给衣食，颇怡。夫亡归里，绸缠染翰，饮冰茹茶，而名益高，四方以缣素兼金求画者益聚。常蓄婢数人，悉令调铅杀粉。而琴川多贵游士女，皆来求授指法。时常州恽冰画以没骨名，而江香以勾染名，江南人谓之双绝。康熙三十五年（1696）作花卉草虫册十二页，乾隆四年（1739）作琳池草虫扇。马荃代表作品价位2008年行情在3—5万\u002F平尺，市场升值潜力较大，为很多书画收藏家所追捧。",[23,24,194,25,226,28,7,83,484,896,3861,230,838],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F061ce5762f0e4335685920a74b317b42.jpg","设色绢本","82cm 43cm",[90,45],{"id":7206,"slug":7207,"title":7208,"dynasty":76,"author":7209,"museum":223,"description":7210,"tags":7211,"thumbUrl":7212,"material":1175,"size":7213,"collection":90,"collections":7214,"showCount":7195,"zanCount":48,"manualWeight":48,"mainColor":94},222642,"mu-dan-tu-li-zhou-gao-feng-han-222642","牡丹图立轴","高凤翰","此幅长卷有《梅花》和《牡丹》两幅合并而成，左侧《梅花》图绘梅枝从画上端斜入，细枝颇多，寒冬中梅花绽放出铮铮傲骨；《牡丹》图中二朵牡丹开放，花瓣层层叠叠，还有一朵藏于石后，含羞露出一半，一枝花枝从牡丹花后露出，姿态优美。",[23,24,25,226,7,83,173,178,212,292,62,211,554,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7aed756d0a5f52a061a356ddf8967852.jpg","20x317cm",[90,163],{"id":7216,"slug":7217,"title":390,"dynasty":18,"author":391,"museum":316,"description":3785,"tags":7218,"thumbUrl":7221,"material":599,"size":600,"collection":139,"collections":7222,"showCount":7223,"zanCount":1379,"manualWeight":48,"mainColor":49},288538,"mo-zhang-xuan-dao-lian-tu-zhao-ji-288538",[24,26,28,7,6170,59,614,65,7219,7220,105,212],"捣练","劳作","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfcfdff97a90609c29cad09ccf054425.jpg",[],183,{"id":7225,"slug":7226,"title":7227,"dynasty":54,"author":257,"museum":316,"description":7228,"tags":7229,"thumbUrl":7231,"material":599,"size":600,"collection":139,"collections":7232,"showCount":7223,"zanCount":2368,"manualWeight":48,"mainColor":49},226157,"yin-lu-pu-sa-yu-shi-zhe-yi-ming-226157","引路菩萨与侍者","此画发现于敦煌藏经洞。本幅描绘菩萨为亡灵引路升天国的场面。上有“引路菩（萨）”的题记。前面领路的大菩萨右手执香炉，左手持莲花，莲花旁垂下白幡。菩萨后面跟随的女子为死者生前的形象，人物形象丰腴饱满，洁白晶莹的肌肤闪耀着青春美的光彩，有“周家样”之风。线描写实明快、流畅飞动，接笔处不露痕迹，一气呵成。\n敦煌藏经洞发现。本幅描绘菩萨为亡灵引路升天国的场面。上有[引路菩（萨）]的题记。前面领路的大菩萨右手执柄香炉，左手持莲花，莲花旁垂下白幡。幡分四栏，各栏分绘图案。画左上角菩萨所乘的黄云中隐出一些建筑物，那是亡灵要去的净土世界。菩萨后面跟随的女子为死者生前的形象，梳着典型的唐代妇女的发式。画面中的很多部分如香炉、菩萨之发饰等都描金敷色，全画彩绘艳丽，完好的保存了唐代绘画的面貌。\n唐代“贞观之治”和“开元盛世”的具体表现是经济发展、社会富庶，手工业商业发达，各民族接触密切，中外经济文化交流频繁，创造了辉煌灿烂的文化艺术。这个时期佛教仍为统治阶级所提倡，大规模的石窟造像不断涌现。在敦煌莫高窟、洛阳龙门石窟、太原天龙山石窟等石窟中，唐代造像的规模和艺术水平都特别突出。\n唐代是古代人物画鼎盛时期，在反映贵族生活和宗教题材上都有大成就，在宗教题材作品中也更世俗化，在大量经变故事画和菩萨、罗汉的塑造中显示出明显的人间味。菩萨天女体态丰腴，容貌端丽，具有动人的丰姿，这在敦煌壁画中多有体现。在敦煌，还发现了一帧《引路菩萨像》，绢本，纵85厘米，横53.6厘米，约九世纪后半期作品，现藏大英博物馆。这件作品具有很高超的绘画技巧，设色艳丽，渲染技法娴熟，可以看出后世工笔人物画对它的继承。",[24,25,7230,260,106,7,28,3661],"唐代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F722fa84e18f98c3ee78c33ac7cd2c8b5.jpg",[],{"id":7234,"slug":7235,"title":7236,"dynasty":189,"author":7237,"museum":191,"description":7238,"tags":7239,"thumbUrl":7240,"material":88,"size":7241,"collection":181,"collections":7242,"showCount":7223,"zanCount":1233,"manualWeight":48,"mainColor":49},219079,"shu-shan-zhan-dao-tu-guan-tong-219079","蜀山栈道图","关仝","峭壁摩天，层岩叠嶂间，栈道蜿蜒如丝，隐现于苍松古木与飞瀑流泉之中。山石以劲挺线条勾勒，皴法厚重，尽显蜀道之险；树木枝干虬曲，若蟹爪伸展，苍劲中透出野趣。云雾轻笼山腰，虚实相生，拓展了山川的深远之境。行人于栈道上渺小如蚁，步履蹒跚，更衬出自然的雄奇与旅途的艰辛。整幅画作笔墨沉雄，意境苍茫，既展现了蜀山的磅礴气势，又暗含着对行路者坚韧精神的咏叹，尽显北方山水画派的沉郁风骨与自然之趣。山石的坚凝质感与树木的丰茂生机相映，飞瀑的动态与栈道的静穆相衬，于险峻中藏幽致，于苍茫里见精微，是一幅兼具视觉冲击力与情感共鸣的山水佳作。",[23,24,194,29,226,177,7,686,34,31,174,6152,175,353,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0408dd0331dcb9e6afcfd9169a592184.jpg","140.4x66.6",[181],{"id":7244,"slug":7245,"title":7246,"dynasty":302,"author":1303,"museum":191,"description":7247,"tags":7248,"thumbUrl":7250,"material":88,"size":7251,"collection":90,"collections":7252,"showCount":7223,"zanCount":1003,"manualWeight":48,"mainColor":94},218780,"xie-sheng-hua-niao-tu-zhang-zhong-218780","写生花鸟图","此画绘于沙石之间，一只紫冠白鸡脚下行走的蜈蚣，看上去颇为生动，而配景及蜀葵、萱草、栀子花、石榴、百合、虞美人、石竹、菖蒲等各种夏花，几乎以勾花点叶的方法进入，设计典雅，却不似张仲的笔墨，为后世画家的作品正名。",[24,25,226,7,28,83,3369,84,230,7249],"草丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93c74ed813cbd2c92ee370d6aa6031b1.jpg","122.8x43.3cm",[90,181],{"id":7254,"slug":7255,"title":7256,"dynasty":76,"author":698,"museum":101,"description":7257,"tags":7258,"thumbUrl":7261,"material":88,"size":702,"collection":139,"collections":7262,"showCount":7223,"zanCount":1379,"manualWeight":48,"mainColor":94},216251,"jing-fu-si-qi-dong-jing-tu-7-qian-wei-cheng-216251","景敷四气冬景图-7","此套《景敷四气》冬景图，是清乾隆时期画家钱维城的作品。此套画册共含十二帧，纯以水墨为之或薄施淡色擦染，构图简练，自出机杼。运笔较为多样，笔法松秀，墨色疏淡，用色恬然，具有很显著的文人绘画的样式。最后一幅有：甲午新正月御题。钤印：乾隆鉴赏、三希堂精鉴玺、宜子孙、乾隆。\n梵界经楼叠巘间，苍松翠柏锁孱颠。云容欲雪千巗冷，无事高僧静掩闗。钤印：几暇怡情、得佳趣",[24,7,28,83,81,836,7259,7260,3074],"黄花","红果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F468a97d6626ba8e39c7d1b702cb9ca83.jpg",[],{"id":7264,"slug":7265,"title":7266,"dynasty":76,"author":1207,"museum":419,"description":1208,"tags":7267,"thumbUrl":7268,"material":123,"size":1211,"collection":139,"collections":7269,"showCount":7223,"zanCount":48,"manualWeight":48,"mainColor":49},214433,"xiu-yuan-tu-2-wang-yun-214433","休园图-2",[23,24,25,29,7,28,177,176,795,175,107,2562,34,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffca2ad8d2e65071575f178ce231704c2.jpg",[],{"id":7271,"slug":7272,"title":7273,"dynasty":99,"author":100,"museum":608,"description":609,"tags":7274,"thumbUrl":7275,"material":123,"size":620,"collection":139,"collections":7276,"showCount":7277,"zanCount":48,"manualWeight":48,"mainColor":49},216360,"xi-xiang-ji-tu-ye-5-chou-ying-216360","西厢记图页-5",[24,7,28,104,81,106,115,107,1273,60,84,1364,278,614,615],"https:\u002F\u002Foss.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。\n兼精文字学、文学，善写篆、隶书和“八分体”，以楷书最为著名。 尤其“界画”为世人推重。“界画”是随着山水画发展而派生的一科，主要是画与山水画中有关的亭台楼阁、舟船车舆。《圣朝名画评》中评他的界画，为“一时之绝”，列为“神品” 。\n工书，诸体皆能。曾有人得鸟迹篆，忠恕一见辄诵如宿习。清刘熙载《艺概.书概》称：“忠恕以篆古之笔溢为分隶，独成高致。”传有《三体阴符经》、《汗简》、《佩觽》等书。其画风画技在当时和后世有较大影响。",[23,194,24,25,26,105,104,28,7,29,107,108,109,174,175,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9412112e9f8005e3d515619ffe65d029.jpg","幅30.5x368.5公分，隔水一8.5公分，引首30.5x84公分，隔水二8公分，隔水三1.5公分，拖尾 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14.2公分。",[42,45],{"id":7516,"slug":7517,"title":7518,"dynasty":18,"author":257,"museum":191,"description":7519,"tags":7520,"thumbUrl":7521,"material":123,"size":139,"collection":42,"collections":7522,"showCount":7495,"zanCount":1379,"manualWeight":48,"mainColor":49},218967,"la-mei-han-qin-tu-yi-ming-218967","腊梅寒禽图","寒汀疏影里，腊梅枝桠斜逸，点点白花似凝着清霜，在冷寂中透出淡香。岸畔山茶红萼灼灼，与枯瘦的梅枝相映，暖了一帧冬景。两只水禽悠游浅波，羽色素净，颈间一抹白如落雪，姿态闲逸得像在细品风的轻语。远处山影淡如烟岚，天际归鸟三两，更衬出天地的旷远。\n\n笔墨细腻却不刻意，草木的情态、水禽的姿态皆得自然之趣。宋人的心境藏在这帧画里：于寻常冬景中撷取宁静与生机，让清寂时光浸着温润诗意——没有浓墨重彩的渲染，却以极简的笔触，将冬的清寒与生命的从容，凝成了可触摸的温润。",[23,194,24,25,28,7,83,820,3369,230,3519,380],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6a6138737b9901f57872732e5659ef9.jpg",[42,90],{"id":7524,"slug":7525,"title":7526,"dynasty":18,"author":257,"museum":316,"description":7527,"tags":7528,"thumbUrl":7529,"material":599,"size":600,"collection":139,"collections":7530,"showCount":7531,"zanCount":48,"manualWeight":48,"mainColor":94},269050,"ke-si-zhao-ji-hua-niao-fang-zhou-yi-ming-269050","缂丝赵佶花鸟方轴","此作将缂丝工艺与文人意趣相融，下方织就清逸花鸟景致：靛蓝雀鸟栖于茶花枝上，翎毛纤毫毕现，灵动如生。浅粉茶花或盛放或含苞，嫩梢抽芽点缀枝间，粉蝶翩跹萦绕，晕开春日柔婉生机，写实细腻里暗藏温婉诗意。上方瘦金题笔秀挺劲健，诗画呼应，尽显宋代内敛雅致的审美意韵，静赏之间，可窥见宋时风物里的隽永雅致。",[24,1329,83,226,7,245,84,484],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d5ebf148360aefe44bdffc6be5ec38f.jpg",[],176,{"id":7533,"slug":7534,"title":7535,"dynasty":869,"author":7536,"museum":1842,"description":7537,"tags":7538,"thumbUrl":7540,"material":139,"size":139,"collection":139,"collections":7541,"showCount":7531,"zanCount":2368,"manualWeight":48,"mainColor":94},220488,"zhang-da-qian-yu-fei-yin-wang-xue-tao-he-zuo-he-tang-qing-qu-tu-wang-xue-tao-220488","张大千、于非誾、王雪涛合作荷塘清趣图","王雪涛","此作为三家合璧之妙品，以泼墨晕染荷叶，浓淡交织晕开雨后荷塘的氤氲水气，苍润淋漓间尽显池夏清寂雅致。白荷亭亭玉立，带着初经雨洗的舒展柔润，暗吐幽芳。\n上空红蜓振翅悬停，池边青蛙轻跃欲起，草叶间小蜻蜓静立，将初夏荷塘的鲜活生机悄然铺陈。书画相映成趣，题句点透菡萏初发的诗意。\n写意与工笔相融，泼墨的疏朗大气搭配草虫的工致鲜活，把荷塘的幽趣揉入笔墨，静中生灵韵，雅淡见天然，尽显文人意趣与写生妙谛。",[23,24,25,226,7,173,83,228,136,635,7539,137,319,498],"青蛙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7972b04f6b3a1e7149a7f2c832b57a2.jpg",[],{"id":7543,"slug":7544,"title":7545,"dynasty":99,"author":1270,"museum":191,"description":7546,"tags":7547,"thumbUrl":7548,"material":2365,"size":7549,"collection":181,"collections":7550,"showCount":7531,"zanCount":1233,"manualWeight":48,"mainColor":94},219517,"lan-ting-xiu-xie-tu-wen-zheng-ming-219517","兰亭修褉图","以淡墨白描晕染兰亭雅集，层峦叠嶂纵立画面，古松虬枝苍劲，环护着溪畔兰亭。曲水蜿蜒流淌，士人列坐其侧，或把盏沉吟，或挥毫题咏，将永和雅事鲜活铺展。\n\n笔墨清隽秀雅，山石勾勒细劲简洁，淡皴轻染晕出山林幽寂，尽显内敛雅致的吴门意趣。绢素之上凝住魏晋林下风流，以极简水墨铺陈出旷远清幽的雅集氛围，藏着对古贤风雅的追慕，笔端浸满书卷清韵，将千载前的林下雅兴，晕染成隽永的丹青意趣。",[24,25,226,173,7,29,106,175,109,34,176,212,86,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37ad5f5c5fbcf8cbdb86cdfd03b879c3.jpg","140.3x73.2",[181],{"id":7552,"slug":7553,"title":7554,"dynasty":76,"author":7555,"museum":608,"description":7556,"tags":7557,"thumbUrl":7559,"material":88,"size":7560,"collection":45,"collections":7561,"showCount":7531,"zanCount":1379,"manualWeight":48,"mainColor":49},219264,"jin-ding-he-mei-tu-gai-qi-219264","金鼎和美图","改琦","画面中仕女群像情态和融，居中者衣袂温婉，手持细物若有所思；旁侧侍女或捧壶侍立，或举灯相照，姿态轻柔。案上金鼎、茶具雅致，衬出闺阁的娴静。线条细劲如丝，衣纹飘逸灵动，设色温润淡雅，发髻钗饰精巧入微。人物间互动自然，暖意融融，将日常闺中场景绘成一幅清丽雅致的和美图卷，尽显清代仕女画的秀逸韵致。",[23,24,25,226,28,7,106,59,7558,409,229,2307],"侍女","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80d9eae989c0fdce3e7f5b0ecf0ef7bb.jpg","190 × 67.7 cm",[45],{"id":7563,"slug":7564,"title":7565,"dynasty":76,"author":7566,"museum":442,"description":7567,"tags":7568,"thumbUrl":7569,"material":123,"size":139,"collection":90,"collections":7570,"showCount":7531,"zanCount":1379,"manualWeight":48,"mainColor":49},219033,"mao-tu-ying-zhao-219033","猫图","应召","蜷坐的花猫毛色斑斓，黑褐与橘白交织晕染，绒毛质感蓬松柔软。它回眸的瞬间，瞳仁如墨点般清亮，双耳微竖，似正留意周遭动静。淡赭色的背景上，散落着几枚浅墨点染的细石，简淡中见意趣。画家以细腻笔触捕捉猫的慵懒与机警，线条温婉却不失骨力，色彩雅致而富有层次。画面留白处更显空灵，虽无繁复布景，却于极简中藏生机，仿佛能感受到猫的呼吸与轻缓的尾摆，尽显写生之妙与文人画的雅致意韵。",[23,24,25,226,7,28,745,746,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d01ae3c172c6d7532860b25005a89da.jpg",[90],{"id":7572,"slug":7573,"title":7574,"dynasty":18,"author":257,"museum":316,"description":7575,"tags":7576,"thumbUrl":7577,"material":139,"size":139,"collection":139,"collections":7578,"showCount":7579,"zanCount":1003,"manualWeight":48,"mainColor":801},227904,"bi-tao-tu-ye-yi-ming-227904","碧桃图页","《碧桃图》是宋代佚名画家创作的一幅绢本设色画，现藏于北京故宫博物院。\n该图绘碧桃两枝，枝上的碧桃花有的吐露盛开，有的含苞欲放。\n花瓣用细笔勾描后多层晕染，富有层次变化和立体感。\n全图用笔精细，设色淡雅，画面虽小，意趣无穷。\n在纨扇面上画红白碧桃两枝，枝上的桃花有的吐露盛开，有的含苞欲放，其花蕾、枝叶互相穿插其间，争奇斗艳，竞相怒放。\n左枝挺干盛开，右枝则斜向争艳，从这两枝繁花簇簇，苞蕾盈枝的描绘中，清香宜人的花味如绢中溢出，感到了春色的浓郁，花木葱郁茂盛的欣欣向荣气象呈现在眼前。\n本幅有：“于”“腾”联珠白文、“阿蒙精赏”朱文。\n宋代的花鸟画，在皇室的倡导下，已发展到了黄金时期。\n对客观物象的观察和描绘已丝丝入微，重“格物、穷理”已成为那一时期花鸟画坛的时尚，花鸟册页是其中的代表。\n该图是散页，已无从查考出处，观其画风，应是南宋初院人作品，是南宋写生作品，画面无款。\n宋人画风崇尚真实自然，在真实中求得词一般的境界。\n该图描绘的是一派春意盎然的景象，表现的是一红一白两枝桃花相互交错，花朵饱满丰盈，枝叶葱郁。\n该图没有繁杂的布势表现，但通过对花、叶、枝及嫩芽的精微生动的描绘，着实传达出春花怒放、春日融融的情意感觉。\n其中，尤以那层层叠叠的花瓣最引人注目，且每个花朵的形态走向各有差异，可以说无论是花朵的局部表现，还是整体的布势都是精彩的。\n该图构图简洁，在许多方面都留有写生的痕迹，比如，花瓣的开合、叶子的正反、刚出的嫩芽等表现，无不鲜活入微。\n然而，这种生活化的写生表现，确丝毫没有影响画家依照情意处理画面平面空间分割的意图。\n可能正是由于这种生活中形状的刺激，使得作者在画面的平面分割中，才采用了扇形分割，扇形成为作品中形状的主基调。\n作品从整体画面的团扇形到每一簇花朵，乃至每一簇叶子都呈各自不同的扇形分割，在这个分割中扇形可谓是变化至极。\n这种扇形能够给人以渐展、开阔的生发感觉，这就吻合了作品的情意内容，即由弱到强的春季桃花的生命气象。\n该图艺术精湛，花枝、花茎、花叶全用双勾。\n勾线细秀，赋色轻清。\n其中花瓣用细笔勾描后多层晕染。\n花叶的筋脉一丝不苟，丝丝入扣，有水分的质感，桃干的勾线，顿挫转折，笔笔中锋，凝重而空灵，富有层次变化和立体感。\n中国美术研究所研究员梁济海：这幅画在艺术手法上与《出水芙蓉》不一样，花枝茎叶全用双勾，不过用笔极为轻细，傅色也很淡雅，碧桃的丰盈、柔嫩和姣好的姿容，形成一种素雅的艺术格调。\n由本幅鉴藏印可知，该图曾经清代鉴藏家于腾收藏，经《中国古代书画目录》第二册著录。\n现藏于北京故宫博物院。",[23,194,24,25,81,7,28,83,243,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F492d139f03f73b41512b3e28ecc1aab5.jpg",[],175,{"id":7581,"slug":7582,"title":7583,"dynasty":18,"author":1474,"museum":20,"description":7584,"tags":7585,"thumbUrl":7589,"material":67,"size":7590,"collection":139,"collections":7591,"showCount":7579,"zanCount":1379,"manualWeight":48,"mainColor":94},221493,"ku-lou-huan-xi-tu-li-song-221493","骷髅幻戏图","整个画面非常祥和欢乐，毫无惊怖，应是一个流动的携家带口的提线木偶（傀儡）艺人的一场演出，主要描写妇女与儿童生活的一个欢乐场景。\n此《骷髅幻戏图》为扇面册页，左侧署有李嵩的名款，画面有“信公珍赏”“会侯珍藏”等多方收藏印章。 [1] 画面中心人物是一戴幞头、穿透明纱袍的大骷髅，席地而坐，左腿曲折着地，左手按左大腿，右腿弓起，右肘支右膝，坐姿十分舒适自便。右手提控一小骷髅，应为提线木偶（傀儡），上下牙列开张，似在说笑。小骷髅即提线木偶（傀儡）右脚着地，左脚抬起，两臂做招手状，很是活泼。小骷髅对面为一小儿，其左手与双足俱着地，昂首伸右臂，似要伸手抓小骷髅，顽皮而好奇。小儿身后为一青年妇人，双手伸出似作阻拦状，表情看似有些干着急。大骷髅身后安坐一青年妇人，半袒胸，怀抱中小儿正食其乳。目光安详，稍侧身，正注视着眼前之事。人物描画十分生动细致，仿佛能听见他们各自的声音。特别是骷髅的造型十分精准。\n对幅有王玄真书黄公望《醉中天》曲：\n没半点皮和肉，有一担苦和愁。傀儡儿还将丝线抽，寻一个小样子把冤 家逗。识破个羞那不羞？呆兀自五里已单堠。\n曲末题署： 至正甲午春三月十日大痴道人作，弟子休休王玄真书，右寄醉中天。\n画幅之核心主题，当为生死转化及其因果轮回。画家将画一分为二，生死各半。左边画一大骷髅，头戴朴头，身着色衣，关节以线穿连，为艺人的演戏傀儡，含有死之意；右边则画一小儿，手足着地，仰首伸臂，带有生之欲。生死既分，却又互相吸引，故画幅中央被大骷髅戏弄的小骷髅，面向小儿，作躬身招呼状。此是戏中之戏，亦是精心之笔。啸髅躯架刻画准确，小儿动态神气表现生动，大骷髅身後，一妇人袒胸露乳，喂哺幼儿，神色不安地注视着骷髅戏婴之情景，与画幅右边神情恐惧、伸手阻拦那趴地小儿的另一妇人恰成对照，呈现一种静与动、思与行的对立。\n此图还存在着三重幻戏结构：一是两个操控，即大骷髅对于小骷髅的操控，无形之手对于大骷髅的操控；二是交相生发的幻术结构，甚至观图者也会不自觉地落入其中；三是各种背反之表现，尤其是观者明、当局者迷，令人难忘。\n构图的黑白市置上，画家将示死气之骷髅衬于密线重墨组成的墩子、货担之前，增添了阴森、黑暗及恐怖的气氛；同时，却将表现生的小儿置于简写的土地及大片空白的背景上，加强了晴朗、光明及欣喜的感觉。\n单纯从笔墨技法上看，李嵩发挥了自己擅于勾勒、界画之才能，线条坚韧扎实，墨色精致细腻。衣纹用线劲利，或纤柔、或飘动、或挺拔，皆依形态动作而生变化。器物用笔工整严细，笔笔送到，不见轻率浮滑。骨骼、肌肤用笔略有差别，前者刚健，凝重，后者圆转，富于弹性。至于浓淡设色，基本为层层渲染，渐次加深浓重程度，直至轮廓空间毕现方止。染工严谨、古雅，颇具宋朝院体画之特色。",[23,7,28,106,7586,2385,7587,280,7588],"骷髅","妇人","怪诞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50b944972848e948075643620ba0a8fb.jpg","纵27厘米，横26.3厘米",[],{"id":7593,"slug":7594,"title":7595,"dynasty":76,"author":7596,"museum":101,"description":7597,"tags":7598,"thumbUrl":7601,"material":123,"size":7602,"collection":44,"collections":7603,"showCount":7579,"zanCount":1233,"manualWeight":48,"mainColor":49},219728,"kang-xi-nan-xun-tu-juan-san-zhi-ji-nan-zhi-tai-shan-wang-hui-219728","康熙南巡图卷三之济南至泰山","王翚","《康熙南巡图》第三卷描绘康熙南巡至山东境内的情景。画面开始为丘陵地带，一座城池出现在众山环抱之中，此即济南府，康熙在城墙上视阅，随从若干，城门大开，南巡的先行骑兵正从城里出发，行进于绵延的山丘之间，山势雄伟，草木葱茏。队伍翻山过、河，穿过村落，群山逐渐高耸、险峻，画面出现了泰安州和泰山，康熙率扈从诸臣到泰山致礼。过泰山后，山势略趋平缓，画面至蒙阴县止。",[23,24,26,28,7,177,29,106,107,108,109,175,34,7599,7600,119,150,31,808,37],"山脉","村庄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dc011338cc729f142df0823217c6b83.jpg","纵67.8厘米，横1393厘米",[44,181],{"id":7605,"slug":7606,"title":7607,"dynasty":302,"author":303,"museum":132,"description":7608,"tags":7609,"thumbUrl":7611,"material":123,"size":139,"collection":90,"collections":7612,"showCount":7579,"zanCount":1379,"manualWeight":48,"mainColor":49},219186,"fu-rong-yuan-yang-tu-qian-xuan-219186","芙蓉鸳鸯图","芙蓉枝蔓自右上垂落，花叶丰腴，白瓣晕染淡红，似含晨露。一对鸳鸯相倚岸汀，羽色层次分明，红喙翠翎与素白绒羽相映，姿态亲昵如诉温情。画面设色温润雅致，绢本底色衬出古雅意蕴，笔墨工细却不刻板，于静谧中藏生机，尽显自然之美与缱绻意趣。枝间花叶错落有致，岸畔草石点缀生姿，整体构图虚实相生，将禽鸟的亲昵与花木的清妍融于一体，传递出恬淡悠然的古典情韵。",[23,194,24,28,7,83,634,2014,230,210,7610],"元代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F226d4750da5198d9248ca7382ce9bb70.jpg",[90,45],{"id":7614,"slug":7615,"title":7616,"dynasty":302,"author":5007,"museum":78,"description":7617,"tags":7618,"thumbUrl":7619,"material":123,"size":7620,"collection":181,"collections":7621,"showCount":7579,"zanCount":1003,"manualWeight":48,"mainColor":49},218240,"qiu-jiang-chui-diao-tu-sheng-mao-218240","秋江垂钓图","秋江如练，薄雾轻笼远岫，山峦以赭石与青绿晕染，层次叠嶂间透着古雅。苍树虬枝斜倚江畔，枝干间点点残叶暗合秋意，笔墨工致中见清逸，线条勾勒树石之态兼具刚柔。江畔隐者抱膝而坐，垂纶于澄江之上，身影与秋水长天相融，似已忘尘。右侧茅舍旁，一樵者负薪而过，添得江野生趣。整幅画静谧悠远，将元代文人的林泉之志凝于尺幅，笔墨间流淌着清寂与悠然，引人沉醉于这秋江垂钓的闲逸之境。",[24,25,29,7,27,177,106,109,174,6582,796,353,1353,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60dc44d3fbd45554e56a94f4390b8090.jpg","21.6x22.6cm",[181],{"id":7623,"slug":7624,"title":7625,"dynasty":18,"author":257,"museum":608,"description":1068,"tags":7626,"thumbUrl":7627,"material":123,"size":7628,"collection":44,"collections":7629,"showCount":7579,"zanCount":48,"manualWeight":48,"mainColor":94},216773,"mo-gu-kai-zhi-luo-shen-fu-tu-yi-ming-216773","摹顾恺之洛神赋图",[23,24,25,26,105,7,352,28,106,59,29,174,107,34,6020,176,4008,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc887e713feff7eb3a0e61a93bee81203.jpg","24.2x310.9",[44],{"id":7631,"slug":7632,"title":7633,"dynasty":18,"author":257,"museum":457,"description":7634,"tags":7635,"thumbUrl":7637,"material":40,"size":7638,"collection":139,"collections":7639,"showCount":7640,"zanCount":1003,"manualWeight":48,"mainColor":94},223523,"li-hua-ying-wu-tu-yi-ming-223523","梨花鹦鹉图","画面上满是梨花，雪白的碎片，三种绿色，红顶红嘴鹦鹉站在树枝上，俯身闻着梨花的芬芳。 从技术上讲，梨花被涂成白色，茎是浅绿色； 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代表画家之一。\n任薰作画题材广泛，对人物、山水、花卉、翎毛、走兽(马、羊等)无所不能，更擅长花鸟、人物。粗写意、细双勾。技法初学其兄谓长，后吸取陈老莲的传统技法。用笔沉着力。\n在构图上有其特长，在大小不同的画面上，创作出许多新颖、宽广、意境深远的作品，尤其适应扇面上的表现技法，能笔随意转，在极小的团扇、折扇画面上，开拓出广阔、妙趣盎然的意境。\n任薰作品在结构上比较严谨，很重视疏密虚实的主从关系，无论一人、一花、一鸟的主从关系都能巧心安排得体。平淡中亦能出奇，宁静中又能生动。画面上给人一种空灵明快之感。\n他的另一特点是工于着色，浓淡相宜，清新可爱，绝无柔媚习气。他尤长于使用重彩着色，能把对比鲜明的色彩调和统一起来，使画面上的景色更显壮丽，又能从鲜艳色彩中透出古朴的意趣。任薰人物画，线条遒劲圆韧。尤其晚年人物衣褶，运笔如同书法中行草，似有行云流水之感，形态多奇伟的身躯，出乎 寻常容貌，带有性格的神态，别出心匠。",[23,320,24,25,226,28,7,83,7636,62,378,211,1187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22ea923f5fc4a6a88156616b48b14abb.jpg","立轴 纸本","128x34",[],{"id":7748,"slug":7749,"title":7750,"dynasty":302,"author":7751,"museum":20,"description":7752,"tags":7753,"thumbUrl":7754,"material":40,"size":7755,"collection":44,"collections":7756,"showCount":7717,"zanCount":1003,"manualWeight":48,"mainColor":49},221827,"long-gong-shui-fu-tu-zhu-yu-221827","龙宫水府图","朱玉","此图取材于唐人小说《柳毅传》中“柳毅传书”的情节，描述洞庭龙王之女饱受丈夫虐待，在泾河岸边牧羊，秀才柳毅偶遇龙女，仗义为之传书，终使龙女得救的故事。作者选取柳毅下马揖见、龙王率众侍从出门迎请的一瞬，大不盈尺的画面充满了情节性和戏剧性。龙王宫阙上下翻腾起伏的海浪交代出与凡间迥异的环境，柳毅的平静与龙王的恭谨成功地刻画出人物的性格和心态，而画面上端的一片空白，迷濛苍茫，似云似雾，延展了画意，营造了意境。宫阙的描绘虽然用直尺界笔，但造型简括准确，线条粗放有力，异于元代流行的工谨精细的白描建筑画之风。\n《石渠宝笈三编·乾清宫》著录。",[23,24,7,28,212,106,406,150,262,107,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90d2e44d7f8f6c34cd2ea480ccffe619.jpg","纵45.6厘米，横43.3厘米",[44,45],{"id":7758,"slug":7759,"title":1689,"dynasty":99,"author":3774,"museum":191,"description":7760,"tags":7761,"thumbUrl":7762,"material":123,"size":139,"collection":90,"collections":7763,"showCount":7717,"zanCount":48,"manualWeight":48,"mainColor":49},219462,"hua-niao-tu-lu-zhi-219462","虬曲苍劲的老梅盘错伸展，柔粉新花缀满枝桠，垂拂的柳丝轻曳，晕开春日的软柔生机。两只白羽鹦鹉或栖或飞，姿态悠然闲适，绿羽鹦鹉俯身探向花枝，翠色翎毛鲜妍亮眼，鲜活灵动。\n\n画作兼取院体工致与文人雅意，墨笔勾勒梅骨古拙苍劲，禽鸟晕染细腻写实，设色柔丽雅致。将花木的清隽幽淡与禽鸟的鲜活灵韵相融，动静交织间，晕开春日独有的悠然闲情，尽显明丽雅致的花鸟意趣。",[24,25,28,7,83,209,7636,245,820,836,62,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff60450a7cb42a9f747df8719efb27c47.jpg",[90],{"id":7765,"slug":7766,"title":7767,"dynasty":18,"author":257,"museum":191,"description":7768,"tags":7769,"thumbUrl":7770,"material":123,"size":139,"collection":42,"collections":7771,"showCount":7717,"zanCount":2368,"manualWeight":48,"mainColor":49},218832,"qiu-pu-ting-zhou-tu-yi-ming-218832","秋浦停舟图","这幅画描绘了秋天开阔的河面，青山绿水，两个渔民坐在岸边的一棵老树下，高兴地拿着一壶酒互相问候。这幅画的风格是两岸，笔法、墨法和青绿颜色都可以归入盛懋画派的范畴。",[23,24,25,194,29,7,81,174,106,34,1135,262,5218,230,3562],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2edb5d6704f3fcb03ac84af6ce8e6b23.jpg",[42,181],{"id":7773,"slug":7774,"title":922,"dynasty":18,"author":7775,"museum":608,"description":7776,"tags":7777,"thumbUrl":7778,"material":123,"size":7779,"collection":44,"collections":7780,"showCount":7717,"zanCount":1379,"manualWeight":48,"mainColor":94},216922,"xiang-shan-jiu-lao-tu-ma-xing-zu-216922","马兴祖","画的是唐贞观五年，白居易率领九位老者在河南洛阳的斗姆山聚会和宴请的故事。马兴祖是南宋画家，是马远的祖父，他的作品有花鸟、人物、山水和各种画作，特别擅长做精细的艺术家。此卷是由后来的艺术家复制的，与马兴祖没有关系。",[23,194,24,26,28,7,106,227,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F695cadd81d87bdb7478f46096b1241a9.jpg","27.1x217.2",[44],{"id":7782,"slug":7783,"title":7784,"dynasty":76,"author":329,"museum":316,"description":7785,"tags":7786,"thumbUrl":7790,"material":599,"size":600,"collection":139,"collections":7791,"showCount":7792,"zanCount":1379,"manualWeight":48,"mainColor":49},290019,"qian-long-di-sui-chao-xing-le-tu-zhou-lang-shi-ning-290019","乾隆帝岁朝行乐图轴","郎世宁（Giuseppe Castiglione，1688.7.19-1766.7.16），原名朱塞佩·伽斯底里奥内，圣名若瑟，天主教耶稣会修士、画家，意大利米兰人。\n1715年（清康熙五十四年）来中国传教，随即入皇宫任宫廷画家，历经康熙、雍正、乾隆三朝，在中国从事绘画50多年，并参加了圆明园西洋楼的设计工作，为清代宫廷十大画家之一。 郎世宁擅绘骏马、人物肖像、花卉走兽，风格上强调将西方绘画手法与传统中国笔墨相融合，受到皇帝的喜爱，也极大地影响了康熙之后的清代宫廷绘画和审美趣味。\n其主要作品有《十骏犬图》《百骏图》《乾隆大阅图》《瑞谷图》《花鸟图》《百子图》《聚瑞图》《仙萼长春图册》《心写治平图》（《乾隆帝后妃嫔图卷》）等。",[23,24,226,7,28,104,106,107,115,2724,1273,820,2562,7787,7788,7789],"岁朝行乐","宫廷","欢乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0c7cec0bd92f397ff05871378734d78.jpg",[],171,{"id":7794,"slug":7795,"title":7796,"dynasty":189,"author":1642,"museum":316,"description":7797,"tags":7798,"thumbUrl":7799,"material":139,"size":139,"collection":139,"collections":7800,"showCount":7792,"zanCount":414,"manualWeight":48,"mainColor":49},228384,"guan-wu-shi-nv-tu-zhou-wen-ju-228384","观舞仕女图","松奇石秀的庭院中，仕女们各尽其态，晕开一段闲雅深闺意趣。前景舞女立在红毡之上，扬袖振腕，身姿柔婉灵动，将舞蹈的曼妙尽致展现。侧旁侍女跪坐调鼓，应和节拍，另有仕女相携私语，目光流连。远景榻上仕女斜偎观舞，侍女垂手侍立身侧，尽显松弛慵闲。\n\n画作以铁线描勾勒衣袂裙裾，线条细劲流畅，设色古雅沉静，晕染柔和雅致，将仕女温婉娟秀的仪态，贵族深闺宴乐的慵懒柔靡尽数铺陈，把闺中日常的悠然意趣定格在古绢之上，尽显精工雅致的笔情墨韵。",[23,24,25,226,7,28,106,59,614,195,34,176,115,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbeba11e752bd59ac0714e9fc60eac044.jpg",[],{"id":7802,"slug":7803,"title":7804,"dynasty":18,"author":1315,"museum":191,"description":7805,"tags":7806,"thumbUrl":7807,"material":1319,"size":7808,"collection":42,"collections":7809,"showCount":7792,"zanCount":2368,"manualWeight":48,"mainColor":49},220237,"zuo-shi-kan-yun-tu-li-tang-220237","坐石看云图","画中物象安排较多，与一般南宋山水画半边留白模式略有差异。但仔细观察画面，不难注意其中仍具有一巧妙的斜向构图手法。依此斜向虚线，左上与右下半两部呈现出有趣的虚实对照关系。右下两位人物着宽袍濯足，望向左上侧景致。这一佳景林木繁盛，嶙峋山岩以青绿添墨染成，又间以赭石增添色彩变化。于李唐〈万壑松风图〉的逼真山石质感，揉入赵令穰小景的细腻情调，距北宋山水特色不远。",[23,24,25,194,29,106,230,2235,353,177,173,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6df661a9b20032e251b879ebfce45eb8.jpg","27.7x30",[42],{"id":7811,"slug":7812,"title":7813,"dynasty":18,"author":1350,"museum":191,"description":7814,"tags":7815,"thumbUrl":7816,"material":1884,"size":7817,"collection":42,"collections":7818,"showCount":7792,"zanCount":48,"manualWeight":48,"mainColor":94},218868,"he-gan-xu-ge-tu-ma-yuan-218868","河干虚阁图","这幅画描绘了一个站在河岸桂花树下的亭子，远处的柳树岸上有一个雕花的栅栏和一个月亮。这幅画在笔法和形式上都是马远的典型风格。",[23,24,1260,29,104,107,34,176,177,173,7,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78455ff7832d3c26e3468c39f388dd57.jpg","22.1x24.3",[42],{"id":7820,"slug":7821,"title":7822,"dynasty":99,"author":7823,"museum":191,"description":7824,"tags":7825,"thumbUrl":7826,"material":2365,"size":7827,"collection":90,"collections":7828,"showCount":7792,"zanCount":2368,"manualWeight":48,"mainColor":94},218849,"xing-hua-xi-que-tu-qian-gu-218849","杏花喜鹊图","钱谷","杏花开于春日，枝头上飞来一只喜鹊，寓有喜报春讯之意。画花写鸟之笔墨雅淡润厚，并有沈周文征明之遗韵。",[24,25,226,7,83,2328,245,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2af34acb04865ee01aff2df0f861c9af.jpg","116.6x34.3cm",[90],{"id":7830,"slug":7831,"title":7832,"dynasty":18,"author":7833,"museum":191,"description":7834,"tags":7835,"thumbUrl":7839,"material":123,"size":139,"collection":44,"collections":7840,"showCount":7792,"zanCount":1379,"manualWeight":48,"mainColor":49},216731,"wen-ji-gui-han-tu-chen-ju-zhong-216731","文姬归汉图","陈居中","旧传是是南宋宁宗时代的宫廷画家陈居中所画。此一题材在南宋初年，相当地流行。原因是北宋灭亡时，徽宗、钦宗两位皇帝和一干后妃们，均遭金人所挟持。情况和文姬当年的际遇，颇为类似。描绘文姬归汉的故事，正好符合了南宋臣民祈盼皇帝归来的心情。",[23,24,25,26,28,7,106,29,150,34,176,7836,3429,7837,4007,5217,7838],"旌旗","骑兵","丛树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8ccb7fb1bc626b0b7aa8fc314796013.jpg",[44],{"id":7842,"slug":7843,"title":7844,"dynasty":99,"author":170,"museum":20,"description":7845,"tags":7846,"thumbUrl":7847,"material":770,"size":7848,"collection":139,"collections":7849,"showCount":7850,"zanCount":2368,"manualWeight":48,"mainColor":94},234144,"nan-shan-zhu-yu-tu-shen-zhou-234144","南山祝语图","《南山祝语图》是刻画韩世光所居的“云堂”，韩氏先世为良相，本人为良医，均有泽于世。画面中心主人盘坐在云堂外的石台上，专心守护着丹灶，即点出了韩氏的身份和居处。云堂并无云气缭绕，然阶下栖立仙鹤，周围环以松竹，也显示此堂是营建在山巅云端之间。这种境界有力地衬托出了主人公的品行。沈周此“幽居庄园”类题材的写实山水，无论是表现苏州文人隐居的茅屋斗室或描绘精致幽雅的山庄园林，无论简陋还是宏阔，都强调清宁的环境和舒适的情致，以寄托文人的理想和品格。所取景致，既基于对客观环境的提炼概括，又寓有一定象征意义，或传情达意，或比喻人品。",[23,24,25,26,7,29,3560,177,178,86,685,262,175,34,176,989,1171,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1f94f80c3cca93e96c5b2aa322b36d0.jpg","31.5x156.6cm",[],170,{"id":7852,"slug":7853,"title":7854,"dynasty":302,"author":303,"museum":316,"description":7855,"tags":7856,"thumbUrl":7857,"material":139,"size":139,"collection":139,"collections":7858,"showCount":7850,"zanCount":1003,"manualWeight":48,"mainColor":49},228020,"hua-lan-tu-ye-qian-xuan-228020","花篮图页","棕褐绢底晕开古雅底色，竹编花篮篾条交错，纹理写实朴拙，似可触手可感。篮中群芳错落排布，柔粉芍药舒展娇瓣，乳白月季凝含清韵，朱红小花点染亮色，碧色青叶俯仰生姿，花叶的阴阳向背层次分明。设色妍丽却不浓艳，工笔细绘暗含文人雅意，褪去刻板匠气，将折枝花卉的鲜活生机与花篮的质朴融于方寸之间，把秋日花篮的雅致鲜活定格绢上，晕染出静谧隽永的古典诗意，尽显幽淡雅致的审美意趣。",[23,24,194,7,28,83,62,229,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1ef07ac91ee4d635310b37558cfb414.jpg",[],{"id":7860,"slug":7861,"title":7862,"dynasty":76,"author":7863,"museum":316,"description":7864,"tags":7865,"thumbUrl":7866,"material":638,"size":7867,"collection":90,"collections":7868,"showCount":7850,"zanCount":1379,"manualWeight":48,"mainColor":94},222707,"mei-hua-tu-li-zhou-jin-nong-222707","梅花图立轴","金农","水墨绘梅树枝杆，中间淡墨皴染，外部浓墨晕染，粗壮遒劲；古梅细枝繁多，每一枝枝头皆花朵绽放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北宋大观宋徽宗命大臣编绘宣和殿所藏古器，修成《宣和博古图》三十卷。后人因此将绘有瓷、铜、玉、石等古代器物的图画，叫做“博古图”，有时以花卉、果品等装饰点缀。“博古图”有博古通今、崇尚儒雅之寓意，常用于书香门第或官宦人家的宅第装饰，这也造成了其在艺术品投资领域中不俗的地位。",[23,24,25,7,28,106,1133,379,820,8180,280,115,2385,615,1010,8181,8182,4876],"古物","古玩","平台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e71958042d8dd75fd60dcfa63880052.jpg",[42,44],{"id":8186,"slug":8187,"title":8188,"dynasty":302,"author":2603,"museum":191,"description":8189,"tags":8190,"thumbUrl":8191,"material":2365,"size":8192,"collection":163,"collections":8193,"showCount":8173,"zanCount":48,"manualWeight":48,"mainColor":94},218773,"hua-xi-shu-wu-tu-wang-meng-218773","花溪书屋图","层峦叠嶂如卷舒展，林木葱茏间，溪流蜿蜒穿石而过，花溪的清浅便藏在这潺潺声里。山腰隐现书屋一角，竹窗半启，似有文人临窗对景，墨韵与山风悄然相融。王蒙以解索皴勾勒山石肌理，线条如藤蔓缠石，墨色浓淡相济，将山峦的厚重与草木的清润织成幽深之境。画面繁密却不失空灵，每一处皴擦点染皆见匠心——峰峦层叠、树木错落、书屋静谧，交织出元代文人避世栖居的诗意。山鸟啼鸣仿佛入耳，涧水清香似可轻嗅，尽显山水间的隐逸之趣与笔墨的精妙神韵。",[23,24,25,173,7,177,29,808,34,176,35,809,108],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe82e97f416bf5d962388fc7adab04d04.jpg","31.2x51.9",[163],{"id":8195,"slug":8196,"title":8197,"dynasty":54,"author":8198,"museum":5827,"description":8199,"tags":8200,"thumbUrl":8201,"material":123,"size":8202,"collection":181,"collections":8203,"showCount":8173,"zanCount":2368,"manualWeight":48,"mainColor":49},218238,"xi-shan-xue-ji-tu-yang-sheng-218238","溪山雪霁图","杨升","画面铺展雪后初霁的溪山胜境。层叠山峦覆着薄雪，肌理温润如凝脂，淡褐底色晕染出残雪消融的清润。近景松枝苍劲，几抹丹枫似燃，为素净天地添暖意；山间小径隐现行人，桥上红袍骑手与白衣者对语，马蹄踏雪声仿佛可闻。中景茅舍掩映林间，窗内人影依稀，似在煮茶赏雪。远景峰峦隐入烟霭，留白处似有余雪未尽。整幅画以淡墨轻染山石，线条婉转勾勒树石轮廓，设色雅致却藏生机，动静相济间，尽显唐时文人对山水隐逸之趣的向往。",[23,24,7,29,2086,176,34,108,106,150,175,35,226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6649b347adabe03cc40f45facab14c08.jpg","118.9x60.3cm",[181,90],{"id":8205,"slug":8206,"title":8207,"dynasty":18,"author":257,"museum":8208,"description":8209,"tags":8210,"thumbUrl":8212,"material":123,"size":8213,"collection":90,"collections":8214,"showCount":8173,"zanCount":1233,"manualWeight":48,"mainColor":94},216748,"jia-die-tu-ye-yi-ming-216748","蛱蝶图页","辛辛那提艺术博物馆","蛱蝶图页是一幅著名的宋朝绘画，被认为是宋朝早期艺术发展的重要代表作之一。这幅画是由佚名艺术家创作的，其名字尚不为人所知。\n\n蛱蝶图页描绘了一只蛱蝶飞舞的场景，画面上的蛱蝶美丽、优美，表现出轻盈、自然的感觉。画中的蛱蝶身体清晰可见，细腻地描绘了蛱蝶的身体结构和色彩。蛱蝶的翅膀上有精细的花纹，使得整幅画充满了生动的艺术气息。\n\n蛱蝶图页是宋朝绘画发展的一个里程碑，它体现了宋朝早期艺术家对自然界的观察和描绘能力的高超。这幅画也是宋朝艺术史上非常重要的一件作品，被认为是宋朝绘画艺术的重要代表作之一。",[23,194,24,25,1260,6083,28,7,83,484,3106,8211,264],"草叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50bde642897008fa269f1fcefa22eeff.jpg","25.4x24.8cm",[90],{"id":8216,"slug":8217,"title":6294,"dynasty":18,"author":257,"museum":8218,"description":8219,"tags":8220,"thumbUrl":8221,"material":123,"size":8222,"collection":90,"collections":8223,"showCount":8173,"zanCount":2368,"manualWeight":48,"mainColor":49},216724,"zhu-que-tu-yi-ming-216724","德国国立民族博物馆","竹雀图是一幅中国宋朝时期的山水画。它的作者不详，因此被称作佚名。这幅画展现了一只竹雀坐在枯竹上，它仰望天空，看起来沉思，非常感人。背景是一片山林，山上有云雾，枯竹上有苔藓。这幅画浓烈的山水意境和出色的线条勾勒，使得它成为了一幅经典的中国画作品。",[23,194,24,25,1260,28,7,83,227,4323,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a620d767f5903f90715fcce25b8448e.jpg","24.1x23.4cm",[90],{"id":8225,"slug":8226,"title":1442,"dynasty":76,"author":77,"museum":316,"description":596,"tags":8227,"thumbUrl":8228,"material":599,"size":600,"collection":139,"collections":8229,"showCount":8230,"zanCount":1003,"manualWeight":48,"mainColor":94},235684,"yun-shou-ping-hua-hui-ce-yun-shou-ping-235684",[24,25,81,7,83,292,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6930bde3108470cfd97757dcaf702f3.jpg",[],163,{"id":8232,"slug":8233,"title":8234,"dynasty":76,"author":742,"museum":20,"description":8235,"tags":8236,"thumbUrl":8237,"material":529,"size":8238,"collection":139,"collections":8239,"showCount":8230,"zanCount":48,"manualWeight":48,"mainColor":94},223237,"he-hua-yuan-yang-ren-yi-223237","荷花鸳鸯","虚谷在挽任伯年联中称誉：“笔无常法，别出新机，君艺称极也；天夺斯人，谁能继起，吾道其衰乎。\n”徐悲鸿则将任伯年“定之为仇十洲以后中国画家第一人”（《任伯年评传》），任伯年在近代绘画史上的杰出地位是举世公认的。他的画风新颖生动，风姿多彩，长于设色，于花鸟、人物、山水无所不能，无所不精。以个人成就而言，他的花鸟画最具特色，但从历史角度来衡量，则他的人物画成就更大，这是因为在清末人物画普遍弱化的历史环境中，任伯年显得尤为突出。\n任伯年精于写像，是一位杰出的肖像画家。他的人物画早年师法萧云从、陈洪绶、费晓楼等人，造型夸张奇伟，勾勒灵动，形神毕肖。他的山水画创作不多，但以笔法见长，自具特色。他的花鸟画更具创造性，富有巧趣。他早年以工笔花鸟见长，仿北宋人画法，纯以焦墨钩骨，赋色肥厚，近陈老莲一派。后来吸收了恽寿平的没骨画法以及陈淳、徐渭的写意画法和西洋绘画的技巧，将数者融合为一而又有所变化，形成了兼工带写、明快温馨、简逸放纵的笔调，开辟了花鸟画的新天地，对后世产生了巨大的影响。虽然由于任伯年出身贫寒，读书不多，故与吴昌硕、齐白石相比，画作中蕴涵的文思较乏，缺少一丝画外余音，但就笔法、墨法、结构、色彩而言，任画技巧更为丰富，足资后世借鉴。\n此帧任伯年的《荷花鸳鸯图》写鸳鸯游戏于荷田之中，荷叶硕大如盆，素雅的白莲花散发着幽香。画面以青绿色调为主，清新可人。因系画于熟绢之上，又以用水见长，故色彩交融明快自然，富于生气。笔与笔之间的留白，起到了透气和清醒视觉的作用，斑驳迷离，实非功力深至不能轻达此境。鸳鸯的造型古奥生动，运笔凌利，细节处收拾稳当，简练传神，均是彰显出任伯年独特而高超的绘画技艺之处。",[23,24,25,194,226,7,173,83,136,137,2014,262],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F354cad584cbfaada75e733228bef455f.jpg","纵138厘米，横42厘米",[],{"id":8241,"slug":8242,"title":8243,"dynasty":99,"author":257,"museum":2023,"description":6420,"tags":8244,"thumbUrl":8250,"material":511,"size":6425,"collection":139,"collections":8251,"showCount":8230,"zanCount":1379,"manualWeight":48,"mainColor":49},222146,"di-shi-tian-tu-xi-bi-yi-ming-222146","帝释天图西壁",[23,511,24,6170,8245,6768,7,8246,8247,8248,8249,6422],"宗教画","帝释天","梵天","二十诸天","礼佛护法","https:\u002F\u002Foss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创作的一幅绢本设色画，现收藏于美国波士顿美术馆。\n此图为横卷，画中一只鹦鹉立于一斜枝上，鹦鹉得意自适，似与人语，俏姿可掬。\n正是春光明媚之时，杏枝抽条，白花朵朵，欣欣日上。\n此图是一幅写实性的小品，可以看出徽宗“妙体众形”的深厚功力。\n此卷既有图，又有题句和跋，为赵佶的三绝珍品。\n卷首有清宋荦隶书题款，前段为宋徽宗咏鹦鹉诗一首并序：五色鹦鹉来自岭表，养之禁御，驯服可爱，飞鸣自适，往来于苑囿间。\n方中春，繁杏遍开，翔翥其上，雅诧容与，自有一种态度。\n纵目观之，宛胜图画，因赋是诗焉。\n天产乾犀此异禽，遐陬来贡九重深。\n体全五色非凡质，惠吐多言更好音。\n飞翥似怜毛羽贵，徘徊如饱稻粱心。\n缃膺绀趾诚端雅，为赋新篇步武吟。\n御制御画并书（仅存“制”、“并” 二字及画押）。\n后半部分则画一红颈鹦鹉立千杏枝之上。\n杏花正在盛开，饱满的杏花在枝头次第开放，热烈浓郁，营造出春意盎然、欢快喜悦的精神氛围。\n画卷上钤有元文宗“天历之宝”印，清初戴明说、宋荦藏印及清乾降、嘉庆内府鉴藏印。\n赵佶不是一位好皇帝，然而当时的政治制度以及他统治者的政治地位极大地影响了艺术的发展。\n他痴迷于艺术，并且把自己的爱好推广到社会中，造成一种社会文化现象，使北宋文化在宋徽宗时期创造了一段辉煌，尤其是工笔花鸟画的发展在宋代达到了古代花鸟画历史的顶峰，并开创了花鸟画创作的新时代，对后世的花鸟画产生了深远的影响，《五色鹦鹉图》就是一幅典型的花鸟画。\n据说，宋徽宗在御花园内见一只贡自岭表的别致鹦鹉飞鸣于杏枝间，姿态煞是可爱，遂御笔彩绘，复作诗并序，画了《五色鹦鹉图》。\n在充满了道教神仙思想的徽宗看来，描绘祥瑞之物的工笔花鸟画不但是艺术创作，还是祈祷国家和民族福祉的独特形式，也是治理国家的一种手段。\n他要在大自然中发现那些预示国家运兆的祥禽瑞草，并把它们图绘下来。\n画中的五色鹦鹉的毛色恰好与社稷坛供奉的五色土相近，“五色”为青黄赤白黑，象征着五个方位，亦象征天下。\n宋徽宗正是想用“五色”向诸朝臣表明此系“天产”、“异禽、“非凡质”、乃“样瑞”也。\n宋徽宗羡慕此鸟的“飞鸣自适”，实际是“自由”，这是这位帝王想得都得不到的。\n全枝式构图是花鸟画常见的一种构图方式，即画幅的主要部位摆布几枝全株花木，配以禽鸟或草虫，或烘云托月为其背景。\n花木枝干参差交错，叶片层叠枞深，疏密有致。\n花木下部不露脚根，也不用画山石土坡，使画面的主体物更加突出，重点更为集中。\n《五色鹦鹉图》就是全枝式构图的一个典型代表，画中色彩斑斓的鹦鹉栖息在杏花枝头，营造出一种宁静欢愉的境界。\n这张画是一幅重彩，重彩画画成浓重是方便的，但画得很清灵、透明是不容易的。\n这张画的颜色设计很调和，技巧上厚薄把握得很好。\n在墨的底子上用石绿，因石绿为矿物质颜料，画上容易出现粉气，但它没有这种粉气。\n指鹦鹉背部这一块很淡很薄，笔法显得很生动。\n树枝的勾线很结实，用笔富有变化。\n下笔较重，微露钉头，从上往下勾，如果笔法一样是很死板的，但太不相类又不能成为贯通的一枝，而此画树杆中的钉子头有些明显，有些不明显，很随意，有一种自然变化之妙在其中。\n此图杏树枝条多以淡墨勾勒轮廓，再以极细微多尖锐墨点点苔，枝头嫩绿的叶芽隐隐透出，突出了春天枝条初发生机的柔韧感和树枝坚硬的质地感，枝条安排疏密有致，详略得当。\n杏花或侧或卧，或正或背，或大或小，或蓓蕾初成，或繁华正开，或团簇，或散落，极尽姿态。\n画家先以淡墨勾出花瓣、花蕊轮廓，然后再以白粉层层渲染，花萼则略加勾勒，然后以浅绿敷色，层层包裹，更加映衬突出杏花的繁茂、饱满和热烈，花气鲜嫩浓郁，姿态各异，若从绢上跃然生出。\n鹦鹉为全幅刻画的重点所在，亦是画家着重关注的对象，画中鹦鹉眼睛大而有神，正炯炯注视眼前繁茂的杏花，似乎为欢快的春天气氛所吸引，呈现出欢愉的表情。\n眼睛以生漆点之，呼之欲活，确实倍见精彩。\n鹦鹉羽毛呈五色，黑、灰、红、绿，鲜丽耀日，头呈黑灰色，脖颈呈深红色，翅羽、尾羽呈浅绿色，鲜艳明快的羽毛呈亮色调，为画面增添了温暖的基调。\n鹦鹉露出一足紧紧抓住杏枝，另一足微露脚爪，当为俯视鹦鹉角度所看到的情形，更突出了鹦鹉站立枝头的别样姿态。\n鹦鹉足角质鳞片也悄然画出，不同于羽毛及所立杏枝的质感，更见画家观察的精细，让人不由得驻足留意观赏。\n此画曾著录于《宋中兴馆阁储藏图画记》、吴升《大观录》、《石渠宝笈初编》（卷二十四）诸书中，为《宣和睿览集》中的存世画迹。\n此卷在元代经文宗收藏，明末清初为戴名世所收，又经宋荦收藏，乾隆时收入内府。\n民国初年为山本悌二郎所收，流入日本，著于《澄怀堂书画目录》中。\n山本卒后，他所收藏的《杏花鹦鹉图》不久即流入美国，为波士顿美术馆所收。\n212年11月2日至21年1月日，上海博物馆开展了“翰墨荟萃—美国收藏中国五代宋元书画珍品展”，《五色鹦鹉图》在这次展览中展出。\n217年7月2日，日本东京都美术馆开展了“波士顿美术馆至宝展”，《五色鹦鹉图》在这次展览中展出。\n赵佶（182－115），即宋徽宗，北宋皇帝。\n神宗第十一子，哲宗弟，在位25年。\n即位前历任镇宁军节度使，平江、镇江军节度使等职，先后封宁国公、遂宁郡王、端王。\n崇信道教，自号“教主道君皇帝”。\n南宋绍兴五年（115年），死于五国城（今黑龙江依兰）。\n其书法、绘画颇有造诣，书法自成一家，称“瘦金体”，兼及狂草。\n绘画重写生，尤长花鸟画，存世有《芙蓉锦鸡图》、《池塘秋晚图》。\n并能诗词，著有《宣和宫词》卷，已佚。",[23,194,24,25,26,28,7,83,820,7636,86,178,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F250806d5c1a5a740cd7a94908d9dccc4.jpg","纵：53.3，横：125.1厘米",[42,90,45],{"id":8262,"slug":8263,"title":131,"dynasty":76,"author":658,"museum":316,"description":8264,"tags":8265,"thumbUrl":8266,"material":599,"size":600,"collection":90,"collections":8267,"showCount":8268,"zanCount":1379,"manualWeight":48,"mainColor":94},238883,"hua-hui-ce-dong-gao-238883","董诰（1740年－1818年），字雅伦，号蔗林，浙江省杭州府富阳县（今浙江省杭州市）人，生于顺天府（今北京市），清代大臣、书画家。工部尚书董邦达长子，与其父有“大、小董”之称。\n乾隆二十九年（1764）中举，隔年会试，名列一甲第三，得中探花，乾隆帝将其改为二甲第一，作金殿传胪，形降实升。嘉庆四年（1799），董诰六十岁，以从庶吉士、编修、工部侍郎、军机大臣、东阁大学士等，擢为文华殿大学士（即宰相），首席军机大臣，上书房总师傅，钦赐“紫禁城骑马”。直军机先后四十年。董诰精书法，善绘画，更通晓军事。他五次归还故里，生活简朴，平易近人，从不倨傲，深为邻里称道。董诰卒于嘉庆二十三年（1818），终年七十九岁。\n董诰死后六天，嘉庆帝亲临祭奠，赠太傅，赐谥号文恭，入祀贤良祠。嘉庆亲写哀诗“只有文章传子侄，绝无货币置田庄”，并亲自拨款建立“董公祠”。",[24,25,81,28,7,83,84,62,783],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5565de81860414a56e206c890dc9266.jpg",[90,45],162,{"id":8270,"slug":8271,"title":8272,"dynasty":76,"author":77,"museum":20,"description":8273,"tags":8274,"thumbUrl":8277,"material":770,"size":8278,"collection":139,"collections":8279,"showCount":8268,"zanCount":2368,"manualWeight":48,"mainColor":94},233791,"liao-ting-yu-zao-tu-zhou-yun-shou-ping-233791","蓼汀鱼藻图轴","该幅是恽氏触景生情的写生之作。构图简洁无远、中、近景之分，仅绘青山园池的一隅：蓼花、翠竹与湖石构筑出典雅平和的意境，数尾游鱼惬意的神态又为全幅平添了几分生机和意趣。恽寿平在《瓯香馆集补遗画跋》曾言：“以古人为师犹未能臻妙，必进而师抚造化，庶几极妍尽态而为大雅之宗。” 此图便体现了他这种在传统的绘画之外，更注重师法自然的美学思想。在表现技法上，恽寿平采用的是他出古入新创制的“没骨”画风，即不用笔勾勒物象的轮廓线，而全以色彩点染而成。竹、芦、蓼叶及水藻施以浓淡不同的花青、淡赭、浅红等，每片叶均一笔撇出，缺少轮廓线的束缚，物象更具摇曳多姿的生动性。湖石以淡花青为主调，施用大量的水分晕染，没有干笔勾线，枯笔皴擦，湖石固然失去了石体坚硬的质感，但其玲珑剔透的秀润之美倍增。",[24,7,28,83,230,722,8275,319,8276],"蓼草","藻类","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a9bc3daeb5afc87149b9699423ade1b.jpg","纵135厘米，横62.6厘米",[],{"id":8281,"slug":8282,"title":8283,"dynasty":302,"author":4090,"museum":132,"description":8284,"tags":8285,"thumbUrl":8286,"material":123,"size":139,"collection":181,"collections":8287,"showCount":8268,"zanCount":1379,"manualWeight":48,"mainColor":49},220127,"mo-zhao-qian-li-qing-lv-shan-shui-hu-ting-hui-220127","摹赵千里青绿山水","以大青绿设色晕染山峦，石青石绿的厚重色调铺陈出苍古秀润的山川气象。主峰巍峨盘踞，山石勾勒填色间施皴擦，棱角分明又兼具温润质感，层叠峰峦拉开深远空间。\n山间隐现殿宇屋舍，林麓古木森郁，水岸板桥横陈，汀渚渔舟、江亭雅集错落点缀，将隐逸悠然的山居意趣融于山水烟岚之中。\n追摹北宋青绿山水的精工雅致，又裹挟元代山水画的萧散意韵，用色浓丽却不俗艳，勾勒细劲沉稳，章法严整兼具宏阔格局与细腻文心，尽显青绿山水的古典意涵与雅致格调。",[23,24,27,7,105,29,176,34,31,108,174,989,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8a4204ffb83c828eabda3ee5617bad2.jpg",[181],{"id":8289,"slug":8290,"title":8291,"dynasty":99,"author":3307,"museum":608,"description":8292,"tags":8293,"thumbUrl":8294,"material":123,"size":8295,"collection":90,"collections":8296,"showCount":8268,"zanCount":48,"manualWeight":48,"mainColor":49},218959,"yuan-yang-hua-niao-tu-lv-ji-218959","鸳鸯花鸟图","这幅画描绘了夏天溪边成双成对的鸟儿，包括白头鹅、鸳鸯、红嘴蓝鹊等，其形态准确真实，着色精妙。这幅画的作者是吕纪，题目是南宋的，也就是说，这是吕纪早年的作品。",[23,24,194,28,7,1273,2014,245,83,84,353,3519,380],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0191004ce3982d50bfff75380fa7ddd.jpg","185.7x108.5cm",[90],{"id":8298,"slug":8299,"title":8300,"dynasty":302,"author":257,"museum":191,"description":8301,"tags":8302,"thumbUrl":8303,"material":67,"size":8304,"collection":139,"collections":8305,"showCount":8306,"zanCount":2368,"manualWeight":48,"mainColor":49},231477,"wen-shu-pu-sa-yi-ming-231477","文殊菩萨","菩萨垂目敛神，面庞圆融柔和，静穆间自含慈悲沉静的气韵。朱红衬袍搭配织金纹饰的华彩僧衣，衣纹流转自然，晕染得宜，古雅厚重的设色尽显质感。\n\n身下青狮昂首蹙眉，獠牙毕露，卷曲如棘的鬃毛发散周身，狞猛威悍的模样，恰好衬出菩萨的超然平和。画面仅以淡墨晕出圆光，素净背景将视觉焦点全然落于主仆二者之上。\n\n构图疏密得当，将神性肃穆与瑞兽犷悍融于一轴，用笔精细却无匠气，尽显此件佛造像兼具美学价值与精神意蕴的独特风貌。",[24,7,28,260,106,746,226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00c29bb18dc9a52f9c138d2229b1e27e.jpg","30.4x59.8厘米",[],161,{"id":8308,"slug":8309,"title":1641,"dynasty":99,"author":1196,"museum":316,"description":2456,"tags":8310,"thumbUrl":8311,"material":139,"size":139,"collection":44,"collections":8312,"showCount":8306,"zanCount":1233,"manualWeight":48,"mainColor":94},222333,"shi-nv-tu-tang-yin-222333",[23,24,28,7,212,106,59,230,2308,226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7a1ac006358157f9823c6c6e26a159a.jpg",[44,45],{"id":8314,"slug":8315,"title":8316,"dynasty":18,"author":1315,"museum":191,"description":8317,"tags":8318,"thumbUrl":8319,"material":1307,"size":8320,"collection":42,"collections":8321,"showCount":8306,"zanCount":48,"manualWeight":48,"mainColor":94},221496,"zhu-ge-yan-bin-tu-li-tang-221496","竹阁延宾图","此图应为元代画家所绘，大青绿绘远处山峦起伏，陡峭险峻；中部湖面广阔，水面如静；近处树木蓊郁，岸上一处亭台建筑考究，两排并列，回廊延伸，亭内两人倚栏而坐，聊天赏景，不亦乐乎。",[23,24,1260,7,29,177,175,34,106,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac77efdcd38cd2854c5b2b506f96be70.jpg","23.7×20cm",[42,181,45],{"id":8323,"slug":8324,"title":8325,"dynasty":18,"author":2509,"museum":191,"description":8326,"tags":8327,"thumbUrl":8331,"material":67,"size":8332,"collection":42,"collections":8333,"showCount":8306,"zanCount":1233,"manualWeight":48,"mainColor":49},221380,"huo-lang-tu-su-han-chen-221380","货郎图","画面上描绘一位走乡串村的老货郎，推着小货车，走到一棵老梅树下的空旷场院上，货郎的到来，给孩子们带来了极大的快乐：货郎车上挂满了木叉、们‘耙，帽子、围巾、布兜、小风车、拨浪鼓、花篮、糖葫芦、花灯笼，各种佩饰等，品种繁多，琳琅满日。连货郎肩上、腰间、背后都有货物。由于货郎的到来，引来了四面八方的孩子，欣喜若狂地在货车周围戏耍。靠近货郎的一个背着小弟弟的男娃子，好像刚刚跑到这里，眼巴巴地瞧着货郎车上的东西，似有想买又没有买到的样子，所以老货郎的目光投向了这个背着弟弟而迟到的男娃子，停止了车，一手撒把指着小花鼓招引孩子：在车轮旁两个小孩，由于买到了喜爱的玩物，离开货车转身就跑，其中大的孩子手持糖葫芦满面笑容，兴高彩烈的样子。另一个小的孩子满心欢跳，一不小心，仰面跌了一个大跟斗，但是双眼还在找他喜爱的玩具。车头前又有两个站着的孩子，头上、身上戴着佩饰的那个孩子，一手指着货郎车的东西，似在告诉另一个孩子什么玩具好。头戴帽子穿着长袍的孩子，举起双手摇摆着，似有不让货郎车走开的意思。",[23,24,194,28,7,106,8328,820,264,64,8329,8330,84],"儿童","日用品","衣冠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdca69375cfc2c3f744733e8fa2fb6541.jpg","纵159.2厘米，横97厘米",[42,44,45],{"id":8335,"slug":8336,"title":8337,"dynasty":18,"author":8338,"museum":191,"description":8339,"tags":8340,"thumbUrl":8341,"material":123,"size":139,"collection":90,"collections":8342,"showCount":8306,"zanCount":918,"manualWeight":48,"mainColor":49},219722,"hua-die-tu-li-zhong-xuan-219722","花蝶图","李仲宣","此作取景雅致，草木错落排布，野趣盎然。挺秀的秋菊缀着金黄花盘，柔润白花轻绽，带露红浆果垂于青绿叶间，茎叶舒展的姿态写实入微，设色古雅沉稳，晕染细腻尽显草木鲜活生机。\n\n翩跹蝶虫刻画精细，翅脉纹理纤毫毕现，振翅姿态灵动逼真，仿佛携着花间微风扑面而来。整体构图疏密相宜，留白得当，以工笔技法写形传神，既有精致不苟的写实功力，又暗藏平淡天真的诗意，将秋日郊野一隅的闲适意趣定格，尽显创作者观照自然的细腻心境。",[24,194,28,7,83,484,62,897],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65cb4af11c29f63da0e9192564f9ae77.jpg",[90],{"id":8344,"slug":8345,"title":8346,"dynasty":302,"author":1977,"museum":442,"description":8347,"tags":8348,"thumbUrl":8349,"material":123,"size":8350,"collection":90,"collections":8351,"showCount":8306,"zanCount":1379,"manualWeight":48,"mainColor":49},219098,"shi-ma-tu-zhao-meng-fu-219098","十马图","群马姿态各异，或昂首伫立，或低头啮草，或相互亲昵，动静交织间满溢生机。线条勾勒细腻传神，鬃毛飘逸如丝缕，马尾垂落似流瀑，马匹肌理与灵动之态毕现。设色淡雅温润，赭墨晕染出毛色层次，古朴绢底衬得画面沉静雅致。马匹互动自然和谐，似能闻蹄声轻响，尽显画家对生命的细致体察与文人画的清逸韵味。",[23,24,25,26,28,7,150,746],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f7681aecb61572b4fba7da83735ac45.jpg","纵26横233厘米",[90],{"id":8353,"slug":8354,"title":8355,"dynasty":76,"author":77,"museum":539,"description":1182,"tags":8356,"thumbUrl":8358,"material":123,"size":1189,"collection":139,"collections":8359,"showCount":8306,"zanCount":1379,"manualWeight":48,"mainColor":49},216109,"yun-shou-ping-hua-guo-shu-cai-ce-ye-2-yun-shou-ping-216109","恽寿平花果蔬菜册页-2",[194,24,25,81,7,28,227,8357,838,212],"竹笋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc29bf8f805f27469ebc51bee115db2b4.jpg",[],{"id":8361,"slug":8362,"title":8363,"dynasty":18,"author":6650,"museum":20,"description":8364,"tags":8365,"thumbUrl":8367,"material":500,"size":8368,"collection":42,"collections":8369,"showCount":8370,"zanCount":48,"manualWeight":48,"mainColor":49},221573,"xue-tang-ke-hua-tu-xia-gui-221573","雪堂客话图","此图画江南寒江雪景。山村房舍为皑雪覆盖，寒气袭人。二人于室内对话。图中山峦用小斧劈皴和短线条秃笔，以表现山石方硬奇峭而又苍润浑融的质感。天空和水略染淡墨，以烘托大雪的洁白和寒气袭人的气氛。构图采用“边角式”局部取景法。全图笔法苍劲深厚、豪放典雅。",[23,24,25,173,7,177,29,2086,8366,174,795,176,31,34],"堂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9ddc3386f8dbe0c41f1f8a1fa90e3bf.jpg","纵28.2厘米，横29.5厘米",[42,181,163],160,{"id":8372,"slug":8373,"title":8374,"dynasty":869,"author":4525,"museum":6047,"description":8375,"tags":8376,"thumbUrl":8384,"material":8385,"size":139,"collection":139,"collections":8386,"showCount":8370,"zanCount":48,"manualWeight":48,"mainColor":94},220562,"yu-gong-yi-shan-xu-bei-hong-220562","愚公移山","以写实功底刻画出虬结如顽石的肌肉块垒，赤裸壮汉们挥锄蓄力，将千钧蛮力凝于舒展躯体之中，把移山的不屈意志具象为滚烫血肉。\n\n妇孺老者静立一侧，沉静目光藏着世代赓续的执念，缓行的大象驮负薪粮，为磅礴劳作添上一缕质朴烟火气。\n\n画作融西法解剖与东方水墨晕染于一体，让古老神话走出传说，将坚韧不拔的信念，化作眼前可视的磅礴群像，刻进民族骨血里的韧劲儿跃然绢素之上。",[23,24,7,8377,106,8378,151,8379,8380,7657,8381,8382,8383,5423,8328],"写实","大象","农具","竹篮","土地","壮汉","老人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05f740d7fd7175fb0157e825af787bca.jpg","油彩",[],{"id":8388,"slug":8389,"title":8390,"dynasty":76,"author":375,"museum":56,"description":8391,"tags":8392,"thumbUrl":8393,"material":123,"size":8394,"collection":90,"collections":8395,"showCount":8370,"zanCount":1379,"manualWeight":48,"mainColor":49},219126,"shuang-lu-tu-shen-quan-219126","双鹿图","这幅画描绘了在秋季深山里，一对野鹿的生活状态。画面右边是高山悬崖的一段，崖壁上生长着盘如巨龙的古松，虽饱经风霜，仍然枝叶繁茂，粗大的树干上缠绕着藤本植物，从松、藤之间的上部缝隙里，可以看到一条瀑布，它穿过树叶的遮挡，飞流直下，形成巨大的水流，与画面下部的小溪相互呼应。悬崖的左边大幅留白，虽然没有具体描绘，应该能想象为山谷中弥漫着的雾气，在此处取得了无胜于有的效果。上述描绘景色，构成了本幅画的背景，说明了双鹿活动的大环境。双鹿为一公一母，一站一卧，它们伸长了耳朵正在倾听，身处深山老林，时刻保持高度警惕，这幅画正是描绘了这一刻的动态。双鹿周围，是一些正在盛开的白色野菊，山坡间生长着一丛丛色彩暗淡的野草，较好地表明了野草即将衰败、天气已届深秋。",[23,24,194,28,7,746,2479,29,34,3712,1426,686],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6c88b537cee852bc63fd476f497b04f.jpg","120x50.5cm",[90],{"id":8397,"slug":8398,"title":6294,"dynasty":302,"author":7943,"museum":2754,"description":8399,"tags":8400,"thumbUrl":8401,"material":123,"size":8402,"collection":90,"collections":8403,"showCount":8370,"zanCount":2368,"manualWeight":48,"mainColor":49},219077,"zhu-que-tu-wang-yuan-219077","三月，万物复苏，荆棘的枯叶和果实尚未脱落，杂草和绿竹已逐渐变绿，四只羽毛蓬松、身体圆润的鹌鹑在一起玩耍、进食。",[24,25,194,7610,226,28,7,83,227,209,263,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc32bae4473f9f585646637c2c7a6b60d.jpg","53x38cm",[90],{"id":8405,"slug":8406,"title":8407,"dynasty":18,"author":4912,"museum":132,"description":8408,"tags":8409,"thumbUrl":8410,"material":123,"size":8411,"collection":90,"collections":8412,"showCount":8370,"zanCount":48,"manualWeight":48,"mainColor":2504},216667,"san-bai-tu-wang-shen-216667","三百图","王诜是宋朝时期的一位著名的绘画家，他是宋朝最伟大的画家之一。他的作品具有极高的艺术价值，被广泛收藏和珍藏。王诜以其精细的画风和生动的写实风格而闻名，他创作的作品涵盖了各种题材，包括人物画、山水画和花鸟画。",[24,25,194,28,7,245,1980],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36792841b89168ee95409f74824b325c.jpg","131.5x82.5cm",[90],{"id":8414,"slug":8415,"title":8416,"dynasty":76,"author":563,"museum":191,"description":8417,"tags":8418,"thumbUrl":8422,"material":88,"size":8423,"collection":44,"collections":8424,"showCount":8370,"zanCount":48,"manualWeight":48,"mainColor":94},214808,"wu-ri-zhong-kui-tu-hua-yan-214808","午日钟馗图","这幅画表现的是一朵石榴花靠着一块石头，在一个清澈的池塘里有一支箭。钟馗坐在椅子上，头戴绿帽，身穿大衣，欣赏着锦葵花。在他身后，桌子上放着水果、酒和香喷喷的饺子。五个鬼魂陪伴着他，一个拿着一把破伞遮挡阳光，一个手里拿着一个酒瓶，一个头上戴着花。其中一个人偷了一盘橙子，试图把它藏在腋下，但另一个鬼注意到了，用左手摘下他的围巾，用右手打他的上衣。另一个鬼注意到了，用他的左手摘下他的围巾，而他的右手打在他的上面。整幅画是故事性和趣味性的结合，观者不禁为之倾倒。",[23,24,25,7,173,498,106,1241,230,3007,8419,380,212,8420,176,8421],"伞","饮酒场景","垂柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbc9a31aafc0ced5a148f4c4af90990a.jpg","131.5x63.7",[44],{"id":8426,"slug":8427,"title":8428,"dynasty":54,"author":257,"museum":191,"description":8429,"tags":8430,"thumbUrl":8433,"material":123,"size":3907,"collection":44,"collections":8434,"showCount":8435,"zanCount":1379,"manualWeight":48,"mainColor":49},288360,"gong-le-tu-yi-ming-288360","宫乐图","本图描写后宫嫔妃十人,围坐于一张巨型的方桌四周,有的品茗,有的在行酒令。中央四人,则负责吹乐助兴。所持用的乐器,自右而左,分别为筚篥、琵琶、古筝与笙。",[23,24,25,7,28,106,59,614,195,745,8431,8432],"宫廷宴乐","室内场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39857b914581e42221c8c2d3a920666e.jpg",[44],159,{"id":8437,"slug":8438,"title":8439,"dynasty":99,"author":100,"museum":316,"description":8440,"tags":8441,"thumbUrl":8442,"material":599,"size":600,"collection":139,"collections":8443,"showCount":8435,"zanCount":2368,"manualWeight":48,"mainColor":49},287927,"qing-ming-shang-he-tu-ju-bu-chou-ying-287927","清明上河图(局部)","《清明上河图》是明代画家仇英创作的一幅重彩风俗画作品，现收藏于辽宁省博物馆。 现存世作品《清明上河图》有多本传为仇英所作，除此卷外，另有青州市博物馆藏本 ，台北故宫博物院藏本 ，以及多本流落私人之手。而辽宁省博物馆藏的此卷《清明上河图》，流传有绪，现学术界一般认为其为仇英真迹。\n此卷《清明上河图》参照了张择端《清明上河图》的构图形式，采用青绿重设色方式，描绘明代苏州城的社会生活情景，画中人物超过两千，且都神态各异，栩栩如生。整个画面工整细腻，色彩鲜艳，典雅清丽，工而不板，细而不繁，妍而不媚。\n此卷《清明上河图》代表了后世《清明上河图》题材创作的典型风格和最高水平。既是中国古代绘画史上承前启后的风俗巨作，也是研究明代中后期社会生活和文化史的有力图证。",[194,24,26,7,28,106,107,108,109,1654,150,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8286e97dc6c0f4fdbe8f31d7811db1c6.jpg",[],{"id":8445,"slug":8446,"title":8447,"dynasty":99,"author":792,"museum":191,"description":8448,"tags":8449,"thumbUrl":8451,"material":67,"size":8452,"collection":181,"collections":8453,"showCount":8435,"zanCount":1233,"manualWeight":48,"mainColor":49},222599,"bai-yun-hong-shu-tu-zhou-lan-ying-222599","白云红树图轴","此幅用没骨法以石青、石绿色画山石，用朱砂画小草，树叶也用浓艳的红、黄、青、绿没骨点出，云用白粉渲染。画面色彩浓重丰富，却又典雅清新。自识“张僧繇没骨法”，实为画家自己独创的画风，此幅为蓝瑛青绿重彩画的代表作。",[23,24,226,27,7,177,29,8450,2725,176,109,108,106,1273,37],"白云","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56139497977653ee9c9be5bfb32552a0.jpg","纵189.4厘米，横48厘米",[181,45],{"id":8455,"slug":8456,"title":908,"dynasty":54,"author":2060,"museum":5827,"description":8457,"tags":8458,"thumbUrl":8459,"material":123,"size":8460,"collection":44,"collections":8461,"showCount":8435,"zanCount":2368,"manualWeight":48,"mainColor":49},218385,"mu-niu-tu-han-huang-218385","平坡旷野间，双牛安卧，墨色晕染出厚重肌理，犄角宛转，似带泥土气息。牧童蜷身酣眠，草帽斜倚，竹杖横陈，尽是天真慵懒。旁侧老枝虬劲，竹影疏疏，墨痕浓淡交织出野趣。整幅画无喧嚣，唯留田园静穆。笔墨简括却神形毕肖，牛的憨态、牧童的自在，皆藏于线条间。盛唐乡野的悠然时光，仿佛凝在绢上，望之忘俗，心生惬意。",[194,24,25,7,28,106,151,227,230,212,746],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb30f0dc982c6116348e28f459cb13d33.jpg","27.9x31.4",[44],{"id":8463,"slug":8464,"title":8465,"dynasty":76,"author":563,"museum":191,"description":564,"tags":8466,"thumbUrl":8467,"material":88,"size":139,"collection":139,"collections":8468,"showCount":8435,"zanCount":48,"manualWeight":48,"mainColor":94},214856,"xie-sheng-ce-8-hua-yan-214856","写生册-8",[24,25,81,7,28,83,209,720,228,3712],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1f47f6cc86c0d02af35246389a450d2.jpg",[],{"id":8470,"slug":8471,"title":8472,"dynasty":76,"author":329,"museum":316,"description":7785,"tags":8473,"thumbUrl":8475,"material":599,"size":600,"collection":139,"collections":8476,"showCount":8477,"zanCount":1379,"manualWeight":48,"mainColor":49},234708,"hua-guo-qin-wang-xiang-zhou-lang-shi-ning-234708","画果亲王像轴",[24,25,226,28,7,106,150,63,2439,8474],"弓箭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7698ac22bf24965860eb90abe749727.jpg",[],158,{"id":8479,"slug":8480,"title":8481,"dynasty":76,"author":2200,"museum":20,"description":8482,"tags":8483,"thumbUrl":8484,"material":8485,"size":8486,"collection":139,"collections":8487,"showCount":8477,"zanCount":2368,"manualWeight":48,"mainColor":94},233723,"mu-dan-shui-xian-tu-wu-chang-shuo-233723","牡丹水仙图","图中牡丹以没骨积染法刻画，笔致潇洒飘逸，水与墨、色有机地交融，表现出牡丹旺盛的生命力和贵而不骄、艳而不俗的神韵。水仙以白描双勾法刻画，其不着一色的叶片与浓艳的牡丹相比具有洗尽铅华始见真的淡雅之美。生机勃发的牡丹和水仙营造出喜庆祥和的氛围，成功地表达了作者以此图祝福长辈健康长寿的主题，当属吴昌硕花卉画的代表作之一。",[24,7,83,226,292,898,263,498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb479b3e734836eee55d462e42824a5c3.jpg","洒金，设色","纵174.7厘米，横47.5厘米",[],{"id":8489,"slug":8490,"title":8491,"dynasty":18,"author":1315,"museum":316,"description":8492,"tags":8493,"thumbUrl":8494,"material":139,"size":139,"collection":139,"collections":8495,"showCount":8477,"zanCount":2368,"manualWeight":48,"mainColor":94},228898,"cai-wei-tu-li-tang-228898","采薇图","《采薇图》是宋代画家 创作的绢本水墨淡设色画，此画现藏于北京故宫博物院。\n此卷画商末 、 不食周粟，在首阳山饿死的故事。\n图绘半山之腰，苍藤、古松之荫，伯夷与叔齐采摘薇蕨之余，正在休息对话的情景。\n画中正坐一人即为伯夷，他面带忧愤，目光炯炯，注视着叔齐。\n叔齐一手按地似在说着什么。\n图中人物刻画生动传神，衣纹简劲爽利，衬托出人物刚直不阿的性格。\n树石笔法粗简，墨色湿润。\n该图以山石为背景，绘二人在树下席地而坐，进行交谈。\n二人均束发系巾，长须，着宽袖粗服，穿草履，正面者领口略袒，着力突出了他们高士的形象。\n二人身侧还置有装薇的篮子和锄头，表示二人采薇而食，采薇是他们身份的象征。\n图中石壁上有题款两行：“河阳李唐画伯夷、叔齐”。\n引首有明代李擢公书“首阳高隐”，拖尾有元宋杞、明俞允文、清永瑆、翁方纲、蔡之定、阮元、林则徐、吴荣光、潘霄汉等题记。\n本幅钤项元汴、吴荣光等鉴藏印十六方，半印九方，拖尾有诸家藏印五十四方、半印三方。\n《采薇图》是一幅历史题材的绘画作品，以殷末伯夷、叔齐“不食周粟”的故事为题。\n伯夷和叔齐是殷的诸侯孤竹君的两个儿子，兄弟二人出走后先后投奔了西伯姬昌。\n姬昌死后，其子姬发要兴兵讨伐纣王。\n伯夷、叔齐叩马谏阻，认为臣子造反、讨伐君王是大逆不道的行为。\n姬发不听，灭殷后建立了周朝。\n伯夷和叔齐决心不吃从周朝土地上长出来的粮食，于是隐居首阳山（今山西永济县境），以采食野菜充饥度日，最后双双饿死在山里，临死前还作了一首《采薇歌》以表示坚决不屈的志向。\n李唐初以卖画为生，宋徽宗赵佶朝补入画院，深得赵佶赏识。\n1127年金兵攻陷汴京，高宗南渡，李唐亦颠沛流离，逃往临安（今杭州），以卖画度日。\n南宋恢复画院后，李唐经人举荐，进入画院，以成忠郎衔任画院待诏，时年近八十。\n偏安一隅之耻，家国离乱之悲，让画家感慨万端，他赞扬那些保持气节的人，谴责南宋统治者投降变节的行为。\n正是在这种心绪下，他创作了《采薇图》。\n这幅画的主题思想，据跋尾宋杞说：“……且意在箴规，表夷齐不臣于周者，为南渡降臣而发也。\n”表明作者的创作意图是借着伯夷叔齐不食周粟的故事，用来讽刺宋高宗南渡后，留在汴京投降金人的降臣而画的。\n它的含义，用当时历史背景衡量，是有它的特殊意义的。\n李唐的《采薇图》给了一个伯夷、叔齐两人的近镜头描写，浓重的背景环境衬托出两个淡设色的人物。\n悬崖峭壁间一块坡石，两人相对而坐，周围只有古树山石，远处河流平原离得很遥远，很简洁便将两人隐居的生活环境交代得恰如其分。\n背向观画者的是叔齐，一手撑地，一手笔划，在很投入地向伯夷说着什么。\n李唐对伯夷这个人物的刻画非常成功，画中的伯夷面容清瘦，双手抱膝，倚树而坐，胡子已经很长时间没有打理，双眉微颦，眼神并没有落在某个实处，似乎在听着叔齐说话，又似乎没有在听，不过目光中的坚定却是不容怀疑的，也许有些无奈，可毫无悔意，整个人物给人一种很平静安然的感觉，他只是在默默地坐着，不露一点声色，不为物喜，不为己悲，前面采野菜的小锄和篮筐还摆在一边，生活的困苦可想而知，可是这位伯夷只是如过去坐在厅堂中一般倚树席地而坐，尊贵依然，坚定依然。\n作品用笔精练而又富于变化，简劲锐利，线条挺拔，轻重顿挫似有节奏，墨法枯润适中，突出表现了衣服的麻布质感。\n肌肉部分的用线较为柔和，须眉用笔精细且多变化，显得蓬松软和。\n背景部分画家用笔较为豪放粗简，老松主干两边用浓墨侧峰，用浓墨细笔勾出松鳞，充分表现出了老松厚重的量感和体积；柏叶点染细密，浓淡变化细微。\n图中山石用极豪迈的大斧劈皴，以各种不同深浅、枯润的墨色有力涂抹，表现了山石奇峭的风骨和坚硬的质感。\n画家对树丛中远去的河流轻毫淡墨，近处的山石焦墨浓厚，丰富了画面的空间感。\n清代画家 《浦山论画》： “二子席地对坐相话言，其殷殷凄凄之状，若有声出绢素。\n” 中国当代画家 《采薇图画册》：“至人物神情之华贵、高妙，是与米兰藏达·芬奇之耶稣与门必藏三勒之使徒同为绘画的极峰。\n” 中国当代画家 《画史上的名作 中国卷》：整幅画大刀阔斧，坚实有力，刚直不阿，气象森然，使人想到李唐作画时激荡的心情。\n由于他的节操受人尊敬，此画历来颇受珍视。\n《采薇图》在《清河书画舫》，《汪氏珊瑚纲》，《佩文齐书画谱》，《式古堂书画汇考》等书著录。\n《采薇图》历经明代项元汴、清代吴荣光收藏，晚清入宫，现收藏于北京故宫博物院。\n215年4月日—6月29日，《采薇图》在北京故宫武英殿举办的215春季书画特展中展出。\n（166～115），宋代画家。\n字唏古，河阳三城（今河南孟县）人。\n初以卖画为生，宋徽宗赵佶时入画院。\n南渡后以成忠郎衔任画院待诏。\n擅长山水、人物。\n变荆浩、范宽之法，苍劲古朴，气势雄壮，开南宋水墨苍劲、浑厚一派先河。\n晚年去繁就简，用笔峭劲，创“大斧劈”皴，所画石质坚硬，立体感强，画水尤得势，有盘涡动荡之趣。\n兼工人物，初师李公麟，后衣褶变为方折劲硬，自成风格。\n并以画牛著称。\n与刘松年、马远、夏圭并称“南宋四大家”。",[23,24,194,26,25,7,177,106,29,1273,176,34,809,212,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16c214e4ea812a28066aaad9585915a2.jpg",[],{"id":8497,"slug":8498,"title":8499,"dynasty":99,"author":756,"museum":56,"description":8500,"tags":8501,"thumbUrl":8502,"material":500,"size":8503,"collection":181,"collections":8504,"showCount":8477,"zanCount":1379,"manualWeight":48,"mainColor":49},221994,"tao-yuan-wen-jin-tu-quan-juan-wen-zheng-ming-221994","桃源问津图全卷","全图画远山冈峦，叠翠连绵，溪水横流，树木葱郁，屋舍村字，掩映其间，有老者山道边策杖观瀑沉思，有妇人携幼拄杖于院篱门口问路，屋内四男子席地而坐，饮酒高谈。图中线条粗细旋转富于变化，墨色浓淡干湿，层次丰富。该图款识：“嘉靖甲寅二月既望。徵明识。时年八十有五。”嘉靖甲寅年为1556年。",[23,24,29,685,262,378,7,26,498,638,1654],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5be4d911f0f1c59073981b4c71b9d7db.jpg","纵23厘米，横578.3厘米",[181,45],{"id":8506,"slug":8507,"title":4024,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":8508,"thumbUrl":8509,"material":599,"size":600,"collection":139,"collections":8510,"showCount":8511,"zanCount":1379,"manualWeight":48,"mainColor":2504},226402,"ku-zhu-shi-zao-jing-yi-ming-226402",[511,260,7,84,4028,5885],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bda2d4520f30335b9744716dc3d4576.jpg",[],157,{"id":8513,"slug":8514,"title":8515,"dynasty":99,"author":857,"museum":20,"description":8516,"tags":8517,"thumbUrl":8519,"material":529,"size":7648,"collection":181,"collections":8520,"showCount":8511,"zanCount":48,"manualWeight":48,"mainColor":94},221880,"pin-cha-tu-li-zhou-chen-hong-shou-221880","品茶图立轴","画中两人相对而坐,似是一主一客。蕉叶铺地,主人坐于其上,旁置茶炉壶具，炉中炭火正炽。客人坐一怪石上，又以一方奇石为琴台，古琴已收入锦缎琴套中。此时，琴弦歇，茶正熟，两人手持茶盏，四目相视，正闻香品啜，耳边琴声犹在。此中乐趣,任凭读者遐思。读陈洪绶《品茶图》,至少能读出三点明代茶事信息来。",[23,194,24,25,226,7,28,106,229,136,8518,612,6240,542],"衣袍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F561d2687f6bef527a3ee9c1f39e3b3a0.jpg",[181],{"id":8522,"slug":8523,"title":8524,"dynasty":18,"author":8525,"museum":1577,"description":8526,"tags":8527,"thumbUrl":8528,"material":67,"size":8529,"collection":42,"collections":8530,"showCount":8511,"zanCount":1003,"manualWeight":48,"mainColor":49},221464,"tu-tu-sun-long-221464","兔图","孙隆","孙隆（生卒年未详），一作孙龙，字纵吉，又字廷振，号都痴，武进（今江苏常州）人。开国忠愍侯孙兴祖之孙，宣德(1426-1435)间入值内廷，曾为“金门侍御”(翰林待诏)。生性颖敏，有仙人风度。工画花鸟，得徐熙、赵昌“没骨图法”，所绘禽鱼草虫不先勾勒定形而直接以色彩点染物象，此一画技可谓另开蹊径，自成一家，丰富了花鸟画传统技法，对后世泼彩写意影响深远。亦擅山水，宗宋代米芾、米友仁父子。从艺活动约在永乐、宣德、正统间，与林良(1416-1480)同时。传世作品有《雪禽梅竹图》轴、《芙蓉游鹅图》轴，现藏故宫博物院；《花鸟草虫图》卷藏吉林省博物馆；《花鸟草虫图册》十二页藏上海博物馆；《牡丹图》册页藏辽宁省博物馆。",[23,24,25,2003,7,28,746,2181],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97ec09cc9935e1e2fa5e683514485bfa.jpg","21.2×27.0",[42,90,45],{"id":8532,"slug":8533,"title":8534,"dynasty":18,"author":391,"museum":8535,"description":8536,"tags":8537,"thumbUrl":8538,"material":123,"size":8539,"collection":90,"collections":8540,"showCount":8511,"zanCount":1003,"manualWeight":48,"mainColor":49},219170,"la-mei-shuang-qin-tu-zhao-ji-219170","腊梅双禽图","四川博物馆","描绘两只山雀栖止于梅树枝头，梅花含苞欲放，仅一朵绽开花蕾。梅之清韵与枝头的小鸟相映成趣，花鸟优美动人。全画以细劲的笔致、单纯秀雅的色调精妙入微地刻画花鸟形象，梅花轻柔美丽，山雀毛羽似泛光泽，其情态特征精细入微。",[23,194,24,25,28,7,83,820,209,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54ef81c59e68fc11da552ce3e803576c.jpg","纵25.8厘米，横26.1厘米",[90],{"id":8542,"slug":8543,"title":8544,"dynasty":18,"author":1033,"museum":132,"description":8545,"tags":8546,"thumbUrl":8548,"material":123,"size":8549,"collection":90,"collections":8550,"showCount":8511,"zanCount":1379,"manualWeight":48,"mainColor":49},218964,"li-zhi-bai-xian-tu-lin-chun-218964","荔枝白鹇图","白鹇羽毛质感细腻，墨点顶冠与素白翎毛相映成趣，尾羽舒展如流云，俯身时翅尖微颤，似欲啄取枝间荔枝。荔枝殷红如丹，果皮肌理以细笔勾出，衬着墨绿的叶，浓淡间尽显生趣。枝干虬曲，墨线老劲，与禽鸟的柔媚形成巧妙对比。绢本古雅底色上，设色温润不艳，工笔细描中藏着自然的灵动，仿佛能闻见果熟的甜香，窥见禽鸟的轻啼。整幅画于精微处见真意，是宋人对生命意趣的细腻捕捉，静穆中透着鲜活生机，尽显院体花鸟的雅致与精妙。",[24,25,194,28,7,83,2223,8547,209,836],"白鹇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b7609305a0e20c4b4fa153525254ded.jpg","26x26cm",[90],{"id":8552,"slug":8553,"title":8554,"dynasty":54,"author":55,"museum":608,"description":8555,"tags":8556,"thumbUrl":8557,"material":123,"size":8558,"collection":44,"collections":8559,"showCount":8511,"zanCount":2368,"manualWeight":48,"mainColor":2504},218270,"wei-mo-yan-jiao-tu-zhou-fang-218270","维摩演教图","文殊菩萨和维摩诘一直是绘画的常见主题。这幅画在一个宏大而丰富的场景中展示了大量的人物。在这幅画中，弟子们和文殊菩萨的马聚集在寺庙前，一位天女乘云而起，在寺庙中央，维摩诘和文殊菩萨在沙发上正在进行辩论。虽然画家也试图再现维摩诘的 清秀、脆弱和病态的外表，但花园和亭子的画法非常细致和细腻，是对当时文人和学者的家庭生活的歪曲表现。",[23,24,28,7,260,226,106,107,34,176,3661],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44bcbc35fc6a4d4d7c2ebfa883cf4d08.jpg","113.5x41.8",[44],{"id":8561,"slug":8562,"title":4872,"dynasty":99,"author":100,"museum":191,"description":8563,"tags":8564,"thumbUrl":8567,"material":123,"size":8568,"collection":44,"collections":8569,"showCount":8511,"zanCount":1379,"manualWeight":48,"mainColor":49},218222,"ying-xi-tu-chou-ying-218222","孩子们在花园里玩耍的快乐场景。他们可能在弹钢琴、骑木马或看书，显示出对儿童生活的兴趣。",[24,25,28,7,106,2385,378,60,115,8565,4009,8566],"玩耍","明式风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F605a2acb64c38c0548f9ab700825bd08.jpg","182x58.9",[44],{"id":8571,"slug":8572,"title":2336,"dynasty":76,"author":257,"museum":20,"description":2337,"tags":8573,"thumbUrl":8574,"material":40,"size":675,"collection":139,"collections":8575,"showCount":8576,"zanCount":48,"manualWeight":48,"mainColor":94},236167,"yong-zheng-shi-er-yue-xing-le-tu-yi-ming-236167",[24,25,27,7,28,29,107,108,109,175,106,34,136,176,1241,2340,278,6710,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17f46d3839b07177a70d7da8fa87ed26.jpg",[],156,{"id":8578,"slug":8579,"title":8580,"dynasty":99,"author":100,"museum":20,"description":8581,"tags":8582,"thumbUrl":8585,"material":40,"size":8586,"collection":181,"collections":8587,"showCount":8576,"zanCount":1379,"manualWeight":48,"mainColor":94},222215,"lian-xi-yu-yin-tu-zhou-chou-ying-222215","莲溪鱼隐图轴","此图写江南水乡景色，平远山水。画清溪水田，绿树成荫，岸边一院落，院外有高士携书童远眺，悠然自得，远处云山起伏，真实地再现了江南渔村恬静安乐的生活情景。布景清远疏旷，笔法工整而有潇洒之趣。图未署年款，从作品款识和绘画风格分析，应为画家晚年精品之作。曾为清代梁清标、安仪周、吴舜昇等人鉴藏。\n仇英的绘画以“秀雅纤丽”的院体风格著称，而在华贵富丽中又带有一种飘逸优雅的气息。仇英的这种画风是受沈周、文徵明等文人画家的影响再加上他自己深厚的临古功力而形成的，蕴含着浓重的文人情趣，与文人画家的书斋山水在情调上有相合之处。",[23,24,25,194,226,7,28,29,34,35,8583,109,174,212,8584],"田野","渔隐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bde991eb8229865f5a2907eae42422a.jpg","纵126.5cm，横66.cm。",[181,45],{"id":8589,"slug":8590,"title":1793,"dynasty":76,"author":77,"museum":191,"description":8591,"tags":8592,"thumbUrl":8593,"material":1307,"size":1797,"collection":90,"collections":8594,"showCount":8576,"zanCount":48,"manualWeight":48,"mainColor":94},220977,"hua-hui-shan-shui-he-ce-yun-shou-ping-220977","初工山水，笔墨秀峭，后与王翚交往，多作花卉，重视写生，往往用水墨淡彩，清润明丽，自成一格，有“恽派”之称。\n人称其笔有仙气，与王时敏、王鉴、王翚、王原祁、吴历齐名，为“清初六大家”之一。",[23,24,25,194,81,7,82,83,292,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76f579f145d671f95c77813259add473.jpg",[90,45],{"id":8596,"slug":8597,"title":8598,"dynasty":76,"author":77,"museum":316,"description":8599,"tags":8600,"thumbUrl":8601,"material":7,"size":8602,"collection":90,"collections":8603,"showCount":8576,"zanCount":918,"manualWeight":48,"mainColor":49},220136,"yan-qiu-tu-yun-shou-ping-220136","艳秋图","此作为没骨花鸟之佳作，以晕染代勾勒，将秋花柔姿与顽石苍朴相融。红白菊花错落在嶙峋奇石间，瓣层舒展鲜活，设色明雅清润，艳而不俗。旁侧秋卉轻曳，石畔细草偃仰，层次铺陈自然和谐。\n\n画中不见刚硬线条，全以色泽晕染出花叶的蓬松柔润、山石的糙粝质感，将秋日群芳的妍丽雅致晕于绢素，鲜活灵动间满溢江南文人的温婉意趣。写实中暗含写意闲情，晕染出深秋清妍静雅的澹澹秋韵。",[23,24,25,226,7,82,630,263,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6547396a7425eb4e68a17e14638ceff.jpg","165×69.7厘米",[90],{"id":8605,"slug":8606,"title":8607,"dynasty":54,"author":257,"museum":20,"description":8608,"tags":8609,"thumbUrl":8610,"material":123,"size":8611,"collection":45,"collections":8612,"showCount":8576,"zanCount":1003,"manualWeight":48,"mainColor":49},219760,"bai-ma-tu-yi-ming-219760","百马图","此图卷共描绘各种马95匹，牧马的奚官与圉人41人在一条河中及岸边洗马、戏马、驯马、饲马的场面。这幅图中所描绘的近百匹黑、白、红、花等各色马，有动有静，姿态各异，生动活泼。画家对马的描绘，极善抓住其动态和神情，运动中的马被表现得活泼顽皮，静立时的马又被表现得庄重威武。画中笔法清秀温雅，敷色清淡，可以看出唐法向宋元法变化的痕迹。",[23,194,24,25,26,7,28,150,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34693ea712a5b338887d9f2f6f7455af.jpg","纵68厘米、横1010厘米",[45],{"id":8614,"slug":8615,"title":8616,"dynasty":18,"author":846,"museum":191,"description":8617,"tags":8618,"thumbUrl":8619,"material":123,"size":8620,"collection":42,"collections":8621,"showCount":8576,"zanCount":48,"manualWeight":48,"mainColor":94},219144,"zhu-cong-bai-tou-weng-tu-wu-bing-219144","竹丛白头翁图","画面中白头翁栖于竹枝，翎羽纤毫毕现，墨色晕染间绒羽柔润若触，喙爪劲挺见骨。竹丛枝叶交叠，线条清劲似铁线勾勒，翠色浅淡却透着生机，新篁嫩芽更显稚拙可爱。鸟的姿态灵动，似欲引吭或侧耳倾听，打破竹林静谧却又与清雅环境相融。画作以细腻写实之笔，精准捕捉禽鸟与植物形神，色彩淡雅温润，构图疏密有致，尽显宋代工笔花鸟的雅致韵致。方寸间藏自然生机与文人意趣，观之如置身幽篁深处，闻得禽鸣竹语，心随景静。",[23,194,24,25,1260,28,7,83,227,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35a323ffe8ba1cd4340700718353b5a8.jpg","26.1x27.5cm",[42,90],{"id":8623,"slug":8624,"title":8625,"dynasty":302,"author":1977,"museum":132,"description":8626,"tags":8627,"thumbUrl":8629,"material":123,"size":139,"collection":90,"collections":8630,"showCount":8576,"zanCount":1233,"manualWeight":48,"mainColor":49},216265,"xiang-ma-tu-ye-2-zhao-meng-fu-216265","相马图页-2","相马图是赵孟頫的一幅画作，产生于中国的元朝时期。它是赵孟頫的最著名的作品之一，并被认为是中国传统水墨画的杰作。\n\n相马图的绘画技巧非常精湛，色彩浓艳，线条优美。赵孟頫在画作中运用了中国传统的水墨画技法，并将其与西方的绘画技法相结合，创造出了独特的艺术风格。相马图被广泛认为是中国传统水墨画的经典之作，也是赵孟頫最著名的画作之一。",[23,24,25,194,7,28,81,106,150,8628,746],"骆驼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecfd49003f7298ef9c725d3bbc85f0cf.jpg",[90],{"id":8632,"slug"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这张图强调颜色，勾勒出图案，是素描笔画的一个很好的例子。",[23,194,24,25,28,7,83,229,579,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffed81165b01055d89197d62fd13fc09c.jpg","19.1cm×26.5cm",[],{"id":8762,"slug":8763,"title":8764,"dynasty":869,"author":3083,"museum":8765,"description":8766,"tags":8767,"thumbUrl":8768,"material":500,"size":139,"collection":139,"collections":8769,"showCount":8734,"zanCount":48,"manualWeight":48,"mainColor":94},220454,"ling-yan-jian-yi-jiao-tu-pan-tian-shou-220454","灵岩涧一角图","中国现当代美术文献研究中心","此作截取山涧一隅造势，以险绝构图盘活画面，虚实相生见巧思。枯笔浓墨勾勒皴擦山石，苍劲老辣，尽显崖壁嶙峋之态。蓝红山花浓艳跳脱，于幽寂墨色中撞出鲜亮野趣，打破山林沉郁。屋舍隐于深林，留白代作溪涧，以虚写实，将浙东山川清奇苍劲敛于尺幅之间。既得传统山水的雅致意境，又以边角小景抒发山河磅礴生机，笔墨间尽显独出机杼的构图胆识与沉雄朴厚的艺术风骨，把乡野山水的清逸生机藏于方寸。",[23,24,25,226,7,173,177,29,686,109,380,34,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a236d64f04b03b64b29b72f54995505.jpg",[],{"id":8771,"slug":8772,"title":8773,"dynasty":99,"author":1196,"museum":101,"description":8774,"tags":8775,"thumbUrl":8776,"material":123,"size":8777,"collection":181,"collections":8778,"showCount":8734,"zanCount":1379,"manualWeight":48,"mainColor":49},220417,"xun-yang-ba-jing-tu-tang-yin-220417","浔阳八景图","画中的浔阳江为实景写生，浔阳江是九江的古称，位于现在的江西省九江市的北边。至今还可以通过这卷作品，找到与之相关的实景地。唐寅落魄之后曾经四处游走，一方面为了寻找人生方向，一方面为了增长见闻提升画技。古代画家都在书斋之中创作，但他们眼中的美景已经牢牢记忆在心中，哪怕没有对照摹写，也能出神入化。\n在唐寅的画卷中，浪井、琵琶亭、浔阳楼、天花宫等都有体现。其中知名度最高的就是浔阳楼，名著《水浒传》中有宋江在浔阳楼题写反诗的情节，才引出李逵闹江州。看着画卷中的浔阳楼，过往沧桑已成历史，只有文人赏景饮酒，这才是古今多少事都付笑谈中。",[23,24,25,26,173,7,29,28,177,178,212,108,109,175,107,174,245,106,353,796,1049,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb4e7b7befcd16a579dde7285f16c9de.jpg","32.4×413.7厘米",[181,45],{"id":8780,"slug":8781,"title":8782,"dynasty":76,"author":257,"museum":608,"description":8783,"tags":8784,"thumbUrl":8785,"material":123,"size":139,"collection":44,"collections":8786,"showCount":8734,"zanCount":1233,"manualWeight":48,"mainColor":49},219491,"liu-yin-dou-cha-tu-yi-ming-219491","柳荫斗茶图","君德壶之所以受世人推崇，很大一部分原因是，君德脱胎于梨形，即经典脱胎于经典。\n耿宝昌先生曾在《明清瓷器鉴定》一书中谈到：“梨壶，因造型类似梨而得名。元代始烧造，其后历明、清两代，经久不衰”，是传承了几百年的经典之器。",[24,25,7,28,106,353,229,4725,912,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2fd5a6d9aeb8db5fa496b3792c21d17.jpg",[44],{"id":8788,"slug":8789,"title":5855,"dynasty":99,"author":3774,"museum":316,"description":8790,"tags":8791,"thumbUrl":8793,"material":599,"size":600,"collection":139,"collections":8794,"showCount":8795,"zanCount":1003,"manualWeight":48,"mainColor":94},290309,"sui-chao-tu-zhou-lu-zhi-290309","陆治（1496－1576）明代画家。吴县（今江苏苏州）人，字叔平，因先世由汴徙居吴之包山梅梁里，遂自号包山。倜傥嗜义，以孝友称。好为诗及古文辞，善行、楷，尤心通绘事。游祝允明、文徵明门，其於丹青之学，务出其胸中奇，一时好称，几与文埒。工写生得徐、黄遗意。点染花鸟竹石，往往天造。山水受吴门派影响，也吸取宋代院体和青绿山水之长，用笔劲峭，景色奇险，意境清朗，自具风格，在吴门派画家中具有一定新意，与陈淳并重于世。晚年贫甚，衣处士服，隐支硎山，种菊自赏。有贵官子因所知某以画请，作数幅答之。其人厚其贽币以谢。治曰：吾为所知非为贫也。立却之。求其画者，请之而强必不可得，不请之乃或可得。卒年八十一。",[194,24,25,226,7,83,820,898,292,229,86,212,8792],"日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5facffa84a62716f2f574fdad24943d6.jpg",[],152,{"id":8797,"slug":8798,"title":8799,"dynasty":302,"author":8800,"museum":316,"description":8801,"tags":8802,"thumbUrl":8805,"material":139,"size":139,"collection":139,"collections":8806,"showCount":8795,"zanCount":1233,"manualWeight":48,"mainColor":49},228054,"bai-mei-tu-shou-juan-wang-zhen-peng-228054","百美图手卷","王振鹏","此作以长卷舒展，仕女群像错落排布，或展卷挥毫、调弦抚琴，或拈花私语、临案观画，尽现闺中清趣。线条细劲如春蚕吐丝，将云鬓花钗、襦裙飘带勾勒得柔婉细腻，仕女顾盼间尽显温婉秀逸之态。设色古雅淡和，赭黄绢底衬得朱蓝粉白衣袂清雅脱俗，与满卷题字错落呼应，诗画相映成趣，将深闺日常的娴静雅意缓缓铺陈，晕染出女子的幽微心绪与雅致韵致，宛如一卷鲜活的闺中清欢图，余韵悠长。",[23,24,25,26,28,7,106,59,63,195,8803,8804],"案几","笔墨纸砚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff76a94e092ff1a1c143055113ceff3b.jpg",[],{"id":8808,"slug":8809,"title":8810,"dynasty":99,"author":100,"museum":20,"description":1661,"tags":8811,"thumbUrl":8813,"material":40,"size":1665,"collection":139,"collections":8814,"showCount":8795,"zanCount":2368,"manualWeight":48,"mainColor":94},222193,"ren-wu-gu-shi-tu-zhu-yuan-pin-gu-chou-ying-222193","人物故事图-竹院品古",[23,24,25,28,7,106,227,229,2385,7558,115,8180,8812],"品古","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f688d90551ee6db64df0e5d88db472f.jpg",[],{"id":8816,"slug":8817,"title":8818,"dynasty":18,"author":2497,"museum":457,"description":8819,"tags":8820,"thumbUrl":8821,"material":529,"size":4376,"collection":42,"collections":8822,"showCount":8795,"zanCount":1379,"manualWeight":48,"mainColor":49},221658,"wu-bai-luo-han-tu-zhi-ying-shen-guan-yin-zhou-ji-chang-221658","《五百罗汉图》之《应身观音》","画五百罗汉故事，包含佛教诸多教义僧人生活情境。有罗汉结集论事故事，有佛道斗法情境，有僧人日常生活状貌，也有长途跋涉稍作休憩游行僧形象。",[23,24,25,194,28,7,260,106,227,37,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57048aa20a5009792aff06e951ee2386.jpg",[42,44,45],{"id":8824,"slug":8825,"title":8826,"dynasty":18,"author":8827,"museum":191,"description":8828,"tags":8829,"thumbUrl":8830,"material":1307,"size":8831,"collection":42,"collections":8832,"showCount":8795,"zanCount":2368,"manualWeight":48,"mainColor":49},221244,"xi-hu-shi-jing-hua-xin-ye-xiao-yan-221244","西湖十景画芯","叶肖严","该册以西湖十景为题，西湖在浙江省杭州市城西，亦名钱塘湖，苏轼诗有“欲把西湖比西子”之句，因又名西子湖，三面环山，有南北两高峰对峙；湖中有苏，白两堤，四时风物清佳，以十景驰名於世。山石以大斧劈法，着重烘染，用笔简洁有韵致，构景设色取意都见巧思\n叶肖岩作人物小景，颇类马远，然其迹世多不见也。 如“雷峰夕照”之远山后缘用淡朱稍加施染，霞光微露，已然夕阳西沉。余诸页亦如是，虽细微处，亦细洁圆润。描绘花港观鱼的景色。寺宇掩映于柳林之间，湖中一人泛舟，悠游自得。峭峰直下，不见其顶，构图方式与马远山水同出一辙。用笔洁简，著重烘染，清雅秀润。\n该册页采用诗画合一的形式，以杭州工笔技法专为该画册页创作的西湖十景，其风格似马远而略拘谨，山石多用湿笔轻染，石顶稍加小斧劈皴，与夏珪的大笔拖染、磅礴挥洒不同。西湖四时风物清佳，以及乾隆皇帝钦定的西湖十景诗作为册页的主要内容，辅以西湖十景图",[23,194,24,25,81,173,7,177,29,175,34,174,30,1169,3519],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F326d0fb6069b73edd75991a2f5e6a450.jpg","对幅23.9x20.2公分",[42,181],{"id":8834,"slug":8835,"title":8836,"dynasty":869,"author":1841,"museum":1842,"description":8837,"tags":8838,"thumbUrl":8840,"material":139,"size":139,"collection":139,"collections":8841,"showCount":8795,"zanCount":2368,"manualWeight":48,"mainColor":94},220493,"zhang-da-qian-fang-zhang-seng-yao-wu-xia-qing-qiu-tu-zhang-da-qian-220493","张大千仿张僧繇巫峡清秋图","此作用没骨青绿之法绘就，奇崛山峰以石青、赭石重色晕染，峰顶留白拟晴雪，丹红古木点缀其间，明丽堂皇。留白作云气横断山峦，虚实相生，尽显巫峡高华幽深之态。下方江帆孤悬，山居隐于翠岭，飞泉叠落，于雄奇间晕开雅致秋意。\n\n笔墨追摹古法，又暗合新意，将巫峡清秋的萧瑟绮丽相融，既有六朝青绿的厚重堂皇，又带着秀逸灵韵，让古雅的没骨山水焕发清新生机，尽显秋山的雄浑与秀雅。",[23,24,25,27,7,29,30,1170,1426,37,34,8839,105,177,212],"山间小屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde65b4dfacc5eae3a51cc3afe86bfb23.jpg",[],{"id":8843,"slug":8844,"title":7454,"dynasty":76,"author":1610,"museum":8845,"description":8846,"tags":8847,"thumbUrl":8849,"material":123,"size":8850,"collection":90,"collections":8851,"showCount":8795,"zanCount":1379,"manualWeight":48,"mainColor":49},219539,"pan-tao-tu-zou-yi-gui-219539","承德避暑山庄博物馆","画面两只丹顶鹤立于青石之上姿态悠闲，石隙间画桃树一株硕果累累富有质感，峰峦之间瀑布鞋飞流而下。",[23,24,25,226,28,7,60,2288,176,109,8848,34],"灵芝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb6b446064c15c3f90edacbf7bbc946c.jpg","166cm×87cm",[90],{"id":8853,"slug":8854,"title":8855,"dynasty":869,"author":870,"museum":132,"description":8856,"tags":8857,"thumbUrl":8860,"material":88,"size":8861,"collection":90,"collections":8862,"showCount":8795,"zanCount":48,"manualWeight":48,"mainColor":94},216934,"deng-shu-zhou-qi-bai-shi-216934","灯鼠轴","案头油灯亮着红芯，剪刀斜倚灯旁，两只灰鼠各有姿态——一只攀柱啃噬灯芯，长尾垂落；一只蹲坐地上，抬首望灯，胡须微颤似嗅暖意。笔墨极简，鼠的憨态却跃然纸上：浓淡墨色晕染出绒绒质感，细长尾巴勾勒灵动，寥寥几笔便捉住鼠的机警与贪馋。灯柱线条稚拙却稳当，红烛芯如点睛之笔，在素净纸面上添了一抹鲜活。题字与画面相映，把日常小景写成逸趣，没有刻意雕琢，却藏着对生活细微处的体察，似在说寻常烟火里也有这般可爱的瞬间。",[23,24,173,7,226,498,5779,8858,8859,229,212,86],"灯","蜡烛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1eaa5d9a0084397f64b5881322f7b2d.jpg","67.5x33.5cm",[90],{"id":8864,"slug":8865,"title":8866,"dynasty":76,"author":7209,"museum":4901,"description":8867,"tags":8868,"thumbUrl":8869,"material":88,"size":139,"collection":90,"collections":8870,"showCount":8795,"zanCount":2368,"manualWeight":48,"mainColor":94},214821,"shan-shui-hua-hui-tu-ce-gao-feng-han-214821","山水花卉图册","高凤翰是一位清代著名的画家，他最著名的作品之一是山水花卉图册。这本图册包含了许多精美的山水和花卉画作，描绘了中国传统山水风景的美丽景色。高凤翰以其独特的画风和精湛的技巧著称，他的作品在当时颇受欢迎，并被广泛收藏。\n\n高凤翰的山水花卉图册对中国山水画的发展有着巨大的影响。他的作品描绘了中国传统山水风景，但又不拘泥于传统，注重自然与艺术的结合。他运用了自然的色彩和线条，使画面生动而富有感染力。同时，他也注重写实，力求将自然界的细节再现在画面中。高凤翰的山水花卉图册是中国山水画发展史上的一部重要作品，其中蕴含了许多独特的艺术成就。",[24,25,81,173,7,176,292,3712,84,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7cf54d8ff98e36838fdc0046806b6e0.jpg",[90],{"id":8872,"slug":8873,"title":954,"dynasty":76,"author":77,"museum":316,"description":955,"tags":8874,"thumbUrl":8875,"material":139,"size":139,"collection":139,"collections":8876,"showCount":8877,"zanCount":1233,"manualWeight":48,"mainColor":94},233907,"hua-hui-shan-shui-ce-yun-shou-ping-233907",[194,24,25,81,7,82,28,83,632,553,554,723,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F141cf9f332104177044cc00b6174e0b6.jpg",[],151,{"id":8879,"slug":8880,"title":1349,"dynasty":18,"author":1350,"museum":20,"description":1351,"tags":8881,"thumbUrl":8884,"material":40,"size":1355,"collection":139,"collections":8885,"showCount":8877,"zanCount":48,"manualWeight":48,"mainColor":49},233880,"ta-ge-tu-zhou-ma-yuan-233880",[24,194,226,173,7,29,176,34,795,8882,106,107,37,109,177,8883],"小路","斧劈皴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef222b397a3288ca11990ad05068a142.jpg",[],{"id":8887,"slug":8888,"title":8889,"dynasty":76,"author":2200,"museum":20,"description":8890,"tags":8891,"thumbUrl":8892,"material":770,"size":8893,"collection":139,"collections":8894,"showCount":8877,"zanCount":1379,"manualWeight":48,"mainColor":94},233735,"he-hua-tu-zhou-wu-chang-shuo-233735","荷花图轴","图绘荷塘小景。荷叶以泼墨法绘出，墨分五彩，浓淡相宜；荷花以胭脂加水晕染，得娇艳欲滴之貌。构图盈满，层次鲜明，画风新奇。",[194,24,173,7,226,498,83,228,136,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18450c962cc4dc8033a867f98dea23ce.jpg","纵163.4厘米，横47.5厘米",[],{"id":8896,"slug":8897,"title":8898,"dynasty":189,"author":3894,"museum":191,"description":8899,"tags":8900,"thumbUrl":8901,"material":282,"size":8902,"collection":90,"collections":8903,"showCount":8877,"zanCount":1379,"manualWeight":48,"mainColor":2504},221151,"shan-zhe-ji-que-tu-huang-ju-cai-221151","山鹧棘雀图","山鹧棘雀图是北宋花鸟画家黄居寀所创作的一幅设色画，现藏于台北故宫博物院。此图描写晚秋时节的溪边小景。近景的溪边几块石头显得突出，整个景色显得荒寒萧疏，但飞鸣、栖息于荆刺丛上的几只雀鸟，则为画面增添了不少生机和活跃的气氛。",[23,194,24,28,7,83,245,795,230,3712,838,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b5a20f43ca35824f3daa158e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强烈却不刺激。通篇予人春意融融、满室生香之感。\n从此幅《岁朝清供图》来看，赵之谦将清代两大花鸟画派，即恽寿平的没骨画法与扬州画派的写意画法相结合，并自出机杼，创造出新的风格。他在金石书法方面功力深厚，并将其入画，注重用色，在用色上讲究雅俗共赏，突破了古代文人画家所秉承的“夫画道之中，水墨为上”的原则。这些特点在海派大家吴昌硕那里得到了继承与进一步发挥。可以说，赵氏在写意花鸟画艺术上的拓展与推进，对近世花鸟画影响颇为深远，齐白石、陈师曾等北派巨匠同样受过他画作的影响。",[23,24,25,226,7,173,83,292,228,2203,230,229,212,1070],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bf07ea413035b2c66a5bfd228e15f97.jpg","设色纸本","135.5×30.5cm",[],{"id":9046,"slug":9047,"title":9048,"dynasty":76,"author":2200,"museum":316,"description":9049,"tags":9050,"thumbUrl":9051,"material":770,"size":9052,"collection":90,"collections":9053,"showCount":9026,"zanCount":1233,"manualWeight":48,"mainColor":94},224232,"gui-shou-tu-li-zhou-wu-chang-shuo-224232","贵寿图立轴","此幅描绘含露微嫩的牡丹，亭亭玉立的水仙。牡丹雍容华贵，花瓣层层叠叠，显富贵之意；淡黄色水仙花与嫩绿而修长的叶片，娇艳欲滴；似云似烟的湖石穿插于花卉中，灵动自然。画面题：神仙贵寿。",[23,24,226,83,498,7,292,554,263,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedac561ff78a78041827fca1bcbcc149.jpg","117x35cm",[90,45],{"id":9055,"slug":9056,"title":9057,"dynasty":18,"author":7992,"museum":316,"description":9058,"tags":9059,"thumbUrl":9060,"material":67,"size":9061,"collection":42,"collections":9062,"showCount":9026,"zanCount":1003,"manualWeight":48,"mainColor":49},221303,"guo-shu-shuang-qin-tu-juan-yi-yuan-ji-221303","果熟双禽图卷","易元吉（生卒年不詳，公元11世紀左右），字慶之，湖南長沙人。北宋時期著名畫家。天資穎異，靈機深敏，尤善畫猿猴，並因此而聞名天下。古代繪畫評論家把獐猿畫看成是易元吉的專工獨詣，認為是“世俗之所不得窺其藩”的絕技。",[23,194,24,25,26,7,28,83,746,2181,245,209,62,5841,689,176,7249],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6631c878d850cd9d6af666f057a73051.jpg","41.8x288厘米",[42,90,45],{"id":9064,"slug":9065,"title":1487,"dynasty":99,"author":100,"museum":191,"description":9066,"tags":9067,"thumbUrl":9068,"material":123,"size":139,"collection":44,"collections":9069,"showCount":9026,"zanCount":2368,"manualWeight":48,"mainColor":49},219376,"guan-yin-chou-ying-219376","画中十六罗汉供奉观音，观音坐南海普陀山传法。 十六罗汉被他们包围。 布局很巧妙。",[24,25,226,260,28,7,106,3661,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6b7fd836ea2e1389bb6b95dda24eb6b.jpg",[44],{"id":9071,"slug":9072,"title":9073,"dynasty":18,"author":257,"museum":191,"description":9074,"tags":9075,"thumbUrl":9077,"material":88,"size":9078,"collection":42,"collections":9079,"showCount":9026,"zanCount":1003,"manualWeight":48,"mainColor":94},218728,"qiu-gua-tu-yi-ming-218728","秋瓜图","地上长着三个秋瓜，景观中还有藤蔓、树叶和花朵。瓜皮用老绿色着色，瓜棱用赭石填充，精致而有节奏。瓜的叶子被仔细地勾勒出来，藤蔓也是圆润而细致的。这幅画没有刻上作者的名字，但我们收藏的另外两幅画《宋代草木瓜》和《钱玄同秋瓜》在构图上与此框相似，而且此卷的笔法精细，与《宋代草木瓜》相似。",[23,24,25,28,7,83,9076,553,1090,212,81],"秋瓜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0270d205fb5d6c396d4cfa437041b14a.jpg","26.8x45.5厘米",[42],{"id":9081,"slug":9082,"title":9083,"dynasty":18,"author":1588,"museum":78,"description":9084,"tags":9085,"thumbUrl":9087,"material":123,"size":9088,"collection":181,"collections":9089,"showCount":9026,"zanCount":1003,"manualWeight":48,"mainColor":49},214609,"jiao-yuan-ye-zhang-tu-wan-shan-ye-ma-lin-214609","郊园曳杖图纨扇页","郊园曳杖图是宋朝时期马麟所作的一幅著名的山水画。这幅画描绘了一个人在郊外散步的场景，画中的人物拿着一根曳杖，走在一片绿色的郊园里，周围环绕着山峦和树木。\n\n马麟是宋朝时期著名的画家，他的画风轻松优美，富有感性，并且注重写实。在他的作品中，常常出现山水画题材，他将山水画中的景物和人物结合起来，表现出人与自然和谐相处的意境。郊园曳杖图就是这样一幅作品，它展示了一个人在郊外散步的情景，与周围的山水相互融合，充满了自然之美。\n\n马麟的郊园曳杖图是一幅经典的山水画作品，其中细腻的笔墨，流畅的线条，精确的造型，以及生动的写意，都体现了马麟作为画家的高超技艺。这幅画不仅为后人留下了宝贵的艺术瑰宝，也为我们展现了宋朝时期山水画的魅力。",[1260,24,194,25,7,177,29,106,34,9086,212],"山坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c4fe954c2ad1a1f925dcf460e2dd461.jpg","纵23.3 厘米 横23.7 厘米",[181],{"id":9091,"slug":9092,"title":9093,"dynasty":18,"author":257,"museum":316,"description":9094,"tags":9095,"thumbUrl":9096,"material":599,"size":600,"collection":139,"collections":9097,"showCount":9098,"zanCount":1379,"manualWeight":48,"mainColor":49},227839,"qian-shou-guan-yin-li-xiang-yi-ming-227839","千手观音立像","千手观音又称千手千眼观世音、千眼千臂观世音等，是我国民间信仰的四大菩萨之一。千手观音是阿弥陀佛的左胁侍，与阿弥陀佛、大势至菩萨(阿弥陀佛的右胁侍)合称为“西方三圣”。",[23,24,25,226,7,28,260,106,3429,7689,409,7690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3be631ea3bf397f44a3c3ff849e91dc8.jpg",[],147,{"id":9100,"slug":9101,"title":9102,"dynasty":54,"author":456,"museum":20,"description":9103,"tags":9104,"thumbUrl":9105,"material":67,"size":9106,"collection":44,"collections":9107,"showCount":9098,"zanCount":1379,"manualWeight":48,"mainColor":94},221065,"kong-zi-di-zi-xiang-yan-li-ben-221065","孔子弟子像","《孔子弟子像》全图采取平列式构图，无背景，墨笔勾勒，着色，人物形象各异，须眉生动。绘孔子弟子立像五十九人，无名款。从体貌上对照，第三人即为孔子，以后诸人亦形态相仿，顺序一致，惟个别处有遗漏或增补，如子迟和子贡之间缺子夏，孔子前多出两人。但根据北京故宫博物院藏的宋无款《七十二贤相》卷进行对比，本幅画所绘为孔子及弟子像内容是确凿无疑的。",[23,24,194,25,26,28,7,352,106,212,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc62b0109df8752c442e8801281dc33fb.jpg","纵32.3厘米，横870厘米",[44,45],{"id":9109,"slug":9110,"title":9111,"dynasty":76,"author":257,"museum":442,"description":9112,"tags":9113,"thumbUrl":9115,"material":123,"size":139,"collection":90,"collections":9116,"showCount":9098,"zanCount":1379,"manualWeight":48,"mainColor":49},219057,"he-lu-tu-yi-ming-219057","荷鹭图","画的是两枝青莲，各有一枝莲花和莲穗，细长的茎上有白色和绿色的花瓣；两只鹭鸶站在水中，雪白的羽毛和尖尖的喙，平静地站在水中，一动不动。",[23,24,25,226,7,28,83,136,9114],"鹭鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85725455913aa679061881f4d5d01b14.jpg",[90],{"id":9118,"slug":9119,"title":9120,"dynasty":18,"author":257,"museum":9121,"description":9122,"tags":9123,"thumbUrl":9124,"material":123,"size":9125,"collection":181,"collections":9126,"showCount":9098,"zanCount":1379,"manualWeight":48,"mainColor":49},218232,"jiang-tian-lou-ge-tu-yi-ming-218232","江天楼阁图","南京博物馆","此图无款印，写江天坡石，远山楼阁，舟船人物，松枝虬劲。精致生动。可看出典型的“马夏”式构图，取一角之景，加以远山的绵延起伏，浩渺深远，意境深幽，为画面的水天一色注入了新的活力。",[24,25,226,104,173,7,29,107,174,353,686,149,1169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5919d4dd7f42021aba4be1549a9e9aa1.jpg","纵97.4厘米，横54.6厘米",[181],{"id":9128,"slug":9129,"title":9130,"dynasty":76,"author":329,"museum":191,"description":7785,"tags":9131,"thumbUrl":9132,"material":599,"size":600,"collection":139,"collections":9133,"showCount":9134,"zanCount":2368,"manualWeight":48,"mainColor":94},230204,"xian-e-chang-chun-tu-lang-shi-ning-230204","仙萼长春图",[23,24,194,25,81,28,7,83,292,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3dee7461512292d25946deeb4c5ea582.jpg",[],146,{"id":9136,"slug":9137,"title":9138,"dynasty":99,"author":257,"museum":2023,"description":9139,"tags":9140,"thumbUrl":9141,"material":511,"size":139,"collection":44,"collections":9142,"showCount":9134,"zanCount":2368,"manualWeight":48,"mainColor":49},222152,"fu-hui-xi-yi-ming-222152","赴会西","唐代画圣吴道子，以画佛道功德为其主要职业，曾画过《佛会图》，可惜早已无存。《佛会图》属佛中的杂类图画。明代宗教壁画不少，在绘画技巧、用笔用色和制作工艺上，法海寺壁画当推为全国明代壁画之典范，《佛会图》就是其中的一铺。\n佛会图，位于大殿东西山墙两壁，共两铺，高3.2米，长22米（东西山墙壁各11米），面积70.4平方米。壁画内容为佛祖讲经说法、佛众菩萨赴会参禅的画面。绘画中有祥云缭绕，以上为天界，以下为人间。天界有佛众菩萨诸神趺跏于祥云之上，人间有山泉花卉、曲径竹篱。台座上原有十八罗塑汉像，天界与人间，罗汉与佛众，壁画与塑像，形成一幅完美的艺术整体。现罗汉塑像已毁。\n佛会图，绘有飞天、四菩萨、五方佛（东西两壁合称十方佛）、六观音（亦可六菩萨），共32种佛众诸神。图画上部的极南边，各月一凌空舞来的飞天。飞天神女，佛教中天龙八部众之一，被称为干达婆，是香神又是乐神。食香，以身放香，又称香乐神。食香，以身放香，又称香音神。她常出现在佛面前演唱赞歌。各代飞天画像都不尽相同。法海寺明代壁画中的飞天，为身披飘带、手执宝盘的仙女形象，天真活泼，雅气喜人。盘中盛有鲜花，攀云乘风，飘舞在乐鼓齐鸣、天花乱坠的佛会时刻。远观佛会图上部，观音菩萨六尊为组，红衣坐佛五尊为伴，另为四尊菩萨彼此相近。佛众菩萨，趺跏于祥云之上，不即不离，若即若离，似语不语，似静似动，错落有致，把你引入仙境，带给你以虚空宁静，美的享受。\n这铺壁画更突出的特点，是在山水花卉绘制技术上的完美，它融汇了我国历代壁画的多种技法，甚至运用了卷轴重彩的技法。山石水浪，与我国宋代山水花鸟绘画大师马远的手法相比，画法一致，水准亦高，毫不逊色。长22米的画面，章法上大胆取舍剪裁，描绘山之一角，水之一涯，一石一树，一花一草，皴染都极其严谨，种种臻秒。随便拮取其中的一花一叶，其精妙致之绝，直逼故宫所藏宋画团扇。小桥流水，篱笆曲径，瀑布水浪自流于竹蕉山石之下，牡丹荷花盛开于苍松菩提之间，充满了现实生活气息，令人玩味不尽，叹为观止。",[23,24,511,260,7,28,106,3661,34,108,380,176,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F523a3843792607369b3d33ef8fab9484.jpg",[44],{"id":9144,"slug":9145,"title":9146,"dynasty":18,"author":1474,"museum":191,"description":9147,"tags":9148,"thumbUrl":9150,"material":123,"size":9151,"collection":42,"collections":9152,"showCount":9134,"zanCount":2368,"manualWeight":48,"mainColor":49},220253,"fen-xiang-zhu-sheng-tu-li-song-220253","焚香祝圣图","描绘了依山临水的华美殿阁之中，一白衣男子携女眷焚香礼拜之景。画作巧妙运用远观视角，将画栋飞甍、风帘翠幕置于月色流转与烛影摇曳之间，望之宛如琼楼仙馆，绮丽艳逸。此图据称是依据南宋皇家园林绘制而成，画面细致地再现了南宋宫苑建筑的风格与细节，史学价值极高。",[23,24,194,25,104,7,28,260,106,107,378,9149,212],"台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc9f3c35ee5b3ba72fc5b5432c4379a8.jpg","纵24.8厘米，横25.8厘米",[42],{"id":9154,"slug":9155,"title":9156,"dynasty":99,"author":257,"museum":608,"description":9157,"tags":9158,"thumbUrl":9159,"material":88,"size":139,"collection":44,"collections":9160,"showCount":9134,"zanCount":48,"manualWeight":48,"mainColor":49},219702,"liu-zhi-guan-yin-xiang-yi-ming-219702","柳枝观音像","此作观音跏趺安坐，长发垂落飘拂，神态温婉静谧，自带慈悲柔和的气韵。一手拈柳枝，一手托净瓶，正是渡厄救难的经典意象。衣袂线条舒展柔婉，青蓝主调雅致沉静，朱红饰带点缀其间，提亮画面的同时更衬出清净出尘之感。\n\n敷色晕染细腻动人，肌肤柔润通透，宝冠华饰刻画入微，发丝纤毫毕现，尽显工笔细谨之态。淡墨晕开的朦胧背景，让观音恍若隐于烟岚之中，将沉静悲悯的神性融于笔墨方寸，整体清隽典雅，把观音的温婉慈蔼诠释得淋漓尽致，尽显古典佛造像的审美意趣。",[24,28,7,260,106,957,64,226,409],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89d5db2c784faec6cc21f518b4575362.jpg",[44],{"id":9162,"slug":9163,"title":8132,"dynasty":18,"author":391,"museum":442,"description":9164,"tags":9165,"thumbUrl":9166,"material":123,"size":9167,"collection":90,"collections":9168,"showCount":9134,"zanCount":48,"manualWeight":48,"mainColor":49},219349,"bai-ying-tu-zhao-ji-219349","图为一只白鹰站在湖石上，爪子上系着绳索。 这幅画是根据宋徽宗爱画白鹰奇石的传说.",[23,24,194,25,226,28,7,245,3369,227,230,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9f082a50222716196107d33d5784d0f.jpg","141.7x59.5厘米",[90,45],{"id":9170,"slug":9171,"title":9172,"dynasty":18,"author":1350,"museum":316,"description":9173,"tags":9174,"thumbUrl":9175,"material":88,"size":9176,"collection":44,"collections":9177,"showCount":9134,"zanCount":1379,"manualWeight":48,"mainColor":94},218648,"song-quan-gao-shi-tu-ma-yuan-218648","松泉高士图","在画的左边，一个高大的学者坐在松树山上，他的斗篷半开半合，看着远方，身后是一个手持法杖的仆人男孩，周围是松树和流水；画的右边是空白的，引起了无限的想象。",[23,194,24,25,26,173,7,106,29,1133,245,230,109,212,86,178,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8906739d60ca52938ca25e5397b522eb.jpg","27x57",[44],{"id":9179,"slug":9180,"title":9181,"dynasty":54,"author":257,"museum":2816,"description":9182,"tags":9183,"thumbUrl":9184,"material":7,"size":139,"collection":44,"collections":9185,"showCount":9134,"zanCount":1379,"manualWeight":48,"mainColor":49},217906,"guan-yin-jing-bian-tu-juan-yi-ming-217906","观音经变图卷","画面分栏叙事，线条如铁线银钩，遒劲中藏柔婉；设色古拙温润，晕染间沉淀着岁月的厚重。左侧人物仪态娴雅，衣纹流转似携清风；中间鬼怪造型夸张，狰狞里仍见动态生机；右侧场景描摹细致，骑乘的昂扬与受刑的肃穆形成对照，暗合经文中的因果寓意。图文相生，将抽象经义化作具象图景，既有宗教的神圣感，又融入世俗生活的烟火气。每一处细节皆显匠心，把经卷故事铺展得鲜活可感，尽显唐代经变画的叙事魅力与艺术高度。",[54,26,260,7,106,86,1846,6767],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a302c97f60fce4016a6eb33371fd9c1.jpg",[44],{"id":9187,"slug":9188,"title":9189,"dynasty":256,"author":257,"museum":5488,"description":9190,"tags":9191,"thumbUrl":9195,"material":7,"size":9196,"collection":44,"collections":9197,"showCount":9134,"zanCount":2368,"manualWeight":48,"mainColor":49},216776,"ri-ben-shi-jia-jin-guan-chu-xian-tu-yi-ming-216776","日本· 释迦金棺出现图","这幅画描绘了释迦牟尼佛躺在金棺材里，进入涅槃，这时他以巨大的神力复活，并对他的母亲说话，他的母亲从天上来，但还没有看到他。",[23,194,7,106,260,6768,9192,9193,9194],"释迦牟尼","涅槃","金棺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb770ce3cc7a39753b7dfa8bac03fa17b.jpg","160x229.5",[44],{"id":9199,"slug":9200,"title":205,"dynasty":76,"author":77,"museum":316,"description":596,"tags":9201,"thumbUrl":9202,"material":599,"size":600,"collection":139,"collections":9203,"showCount":9204,"zanCount":2368,"manualWeight":48,"mainColor":94},239439,"hua-niao-ce-yun-shou-ping-239439",[24,194,81,82,7,83,228,227,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec7e30a442cbdb53613fd8222a1bae4f.jpg",[],145,{"id":9206,"slug":9207,"title":9208,"dynasty":76,"author":3221,"museum":316,"description":9209,"tags":9210,"thumbUrl":9211,"material":599,"size":600,"collection":139,"collections":9212,"showCount":9204,"zanCount":48,"manualWeight":48,"mainColor":94},237155,"xu-gu-mao-die-tu-zhou-xu-gu-237155","虚谷猫蝶图轴","虚谷（1823～1896），清代著名画家，海上四大家之一，有“晚清画苑第一家”之誉。俗姓朱，名怀仁，僧名虚白，字虚谷，别号紫阳山民、倦鹤，室名觉非庵、古柏草堂、三十七峰草堂。籍新安（今安徽歙县），居广陵（今江苏扬州）。初任清军参将与太平军作战，意有感触，后出家为僧。工山水、花卉、动物、禽鸟，尤长于画松鼠及金鱼。亦擅写真，工隶书。作画有苍秀之趣，敷色清新，造型生动，落笔冷消，别具风格。性情孤僻，非相处情深者不能得其片纸。早年学界画，后以擅画花果、禽鱼、山水著名。风格冷峭新奇，绣雅鲜活，无一笔滞相，匠心独运，别具一格。亦能诗，有《虚谷和尚诗录》。传世作品有《梅花金鱼图》《松菊图》《葫芦图》《蕙兰灵芝图》《枇耙图》等。",[24,25,226,173,7,498,745,873,897,230,83,746],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffac0781a23a4a9e539a1cd4f736c5b1f.jpg",[],{"id":9214,"slug":9215,"title":9216,"dynasty":18,"author":257,"museum":316,"description":9217,"tags":9218,"thumbUrl":9221,"material":139,"size":139,"collection":139,"collections":9222,"showCount":9204,"zanCount":1379,"manualWeight":48,"mainColor":94},227882,"liu-zhi-huang-niao-tu-yi-ming-227882","榴枝黄鸟图","《 》是宋代佚名创作的绢本设色画，现藏于北京故宫博物院。\n此图绘 一只，嘴啄小虫，栖止于榴枝上，神形毕肖。\n图中枝梗从右向左斜出，沉甸甸的石榴挂于枝干。\n榴叶萧瑟，鸟的羽毛用淡黄染色后，再用粉白以短而细的笔触勾描，具有毛茸茸的质感。\n鸟的翅膀和尾部等处，浓淡墨色参用。\n画面设色侬艳而又对比鲜明。\n深秋时节， 成熟，绽开表皮，露出累累果实。\n石榴叶已由绿变黄，有的枯萎，有的被虫蛀蚀，写出了秋日的萧瑟。\n一只肥硕的黄鹂衔着小虫栖于榴枝上，悠然自得。\n黄鹂的羽毛经淡赭、黄色晕染后再用白线勾描，近于“没骨”。\n石榴枝叶赋色对比鲜明。\n对幅有清乾隆御题诗一首：“榴子熟时莺转时，野虫衔得集横枝。\n笑他自喜权供饱，忘却有人弹挟之。\n辛亥清和御笔。\n”钤“ ”、“ ”、“八征耄念”、“自强不息”玺印。\n本幅无款。\n钤鉴藏印“张笃行印”，另有2印不辨。\n清《石渠宝笈》著录。",[23,24,25,81,28,7,83,9219,9220,569,210,178,212],"榴枝","黄鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e2351453d665df0945037e4ac4a342f.jpg",[],{"id":9224,"slug":9225,"title":9226,"dynasty":99,"author":9227,"museum":20,"description":9228,"tags":9229,"thumbUrl":9232,"material":529,"size":9233,"collection":44,"collections":9234,"showCount":9204,"zanCount":1379,"manualWeight":48,"mainColor":49},222154,"guan-yu-qin-jiang-tu-shang-xi-222154","关羽擒将图","商喜","此图描绘的是三国时期的大将关羽水淹七军、活捉敌将庞德的故事。画中关羽长须美髯，气宇轩昂，身穿铠甲，斜披绿袍，手抱单膝坐于青松之下，神态从容自得，周仓手持青龙偃月刀侍立一旁。而庞德衣衫尽褪被绑在木桩之上，兀自咬牙眦目，挣扎不休，不甘受缚的心态跃然纸上。\n本图虽是宫廷绘画，但表现的对象是家喻户晓的历史人物关羽，描绘的情节是人们喜闻乐见的三国故事。在题材的选取上与民间美术有不谋而合之处，体现了人们对英雄形象普遍的崇拜心理。在画法上，人物用工笔重彩，浓艳亮丽的色彩夺人眼目，人物形象的塑造吸收了民间美术的造型特点，特征突出，带有一定的程式化。画面尺幅巨大，构图宏伟壮观，反映了皇家艺术的豪华气派。",[23,194,24,25,28,7,106,9230,2439,378,9231,1169,119],"武将","石阶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4cfe2aa230b981d80a1e2084434ca2c.jpg","纵198厘米，横236厘米",[44,45],{"id":9236,"slug":9237,"title":9238,"dynasty":99,"author":257,"museum":2023,"description":9239,"tags":9240,"thumbUrl":9241,"material":511,"size":2027,"collection":139,"collections":9242,"showCount":9204,"zanCount":1003,"manualWeight":48,"mainColor":2504},222147,"san-da-shi-tu-wen-shu-yi-ming-222147","三大士图-文殊","文殊菩萨图位于水月观音图之西。文殊全称文殊师利，又作曼殊室利，意为妙德、吉祥，又译作妙吉祥，是众菩萨之首，通常作释迦佛的左胁侍，专司“智慧”，表“大智”。此菩萨顶髻，以五字五髻文殊为本体最为常见，五髻表示内证五智，以表大日之五智五佛，手持剑，以表智慧之利剑，能斩断一切无明烦恼，有时手持如意，似表吉祥如意，坐骑青狮，以表智慧之威猛。佛经对文殊的顶髻、宝冠、肤色、手持法器、坐骑等，都有种种模式要求。法海寺壁画对佛像的塑造，既继承佛典的模式要求，又有新的突破，突出了写实手法，使文殊菩萨的形象与水月观音形象大体相似。\n文殊菩萨的左下侧，绘坐骑青狮与驯狮人。驯狮人身披甲胄，威武森严，拱手而立，佩带鱼形宝刀，刀鞘沥粉贴金，鳞甲闪闪，凹凸画面，豪化富丽，格外醒目。文殊的右下侧绘有一信士，一说是古印度的月盖长者，他常入维摩方长，听不二法门。长者身着黄袍，右手持杖，左手遮荫，嘴略张开，似笑非笑。满面苍须，随风飘动，虔诚地仰望着天空，好像在祈请西方三尊拯救国内恶疫。颜面肌肤，眼角鱼尾，手指关节，其神态风韵，每一个细部，都精确地表现出老人的生理和心理特征，充分体现了壁画现实性的特征。",[23,511,260,28,7,106,746,29,37,63,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3c5d9d23ca7de5aae9bb98569f7acd7.jpg",[],{"id":9244,"slug":9245,"title":8325,"dynasty":99,"author":9246,"museum":442,"description":9247,"tags":9248,"thumbUrl":9250,"material":123,"size":9251,"collection":44,"collections":9252,"showCount":9204,"zanCount":1003,"manualWeight":48,"mainColor":49},219564,"huo-lang-tu-cui-zi-zhong-219564","崔子忠","明代流传至今的《货郎图》绘者如计盛、吕文英、崔子忠、姜隐，还有诸佚名的《货郎图》，虽风格不一，或设色或白描，但大部分的货郎都是挑着华丽的货担，货架精雕细琢、所售器物五花八门，孩子们前簇后拥，玩着猴子、蟋蟀、皮影、书籍、花枝，不亦乐乎，场景往往热闹非凡。",[23,24,28,7,226,1567,106,2385,9249,1273,176,380,245,280,34],"货郎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc73c1b2b4649dfef47e2ac975b98f223.jpg","纵205横125厘米",[44,45],{"id":9254,"slug":9255,"title":9256,"dynasty":18,"author":257,"museum":101,"description":9257,"tags":9258,"thumbUrl":9259,"material":88,"size":9260,"collection":90,"collections":9261,"showCount":9204,"zanCount":1003,"manualWeight":48,"mainColor":49},218851,"liu-ma-tu-yi-ming-218851","六马图","画面中六匹骏马神态各异，或低头啮草，或昂首嘶鸣，或随人徐行，鬃毛飞扬间尽显灵动生机。人物衣着朴素却细节饱满，牵马者的专注、骑马者的悠然、树下交谈者的闲适，皆通过简练线条勾勒得栩栩如生。背景以淡墨晕染山石，枯树虬枝点缀其间，营造出清旷悠远的氛围。整幅画作线条细腻流畅，设色淡雅自然，构图疏密有致，将人与马的日常互动融入山水意境中，既见写实之妙，又含雅致情韵，于静谧中藏生动，于细微处见匠心。",[23,24,26,7,28,106,150,378,176,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffba5c4f2cdf33d8406cb0ae099666d89.jpg","46.2x168.3cm",[90],{"id":9263,"slug":9264,"title":9265,"dynasty":76,"author":77,"museum":539,"description":1182,"tags":9266,"thumbUrl":9268,"material":123,"size":1189,"collection":139,"collections":9269,"showCount":9204,"zanCount":1379,"manualWeight":48,"mainColor":49},216107,"yun-shou-ping-hua-guo-shu-cai-ce-ye-4-yun-shou-ping-216107","恽寿平花果蔬菜册页-4",[24,81,7,28,82,83,1184,9267,783],"茄子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d6bc6ad63fe8327a7125c68b0f32629.jpg",[],{"id":9271,"slug":9272,"title":205,"dynasty":99,"author":9273,"museum":316,"description":9274,"tags":9275,"thumbUrl":9276,"material":139,"size":139,"collection":90,"collections":9277,"showCount":9278,"zanCount":1379,"manualWeight":48,"mainColor":94},237664,"hua-niao-ce-ling-bi-zheng-237664","凌必正","[明]字贞卿，一字蒙求，号约庵，太仓（今江苏太仓）人。崇祯四年（一六三一）进士，官至广西副使。善山水，设色妍雅，位置精密，接轸宋人。间画花鸟，尚欠超逸生动之致。《太仓州志、无声诗史、桐阴论画》",[194,24,25,81,7,28,83,211,554,1187,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb686e450eda3e1b564356a6d16a40e28.jpg",[90,45],144,{"id":9280,"slug":9281,"title":9282,"dynasty":18,"author":9283,"museum":56,"description":9284,"tags":9285,"thumbUrl":9290,"material":160,"size":9291,"collection":42,"collections":9292,"showCount":9278,"zanCount":48,"manualWeight":48,"mainColor":49},221414,"mao-lin-yuan-xiu-tu-li-cheng-221414","茂林远岫图","李成","由于这幅《茂林远岫图卷》没有款识，后代的收藏者也都是根据画卷后部南宋向冰、元代倪瓒以及明初张天骏三人的题跋，而将其作者定为李成。明、清时期的张丑、吴升等曾认定题跋为后人补配，怀疑作品不是李成真迹。当代鉴定家对这件作品的作者归属问题也存在着诸多推论。其实，欣赏一件古代的书画作品，首先着重看的是它的艺术质量与笔墨精神，真伪问题应在其后。\n《茂林远岫图》经南宋贾似道、元代鲜于枢、明代项元汴、清代梁清标等名家收藏，后入清宫内府，上有百余方收藏印迹。作品后有南宋向冰、元人倪瓒、明人张天骏三人题跋。画上有乾隆的一首七言诗：“元气淋漓万木枝，荆关而外自成师。奁屏合付闺中秀，砚匣琉璃冥写时。”由于南宋向冰在卷后题跋中称此图为北宋李成所作，所以该作品多被看做是流传有绪、唯一可信的李成真迹。\n展阅北宋画家李成的《茂林远岫图》轴，它给人的第一印象就是场面开阔、气势恢弘。远处的山峰顶天立地，给人以庄严、豪迈之感。近景处，小桥流水、泊岸轻舟，以及来来往往的行人车马，给人一种轻柔舒缓的感觉。它们与雄浑、巍峨的远山搭配协调、刚柔相济。楼台寺塔、流泉飞瀑点缀于溪畔崖间；丛林苍翠，连绵不断，让人观后顿觉心情舒畅。\n《茂林远岫图》用笔劲健平和，线条纤细而不孱弱，骨力内蕴，如绵里裹针。岩石先用瘦劲的线条勾勒，再以清晰、细劲的小线条慢慢皴写，层层叠加。作品用墨谨慎小心。尤其淡墨，更是细腻持重、清逸传神。作品设色不多。即使设色的地方，也是清新、醇厚，有一种雍容典雅的韵味，没有丝毫的火气与造作。\n北宋画家王诜曾将李成的画与范宽的画做过比较，说李成的画“墨润而笔净，烟岚轻动，如对面千里，秀气可掬”。的确，与范宽的画相比，李成的画更为文气，这与李成具有广博、丰厚的学识大有关系。李成的画有较浓的书卷气，这一点在传为李成的《茂林远岫图》中也体现得很明显。\n以平远法构图来表现清旷、幽远的画境是李成山水画的一大特色。他之所以多用平远法构图，一是因为平远法适合表现山东平原的烟林远丘，容易营造一种一望无际、层层推进的视觉效果，让人感觉阔远（如果用高远法或深远法来表现，就会显得局促、窄小）；二是与李成的经历有关。虽然他在世时，李唐王朝已灭亡十几年了，但作为皇族后裔的他，并不甘心就此埋没，还想东山再起。可因家道中落、仕途不顺、兵灾人祸等种种原因，他走仕途的理想最终未能实现。在多次遭到挫折的情况下，他将自己的人生目标转移到绘画上，以求得内心的平静。这一追求体现在画面上，就是意境冲淡、平和，并带有萧疏之气。平远的构图，使画家能深入地描绘对象，思维不自觉地延伸，从而达到内心的宁静。宋代郭若虚《图画见闻志》评价李成的作品“气象萧疏，烟林清旷”，甚是贴切。",[23,24,194,25,26,29,177,7,9286,1169,34,176,37,9287,67,9288,9289,809,986],"茂林","淡墨","层峦","丛林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ba9ba394d8f11186aaa0fc8c73d28ca.jpg","纵45.4厘米，横141.8厘米",[42,181,163],{"id":9294,"slug":9295,"title":9296,"dynasty":18,"author":391,"museum":20,"description":9297,"tags":9298,"thumbUrl":9299,"material":529,"size":9300,"collection":42,"collections":9301,"showCount":9278,"zanCount":48,"manualWeight":48,"mainColor":49},221365,"dai-sheng-tu-zhao-ji-221365","戴胜图","宋徽宗赵佶（1082年11月2日-1135年6月4日） [6] ，号宣和主人，宋朝第八位皇帝（1100年2月23日-1126年1月18日在位），书画家。宋神宗第十一子、宋哲宗之弟。先后被封为遂宁王、端王。 [1] 哲宗于元符三年（1100年）正月病逝时无子，太后向氏于同月立赵佶为帝，次年改年号“建中靖国”。\n\n宋徽宗即位之后启用新法，但是宋徽宗重用的蔡京等打着绍述新法的旗号，无恶不作，政治形势一落千丈。过分追求奢侈生活，在南方采办“花石纲”，在汴京修建“艮岳”。宋徽宗尊信道教，大建宫观，自称“教主道君皇帝”， [1] 并经常请道士看相算。重和元年（1118年），置道官二十六等、道职八等。宣和三年（1121年），令三京置女道录、副道录各一员，始立道学制度。在宋徽宗集团的腐朽统治下，内部农民起义风起云涌，宋江起义和方腊起义先后爆发，北宋统治危机四伏。但是宋徽宗在艺术上的造诣极高。宋徽宗对绘画的爱好十分真挚，他利用皇权推动绘画，使宋代的绘画艺术有了空前发展。 [2] 他还自创一种书法字体被后人称之为“瘦金体”，他热爱画花鸟画自成“院体”。是古代少有的艺术型皇帝。\n\n靖康元年（1126年），金军兵临城下，受李纲之言，禅让给太子赵桓，靖康二年（1127年）三月，与钦宗赵桓被金人掳去。金天会十三年（1135年）死于五国城，时年54岁。 [3] 南宋绍兴十二年（1142年）三月，棺椁被迎回南宋，葬于绍兴永佑陵。",[23,194,24,25,28,7,83,245,84,210,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac6d21304ca588d1c5a05077bff87467.jpg","纵55厘米，横59厘米",[42,90,45],{"id":9303,"slug":9304,"title":9305,"dynasty":76,"author":7596,"museum":191,"description":9306,"tags":9307,"thumbUrl":9308,"material":88,"size":9309,"collection":181,"collections":9310,"showCount":9278,"zanCount":2368,"manualWeight":48,"mainColor":49},220374,"xi-shan-hong-shu-tu-wang-hui-220374","溪山红树图","此图为王翚仿黄鹤山樵王蒙的一件极具特色的代表作，描绘的是遍生红树的一片秋日山林景色。画中以圆转重叠、突兀高耸的山峰为主体，山溪逶迤前行，涟漪阵起，秋波荡漾，两岸林木，红翠相间，整个画中意境深幽，秋气袭人。画家拟王蒙笔意与布局，构景繁密，山势云动，境界深奇。山石画法以墨笔牛毛皴和解索皴为主，干笔皴擦，浓墨点苔， 既显浓密厚重，又鲜艳夺目，光彩熠熠。 现收藏于台北故宫博物院的《溪山红树图》是其传世精品，他学元代王蒙的笔法，以类似牛毛皴松秀而流动的线条，构成活泼的画面，加上颜色较艳丽的红色和绿色，使整个画面有一种轻快愉悦的调子。",[23,24,25,226,7,29,2725,176,1426,109,107,34,212,86,178,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F166e49671e5b9c54baee4cd182d5e0ab.jpg","纵112.4厘米，横39.5厘米",[181,45],{"id":9312,"slug":9313,"title":4911,"dynasty":76,"author":315,"museum":20,"description":9314,"tags":9315,"thumbUrl":9316,"material":123,"size":9317,"collection":181,"collections":9318,"showCount":9278,"zanCount":1379,"manualWeight":48,"mainColor":2504},219222,"qing-lv-shan-shui-tu-xie-sun-219222","图绘近景溪水岸边房舍错落；远处高山耸立，林木繁茂。构图深远、高远兼备，富有空间层次变化。用笔工整细密，山石树木以石青石绿点染，画风清丽淡雅。此图与传统的青绿山水相比较，更多一分清新明快，是谢荪山水画的代表作",[23,24,25,27,7,29,34,176,109,107,35,108],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89fcff4bf8950f827d1dc39bf1bc74fe.jpg","纵157.2厘米，横52.6厘米",[181],{"id":9320,"slug":9321,"title":9322,"dynasty":99,"author":2275,"museum":191,"description":9323,"tags":9324,"thumbUrl":9325,"material":123,"size":9326,"collection":90,"collections":9327,"showCount":9278,"zanCount":1379,"manualWeight":48,"mainColor":49},218792,"hua-zhu-an-chun-tu-zhou-zhi-mian-218792","花竹鹌鹑图","瘦长的画幅，主景放置在幅右，秋日,石上几株绿竹，间杂著娇媚的蜀葵、牵牛花。石下一对鹌鹑，临风处有一只大凤蝶飞来。整幅画充满著婀娜明艳的光辉。题句多，亦足以让人诗画共赏。",[24,7,28,227,634,7956,484,176,83,553],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15a00ce3772da92e745cee036acd9c15.jpg","111.7x29.7cm",[90],{"id":9329,"slug":9330,"title":1142,"dynasty":18,"author":257,"museum":9331,"description":9332,"tags":9333,"thumbUrl":9334,"material":123,"size":9335,"collection":90,"collections":9336,"showCount":9278,"zanCount":2368,"manualWeight":48,"mainColor":2504},218645,"mu-dan-tu-yi-ming-218645","福冈市立美术馆","沉棕底色如旧绢凝香，中央牡丹姿态雍容却不失清雅。花瓣层叠如浪，米白与浅褐的晕染间藏着淡粉的柔韵，似被时光打磨出温润质感。墨线勾出的叶片翠意内敛，叶脉纤细如丝，与花的柔婉相映成趣。整幅画作工致细腻，尽显宋画的沉静风骨，将牡丹的端庄神韵凝于方寸之间，仿佛能窥见千年之前画者笔下那一抹含蓄的生机，静谧中流淌着古雅的诗意。",[23,194,24,25,83,28,7,292,837],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7837e7613763e599f5ea1a410e470c01.jpg","26.7x31.2",[90],{"id":9338,"slug":9339,"title":9340,"dynasty":99,"author":257,"museum":191,"description":9341,"tags":9342,"thumbUrl":9343,"material":123,"size":9344,"collection":44,"collections":9345,"showCount":9278,"zanCount":1379,"manualWeight":48,"mainColor":94},216959,"ming-tai-zu-ban-shen-xiang-yi-ming-216959","明太祖半身像","这幅画表现了朱元璋的壮年时期，他的脸几乎是正面的。他的脸是红色和紫色的，留着短胡须，眼睛有光泽，采取坐姿，双手自然放在膝盖上，暗示着一种权力和力量的感觉。他头上戴着头巾，穿着带有龙纹图案的明黄色御用长袍，腰间系着蟒蛇腰带，脚穿皂靴，看起来就像一个统治世界的国王。",[24,28,7,106,406,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23e1c716274a71c68d6b068424ee8dfa.jpg","270x163.6",[44],{"id":9347,"slug":9348,"title":2529,"dynasty":76,"author":77,"museum":316,"description":596,"tags":9349,"thumbUrl":9351,"material":599,"size":600,"collection":139,"collections":9352,"showCount":9353,"zanCount":1379,"manualWeight":48,"mainColor":94},290536,"yan-xi-yu-le-zhou-yun-shou-ping-290536",[24,194,226,25,28,7,83,243,722,245,86,212,9350],"鱼乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20aff2a060a96207e9cbb6a8febec6d9.jpg",[],143,{"id":9355,"slug":9356,"title":131,"dynasty":76,"author":77,"museum":316,"description":955,"tags":9357,"thumbUrl":9358,"material":139,"size":959,"collection":139,"collections":9359,"showCount":9353,"zanCount":48,"manualWeight":48,"mainColor":94},233894,"hua-hui-ce-yun-shou-ping-233894",[24,25,83,7,82,243,836,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6264e10266425c21b4f12e01ab8d910.jpg",[],{"id":9361,"slug":9362,"title":9363,"dynasty":2720,"author":9364,"museum":316,"description":9365,"tags":9366,"thumbUrl":9368,"material":139,"size":139,"collection":139,"collections":9369,"showCount":9353,"zanCount":1379,"manualWeight":48,"mainColor":94},226557,"bei-qi-xiao-shu-tu-yang-zi-hua-226557","北齐校书图","杨子华","杨子华，北齐画家，生卒年不详。是北齐世祖高湛的爱臣，北齐世祖时（561年－565年）任直阁将军、员外散骑常侍。善画贵族人物、宫苑、车马，所画马尤其生动逼真，据传他在壁上所画马甚至引起观者夜间听到马索水草而嘶鸣的幻觉。时有“画圣”之称。北齐世祖使其供职宫廷，非有诏不得与外人画，成为专门的御用画家。他所画人物形象丰满圆润，有别于顾恺之的“秀滑清丽”，他的画风影响到唐代，具有承前启后的历史地位。\n\n现存《北齐校书图》（美国波士顿美术馆，系宋代摹本），纵29.3厘米，横122.7厘米，这图卷所画的是北齐天保七年（556年）文宣帝高洋命樊逊和文士高乾和等11人负责刊定国家收藏的《五经》诸史的情景。画中人物其神情均极生动。此图用笔细劲流动，细节描写神情精微。设色简易标美。",[23,194,24,25,26,28,7,106,150,9367,212,86,178,4226,1011,1012,4227,63],"书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a01f2f22b879846072f997f9ed81611.jpg",[],{"id":9371,"slug":9372,"title":6455,"dynasty":18,"author":257,"museum":316,"description":9373,"tags":9374,"thumbUrl":9375,"material":139,"size":139,"collection":139,"collections":9376,"showCount":9353,"zanCount":2368,"manualWeight":48,"mainColor":49},223683,"yin-cha-tu-yi-ming-223683","《宋饮茶图》是宋代佚名创作的绢本设色画，现藏于美国弗利尔美术馆。\n图中画一侍女双手捧茶盘，一妇人伸手盘中拿茶具。\n右边一贵夕面向她们而立，仪态端庄娴静。\n后随侍女双手捧一锦盒。\n画风承唐代周吩，典雅浓丽。\n旧题南唐 画，然观其时代气息，应为宋人所作。",[23,24,194,1260,28,7,106,59,2307,212,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6783b061be5eddc485e3cd90b44470fd.jpg",[],{"id":9378,"slug":9379,"title":9380,"dynasty":256,"author":3184,"museum":316,"description":6534,"tags":9381,"thumbUrl":9385,"material":599,"size":600,"collection":3195,"collections":9386,"showCount":9387,"zanCount":48,"manualWeight":48,"mainColor":2504},225641,"rembrandt-harmensz-van-rijn-051-lun-bo-lang-225641","Rembrandt Harmensz.van Rijn - 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i-ding-219550","斜倚薰笼图","禹之鼎","此作用笔秀雅匀净，线条挺括柔婉，浅淡敷色晕染精妙。斜倚薰笼的仕女软红覆身，执卷似读非读，眉眼含着慵懒倦怠，将深闺女子百无聊赖的娇柔之态尽显无余。立侍女子佩剑负囊，神色温婉恭谨，静穆疏离的情态与坐者形成微妙呼应。画面氛围幽柔沉静，把闺中静谧松弛的氛围烘托尽致，将仕女柔婉闲淡的幽微心绪刻画入微，尽显传统仕女画雅致隽秀的审美意韵。",[23,24,25,28,7,352,106,59,229,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F886625e8924a96d8b20fbfff9e4f4569.jpg",[44,45],{"id":9604,"slug":9605,"title":9606,"dynasty":99,"author":857,"museum":78,"description":9607,"tags":9608,"thumbUrl":9609,"material":123,"size":9610,"collection":44,"collections":9611,"showCount":9583,"zanCount":2368,"manualWeight":48,"mainColor":49},219416,"yin-jiu-du-shu-tu-zhou-chen-hong-shou-219416","饮酒读书图轴","图绘一位文士头戴乌帽身穿朱衣，手持把杯，坐对书卷。长几上瓶插梅花竹叶，\n笔墨皆清劲。画面取斜向构图，布局大胆新奇。此图作于崇祯十六年癸未（1643），作者时年46岁。本年，明王朝已经处于风雨飘摇之际，陈洪绶只好南归。此图即作于舟泊天津杨柳青之时。图中有孔尚任题跋四则，不仅谈到购藏此图的经历，同时对于补充孔氏生平经历具有重要的史料价值。",[24,226,7,106,820,229,86,212,1012,1011,63,6322],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd899a507a555b78db6a6bc70bf72310f.jpg","纵100.8厘米，横49.4厘米",[44],{"id":9613,"slug":9614,"title":9615,"dynasty":99,"author":170,"museum":191,"description":9616,"tags":9617,"thumbUrl":9618,"material":88,"size":9619,"collection":90,"collections":9620,"showCount":9583,"zanCount":2368,"manualWeight":48,"mainColor":94},219361,"jiu-sheng-huan-yu-tu-shen-zhou-219361","鸠声唤雨图","述了行走在街头和庭园，常掠过一种和鸽子类似的鸟类，它的造型和色彩朴素，就连那咕咕的叫声，也是浑厚的，这便是斑颈鸠了。它的这份质朴，正是文人画家偏爱的感觉。斑颈鸠，体态雍容华丽，颈部斑点有如珍珠瑰丽，也是乡土鸟类中广为熟悉的鸟。沈周的一幅「鸠声唤雨」画出一只瞪著大眼、嘟著嘴，有著圆胖身体的斑颈鸠，孤孤单单栖踞枝头，看起来特别古朴与淡雅。",[24,194,25,226,7,498,245,1353,353,83,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8da560143d64c8be1ba2d59b856a3b22.jpg","51.1x 30.4",[90],{"id":9622,"slug":9623,"title":9624,"dynasty":76,"author":1610,"museum":191,"description":9625,"tags":9626,"thumbUrl":9627,"material":88,"size":9628,"collection":45,"collections":9629,"showCount":9583,"zanCount":2368,"manualWeight":48,"mainColor":94},219310,"fu-song-yuan-hua-liu-xia-xiong-ji-tu-zou-yi-gui-219310","抚宋苑画榴下雄鸡图","雄鸡立于嶙峋石矶之上，红冠高挺，金羽熠熠，尾羽如墨线挥洒般舒展，昂首之态尽显英武。旁侧石榴枝虬劲，花簇艳红似火；洁白百合点缀其间，皎洁如玉。山石以淡墨皴擦，纹理古朴自然，衬出草木禽鸟的鲜活。整幅画作设色明丽雅致，线条工细流畅，既承宋院体画的写实严谨，又融文人画的清逸韵致。每一处细节皆精心勾勒，禽鸟花木栩栩如生，于静谧中透出盎然生机，尽显笔下精妙匠心，将自然意趣与艺术巧思完美融合。",[24,25,83,28,7,105,4528,1060,230,896,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d1897939883fcd871399f3180170670.jpg","165.9x89.6",[45],{"id":9631,"slug":9632,"title":6474,"dynasty":99,"author":257,"museum":608,"description":9633,"tags":9634,"thumbUrl":9635,"material":123,"size":9636,"collection":90,"collections":9637,"showCount":9583,"zanCount":1233,"manualWeight":48,"mainColor":49},219268,"lian-chi-cang-lu-tu-yi-ming-219268","墨绿荷叶如伞盖层叠，粉嫩荷花亭亭绽于其间，瓣尖晕染淡红，花心素白如雪。几只苍鹭姿态各异：一者振翅展羽，翎毛纤毫毕现；一者引颈长唳，喙尖微张似欲唤侣；另有两羽相偎，身形依偎间流露亲昵。背景深褐如古绢晕染，衬得花叶禽鸟愈发清雅。笔触细腻处见工致，羽毛的柔滑、荷叶的脉络皆清晰可触，却又不失写意的空灵。整幅画氤氲着静谧生机，似将莲池畔的刹那闲趣凝于绢上，尽显雅致韵致，观之如临清池，闻得荷风与禽鸣交织，恍若触到古绢上凝住的清润时光。",[23,24,194,25,7,28,83,6477,136,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7da87412892d3bb3ded765cef53220cf.jpg","纵97.7横43.1厘米",[90],{"id":9639,"slug":9640,"title":9641,"dynasty":99,"author":9642,"museum":316,"description":9643,"tags":9644,"thumbUrl":9645,"material":139,"size":139,"collection":139,"collections":9646,"showCount":9647,"zanCount":2368,"manualWeight":48,"mainColor":94},228271,"er-shi-si-fan-hua-xin-tu-juan-wei-zhi-ke-228271","二十四番花信图卷","魏之克","此作用没骨法写群芳次第铺展，艳红山茶花、柔粉芙蓉、明黄牵牛、素白水仙等错落排布，将四季花信的娇美姿态尽揽卷中。\n\n敷色妍丽清润，花叶晕染细腻自然，花瓣的柔润肌理、叶片的明暗层次皆被精微呈现。勾勒线条纤秀柔和，不着笔痕却见风骨。构图舒展疏朗，一花一叶各含生机，毫无拥塞之感，将文人意趣融于写生之中，整卷清新雅致，如将春日烂漫温柔铺陈眼前，观之如沐东风，尽现写生花鸟的雅致意韵。",[23,24,25,26,28,7,83,820,579,292,634,243,898,629,3741,896,661,1261,1806,6375,84,210,1187,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fcbf65ccf427d0eec788db6bcfcdb78.jpg",[],137,{"id":9649,"slug":9650,"title":9651,"dynasty":18,"author":4912,"museum":20,"description":9652,"tags":9653,"thumbUrl":9654,"material":40,"size":9655,"collection":42,"collections":9656,"showCount":9647,"zanCount":1379,"manualWeight":48,"mainColor":94},221420,"dong-po-chi-bi-tu-wang-shen-221420","东坡赤壁图","『烏林赤壁事已陳，黃州赤壁天下聞』。蘇軾的兩次赤壁漫遊，喚醒和重排了赤壁古戰場在文學史和藝術史中的地位，不但前後《赤壁賦》和《水調歌頭·赤壁懷古》成爲千古名篇，由此託生的赤壁圖也成爲畫史中重要的主題。作爲蘇軾文人集團的兩位重要人物：李公麟和王詵，他們都曾畫過赤壁圖，以圖畫的方式呼應着蘇軾的歷史書寫。他們的創作直接建立了畫史中的『赤壁圖式』，對後代產生深遠影響。惜乎二作失傳。我們只能憑藉一些歷史文獻，復原二圖的基本風格面貌，爲我們探討北宋末年以來『赤壁圖式』的發展提供一些線索。",[23,24,173,1260,29,174,176,109,106,795,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93947956f8d0518422dab73c735749f6.jpg","24.8 x 28.1 CM",[42,181,163],{"id":9658,"slug":9659,"title":9660,"dynasty":76,"author":9661,"museum":20,"description":9662,"tags":9663,"thumbUrl":9664,"material":88,"size":9665,"collection":45,"collections":9666,"showCount":9647,"zanCount":1379,"manualWeight":48,"mainColor":94},219175,"shuang-mao-kui-yu-tu-cheng-zhang-219175","双猫窥鱼图","程璋","此图绘制的是一幅秋天的美好图景。一弯池水迂回荡漾，岸边苇草萌发，树枝随风而动，显得古朴与优雅。池塘边两只花猫，葡匐在岸上，双眼紧盯着沟渠中的游鱼。仿佛在欣赏他们惬意的身姿，溪水对岸，淡色轻染，烟霭迷濛。全画以水彩设色技法来体现物象，工整细致，将岸石的坚实感，猫鱼的柔滑感，苇草的飘逸感，树枝的风动感，表现的惟妙惟肖。可能是因为画家懂得生物百态，所以画的木头，苇草，浮萍、树干，树枝及红叶，在透视的处理上，以及远近、前后、浓淡、深浅等方面，都能符合自然景物的真实性。并利用干、湿、浓、淡的笔力墨法所产生的差异，整体变得稳重、秀润。",[23,194,24,25,226,7,28,173,745,722,795,263,838,262],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ee5c1ca6bba6d53a16282a54c29ac96.jpg","纵148cm 横80.8cm",[45],{"id":9668,"slug":9669,"title":9670,"dynasty":76,"author":9671,"museum":191,"description":9672,"tags":9673,"thumbUrl":9674,"material":88,"size":9675,"collection":90,"collections":9676,"showCount":9647,"zanCount":918,"manualWeight":48,"mainColor":94},218994,"gou-tu-shen-zhen-lin-218994","狗图","沈振麟","这是一幅站在竹子和梅花树下的京巴，姿态呆萌，系金钟，想必是宫廷犬的家族。描写敏感而写实，可能受到西方绘画风格的影响。",[24,7,28,746,820,227,226,638],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f54e80e7dec55c15cb031502a3d45e4.jpg","纵92.8横75.6厘米",[90],{"id":9678,"slug":9679,"title":9680,"dynasty":18,"author":1350,"museum":316,"description":9681,"tags":9682,"thumbUrl":9683,"material":123,"size":9684,"collection":181,"collections":9685,"showCount":9647,"zanCount":48,"manualWeight":48,"mainColor":49},218628,"fan-zhou-tu-ma-yuan-218628","泛舟图","烟波浩渺间，一叶扁舟轻漾于粼粼水面。船中二人，一卧一坐，或醉眠或凝思，与天地相融。远山如黛，淡墨晕染出云气缭绕的朦胧，似隐似现于天际；近岸怪石嶙峋，线条刚劲如铁，皴擦间见苍劲质感。疏疏芦苇随风摇曳，墨色浓淡相宜，添几分野趣生机。\n\n画面以边角构图见巧，留白处尽是烟波浩渺的空濛，引观者思绪飘向远方。笔墨简练却意蕴悠长，水墨晕染与线条勾勒相映成趣，将文人雅士超脱尘嚣的心境凝于方寸扇面。空灵雅致的意境，尽显南宋山水的诗意哲思，令人心向往之。",[24,194,1260,29,173,7,177,174,106,6582,230,1980],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa216b268b23e2c63a87ea695ec2fbf8d.jpg","21.5x24",[181],{"id":9687,"slug":9688,"title":9689,"dynasty":18,"author":2244,"museum":316,"description":9690,"tags":9691,"thumbUrl":9692,"material":123,"size":9693,"collection":90,"collections":9694,"showCount":9647,"zanCount":1379,"manualWeight":48,"mainColor":49},218557,"zhen-qin-tu-li-di-218557","珍禽图","画面中两只禽鸟栖息于枝间，翎羽纤毫毕现，墨色晕染层次分明，黑褐斑纹与浅白羽毛相映成趣。上方禽鸟颔首敛翅，姿态娴静；下方者展翅欲动，羽翼柔润中透着劲挺。枝叶扶疏，浅金色叶片与棕褐枝干交织，古朴绢本底色衬出物象温润质感。构图疏密有致，动静相宜，每道线条皆见功底：羽毛的蓬松、枝干的纹理刻画入微，似能闻林间轻响，观禽鸟灵动之态。笔墨间藏着对自然的细腻体察，于方寸间尽显生机与雅致，让人沉醉于这份古朴而鲜活的意趣里。",[23,194,24,25,1260,28,7,83,245,836,554],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F232d7931170a1c143b987fbb2c17089a.jpg","28x32",[90],{"id":9696,"slug":9697,"title":9698,"dynasty":18,"author":1350,"museum":316,"description":9699,"tags":9700,"thumbUrl":9701,"material":2365,"size":3243,"collection":163,"collections":9702,"showCount":9647,"zanCount":48,"manualWeight":48,"mainColor":49},218551,"gao-shi-xie-he-tu-ma-yuan-218551","高士携鹤图","垂丝柳影轻笼暮色，宽袍士人拄杖凝眸。身旁仙鹤独立，长颈引向天际，似欲与流云对语。画面构图疏朗，以简淡之笔见天地阔远：柳枝的柔曼衬出士人的清寂，鹤的高洁映其心性。淡墨晕染的远山如黛，近水无痕，留白处漾着幽远的禅意。线条简练却含筋骨，衣袂的飘举、鹤羽的疏劲，皆诉着隐逸之趣——抛却俗务，与鹤为友，在烟水间守一份澄澈自在。笔墨间藏着文人的精神归处，不恋尘嚣，只愿在山水云鹤间，寻得灵魂的安宁与超脱。",[23,194,24,25,1260,173,7,352,106,60,2532,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0535cd201a3698edcf794670a2a03726.jpg",[163],{"id":9704,"slug":9705,"title":9706,"dynasty":99,"author":257,"museum":191,"description":9707,"tags":9708,"thumbUrl":9709,"material":123,"size":9710,"collection":44,"collections":9711,"showCount":9647,"zanCount":1379,"manualWeight":48,"mainColor":49},218526,"fo-xiang-tu-yi-ming-218526","佛像图","这些天人各自手持法器，被他们的同伴骑着并护送着，他们都面朝右边，坐在天空的云朵上，可能是一组描绘天人聆听佛陀教诲的佛画的一部分。三面六臂的力士可能是来自八大天师的阿修罗；持剑的武士和美女是罗刹，罗刹是十二天之一，原本是异教的恶魔，被降服后成为佛教的保护者。整块画板用薄薄的颜料描绘了天人的肌肉，他们的袖子卷起又折起的样子，大多是兰花叶的样式，是吴道子以来专业画家的风格。这幅画的衣服上也有丰富的金色和钩纹装饰，颜料也有很多地方是泥金的。从这幅画的风格来看，它是在15世纪明朝时期绘制的。",[23,24,25,226,28,7,260,106,2235,406],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd052330f7cc5224c48e44b4f0a6b3ba9.jpg","143.7x81.5",[44],{"id":9713,"slug":9714,"title":9715,"dynasty":302,"author":1977,"museum":191,"description":9716,"tags":9717,"thumbUrl":9718,"material":638,"size":9719,"collection":139,"collections":9720,"showCount":9721,"zanCount":1379,"manualWeight":48,"mainColor":49},231941,"que-hua-qiu-se-tu-quan-juan-zhao-meng-fu-231941","鹊华秋色图全卷","《鹊华秋色图》画中是一片辽阔的泽地和河水，从近景直伸展到远处的地平线。在这好像无际的平远景上，最重要的是两座山：右方突立的是三角形，双峰笔直的华不注山；盘踞在左面的是鹊山，形如面包，又如水牛的脊背。画题就是由这两座山而起的。鹊华二山与近景之间，树木紧多，疏落散布，有杨树、稚松及其他各类。画的左方，可见山羊四五只，在几所简陋的茅舍简啮食。水边轻舟数叶，舟中渔叟正安静地工作。其时正是秋天——一片宁静，有的树叶已脱落了，有的亦赤黄相间。然而村人对这些美景混然不觉，只埋头于他们日常的生计。\n从题跋可知，《鹊华秋色图》作于元贞元年（1295年）冬。这年，作者在任满济南路总管府事，奉召进京又称病辞官回到故乡吴兴。与此同时，祖籍济南的南宋文学家周密自曾祖父随宋高宗南渡客居吴兴后，从未回过故乡，听归隐山林后的作者时常赞美济南的优美风光，勾起了思乡之情，于是请他详细介绍故乡的风土人情。作者被周密深深的家乡情结所打动，觉得把济南风光画出来赠与友人，比口头讲述更加直观形象，便挥毫泼墨，作下这幅画。\n从题跋可知，《鹊华秋色图》作于元贞元年（1295年）冬。这年，作者在任满济南路总管府事，奉召进京又称病辞官回到故乡吴兴。与此同时，祖籍济南的南宋文学家周密自曾祖父随宋高宗南渡客居吴兴后，从未回过故乡，听归隐山林后的作者时常赞美济南的优美风光，勾起了思乡之情，于是请他详细介绍故乡的风土人情。作者被周密深深的家乡情结所打动，觉得把济南风光画出来赠与友人，比口头讲述更加直观形象，便挥毫泼墨，作下这幅画。\n作者把两座山分左右布局，右边是华不注山，左边是鹊山，均安排在远景位置。两座山的形状，呈尖三角形（华不注山），一呈半圆形（鹊山），两者遥遥相对。在刚柔对比中，更显得华不注山的险峻奇突。图中中景、近景表现出一片辽阔苍茫的景象。平川洲渚，红树芦荻，房舍隐现。图中林木种类颇多，红绿相间，枯润相杂。树姿高低且变化丰富，布置得宜，聚散自然，多而不繁，疏朗有致。在这水乡山色之中，几个渔民在劳作，或撑篙、或扳网，还有一人策杖漫步在田野，远处可见散放着的牛群，整个画面洋溢着牧歌般的恬静气氛。\n画上树干不是用两条线勾廓外形，而是把边线与树皮的纹理结合在起勾绘。用笔似乎旋转，线条往复重叠，增添了树干的质感。画上近景中景的树叶，点绘得比较疏朗，远树画得简洁，整体感较强。鹊山用披麻，皴法较密。华不注山正面运用了“荷叶皴”，线条从上直落，交叉处稍留空白，突出山的嶙峋之姿。侧面用“解索皴”，整个山体两边皴擦少，边线模糊，但体积感较强。汀岸、平原采用了长披麻并以笔力的轻重，线条的疏密，落墨的深浅凸显干湿，表现出了大自然的节奏和生命。房舍人畜、芦荻舟车均精描细点，再渲染青、赭、红、绿，设色明丽清淡，风格古雅俊秀。作者创造性地将水墨山水与青绿山水融为一体，笔法灵活，风苍秀简逸，富有创新之意。\n图中两座山峰，鹊山为淡花青，华不注山为淡青绿，颜色较为醒目。其他诸景如洲渚、树木等多施以深浅不一的青色，房屋、牛群和一些树叶则用红、黄、精等暖色系，色调冷暖交汇，既显示出秋的清旷高洁，亦呈现出人情的和乐安详。",[23,24,25,26,173,7,29,34,7600,31,35,178,86,212,177,194],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9153244445e02ec7ffa1f4c18ddd13f9.jpg","28.4厘米，横：90.2厘米",[],136,{"id":9723,"slug":9724,"title":9725,"dynasty":256,"author":9726,"museum":316,"description":9727,"tags":9728,"thumbUrl":9729,"material":139,"size":139,"collection":139,"collections":9730,"showCount":9721,"zanCount":2368,"manualWeight":48,"mainColor":49},225587,"xian-he-tu-ping-xu-xiao-ling-225587","仙鹤图屏","绪小玲","金地为底晕染出华贵底色，群鹤徐行姿态各异，或昂首引颈阔步向前，或垂首敛羽静立其间，排布错落自带悠然行进的韵律。\n\n笔墨晕染极具章法，白羽柔润清灵，玄色羽翼晕出明暗层次，挺劲纤细的长腿勾勒出丹顶鹤清隽出尘的身姿。左侧古松虬枝半掩，留白虚实相生，让画面疏密相宜，既衬出群鹤高洁仙气，也让屏面免于拥塞。整体铺陈出祥瑞静谧的氛围，将仙鹤自带的高洁之美定格屏间，尽显东方灵禽画的雅致意趣。",[23,24,28,7,83,926],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddaae8e4db67d67172777e9d18e21960.jpg",[],{"id":9732,"slug":9733,"title":9734,"dynasty":76,"author":9735,"museum":316,"description":9736,"tags":9737,"thumbUrl":9738,"material":770,"size":9739,"collection":139,"collections":9740,"showCount":9721,"zanCount":2368,"manualWeight":48,"mainColor":94},222629,"ju-shi-yan-nian-tu-zhou-huang-shan-shou-222629","菊石延年图轴","黄山寿","绘秋日中菊花绽放，三种色彩，争相斗艳，蓝色湖石穿插其中。画上题诗“飘飘神采濯枝秀，不食烟火何妨瘦，精气有余骨相坚，餐英尚且能益寿”。黄山寿，原名曜，字旭初，晚清画家，工人物、山水，善墨龙等",[23,24,25,226,7,28,897,379,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F017d9351b72d2e389bc0b7cd7ce8fbed.jpg","131X67cm",[],{"id":9742,"slug":9743,"title":9744,"dynasty":18,"author":1350,"museum":20,"description":9745,"tags":9746,"thumbUrl":9748,"material":40,"size":9749,"collection":42,"collections":9750,"showCount":9721,"zanCount":1379,"manualWeight":48,"mainColor":49},221529,"mei-shi-xi-fu-tu-ma-yuan-221529","梅石溪凫图","本幅款署“馬遠”。钤藏印：“ 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、Kesi 或 Chinese silk tapestry），又称“刻丝”，是中国传统丝绸艺术品中的精华。是中国丝织业中最传统的一种挑经显纬，极具欣赏装饰性丝织品。\n宋元以来一直是皇家御用织物之一，常用以织造帝后服饰、御真（御容像）和摹缂名人书画。因织造过程极其细致，摹缂常胜于原作，而存世精品又极为稀少，是当今织绣收藏、拍卖的亮点。常有“一寸缂丝一寸金”和“织中之圣”的盛名。\n苏州缂丝画也与杭州丝织画、永春纸织画、四川竹帘画并称为中国的“四大家织”。",[23,26,1329,24,25,27,7,29,106,107,174,245,109,9822,795,176,115,4352,212,86],"亭榭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d1d0a4ab2c0a1cc69f15a9e1c4bcfe0.jpg",[],135,{"id":9827,"slug":9828,"title":9829,"dynasty":76,"author":2200,"museum":316,"description":9830,"tags":9831,"thumbUrl":9832,"material":139,"size":139,"collection":90,"collections":9833,"showCount":9825,"zanCount":2368,"manualWeight":48,"mainColor":94},239029,"hong-mei-juan-wu-chang-shuo-239029","红梅卷","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。”吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。 1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。",[24,26,173,7,820,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09767ee0d5b587971ce9dfadc909df1f.jpg",[90,45],{"id":9835,"slug":9836,"title":7377,"dynasty":76,"author":257,"museum":20,"description":2337,"tags":9837,"thumbUrl":9842,"material":40,"size":675,"collection":139,"collections":9843,"showCount":9825,"zanCount":48,"manualWeight":48,"mainColor":49},236169,"yong-zheng-shi-er-yue-xing-le-tu-zhou-yi-ming-236169",[24,7,28,104,29,107,1557,106,986,176,34,2339,9838,9839,9840,9841,1930],"宫廷生活","节令风俗","中式建筑","西式建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff841a07266c24ab45bc115c2dd2f7821.jpg",[],{"id":9845,"slug":9846,"title":9847,"dynasty":76,"author":742,"museum":316,"description":9848,"tags":9849,"thumbUrl":9851,"material":139,"size":139,"collection":139,"collections":9852,"showCount":9825,"zanCount":1379,"manualWeight":48,"mainColor":94},230128,"hua-niao-shu-guo-ce-ye-ba-kai-ren-yi-230128","花鸟蔬果册页(八开)","此作以淡墨铺染出空濛底色，枝桠间雀鸟静栖，以干笔丝毛晕染翎羽，写实中兼具写意意趣，朱红顶冠醒目鲜活，将禽鸟机灵敏锐的神态刻画入微。衬景枝叶以浓淡水墨挥洒而就，枯荣姿态各具，干湿层次丰富，与留白虚境相映成趣，营造出清寂悠然的秋日氛围。\n\n构图疏朗空灵，右下角题款朱印呼应雀首色彩，章法雅致和谐。笔意兼具写实的生动与文人画的写意气韵，将寻常禽鸟小景绘出澹远悠长的意境，尽显雅致灵动的花鸟意趣。",[24,81,173,7,498,83,210,9850],"蔬果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d23c459b8d850378f7361b3c25c3d70.jpg",[],{"id":9854,"slug":9855,"title":9856,"dynasty":76,"author":9857,"museum":316,"description":9858,"tags":9859,"thumbUrl":9860,"material":500,"size":9861,"collection":181,"collections":9862,"showCount":9825,"zanCount":48,"manualWeight":48,"mainColor":94},222665,"xi-shan-qiu-yu-tu-kun-can-222665","溪山秋雨图","髡残","描绘的是古木流泉，高人独坐，体现出一派野逸之趣。髡残之画卷苍老雄浑，深沉豪迈，以老辣见胜，但相对而言，此图当属相对文雅、宁静一路画风。\n通观全画，不禁让人想起王蒙的代表作《葛稚川移居图》，但髡残在构图和技法上均做了简化处理。整幅画采用是全景式繁密构图，前景处山石耸立，几株树木立于 其上，呈现出不同的生长态势。画面左下角一座小桥向后延伸，一位樵夫缓缓行走，引出画面的中景。远景一座大山巍峨挺立，一座茅屋筑于半山腰，为这幅画增添 了不少人气。\n髡残将王蒙画中那股山体蜿蜒向上的强烈夸张的扭势处理成了文雅、宁静的气象，笔法上对王蒙有所借鉴，山石多用披麻皴、解索皴，用赭石染山石，色泽浓厚，并且在山石轮廓上用焦墨钩提。\n髡残师古人乃食古而化，不过是以古人酒杯浇自家胸中块垒，所以体现出来的仍是自己的精神面貌，其画构图奇特、境界幽深，是其广师造化的结果。髡残之画在当时画坛独树一帜，后人把他和石涛并称“二石”，是明清两代中最有生气的画家。",[23,24,173,7,177,226,29,176,34,35,108,109,1426],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4c669070e4f6774a5897c1f4946ba35.jpg","纵113CM 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56公分",[181,45],{"id":9965,"slug":9966,"title":9967,"dynasty":99,"author":257,"museum":316,"description":9968,"tags":9969,"thumbUrl":9970,"material":7,"size":139,"collection":45,"collections":9971,"showCount":9927,"zanCount":2368,"manualWeight":48,"mainColor":49},219904,"cha-mei-san-qin-tu-yi-ming-219904","茶梅三禽图","画面章法错落，斜出的花枝贯穿画面，山茶如烈焰点染绢素，梅花似堆雪缀于枝桠，红白相映，撞色鲜活亮眼。\n\n枝上双禽依偎理羽，姿态闲静安适；石畔绶带鸟垂首啄饮，灵动生趣。湖石、幽竹与冰姿玉骨的水仙铺陈下景，衬出花木禽鸟的清隽雅致。\n\n设色妍丽不失清雅，工笔勾勒禽鸟羽毛、花瓣脉络，晕染柔和自然，写意绘就湖竹野趣，将隆冬时节的盎然生机定格，尽显院体花鸟雅致隽永的东方意趣，藏着岁末清和的鲜活生机。",[23,24,194,28,7,83,820,209,227,379,838,262],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bbd5614909282f3d3a425af305ca027.jpg",[45],{"id":9973,"slug":9974,"title":778,"dynasty":18,"author":257,"museum":78,"description":9975,"tags":9976,"thumbUrl":9977,"material":123,"size":9978,"collection":90,"collections":9979,"showCount":9927,"zanCount":1233,"manualWeight":48,"mainColor":49},218563,"qiu-kui-tu-yi-ming-218563","画面中，秋葵舒展的花瓣如凝脂般温润，白中透粉的晕染似含朝露，娇嫩欲滴。花蕊以深褐点染，在素净花瓣间格外醒目，几笔细致勾勒便显生机。叶片脉络清晰，边缘锯齿纹理与枝干苍劲形成呼应，花苞或敛或绽，层次错落间见自然意趣。\n\n笔墨工致却不刻意，色彩淡雅而富韵致，尽显写生之妙——于细微处见真章，将秋葵清雅姿态凝于绢素。无繁复布景，仅以一花一叶情态，传递自然生命的静美与从容，仿佛能嗅到初秋清晨的微凉气息，藏着宋人对日常草木的深情观照。",[24,194,25,28,7,83,782,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffabea7ea1898f36c4440d93cfb77bd36.jpg","25.6x25.7",[90],{"id":9981,"slug":9982,"title":9983,"dynasty":99,"author":3774,"museum":191,"description":9984,"tags":9985,"thumbUrl":9986,"material":123,"size":9987,"collection":90,"collections":9988,"showCount":9927,"zanCount":2368,"manualWeight":48,"mainColor":49},216221,"jin-pu-ming-chun-tu-lu-zhi-216221","锦圃鸣春图","这幅画描绘了两只孔雀在牡丹园里争奇斗艳，鸟儿在玉兰树上春风得意。这幅画色彩热烈，反映了陆治在山水、花鸟方面的多面性。\n陆治，明代画家，工写生得徐、黄遗意。点染花鸟竹石，往往天造。山水受吴门派影响，也吸取宋代院体和青绿山水之长，在吴门派画家中具有一定新意，与陈淳并重于世。",[24,25,194,226,28,7,83,277,292,34,176,7290,5713,860],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa50c4c81b69ff6eb527a5c62b8b31e46.jpg","纵146厘米，横89厘米",[90],{"id":9990,"slug":9991,"title":7377,"dynasty":76,"author":257,"museum":20,"description":2337,"tags":9992,"thumbUrl":9993,"material":40,"size":675,"collection":139,"collections":9994,"showCount":9995,"zanCount":48,"manualWeight":48,"mainColor":49},236171,"yong-zheng-shi-er-yue-xing-le-tu-zhou-yi-ming-236171",[24,7,28,104,29,106,107,115,243,176,175,109,34,6710,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6aa7b59ca91897a30691a9a29a57869a.jpg",[],133,{"id":9997,"slug":9998,"title":9999,"dynasty":76,"author":3914,"museum":539,"description":10000,"tags":10001,"thumbUrl":10004,"material":638,"size":10005,"collection":181,"collections":10006,"showCount":9995,"zanCount":48,"manualWeight":48,"mainColor":801},224481,"fu-chun-shan-ju-tu-wang-jian-224481","富春山居图","《富春山居图》轴仿作即深得黄公望用笔之妙，虚实、粗细、轻重、缓急富有变化，恰当地表现了前后景致的空间距离和起承转合；细润中锋含蓄流畅，山川景象清旷深秀。作品以笔墨形式为主体，创造出了优美动人的境界。该轴作于1658年，王鉴时年61岁，正是其绘画技法鼎盛时期。\n此幅富春山居图，而作立轴，并染以浅绛色。笔墨交融，敷色清雅，表达了王鉴对前辈大师经典的敬佩之情。",[23,194,24,25,226,173,7,6711,29,109,107,176,34,177,105,10002,10003],"清旷深秀","敷色清雅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbc6fe68c1be28db40b2fd2f41520f3d.jpg","117.5x50.5厘米",[181],{"id":10008,"slug":10009,"title":10010,"dynasty":302,"author":257,"museum":191,"description":10011,"tags":10012,"thumbUrl":10013,"material":88,"size":10014,"collection":44,"collections":10015,"showCount":9995,"zanCount":2368,"manualWeight":48,"mainColor":94},214807,"zhi-sheng-xian-xian-ban-shen-xiang-ce-ye-yi-ming-214807","至圣先贤半身像册页","这本60页的画册展示了从孔子到许衡（1209-1281），从春秋时期（公元前770-476年）到元朝的121位著名学者，最初被放置在清宫的南董殿，那里保存着皇帝、皇后和贤臣的图像。",[23,24,25,81,7,28,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe748c6349b35f74a47a36a974a96d104.jpg","33.3x24.3",[44],{"id":10017,"slug":10018,"title":10019,"dynasty":76,"author":563,"museum":608,"description":1497,"tags":10020,"thumbUrl":10021,"material":638,"size":1500,"collection":139,"collections":10022,"showCount":9995,"zanCount":1379,"manualWeight":48,"mainColor":49},214360,"san-jue-shan-shui-ce-6-hua-yan-214360","三绝山水册-6",[23,24,25,81,173,7,29,230,34,106,109,1169,86,212,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7608d5a899512f1784976f15ec1988c3.jpg",[],{"id":10024,"slug":10025,"title":10026,"dynasty":76,"author":257,"museum":20,"description":10027,"tags":10028,"thumbUrl":10029,"material":67,"size":10030,"collection":44,"collections":10031,"showCount":127,"zanCount":1233,"manualWeight":48,"mainColor":49},236174,"yin-zhen-mei-ren-tu-yi-ming-236174","胤禛美人图","仕女于圆窗前端坐，轻倚桌案，一手闲雅地捻着念珠，正观赏两只嬉戏顽皮的猫咪。此图的取景面很小，仅透过二分之一的圆窗来刻画繁复的景致，但由于画家参用了西洋画的焦点透视法，将远、中、近三景安排得有条不紊，从而扩展了画面空间的纵深感，显得意韵悠长。窗下钟声滴答，近处猫咪玩闹，时光便在这似有似无中悄悄流逝。",[24,25,28,7,106,59,745,229,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd53a373485a1fc514f0f01339644f52.jpg","纵184厘米，横98厘米",[44,45],{"id":10033,"slug":10034,"title":10035,"dynasty":256,"author":10036,"museum":316,"description":10037,"tags":10038,"thumbUrl":10043,"material":599,"size":600,"collection":3195,"collections":10044,"showCount":127,"zanCount":48,"manualWeight":48,"mainColor":49},225893,"agapanthus-1914-17-mo-nai-225893","Agapanthus, 1914-17","莫奈","奥斯卡-克劳德·莫奈（法文：Oscar-Claude Monet，1840年11月14日-1926年12月5日），法国画家，被誉为“印象派领导者”，是印象派代表人物和创始人之一。\n莫奈是法国最重要的画家之一，印象派的理论和实践大部分都有他的推广。莫奈擅长光与影的实验与表现技法。他最重要的风格是改变了阴影和轮廓线的画法，在莫奈的画作中看不到非常明确的阴影，也看不到突显或平涂式的轮廓线。光和影的色彩描绘是莫奈绘画的最大特色。\n2019年5月14日，法国印象派画家克劳德·莫奈的作品《干草堆》在纽约苏富比拍卖行以破纪录的1.107亿美元（当时1美元约合人民币6.87元）高价拍出。这是莫奈作品拍卖价格的最高纪录，也是印象派画作拍卖最高纪录。",[10039,3187,7,84,264,10040,554,7249,3129,3193,10041,10042],"印象派","百子莲","色彩晕染","写意笔触","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5ee6f81839b5b83565121b0f7c652c2.jpg",[3195],{"id":10046,"slug":10047,"title":10048,"dynasty":76,"author":2200,"museum":20,"description":10049,"tags":10050,"thumbUrl":10051,"material":638,"size":139,"collection":90,"collections":10052,"showCount":127,"zanCount":2368,"manualWeight":48,"mainColor":94},224229,"lao-shao-nian-zhou-wu-chang-shuo-224229","老少年轴","使用西洋红设色，一老一新两丛雁来红，构图成对角斜势，虚实相生，主体突出。此作当是吴昌硕大胆运用洋红的最佳范例之一。他把金石的古厚质朴的意趣，引用到绘画用色方面来，自然不落于平薄，更无粉脂俗艳。吴昌硕可以说是大写意花卉史上最善于用色的高手之一。这种绘画方法，对之后的海派绘画，乃至齐白石等京派绘画产生了重大影响。",[23,24,25,226,7,498,178,212,84,264,211,1754,3074],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8ca4315e839c5191b026d588d9a0432.jpg",[90,45],{"id":10054,"slug":10055,"title":10056,"dynasty":99,"author":756,"museum":9121,"description":10057,"tags":10058,"thumbUrl":10059,"material":500,"size":10060,"collection":181,"collections":10061,"showCount":127,"zanCount":1233,"manualWeight":48,"mainColor":94},221947,"wan-he-zheng-liu-tu-zhou-wen-zheng-ming-221947","万壑争流图轴","图绘峡峨山势，山泉争流而下，山下溪水淙淙，坡上林木葱郁。画山用湿润的披麻破，行笔细节秀润，满纸青绿，场面壮观。\n满纸青绿设色，其法是先将浅赭色普染山石，然后留下石根之赭色，再将石绿、石青，而至墨青(花青和墨)色，薄薄地按序自下而上，分层积染。但文徵明匠心独运：其一，青绿中调和淡墨，清润幽雅，已不似以往大青绿之奇艳夺目；其二，石色薄敷，不掩墨骨，故仍是元初赵孟頫青绿设色方法的演变，无愧为文徵明晚年细笔青绿山水中的精品。",[23,24,25,226,7,29,177,109,34,176,106,1426,1273,808],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23ec8b65dd08d53416021b6376bc9a1c.jpg","纵132.4cm，横35.2cm",[181,45],{"id":10063,"slug":10064,"title":10065,"dynasty":302,"author":7943,"museum":191,"description":10066,"tags":10067,"thumbUrl":10069,"material":123,"size":10070,"collection":90,"collections":10071,"showCount":127,"zanCount":2368,"manualWeight":48,"mainColor":94},219136,"hua-hui-ce-ya-zhi-cao-wang-yuan-219136","花卉册-鸭跖草","淡赭绢面上，鸭跖草细叶舒展如碧带，脉络隐现于墨痕的深浅交错间。数点蓝花轻缀叶丛，似星子落于草梢，带着未散的晨露莹光。两只蜻蜓姿态各异：红身者尾尖微垂，翅脉如丝缕勾勒，似欲栖于叶上；浅色者翼薄如纱，透着朦胧光影，正振翅掠过花丛。笔墨细腻却不繁琐，草叶的柔韧、花的娇俏、蜻蜓的轻盈皆藏于线条与淡色中。画面虽小，却凝住了一瞬的生机：风过草叶的轻颤，蜻蜓振翅的微响，都在古雅的底色里漫开，似夏日闲窗下偶然瞥见的小景，清宁而动人。",[23,194,24,25,81,7,28,83,10068,635],"鸭跖草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F331c3055f4bc0f80bc6e1a1d4988a133.jpg","25.9x23.6cm",[90],{"id":10073,"slug":10074,"title":10075,"dynasty":76,"author":329,"museum":20,"description":10076,"tags":10077,"thumbUrl":10078,"material":123,"size":10079,"collection":90,"collections":10080,"showCount":127,"zanCount":918,"manualWeight":48,"mainColor":94},218996,"han-hu-liu-zhou-lang-shi-ning-218996","阚虎骝轴","绢本之上，骏马昂首挺立，身姿矫健如虎。毛发质感细腻入微，鬃尾似流云垂落，斑纹错落间晕染出肌肉的起伏与光影变化，尽显写实功底。线条勾勒与色彩晕染相融，既有西方绘画的立体感，又不失东方笔墨的雅致。背景素净，题跋与朱印相映成趣，添几分古雅意蕴。此作将异域技法与本土审美巧妙结合，绘就骏马的灵动神韵，亦藏跨文化艺术碰撞的妙趣。",[23,24,25,226,28,7,150,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b7e691cfea774237a293ec3b0231849.jpg","纵270横240.3厘米",[90],{"id":10082,"slug":10083,"title":4872,"dynasty":76,"author":10084,"museum":78,"description":10085,"tags":10086,"thumbUrl":10087,"material":123,"size":139,"collection":44,"collections":10088,"showCount":127,"zanCount":48,"manualWeight":48,"mainColor":49},218250,"ying-xi-tu-luo-pin-218250","罗聘","孩子们被描绘成在一棵树下以不同的姿势玩耍，有非常不同的、诙谐的行为。",[24,25,7,28,106,2385,378,3712,108,278,912,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe10da7efee8c25f6e93f8c2460e80de8.jpg",[44],{"id":10090,"slug":10091,"title":10092,"dynasty":76,"author":329,"museum":20,"description":10093,"tags":10094,"thumbUrl":10095,"material":40,"size":10096,"collection":181,"collections":10097,"showCount":10098,"zanCount":2368,"manualWeight":48,"mainColor":94},236176,"qian-long-huang-di-ci-hu-tu-lang-shi-ning-236176","乾隆皇帝刺虎图","本图绘30余岁的乾隆皇帝与侍卫手握长戟，跨步向前欲刺猛虎的场面。作者运用对比的艺术手法，通过表现猛虎在乾隆皇帝的威逼下，止步不前的受惊情景，衬托出乾隆皇帝临危不惧的帝王之气。在形象上，作者为了烘托乾隆皇帝的高大，将本是兽中之王的猛虎，画得既小又弱，全然一副虎落平阳被犬欺的可怜之相。全图笔法细腻，准确地描绘出不同身份的人物所具有的不同举止及表情。从笔法上分析，画面上虽然无作者款印，但乾隆皇帝画像当为擅长写真的郎世宁所绘，虎及树木、山石等出自中国宫廷画家之手。\n作为游牧民族出身的满族皇室，乾隆皇帝从12岁开始便随祖父康熙皇帝前往热河、南苑打猎。继帝位后，骑马射箭更是成为其宫廷生活中最重要的一部分，对此，乾隆皇帝谕令宫廷画家创作了大批表现其行猎瞬间的作品，以为纪念。通过这些作品可见飞禽走兽尽在其巡狩之列。",[320,24,194,25,7,28,106,29,150,5443,746,1273,795,686,3389],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83f287578983583f550284907240b486.jpg","纵258.5厘米，横171.9厘米",[181,45],131,{"id":10100,"slug":10101,"title":10102,"dynasty":18,"author":257,"museum":316,"description":10103,"tags":10104,"thumbUrl":10105,"material":139,"size":139,"collection":139,"collections":10106,"showCount":10098,"zanCount":48,"manualWeight":48,"mainColor":94},227856,"shan-cha-hu-die-tu-ye-yi-ming-227856","山茶蝴蝶图页","以没骨晕染绘就白茶，瓣色柔润留白如凝脂莹洁，盛放与初绽花苞错落排布。浓墨绘叶，晕染出深浅枯润，将叶片舒展的柔劲姿态尽显。墨笔勾绘蝴蝶，翼上纹理纤毫毕现，振翅欲落的灵动，为静雅花枝添了鲜活意趣。\n\n赭色古雅底色衬得花木蝶影愈发清隽，构图疏朗秀逸。画面工致间带着写意韵致，将晴日山茶间的悠然小景定格，带着宋人的清雅审美，把一花一蝶的幽微之美晕染出隽永诗意，观之便好似踏入春日晴光，细品蝶绕山茶的闲静意趣。",[194,24,25,1260,28,7,83,661,484],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f81ba4e7647a8fb90303638a82667e5.jpg",[],{"id":10108,"slug":10109,"title":10110,"dynasty":76,"author":7596,"museum":56,"description":10111,"tags":10112,"thumbUrl":10113,"material":500,"size":10114,"collection":181,"collections":10115,"showCount":10098,"zanCount":48,"manualWeight":48,"mainColor":49},222812,"fang-gu-si-ji-shan-shui-tu-fang-xia-yu-yu-yu-zhuang-wang-hui-222812","仿古四季山水图-仿夏禹玉渔庄","王翚 （1632─1717），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。王翚的山水画宗旨：唐人的气韵、宋人的丘壑、元人的笔墨，也是王时敏、王鉴的绘画审美理想。所以，王鉴一见王翚便如获至宝的情形，就不难理解了。这种审美理想是建立在崇古、知古、学古的基础上的运用和化解古意、古法。王时敏认为：“廉州(王鉴)刻意摹古，所作卷轴一树一石必与宋元诸名家血战，力厚功深，久而与之俱化，不但笔墨位置咄咄逼真，而取神去粗，秀逸高华，骎骎殆将过之。”青林红树荫渔庄, 樯集江边艇子忙. 稍等风吹烟雾散, 千帆竞发沐秋阳. 他的仿古功力更深厚，渐次从“血战”中进入“过之”的目的。王翚的挚友恽寿平说王翚临黄公望的《富春山居图卷》，“前十年曾为半园唐氏摹长卷，时犹为古人法度所束，未得游行自在。最后为笪江上借唐氏本再摹，遂为弹丸脱手之势。",[23,24,2428,177,7,29,34,808,31,985,35,353,1024,3519],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d4ce2d809c541ba55a4b9f30395ec5f.jpg","82cm × 51 cm",[181,45],{"id":10117,"slug":10118,"title":10119,"dynasty":76,"author":9857,"museum":191,"description":10120,"tags":10121,"thumbUrl":10122,"material":770,"size":10123,"collection":181,"collections":10124,"showCount":10098,"zanCount":2368,"manualWeight":48,"mainColor":94},222663,"shan-shui-tu-juan-kun-can-222663","山水图卷","髡[kūn]残（1612～1692）明末清初画家。清初四僧之一。俗姓刘，武陵（今湖南省常德市）人，居南京。幼年丧母，遂出家为僧。法名髡残，字石溪，一字介丘，号白秃，一号残道者、电住道人、石道人。他削发后云游各地，43岁时定居南京大报恩寺，后迁居牛首山幽栖寺，度过后半生。性寡默，身染痼疾，潜心艺事，与程正揆（程正揆，号青溪道人）交善，时称二溪，艺术上与石涛并称二石,善画山水，亦工人物、花卉。山水画主要继承元四家传统，尤其得力于王蒙、黄公望。构图繁复重叠，境界幽深壮阔，笔墨沉酣苍劲，以及山石的披麻皴、解索皴等表现技法，多从王蒙变化而来；而荒率苍浑的山石结构，清淡沉着的浅绛设色，又近黄公望之法。他还远宗五代董源、巨然，近习明代董其昌、文徵明等，兼收并蓄，博采众长。在学习传统基础上，重视师法自然，自谓“论画精髓者，必多览书史。登山寡源，方能造意”。一生中大部分时间都在山水中度过，经常驻足于名山大川，流连往返。他“僻性耽丘壑”、“泉石在膏肓”，主观的情感、性灵与客观的景物、意境相感应、交融，使其山水画景真情切，状物与抒情成为一体。所作山水，在平淡中求奇险，重山复水，开合有序，繁密而不迫塞，结构严密，稳妥又富于变化，创造出一种奇辟幽深，引人入胜之境，生动地传达出江南山川空□茂密、浑厚华滋的情调。他喜用渴笔、秃毫，苍劲凝重，干而不枯，并以浓淡墨色渲染，使得笔墨交融，形成郁茂苍浑、酣畅淋漓的情趣，使画面产生雄浑壮阔、纵横蓬勃的气势。存世代表作有《报恩寺图》，绘南京聚宝门外报恩寺，通过概括提炼，表现了金陵名胜的磅礴、奇异气象。《云洞流泉图》、《层岩叠壑图》和《雨洗山根图》（均藏故宫博物院），以繁密的布局、苍劲的用笔、郁茂的景致、幽深的境界，显现出石溪鲜明的艺术特色。\n髡残扇面擅画人物、花卉，尤精山水。师法黄公望、王蒙，尤近于王蒙。其画章法严密，笔法苍劲，喜用秃笔渴墨，层层皴擦勾染，厚重而不板滞，郁茂而个迫塞，善写平凡景致，平淡中见幽深。与石涛、弘仁、朱耷并称“清四僧”。 工诗文、书画，擅山水、花卉。山水师法王蒙、黄公望，并汲取董源、巨然、董其昌、文徵明等人画法。博采众长，加以发展变化，又能师法自然，于游历中观赏体验名山大川的万千景象。所画山水，构图饱满，重山复水，繁密中见疏灵，善用秃锋渴笔画山石树木，以浓淡墨渲染，苍劲凝重中透出丰润秀逸之致，意境奇僻幽深，得江南山水空濛茂密、浑厚华滋之质。其绘画在当时名重一时，对后世亦有很大影响，后人将其与石涛并称二石，又与渐江、朱耷、石涛合称清初四僧。有《报恩寺图》、《云洞流泉图》、《层岩叠壑图》、《雨洗山根图》等传世。在绘画论画云：“董华亭(其昌)谓：‘画和禅理共旨，不然禅须悟，非工力使然，故元人论品格，宋人论气韵，品格可力学而至，气韵非妙悟则未能也。”在提倡勤学的同时，也主张作画须有“妙悟”，并非下死力就可得画之神韵。\n髡残性直硬，脾气倔强，寡交游，难于与人相合。这种强烈的个性表现在他的禅学上是“自证自悟，如狮子独行，不求伴侣”；表现在绘画上则为“一空依傍，独张赵帜，可谓六法中豪杰”。他自己也说：“拙画虽不及古人，亦不必古人可也。”他长期生活在山林泽薮之间，侣烟霞而友泉石，踯躅峰巅，留连崖畔，以自然净化无垢之美，对比人生坎坷、市俗机巧，从中感悟禅机画趣。髡残作品中的题跋诗歌多作佛家语，这不仅因其身为和尚，而且在他看来，禅机画趣同是一理，无处不通。如《禅机画趣图》轴、《三冬入华村图》轴，《物外田园图》册的诸多题跋，大都是借画谈禅，因禅说画。融禅机与画理于一炉，是髡残画作的主要特点之一。\n髡残在明末遗民中享有很高的声望，他的画也为世人所瞩目。当时著名的文人兼大鉴赏家周亮工就十分景仰、看重髡残的人品和画学，在《读画录》中为他写小传，谓：“人品笔墨俱高人一头地……绘事高明，然轻不为人作。”张怡在髡残的《仿米山水册》中是这样评价这位心灵相契的老友的：“举天下言诗，几人发自性灵?举天下言画，几人师诸天地?……此幅自云效颦米家父子，正恐米家父子有未到处，所谓不恨我不见 髡残古人，恨古人不见我耳。”他认为髡残的诗，是写出了自己的性灵；髡残的画是直师造化，甚至比宋代米芾父子还好；髡残的佛学是直指本心，而没有出家人开堂说法的那种俗套。张庚《国朝画征录·髡残传》云：“石□工山水，奥境奇辟，缅邈幽深，引人入胜。笔墨高古，设色精湛，诚元人之胜概也。此种笔法不见于世久矣!”这段话说明髡残的画深得元季四大家的精髓。总之，三百多年来，髡残一直以其人品与画品并重的高华之气，影响着画坛，成为画家心目中的丰碑。",[23,24,26,173,7,177,29,1426,1133,175,108,109,1169,37,34,176,86,212,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefdd6fed5c43711601b4533de6596a1c.jpg","23x309cm",[181,45],{"id":10126,"slug":10127,"title":10128,"dynasty":869,"author":4782,"museum":5351,"description":10129,"tags":10130,"thumbUrl":10131,"material":638,"size":139,"collection":139,"collections":10132,"showCount":10098,"zanCount":48,"manualWeight":48,"mainColor":94},220479,"hou-chi-bi-tu-fu-bao-shi-220479","后赤壁图","大块泼墨劈斫出雄奇岩壁，水墨淋漓间尽显嶙峋苍莽，留白衬出山涧空寂清冷。前景枯梅疏枝横斜，添了几分清寒幽峭。\n\n画面里三位文士衣袂飘然，悠然对谈，古雅超脱之态宛然眼前。以散锋乱笔写山石，皴擦晕染间氤氲出高旷荒寒之境，又以简练灵动的线条勾勒人物，将夜游的超然文思融在山水之间，笔底诗意盎然，把文人情致与山水胜景融为一体，尽显幽远绵长的古典意境。",[23,24,173,7,177,226,212,178,29,106,795,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F303fa795c9edac35723c91b8c3a07354.jpg",[],{"id":10134,"slug":10135,"title":10136,"dynasty":99,"author":100,"museum":442,"description":10137,"tags":10138,"thumbUrl":10140,"material":123,"size":10141,"collection":44,"collections":10142,"showCount":10098,"zanCount":2368,"manualWeight":48,"mainColor":49},219528,"yu-yin-tu-chou-ying-219528","渔隐图","画作以沉郁古绢为底，青绿晕染烟峦，远景山影空濛朦胧，墨色揉合石青，消弭了峰岩棱角，只剩淡宕的山野烟岚。近岸古木虬枝偃蹇，攒簇的枝叶以青绿点染，带着苍润生机。浅滩石矶错落，一脉细流澹澹而过，茅舍静立渚边，素墙茅顶融在水木之间，不见渔者身影，却满是幽寂萧散的渔居意趣。\n全画笔简意足，将寄情丘壑、归卧林泉的隐逸之思，藏进这烟峦水木之中，古旧绢色衬得青绿愈见沉静，尽显山野幽居的澹泊自在。",[23,24,25,194,28,7,27,29,34,10139,109,230,796,226],"渔舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F977cfda0f3539f45458255d68c97e3b4.jpg","纵137.5横67.8厘米",[44,45],{"id":10144,"slug":10145,"title":10146,"dynasty":76,"author":1610,"museum":191,"description":10147,"tags":10148,"thumbUrl":10149,"material":7,"size":10150,"collection":90,"collections":10151,"showCount":10098,"zanCount":2368,"manualWeight":48,"mainColor":94},219435,"shu-kui-shi-liu-zhou-zou-yi-gui-219435","蜀葵石榴轴","画面中蜀葵藤蔓舒展，淡紫花瓣层叠晕染，花蕊明黄点缀其间，叶片脉络清晰如缕，尽显工笔之细腻。旁侧石榴花枝虬劲，红橙花朵簇生，与蜀葵的柔婉形成鲜明对比，红绿相映间生机勃发。笔墨温婉雅致，设色清丽明快，枝叶的交错、花瓣的肌理皆刻画入微，既保留了自然野趣，又蕴含规整韵致。题跋与朱印错落有致，文气与画意交融，似将夏日的绚烂与清雅凝于一纸，观之如沐和风，满溢生机与雅致。",[24,25,226,7,28,83,4206,1060,554,1187,212,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5048cc1dc3f6fc3cf98be5ce658aca31.jpg","83.4x44.6",[90],{"id":10153,"slug":10154,"title":10155,"dynasty":18,"author":2220,"museum":191,"description":10156,"tags":10157,"thumbUrl":10158,"material":123,"size":10159,"collection":42,"collections":10160,"showCount":10098,"zanCount":2368,"manualWeight":48,"mainColor":49},219278,"chun-shao-ming-xi-tu-lu-zong-gui-219278","春韶鸣喜图","此幅画春日山涧情景，石壁间激泉如响，巉巖上翠竹流青，梅竞妍，山雀鸣唱，野雉偎嬉，构思造境，描染俱佳，乃岁朝张挂之图画。本幅画石，皴法用笔直泻而不含蓄，且水墨淋漓，显非南宋人画法，而是明人学宋代之浙派风格。树干皴纹，也如同边文进、吕纪一系之用笔，花鸟施朱用粉，更近于吕纪风格，该院另藏有宋人”岁朝图“，构图同出一稿，树石画法更近于明人风格。",[23,24,194,25,226,28,7,83,820,661,209,176,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa28e1b378998f3d4ce72f6c73aec9810.jpg","164x77.9公分",[42,90,45],{"id":10162,"slug":10163,"title":10164,"dynasty":76,"author":77,"museum":316,"description":596,"tags":10165,"thumbUrl":10166,"material":599,"size":600,"collection":139,"collections":10167,"showCount":10168,"zanCount":48,"manualWeight":48,"mainColor":49},288301,"hua-niao-cao-chong-tu-ce-yun-shou-ping-288301","花鸟草虫图册",[23,24,81,7,83,483,84,484,28,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F258fd1430fd11d1d5348dc536b1403e0.jpg",[],130,{"id":10170,"slug":10171,"title":954,"dynasty":76,"author":77,"museum":316,"description":955,"tags":10172,"thumbUrl":10173,"material":139,"size":139,"collection":139,"collections":10174,"showCount":10168,"zanCount":48,"manualWeight":48,"mainColor":94},233909,"hua-hui-shan-shui-ce-yun-shou-ping-233909",[24,25,81,7,82,84,230,838,3712,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6174e80dbb9482ece91dbfbb01b8787f.jpg",[],{"id":10176,"slug":10177,"title":10178,"dynasty":99,"author":257,"museum":191,"description":10179,"tags":10180,"thumbUrl":10181,"material":1307,"size":10182,"collection":139,"collections":10183,"showCount":10168,"zanCount":889,"manualWeight":48,"mainColor":94},223648,"guan-yin-xiang-zhou-yi-ming-223648","观音像轴","这尊观音的世俗色彩浓厚，他眼睛散放著悲愍的光芒，好像一位慈祥的母亲。他的脸形、发丝、手脚都用淡墨细笔画成，笔力稳健。可是衣纹则是用楷书抄录《法华经．普门品》的经文来表现，全文从观音菩萨左臂靠近孩童的头部开始，字字连续，字迹端秀，一丝不苟，充分表现了作者虔诚的宗教情怀。\n送子观音手抱孩童，右手拿杨柳，左手捧水碗。《法华经．普门品》教导求子心切的妇女礼拜供养观世音菩萨，便能生下福德智慧的男子，或是面貌端庄的女子。画中观音衣纹以楷书抄录经文近两千字，由观音左臂靠近孩童头部开始，字字连续秀整，反映虔诚宗教情怀。 观音及孩童面目、手脚以淡墨细笔勾勒，由人物开面、体态、发髻样式及回首姿态，该幅观音当为晚明作品。",[23,194,24,25,226,260,28,7,106,1488,860],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8336ee8a1cdacdeb0cfb8d89211b8fc.jpg","98.1x35.6公分",[],{"id":10185,"slug":10186,"title":10187,"dynasty":76,"author":329,"museum":191,"description":10188,"tags":10189,"thumbUrl":10191,"material":529,"size":10192,"collection":181,"collections":10193,"showCount":10168,"zanCount":48,"manualWeight":48,"mainColor":49},222758,"shi-er-yue-ling-tu-10-yue-lang-shi-ning-222758","十二月令图（10月）","清院本版的“赏花”图是清佚名版《行乐图》中没有的，显然是新增的时令图，替换清佚名版的《三月赏桃图》。笔者将其命名为“赏花”，是根据其主景（近景）确定的。其文字介绍也说：“画中描绘了树木渐茂，百花竞放，人们在连绵的细雨中执伞顶笠，赏花、消遣的景象。”如果将其命名为“赏桃”，显然名不符实。其余时令图与《雍正十二月行乐图》的十一种图基本相同。说“基本相同”是因为也有不同之处，下面分别说明。\n1、在《行乐图》之《正月观灯图》中，雍正站在廊式围墙的大门间。在《月令图》之《正月观灯图》中，雍正站在围墙大门右边的廊下。\n2、在《月令图》之《二月踏青图》中，雍正前后的栏杆、围墙与《行乐图》之《二月踏青图》的不同。\n3、在《月令图》之《三月流觞图》中，其溪流右边的楼阁与《行乐图》之《四月流觞图》的不同。\n4、在《月令图》之《五月竞舟图》中，主要是雍正位于的高台凉亭与《行乐图》之《五月竞舟图》的不同。\n5、在《月令图》之《六月纳凉图》中，主要是雍正位于的高台楼阁与《行乐图》之《六月纳凉图》的不同。\n6、在《月令图》之《七月乞巧图》中，主要是雍正所处的房屋后面的树木、雾霭与《行乐图》之《七月乞巧图》的不同。\n7、在《月令图》之《八月赏月图》中，主要是雍正位于的高台楼阁的四周树木、山石与《行乐图》之《八月赏月图》的不同。\n8、在《行乐图》之《九月赏菊图》中，雍正所处房屋的月亮门前是石墙填土的高台院子。在《月令图》的《九月赏菊图》中，雍正所处房屋的月亮门前不是高台，而是山石低岸。\n9、在《行乐图》之《十月画像图》中，雍正所处房屋与对面房屋的通道没有栏杆。在《月令图》的《十月画像图》中，则有红色栏杆。\n10、在《行乐图》之《十一月参禅图》中，雍正所处房屋中有一排字画，靠墙的花几上有一件插了花的青铜觚，门口有一只雌孔雀。这些内容在《月令图》的《十一月参禅图》中都没有。\n11、在《行乐图》之《腊月赏雪图》中，鹿场左侧有九曲桥与对面相通。在《月令图》的《腊月赏雪图》中则没有",[23,24,28,7,29,107,109,176,34,1173,106,115,10190,1554],"行乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9ed4b72d321f7343f422af6480b67f2.jpg","188.2*102.2cm",[181,45],{"id":10195,"slug":10196,"title":10197,"dynasty":18,"author":1599,"museum":191,"description":10198,"tags":10199,"thumbUrl":10200,"material":7,"size":10201,"collection":42,"collections":10202,"showCount":10168,"zanCount":48,"manualWeight":48,"mainColor":49},221554,"xi-yuan-ya-ji-juan-liu-song-nian-221554","西园雅集卷","宋刘松年西园雅集卷绘宋代雅士高僧苏轼、黄庭坚、米芾、圆通大师等盛会于王诜西园。十六人分四组：王诜、蔡肇和李之仪围观苏轼写书法；秦观听陈景元弹阮；王钦臣观米芾题石；苏辙、黄庭坚、晁补之、张耒、郑靖老观李公麟画陶潜归去来图；刘泾与圆通大师谈无生论。西园雅集世传多个版本。",[23,194,24,25,26,28,7,106,34,176,611,1010,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb00b965e299d9c4feb3a56ffa3172034.jpg","34×191cm",[42,44,45],{"id":10204,"slug":10205,"title":10206,"dynasty":18,"author":1588,"museum":56,"description":10207,"tags":10208,"thumbUrl":10210,"material":529,"size":10211,"collection":42,"collections":10212,"showCount":10168,"zanCount":1003,"manualWeight":48,"mainColor":49},221188,"he-xiang-qing-xia-quan-juan-ma-lin-221188","荷香清夏全卷","图中描绘了一平湖柳堤、荷香清夏的山水景物。\n画中以宽阔的湖面为主体，林中云雾萦绕，茅庵空落。\n左岸上乱石嶙峋，柳荫蔽日，树上群鸟翔集。\n在广阔的湖面上，微波轻荡，碧叶莲莲。\n湖的对岸，远山逶迤，柳林如烟，小桥曲折，云雾飘动如练。\n画中构景，平远开阔，布置简洁。\n画中笔法细秀，描物具体，尤其柳树变化多姿，树叶丝丝勾出，又如烟动。\n其用墨以淡为宗，又浓淡相间，着色亦淡雅，更加烘托出了其境界的祥和安静。",[23,194,24,25,26,7,28,177,29,1241,108,111,106,31,10209,118,116,34],"岸边","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F388ee26ac7add4d84507f634c3f23b85.jpg","纵41.7、横323厘米",[42,181,45],{"id":10214,"slug":10215,"title":1361,"dynasty":18,"author":2414,"museum":191,"description":10216,"tags":10217,"thumbUrl":10218,"material":123,"size":139,"collection":42,"collections":10219,"showCount":10168,"zanCount":48,"manualWeight":48,"mainColor":2504},219942,"han-gong-chun-xiao-tu-zhao-bo-ju-219942","赵伯驹（生卒不详），宋代画家，字千里，宋宗室。主要活动在12世纪中前期。工山水、花果、翎毛、楼台，青绿山水尤善。他将水墨山水的趣味与技法融入唐代李思训、李昭道父子的大青绿画法中，形成了一种介于院体画和文人画之间的“精工之极，又有士气”的风格。",[23,24,104,7,27,28,29,107,175,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ccd5ae19644bbac9117abbd0f0ff532.jpg",[42],{"id":10221,"slug":10222,"title":10223,"dynasty":18,"author":257,"museum":2754,"description":10224,"tags":10225,"thumbUrl":10226,"material":123,"size":139,"collection":44,"collections":10227,"showCount":10168,"zanCount":2368,"manualWeight":48,"mainColor":49},219575,"zhu-lin-shi-nv-tu-yi-ming-219575","竹林仕女图","画面晕染出幽谧清寂的林下氛围，修竹扶苏、虬枝横斜，苍苔覆着湖石，漫溢出山野闲静之气。白衣仕女款步而立，素裙曳地，怀拥器物，眉目温婉沉静，似在静听林风穿叶，将闺中闲思融于林泉烟霭之中。\n\n用笔细劲清润，设色浅淡古雅，虚实相生间将留白藏进幽独娴静的意韵里，不见丝毫喧嚣。把仕女的温婉闲情与林泉野趣糅合一处，尽显雅致内敛的东方意趣，寥寥尺幅间，澹澹诗意漫溢开来。",[194,24,25,28,7,106,59,227,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11033c937ae94ae2e0cc9b0a16169bd3.jpg",[44],{"id":10229,"slug":10230,"title":10231,"dynasty":99,"author":1270,"museum":191,"description":10232,"tags":10233,"thumbUrl":10234,"material":2365,"size":10235,"collection":163,"collections":10236,"showCount":10168,"zanCount":48,"manualWeight":48,"mainColor":94},219519,"qin-he-tu-wen-zheng-ming-219519","琴鹤图","水墨晕染出淡远山居，苍松茂林环合小院。堂前二人对坐，似正横琴晤谈，院外童子携鹤缓步而来，将林泉雅趣揉进日常闲情里。\n\n笔致秀润温婉，枝叶晕染细腻，远山轻笼烟岚，留白里漾着闲澹松弛的意趣。题诗朱印与画面相融，把文人幽居自适、琴鹤相伴的林下风流，藏进每一缕墨色之中，淡而不寡，静中藏雅，尽显江南文人心底的归栖之乐。",[24,25,7,28,86,178,212,106,34,176,60,4999,3176,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0b62691d86abcd60a7be2a267ff0873.jpg","63.4x29.2",[163],{"id":10238,"slug":10239,"title":205,"dynasty":76,"author":77,"museum":316,"description":596,"tags":10240,"thumbUrl":10241,"material":599,"size":600,"collection":139,"collections":10242,"showCount":10243,"zanCount":48,"manualWeight":48,"mainColor":94},239437,"hua-niao-ce-yun-shou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是一幅江伯川所作的画作，出自明朝时期（1368-1644年）。江伯川是一位著名的中国画家，他的作品风格独特，富有表现力，为明朝画风做出了巨大贡献。\n\n花蝶图是一幅典型的明朝山水画，画中绘制了一片美丽的花园，空气中弥漫着花香。画面中的花蝶翩翩起舞，为整幅画增添了活力和热情。这幅画中使用了鲜艳的色彩，搭配精细的线条勾勒出了花朵、蝴蝶、树木等景物的细节，让人看起来十分美妙。",[24,25,194,226,28,7,83,62,873,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfa424ceb845aca879a2e4daa3861c09.jpg",[90],{"id":10435,"slug":10436,"title":10437,"dynasty":18,"author":1033,"museum":316,"description":10438,"tags":10439,"thumbUrl":10441,"material":599,"size":600,"collection":139,"collections":10442,"showCount":10443,"zanCount":48,"manualWeight":48,"mainColor":49},289560,"pu-tao-cao-chong-tu-lin-chun-289560","葡萄草虫图","林椿，南宋钱塘（今浙江杭州）人，生卒年不详，南宋孝宗淳熙（1174—1189）间画院待诏，赐金带。 林椿为南宋时期画家，孝宗淳熙年间曾为画院待诏。生卒年不详，浙江钱塘（今浙江杭州）人，南宋时期画家。孝宗淳熙年间曾为画院待诏。绘画师法赵昌，工画花鸟、草虫、果品，设色轻淡，笔法精工，设色妍美，善于体现自然的形态，所绘小品为多，当时赞为“极写生之妙，莺飞欲起，宛然欲活”。传世作品有：《梅竹寒禽图》册页，藏于上海博物馆。《果熟来禽图》《葡萄草虫》《枇杷山鸟图》，藏于北京故宫博物院。",[24,1260,28,7,5942,483,874,635,10440,2746],"蚱蜢","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd265e60b95e8fc8b7f968d06de63bf6.jpg",[],127,{"id":10445,"slug":10446,"title":10447,"dynasty":76,"author":257,"museum":316,"description":10448,"tags":10449,"thumbUrl":10450,"material":599,"size":600,"collection":90,"collections":10451,"showCount":10443,"zanCount":1379,"manualWeight":48,"mainColor":94},238919,"qing-ren-mu-dan-pu-ce-yi-ming-238919","清人牡丹谱册","此作以设色小笔写牡丹，花瓣水红晕染，由尖至根渐次浅淡，柔瓣舒展层叠，将初绽盛放的娇妍之态尽显无余。浓黄点染花蕊，醒目鲜活，仿若能引蜂蝶驻足。叶片以墨骨打底，敷石绿再晕赭色叶边，既有鲜嫩生机，又带着清润古雅的质感，苍劲朴拙的简笔枝干暗藏风骨。\n\n画面留白空灵雅致，仅取一花数枝，便将牡丹的华贵温婉凝于尺幅，将写实写生与写意抒情相融，尽显古典花鸟画清隽静雅的文人意趣，淡冶宜人，意韵悠长。",[24,25,81,7,28,83,292],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa2cc58af73fe9e9ebcec8d4b817842b.jpg",[90,45],{"id":10453,"slug":10454,"title":10455,"dynasty":76,"author":2200,"museum":316,"description":4194,"tags":10456,"thumbUrl":10457,"material":500,"size":5723,"collection":90,"collections":10458,"showCount":10443,"zanCount":48,"manualWeight":48,"mainColor":4199},224222,"zhao-ri-hong-he-2-wu-chang-shuo-224222","朝日红荷2",[23,24,25,226,498,173,7,83,292,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ee70d82dd0fb7821970c9c33faebe94.jpg",[90,45],{"id":10460,"slug":10461,"title":10462,"dynasty":99,"author":257,"museum":1577,"description":10463,"tags":10464,"thumbUrl":10466,"material":67,"size":10467,"collection":139,"collections":10468,"showCount":10443,"zanCount":48,"manualWeight":48,"mainColor":94},223462,"shan-cha-hua-xiao-qin-tu-yi-ming-223462","山茶花小禽图","本图描绘了一株披覆着少许薄雪的山茶花，还有一只停留枝上的小鸟。周凤的题诗中提到，山茶花彷佛象征冬天，而小鸟则象征了春天的到来。",[23,24,194,226,7,28,83,10465,209,210],"山茶花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5da1382bff49e60e04c2e2c6d9f0b84.jpg","32X86",[],{"id":10470,"slug":10471,"title":10472,"dynasty":302,"author":1977,"museum":20,"description":10473,"tags":10474,"thumbUrl":10477,"material":123,"size":10478,"collection":44,"collections":10479,"showCount":10443,"zanCount":1233,"manualWeight":48,"mainColor":94},218772,"tian-ma-tu-bing-shu-ge-juan-zhao-meng-fu-218772","天马图并书歌卷","《天马图》中奚官控辔于前，马匹静立在后。人物面部刻画粗疏，衣纹绘制单薄板滞，马匹线条迟涩乏力，均与赵孟頫《人骑图》等真迹相去甚远。图后篆书杜甫《天育骠骑歌》，行笔无赵书出入李斯、李阳冰小篆的婉转轻灵，笔力尤欠圆劲，加之松雪并无署款所称延祐四年（1317）“奉使开平日久”之事，故为伪作。",[23,7610,25,26,7,28,106,150,1464,178,10475,86,6170,10476],"墨笔","鞍马画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1a51b24ca51e47b9ac121ccd854e27b.jpg","纵32.2厘米，横62.5厘米",[44,2065],{"id":10481,"slug":10482,"title":10483,"dynasty":189,"author":1642,"museum":316,"description":10484,"tags":10485,"thumbUrl":10486,"material":139,"size":139,"collection":139,"collections":10487,"showCount":10488,"zanCount":1003,"manualWeight":48,"mainColor":94},227269,"he-le-shi-nv-tu-juan-zhou-wen-ju-227269","合乐仕女图卷","周文矩，善于深入观察和体会现实生活中的各色人物，把握他们的思想感情和性格特征，因此塑造出来的人物各不相同，达到形神兼备的艺术境界。他的仕女画从题材内容到表现形式，都继承了唐代周昉的传统。",[23,194,24,25,26,28,7,106,59,195,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F926a4a4fc246817c7f82bed9a7d2c919.jpg",[],126,{"id":10490,"slug":10491,"title":10492,"dynasty":76,"author":7596,"museum":56,"description":10493,"tags":10494,"thumbUrl":10496,"material":529,"size":10497,"collection":139,"collections":10498,"showCount":10488,"zanCount":48,"manualWeight":48,"mainColor":49},222815,"fang-gu-si-ji-shan-shui-tu-fang-xing-hua-chun-yu-jiang-nan-wang-hui-222815","仿古四季山水图-仿杏花春雨江南","王翬 （1632─1717），字石谷，號耕煙散人、劍門樵客、烏目山人、清暉老人等。江蘇常熟人。清代著名畫家。被稱為清初畫聖。王翬作畫喜好干筆、濕筆並用，而且多以細筆皴擦，畫面效果比較繁密。此圖是王翬《仿古四季山水圖》屏風組畫中的一幅，描繪的是江南春景。圖中山巒層疊，樹青草綠，村舍屋宇錯落，小橋流水人家，漁船泛波湖上，一派雨後春光明媚的江南山村景致。在構圖布局上，小徑、樹木、庭院，皆隨河流之勢分布，疏密得當，既不擁擠，也不顯孤單零落。近處、遠處的小橋流水，將整幅畫面巧妙地連結在一起；遠處山巒環繞於霧靄之中，若隱若現，山巒以墨點點染，藉以烘托初春萬物復甦之景。臨湖的道路兩旁，樹木繁茂，枝葉稀疏清朗，同樹幹的高大粗壯之勢相呼應。全圖中樹幹的畫法不盡相同，體現了作者深厚的功底：近處多為粗壯老乾，先勾勒其輪廓，再以墨色和赭石加以暈染，刻畫詳細；遠處則多以濃墨一氣呵成，枝葉多以濕墨排點式描繪，各種技法交相呼應，使得整幅畫面變化多端。",[23,24,25,2428,7,177,29,108,109,174,353,1353,35,808,2328,10495,1785,151],"春雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff876fdc542da2e5824bd38aedc647cc2.jpg","82.5x51.2",[],{"id":10500,"slug":10501,"title":10502,"dynasty":99,"author":257,"museum":2023,"description":10503,"tags":10504,"thumbUrl":10506,"material":511,"size":10507,"collection":139,"collections":10508,"showCount":10488,"zanCount":1003,"manualWeight":48,"mainColor":2504},222142,"san-da-shi-tu-pu-xian-yi-ming-222142","三大士图-普贤","普賢菩薩圖位於水月觀音圖之東。普賢菩薩梵文為“三曼多跋羅”，即普遍賢善之意，通常作釋迦佛的右脅侍，專司“理德”，表“大行”。普賢的特徵是頭戴五佛寶冠，乘騎六牙白象，一般手執蓮花，上有利劍”。同一菩薩，不同經書，對手持法物有不同解釋。法海寺壁畫普賢是右手持蓮花，蓮花上置一寶卷。\n普賢的坐騎六牙白象，並不是自然界中真實動物，六牙白像是一種象徵，表示到達彼岸的六種方法。六牙白象雖非真實動物，但壁畫中的六牙白象，捲曲蹲坐的姿態，具有大威力感。再細看白象眼睛是淚汪汪的，具有情感，強化了它的性善柔順，“佛眼淚眼”，突出了普賢的“大慈”形象。感染力很強，沒有高超的繪畫技巧，是不會引起觀眾共鳴的。\n普賢菩薩的左下部繪一信士，稱最勝老人。最勝老人是古印度念佛行者、施主、供養人的尊稱。老人身著綠袍，兩腳分開，雙手胸前相合，目視前方，長髯自然下垂，在沉思，在默禱，像在祝願十方世界救出眾生、脫離苦海。壁畫上這一信士和文殊右下部那一信士，東西對稱，他們同是老人，信仰一致，願望相同，而一仰望一沉思，一扶杖抬手一雙合十，一動一靜，神態各異，反映了現實生活的多樣性，也反映了壁畫構思的巧秒。",[23,511,7,28,260,106,10505,63],"象","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbe8d5a14d19329266f0933f5ed0a3b3.jpg","摹本的尺寸規格分別是壁畫約四分之一和二分之一；",[],{"id":10510,"slug":10511,"title":10512,"dynasty":18,"author":10513,"museum":1577,"description":10514,"tags":10515,"thumbUrl":10518,"material":67,"size":10519,"collection":42,"collections":10520,"showCount":10488,"zanCount":1003,"manualWeight":48,"mainColor":49},221555,"yuan-tu-mao-song-221555","猿图","毛松","这幅猴图在表现上非常出色，超越了单纯的写实，在众多的宋画当中亦堪称名品。据说所画的是日本猴而非中国猴，除水墨之外还使用了金泥，工笔细腻自然。南宋画院画家毛松所作的说法始于狩野探幽，但此说缺乏依据。曾由武田信玄捐赠与曼殊院觉如。该图在褐色的底色上，利用金泥所绘线条的交织，表现出绒毛的光泽。又以细腻的笔致，表现其面部的皱纹、嘴势、眼神以及颇有戏剧性的爪足，极其逼真地将这只金毛浓淡有致、赤面红耳的猿猴画了出来。",[23,194,24,25,28,173,7,10516,746,10517,8377],"猴","金泥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a5893ea0ae36c7bc5b4c46f296e8fce.jpg","纵：47.0cm，横：36.5cm",[42,90,45],{"id":10522,"slug":10523,"title":10524,"dynasty":18,"author":4254,"museum":101,"description":10525,"tags":10526,"thumbUrl":10527,"material":529,"size":10528,"collection":42,"collections":10529,"showCount":10488,"zanCount":1379,"manualWeight":48,"mainColor":49},221391,"yan-lan-qiu-xiao-tu-fan-kuan-221391","烟岚秋晓图","范宽早年师从荆浩、李成，而能自出机杼。范宽的作品多取材于其家乡陕西关中一带的山岳，雄阔壮美，笔力浑厚。注意写生，多采用全景式高远构图，著名书画家米芾在其《画史》中说“范宽山水，显显如恒岱”。",[23,24,25,26,29,177,7,176,34,37,5218],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4500b9eb4cfa21cb904ea04c412212b.jpg","40x603.3cm",[42,181,163],{"id":10531,"slug":10532,"title":10533,"dynasty":869,"author":10534,"museum":5351,"description":10535,"tags":10536,"thumbUrl":10539,"material":139,"size":139,"collection":139,"collections":10540,"showCount":10488,"zanCount":48,"manualWeight":48,"mainColor":94},220516,"zhong-kui-hui-jian-tu-pu-xin-she-220516","钟馗挥剑图","溥心畬","画面以枯松开篇，老干蟠曲、松枝萧疏，晕染出清寂古雅的氛围。红袍钟馗虬髯戟张，怒目圆睁，按佩剑挺立，威仪赫赫震慑鬼魅。身旁青面小鬼敛神吹笛，戏谑间更衬出钟馗的刚正威严。\n\n笔墨极具文人意趣，线条凝练古拙，设色清雅沉静，红袍醒目却不俗艳，淡墨勾勒松枝小鬼，尽显空灵雅致。整作以极简笔意，将钟馗的凛然正气与幽寂古意相融，寄寓驱邪安良的传统意涵，尽显雅致国风意蕴。",[24,7,28,106,353,2439,10537,10538,212],"剑","小鬼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3a4169a576aae56350305e55cb3aa56.jpg",[],{"id":10542,"slug":10543,"title":10544,"dynasty":99,"author":100,"museum":191,"description":10545,"tags":10546,"thumbUrl":10547,"material":123,"size":10548,"collection":44,"collections":10549,"showCount":10488,"zanCount":1003,"manualWeight":48,"mainColor":49},220438,"qun-xian-hui-zhu-tu-chou-ying-220438","群仙会祝图","本幅左下方有「实父仇英堇制」款，虽为托名之作，然精雕细造，为罕见的「苏州片」佳作。此作描绘主题应是群仙共赴蟠桃大会，为王母娘娘祝寿。陆、海、空诸景穿插层叠，构图工丽复杂；诸路神仙、瑞兽以此为舞台，现示各样神通。画面右下角小坡上骑着张果老驴子乱奔的李铁拐，元神已由葫芦中化成一道光束，回环飞至天际谒见太上老君。相对仙人简单的装束，画中楼阁器用装饰华美、结构繁缛。以金线细腻描绘的云龙纹样，在每根红色立柱上皆费心经营不同图案。人物与动物虽略有小疵，但不减其整体精彩，应为当时祝寿用的高档献礼。",[23,24,194,25,28,7,104,106,107,29,34,245,2235,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e1fc9c8db033a209857210a716124ba.jpg","99x 148.4",[44,45],{"id":10551,"slug":10552,"title":10553,"dynasty":18,"author":9555,"museum":5827,"description":10554,"tags":10555,"thumbUrl":10556,"material":123,"size":10557,"collection":42,"collections":10558,"showCount":10488,"zanCount":2368,"manualWeight":48,"mainColor":94},219887,"yue-xia-yu-she-tu-zhao-ling-rang-219887","月下渔舍图","赵令穰（生卒年不详），字大年，北宋汴京（今河南开封）人，画家。宋太祖赵匡胤五世孙。官至光州防御使﹑崇信军观察留后，卒赠“开府仪同三司”，追封“荣国公”。其子赵伯驹宋代著名画家，官至浙东兵马钤辖。工画山水、花果、翎毛，笔致秀丽，尤长金碧山水。远师李思训父子。",[24,7,29,177,795,245,108,109,265,796],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd64745e0ff99130ce0f92eb82148afe6.jpg","26.7x26.7",[42],{"id":10560,"slug":10561,"title":10562,"dynasty":99,"author":10563,"museum":191,"description":10564,"tags":10565,"thumbUrl":10566,"material":123,"size":10567,"collection":45,"collections":10568,"showCount":10488,"zanCount":2368,"manualWeight":48,"mainColor":94},219445,"bai-yun-hong-shu-tu-guan-si-219445","白云红树图","关思","图绘山态云容，疏林茅屋。山作小青绿，树作无骨法，自言仿自赵孟頫，原画应该是赵子昂用唐人古意所作。",[24,25,226,7,177,29,8450,2725,34,176,37,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff525b318e6c156ebc050d824651a0d7b.jpg","129.3x50.5",[45],{"id":10570,"slug":10571,"title":1195,"dynasty":18,"author":257,"museum":191,"description":10572,"tags":10573,"thumbUrl":10575,"material":123,"size":10576,"collection":90,"collections":10577,"showCount":10488,"zanCount":2368,"manualWeight":48,"mainColor":49},219277,"sui-chao-tu-yi-ming-219277","岁朝，指一岁之始，历代画家作该图，含有元旦开笔，预祝一年万事吉利之意。本幅绘拳石临流，雉鸡一对，麻雀数只，山茶旁生于老梅干后，绿竹新生于回流之上。水仙、红茶、白梅等花上下分别盛开，色调朱白相映，通幅设色浓而不艳，一派和熙春色。旧传为宋人之作，然笔触色调皆不类，疑是明人学吕纪画风。",[23,194,24,25,226,28,7,83,820,227,209,10574,176,84],"雉鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24ebc914f3148654b0f6a2722ee6abfa.jpg","164.2x80.3",[90],{"id":10579,"slug":10580,"title":10581,"dynasty":256,"author":257,"museum":101,"description":10582,"tags":10583,"thumbUrl":10584,"material":123,"size":10585,"collection":44,"collections":10586,"showCount":10488,"zanCount":2368,"manualWeight":48,"mainColor":49},218314,"fang-yuan-zui-yue-tu-yi-ming-218314","芳园醉月图","月夜清辉漫洒芳园，嶙峋山石旁花木扶疏，枝桠间繁花如雪，月下更显幽逸。园内人影错杂，或围坐醉谈，或信步寻幽，或凭栏浅笑，动静交织成一派闲适图景。小桥卧波，流水潺潺，石径蜿蜒穿林，远处奇峰隐现于月色朦胧中，添了几分旷远之致。人物衣袂轻扬，神态鲜活，生动勾勒出园居宴乐的融融暖意。笔墨细腻温婉，设色淡雅清和，山石皴染见古意，花木点描显灵秀，构图疏密得宜，将园林的清幽之境与人间的欢悦之情相融相契，尽展古典雅韵与生活意趣。",[194,24,25,226,7,28,106,108,109,176,34,265,820,1557],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a5dcf17369c07d5993485e20a0c645b.jpg","155.5x102.3",[44],{"id":10588,"slug":10589,"title":10590,"dynasty":302,"author":1977,"museum":132,"description":8626,"tags":10591,"thumbUrl":10592,"material":123,"size":139,"collection":90,"collections":10593,"showCount":10488,"zanCount":1233,"manualWeight":48,"mainColor":49},216266,"xiang-ma-tu-ye-1-zhao-meng-fu-216266","相马图页-1",[23,24,25,194,81,7,28,352,106,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d24237744a85c7ce0038010bf1cae6e.jpg",[90],{"id":10595,"slug":10596,"title":10597,"dynasty":76,"author":315,"museum":316,"description":10598,"tags":10599,"thumbUrl":10600,"material":139,"size":139,"collection":139,"collections":10601,"showCount":10602,"zanCount":1003,"manualWeight":48,"mainColor":94},233230,"hong-lian-tu-ce-xie-sun-233230","红莲图册","画上自题：己未春日写似，伴翁老先生，谢荪。 钤一印。按己未为清康熙十八年，即公元1679年。\n谢荪（生卒年未详），清代画家。字缃酉，又字天令，常住南京。擅长画山水、花卉，与龚贤、樊圻齐名，为“金陵八家”之一。作品有《青绿山水图轴》等。",[194,24,7,28,81,136,137,319,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F437de0e69fce243e2beeaba3fd223383.jpg",[],125,{"id":10604,"slug":10605,"title":10606,"dynasty":76,"author":329,"museum":316,"description":10607,"tags":10608,"thumbUrl":10609,"material":139,"size":139,"collection":139,"collections":10610,"showCount":10602,"zanCount":1379,"manualWeight":48,"mainColor":49},230202,"qian-long-di-hou-fei-xiang-juan-lang-shi-ning-230202","乾隆帝后妃像卷","郎世宁绘制的《乾隆肖像》是圆明园 珍品，是乾隆皇帝41岁时的坐像，乾隆身旁站立两位大臣，人物极具神韵，为中国与欧洲绘画技艺相结合的佳作。\n原属圆明园收藏 【名称】：乾隆肖像 【类别】：字画 【年代】：清 【文物原属】：原属 收藏 【文物现状】： 【简介】： 绘制的《乾隆肖像》是 艺术品珍品，是 皇帝41岁时的坐像，乾隆身旁站立两位大臣，人物极具神韵，为中国与欧洲绘画技艺相结合的佳作。\n乾隆皇帝主政的六十年中，甚为重视学术文化的整理和弘扬。\n其中以乾隆叁十八年（177）开始的 编纂工作最为令人称道。\n他聚集 、 、 、 等著名学者，将中国历代重要典籍整理并钞录下来，分隶于四部四十四类之下。\n全书卷帙浩繁、包罗万千，可谓中国传统学术文化的一次总整理，也是十八世纪当时学风的充分呈现。\n郎世宁（Giuseppe Castiglione‎,1688—1766）是意大利人，生于米兰，清康熙帝五十四年（1715）到中国，随即入宫，曾参加圆明园西洋楼的设计工作，历任康、雍、乾三朝，在中国从事绘画达5多年。\n由于郎世宁带来了西洋绘画技法，向皇帝和其他宫廷画家展示了欧洲明暗画法的魅力，他先后受到了康熙帝、雍正帝、乾隆帝的重用。\n他是一位艺术上的全面手，人物、肖像、走兽、花鸟、山水无所不涉、无所不精，成为雍正帝、乾隆帝时 的代表人物。\n他的代表作品有《聚瑞图》、《嵩献英芝图》、《百骏图》（见插图）、《弘历及后妃像》、《 》等。",[23,24,25,320,28,7,26,106,63,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d20cbf88f26d2d9ea6382115ba01bed.jpg",[],{"id":10612,"slug":10613,"title":10614,"dynasty":18,"author":257,"museum":191,"description":10615,"tags":10616,"thumbUrl":10617,"material":529,"size":10618,"collection":139,"collections":10619,"showCount":10602,"zanCount":1003,"manualWeight":48,"mainColor":49},223516,"tao-hua-shan-niao-tu-yi-ming-223516","桃花山鸟图","此图采用双钩填彩法，用线工整挺秀、生动流畅、柔中带刚，画家追求的不是线的形式变化，而是对质感的表达。花瓣密集写实，鸟的羽毛细而柔，尾羽敷红色，有透明感。画面色彩雅致，鲜花轻敷淡染，一点也不矫揉造作。",[23,194,24,25,28,7,83,243,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd8e8efee647a398a24f78c3f1f84561.jpg","纵23.8厘米横24.4厘米",[],{"id":10621,"slug":10622,"title":10623,"dynasty":18,"author":1599,"museum":191,"description":10624,"tags":10625,"thumbUrl":10626,"material":529,"size":10627,"collection":42,"collections":10628,"showCount":10602,"zanCount":48,"manualWeight":48,"mainColor":49},221544,"shi-ba-xue-shi-tu-juan-liu-song-nian-221544","十八学士图卷","作品描绘十八学士们的雅集生活。唐初十八学士这一历史，传到两宋，已经成为了典故。这些雅集活动大多不可缺少琴、棋、书、画四样东西。此外，歌舞曲艺、古玩彝器、诗词歌赋酒美食也都成为宋人文人雅集时候所常见的内容。",[23,24,25,26,28,7,106,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0292859c44e3f3bde81de6bbfbd870ca.jpg","44.5x182.3",[42,44,45],{"id":10630,"slug":10631,"title":4911,"dynasty":99,"author":10632,"museum":6456,"description":10633,"tags":10634,"thumbUrl":10635,"material":88,"size":139,"collection":181,"collections":10636,"showCount":10602,"zanCount":1379,"manualWeight":48,"mainColor":49},219921,"qing-lv-shan-shui-tu-wen-jia-219921","文嘉","文嘉（1501年～1583），字休承，号文水，南直隶苏州府长洲（今江苏苏州）人。大书画家文徵明次子。\n吴门派代表画家。初为乌程训导，后为和州学正。\n能诗，工书，小楷清劲，亦善行书。精于鉴别古书画，工石刻，为明一代之冠。画得徵明一体，善画山水，笔法清脆，颇近倪瓒，着色山水具幽澹之致，间仿王蒙皴染，亦颇秀润，兼作花卉。明人王世贞评：“其书不能如兄，而画得待诏（文徵明）一体。”詹景凤亦云：“嘉小楷轻清劲爽，宛如瘦鹤，稍大便疏散不结束，径寸行书亦然，皆不逮父。”",[23,24,25,226,27,7,29,177,1426,34,106,176,109,3518],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1820ac5ad6de7a128ff8fac67e031d3c.jpg",[181],{"id":10638,"slug":10639,"title":4175,"dynasty":302,"author":303,"museum":191,"description":10640,"tags":10641,"thumbUrl":10642,"material":123,"size":10643,"collection":44,"collections":10644,"showCount":10602,"zanCount":48,"manualWeight":48,"mainColor":94},219444,"lu-tong-peng-cha-tu-qian-xuan-219444","画中主人是卢同，唐朝济源人。学问非常渊博，并擅长诗文。隐居在少室山，不愿出来作官。他特别喜欢喝茶。这幅就是描绘卢同与童子，坐芭蕉下烹茶的情景。",[24,25,226,7,28,106,6517,230,229,212,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bc5d62829496182e3834aaa1c88ab2a.jpg","128.7x37.3",[44],{"id":10646,"slug":10647,"title":10648,"dynasty":302,"author":1977,"museum":132,"description":10649,"tags":10650,"thumbUrl":10651,"material":1319,"size":139,"collection":90,"collections":10652,"showCount":10602,"zanCount":1233,"manualWeight":48,"mainColor":49},219039,"bo-le-xiang-ma-tu-zhao-meng-fu-219039","伯乐相马图","画面疏密相生，左畔士人聚首，或坐案前持杖凝思，或立侧畔低语颔首，衣袂飘举间藏着识才的审慎；右方骏马昂首卓立，鬃毛如泼墨流转，肌理起伏尽是神骏之姿，侍从俯身理具，观者围立赞叹。\n\n白描线条圆劲如铁线，人物衣纹转折灵动，马身墨色浓淡晕染，层次分明。整幅场景似将伯乐相马的典故凝作静默对话：坐者的凝思、立者的专注、骏马的神俊，在古朴绢本底色衬映下，暗合“慧眼识珠”的咏叹——既有文人雅致，亦含对贤才的期许，寥寥细节间，情境与意蕴共生。",[23,24,194,352,28,173,7,106,150,746],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d1dc7c2c172b3837c2820d3610aa60b.jpg",[90,44],{"id":10654,"slug":10655,"title":10656,"dynasty":18,"author":257,"museum":191,"description":10657,"tags":10658,"thumbUrl":10659,"material":123,"size":10660,"collection":42,"collections":10661,"showCount":10602,"zanCount":2368,"manualWeight":48,"mainColor":49},218800,"liu-tang-diao-yin-tu-yi-ming-218800","柳塘钓隐图","宋人非常重视在他们的绘画中创造情绪和气氛。这幅画以一座山和一个池塘为骨架，中间有房屋、柳树和各种森林。池塘里的荷花盛开，给人一种和平和宁静的感觉，但鸭子、海凫、泥鳅和苍鹭则增加了商业的感觉。芦苇丛中有老鹰归来，天花板上挂着文曲星，有学者靠着它，这就是莲花池。高居翰在他的中国古代绘画索引中认为这是南宋的一件非常好的作品。它高瞻远瞩，视野开阔，设计合理，景物逼真。笔法细腻逼真，如画中的箭，绿意盎然，笔墨严谨，造型非常逼真。赵令郎（1070-1100年）的《平林》和《亭子》中的水禽图案可能与赵士来（11世纪）的《西塘亭子》风格相似。这样的作品在北宋时期很流行，这幅作品虽然不是他们的作品，但也是对他们风格的良好临摹。",[23,24,25,29,7,173,177,2532,2340,108,109,174,6582,796,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F206b6e83b326af49ba200e9953d38b66.jpg","23.6x24",[42,181],{"id":10663,"slug":10664,"title":10665,"dynasty":18,"author":1033,"museum":191,"description":10666,"tags":10667,"thumbUrl":10668,"material":123,"size":10669,"collection":90,"collections":10670,"showCount":10602,"zanCount":2368,"manualWeight":48,"mainColor":94},218395,"qiu-qing-cong-ju-tu-lin-chun-218395","秋晴丛菊图","绢本之上，丛菊攒簇若繁星，瓣瓣晕染细腻，边缘隐带淡白如凝秋霜，似含晴阳余温。叶片脉络清晰，叠翠间藏露生机，全无萧瑟之感。淡赭底色如晴秋薄暮，衬得菊色愈显清妍。旁侧墨笔题跋与朱印相映，文气与画韵交融，尽得雅致。笔触轻细却含筋骨，没骨技法藏锋于柔，将秋晴时菊丛的疏朗鲜活凝于尺幅，观之如沐和风，似闻暗香浮动，心随花影渐远，满溢淡然幽趣。",[23,194,24,25,28,7,83,897],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F750cb01efbb3fd284998c56993afeae5.jpg","25x26.5cm",[90],{"id":10672,"slug":10673,"title":10674,"dynasty":302,"author":5007,"museum":191,"description":10675,"tags":10676,"thumbUrl":10678,"material":123,"size":10679,"collection":181,"collections":10680,"showCount":10602,"zanCount":1379,"manualWeight":48,"mainColor":49},218137,"qiu-lin-gao-shi-tu-sheng-mao-218137","秋林高士图","这幅画上绘着一位身穿红衣的高士，坐于秋林坡地上，作侧身远眺之状。图分前、中、远三景，前景画杂树数株，高低参差、疏密有致，运笔极为老到；树下高士在画面上显得极为细小，反衬出青山丛林的崇峻，高士姿态生动自然，勾画简练闲放，颇具逸致。溪边苇荻数丛，布局、运笔富于变化，亦得风吹草动之态。隔溪中景秋林，不作勾勒，纯以浓淡墨积点为之，树梢浓浓淡淡，隐现于层云薄雾之中，着墨不多，笔简意足。远景层峦叠嶂，重重雾锁。两座主峰的画法，以披麻皴间以乱柴皴，结构转折处以浓墨打苔点树，雄峻逸秀，气格高朗，得秋天清旷情趣。",[23,24,25,29,106,173,7,34,176,37,177,10677,838],"秋林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78bb700dfdd2f5ed8ea30c6490135420.jpg","纵135.3厘米、横59厘米",[181],{"id":10682,"slug":10683,"title":10684,"dynasty":76,"author":563,"museum":191,"description":564,"tags":10685,"thumbUrl":10693,"material":88,"size":139,"collection":139,"collections":10694,"showCount":10602,"zanCount":48,"manualWeight":48,"mainColor":94},214852,"xie-sheng-ce-11-hua-yan-214852","写生册-11",[24,25,498,173,7,746,10686,566,10687,10688,10689,10690,10691,10692],"动态","淡彩","荒野","飞兽","笔触灵动","渲染","自然景物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd555eb665d9074196e3036e4f2be75b0.jpg",[],{"id":10696,"slug":10697,"title":10698,"dynasty":76,"author":563,"museum":191,"description":564,"tags":10699,"thumbUrl":10700,"material":88,"size":139,"collection":139,"collections":10701,"showCount":10602,"zanCount":2368,"manualWeight":48,"mainColor":94},214850,"xie-sheng-ce-13-hua-yan-214850","写生册-13",[24,25,81,173,7,83,635,484,569,264,230,211,554,566],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5365c66340a204067495a18471d8430a.jpg",[],{"id":10703,"slug":10704,"title":1442,"dynasty":76,"author":77,"museum":316,"description":596,"tags":10705,"thumbUrl":10706,"material":599,"size":600,"collection":139,"collections":10707,"showCount":10708,"zanCount":2368,"manualWeight":48,"mainColor":94},235085,"yun-shou-ping-hua-hui-ce-yun-shou-ping-235085",[24,81,82,7,84,210,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61a7b3aafdec8a0f229dbcde14d2bdc4.jpg",[],124,{"id":10710,"slug":10711,"title":954,"dynasty":76,"author":77,"museum":316,"description":955,"tags":10712,"thumbUrl":10716,"material":139,"size":139,"collection":139,"collections":10717,"showCount":10708,"zanCount":2368,"manualWeight":48,"mainColor":94},233905,"hua-hui-shan-shui-ce-yun-shou-ping-233905",[24,82,7,173,177,227,379,84,4267,212,10713,8709,10714,10715,8357,2266,380],"苔草","黄色花卉","竹叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4377c657f826c18b3596050a5963db15.jpg",[],{"id":10719,"slug":10720,"title":10721,"dynasty":18,"author":4912,"museum":20,"description":10722,"tags":10723,"thumbUrl":10726,"material":40,"size":10727,"collection":139,"collections":10728,"showCount":10708,"zanCount":2368,"manualWeight":48,"mainColor":94},221374,"yu-cun-xiao-xue-tu-juan-quan-juan-wang-shen-221374","渔村小雪图卷全卷","描写冬季小雪初霁的渔村山林景色。图中雪山奇松，溪岸渔艇，峰迴路转，步移景易，整个画面意境萧索，笼罩在一片空灵、静寂的氛围之中，虽有渔夫艰苦劳作，但反映的却是文人逸士向往山林隐逸生活的雅致情怀。此图是王诜师法李成而自成一家的作品。图中山石勾皴纯用侧锋短笔，边缘轮廓采用“破墨法”，在勾勒之后用清水向内化开，墨色轻淡。寒林长松则用中锋浓墨，从而突出表现了其凌寒不凋的高贵品格。为了表现积雪，除山峦留白外，作者还在峰顶、树杈、沙脚施以白粉。为了表现雪后阳光，作者又于树头、苇尖略染金粉，在通幅水墨之中吸收了唐以来金碧山水的画法，是一种创造性的实践。这幅作品充分体现了北宋时文人画强调“诗中有画，画中有诗”的创作主旨，以娴熟的技法写“词人墨卿难状之景”，正是“诗画一律”的典范作品。",[23,24,25,26,173,7,177,28,29,982,10724,176,34,109,174,6582,10725,108,245,37,86,178,212],"小雪","渔翁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5c673d066b16599b24a80fdfbc217e0.jpg","纵44.5厘米，横219.5厘米",[],{"id":10730,"slug":10731,"title":10732,"dynasty":869,"author":870,"museum":3141,"description":10733,"tags":10734,"thumbUrl":10735,"material":139,"size":139,"collection":139,"collections":10736,"showCount":10708,"zanCount":2368,"manualWeight":48,"mainColor":94},220607,"qian-niu-hua-qing-ting-tu-zhou-qi-bai-shi-220607","牵牛花蜻蜓图轴","此作以浓墨挥写牵牛藤蔓叶片，干湿浓淡错落，尽显叶片俯仰向背的参差生机。艳红牵牛花以明快色彩点染晕开，将朝颜盛放的娇妍鲜活定格。\n\n只以寥寥数笔勾勒蜻蜓，身形轻薄灵动，似振翅欲停于藤蔓间，为画面添就乡野清晨的鲜活野趣。右上角题字朴拙老辣，与画作笔墨相映成趣。\n\n整幅简而不空，繁而不乱，将日常乡野意趣凝于尺幅，以写意之笔把寻常风物化作清雅动人的画中诗意。",[23,24,25,226,173,7,83,632,635,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39ccdfe4e554c859984e3ce344cbe197.jpg",[],{"id":10738,"slug":10739,"title":10740,"dynasty":54,"author":10741,"museum":191,"description":10742,"tags":10743,"thumbUrl":10745,"material":7,"size":10746,"collection":90,"collections":10747,"showCount":10708,"zanCount":2368,"manualWeight":48,"mainColor":49},219724,"qiu-shi-shan-qin-tu-bian-luan-219724","秋实山禽图","边鸾","此作以精工之笔描摹秋隅小景，黑羽山禽昂首枝上，翎羽纤毫毕现，油亮光泽宛若可触，尖喙微张似将引吭，灵动神态跃然绢上。枝桠间垂挂饱满秋瓜，表皮肌理莹润逼真，衬叶或鲜或残，脉络清晰可见，将秋日萧疏与生机相融。\n\n设色调和雅致，以沉稳古色晕染绢底，把草木禽鸟的鲜活神韵尽数铺陈，写实中暗藏雅致意趣，将刹那间的秋意生机定格成永恒，尽显工笔花鸟的细腻精妙，内敛古朴间流露着静谧悠然的秋日况味。",[24,25,81,28,7,83,10744,569,210,7230,194],"山禽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4f4300f8a942f5a262a8fc8beee2aea.jpg","26.9x27.4",[90],{"id":10749,"slug":10750,"title":6190,"dynasty":18,"author":257,"museum":191,"description":10751,"tags":10752,"thumbUrl":10753,"material":123,"size":10754,"collection":90,"collections":10755,"showCount":10708,"zanCount":1003,"manualWeight":48,"mainColor":49},219236,"mei-que-tu-yi-ming-219236","图绘细雪飘花，山喜鹊一双，倚偎于梅梢上。梅枝勾勒，线条精整，画中梅，圈瓣以淡墨细线为之，外围复以白粉提醒，萼则以胭脂红敷染，色彩搭配，虽不繁复，令人有如于雪光下，见清雅君子，一尘不染。宋人作画重理，画花尤重写生，此幅足为一例。前人论画梅，枝干交错之法，有如「女」字，此幅虽为写生一枝，亦于此法符合。",[23,24,25,83,28,7,820,4323,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32ee8eb63474c1ac957d63dde5b26a6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《三顾茅庐图》《达摩至惠能六代像》等。\n戴进作为明代著名的画家，绘画临摹精博，得唐宋诸家之妙，道释、神像、人物、山水、花果、翎毛、走兽等，无所不工。\n他的山水画画作品，注重选题。画法源出宋元，继承南宋水墨苍劲一派，主要吸收南宋时期的马远、夏圭（夏圭）风格，但也吸取北宋时期的李成和范宽，并取法郭熙、李唐、董源，用笔劲挺方硬，水墨淋漓酣畅，技巧纵横，画风雄健挺拔，俱遒劲苍润，一变南宋浑厚沉郁的风格，发展了马远、夏圭传统，善于用浓淡水墨的巧妙变化，来表现“铺叙远近，宏深雅淡”的品格，既有南宋院体遗风，又有元人水墨画意，被推为“浙派山水首席画师”",[23,24,25,194,29,177,7,176,34,37,106,108,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b3256df255a4ff5cd730b5277dbb9e7.jpg","装裱：270.5×122.3厘米画心：182.4×107.4厘米",[],{"id":10837,"slug":10838,"title":10839,"dynasty":869,"author":1841,"museum":132,"description":10840,"tags":10841,"thumbUrl":10844,"material":88,"size":10845,"collection":181,"collections":10846,"showCount":10792,"zanCount":48,"manualWeight":48,"mainColor":94},220411,"ji-liu-xing-zhou-tu-zhang-da-qian-220411","急流行舟图","此《急流行舟图》为1948年4月作，张大千50岁。其以古法入画已臻纯熟老辣之境，博采各家之长，具宋元风范又自出新意。此时其作品古人面貌最多，变化最多。《急流行舟图》的中远景，尽显淡墨轻岚一派风气。其笔法细秀温润，明润郁葱，画中经营的幽溪细路、山涧飞瀑、竹篱茅舍、断桥危栈，皆使人感悟“真若山间景趣也”。其画面设色清秀爽气，略施浅绛，主体以山石、树木、枝叶墨色浓淡的交错运用来表现层次关系，突出新安江一带特有的清润明秀、不装巧趣的韵致。然此画精彩之处不尽于此。但见飞瀑直下，形势急转，顿生高潮：激流暗涌、险滩巨礁、双舟争渡；江边草木、迎风而动、生意盎然。此处张大千一改中远景中平淡天真之法，石涛笔意曜然纸上。其山水画本效石涛起家，谓可乱真。自是笔法流畅，用墨相宜，或笔简墨淡、或浓重滋润，恣肆郁勃、淋漓洒脱。平淡中见奇绝，乃新安江山水之天然风貌。张大千这一静一动，构思新奇，更显急流行舟之灵动野趣。画中题款诗文中似流露出张大千对于隐居山野的倾慕，然其并未在“人在荒山顶上居”上多费笔墨，成为该画点睛之笔的正是“舟从乱石堆中过”。只见两叶轻舟似于浅滩中遇到险阻，船公们或奋力撑篙，或涉水排阻，人人齐心，共闯险滩。人物船只皆以白描意笔勾勒，浅绛施与船身与肤色，虽小至寸余，但形神毕肖，呼之欲出，在水墨淡色的山水中尤为醒目，点题立意。《急流行舟图》是张大千于国内面对真山实水所作的最后一批山水画之一，亦是其于盛期“师自然”的典型范例。",[23,194,24,25,173,7,498,177,29,109,174,108,1426,34,176,37,35,1049,10842,10843],"急流","行舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F090de17151e7cc3bb155db86e8b0dcaa.jpg","133x53cm",[181,45],{"id":10848,"slug":10849,"title":10850,"dynasty":18,"author":3752,"museum":191,"description":10851,"tags":10852,"thumbUrl":10855,"material":123,"size":10856,"collection":42,"collections":10857,"showCount":10792,"zanCount":48,"manualWeight":48,"mainColor":49},220144,"qiu-pu-rong-bin-tu-cui-bai-220144","秋蒲蓉宾图","本幅绘荷叶枯黄，芙蓉展艳，一派秋光旖旎，花间鹡鸰腾跃，翡翠静静停留，两鸿雁振翅凌空，意在千里。无画家款印，旧传为崔氏之作。崔白(约西元十一世纪)，安徽凤阳人，字子西。宋仁宗至神宗时为画院画家。精工画花卉翎毛，尤以枯荷凫雁得名，但亦精于道释、人物、鬼神。据说他作画时从不起稿，画长直坚挺的线条，无须使用直尺界画，操笔立就。",[23,913,4469,7,8377,566,10853,6554,634,10854,136,1530,380,137,245],"细腻笔触","蒲草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0742ff18547c75d91c9eaba1ab1932e4.jpg","本幅 149.1x95.5公分、全幅 133公分",[42,90],{"id":10859,"slug":10860,"title":10861,"dynasty":18,"author":1350,"museum":132,"description":10862,"tags":10863,"thumbUrl":10864,"material":123,"size":10865,"collection":42,"collections":10866,"showCount":10792,"zanCount":48,"manualWeight":48,"mainColor":49},220071,"lin-xia-qing-yan-tu-ma-yuan-220071","林下清宴图","此作用笔苍劲老辣，斧劈皴勾勒山石棱角，峭拔硬朗的峰峦隐没在空濛烟霭之中，虚实相生晕染出幽渺的层次感。近岸古木虬枝舒展，汀渚蜿蜒柔缓，和远山形成刚柔对照。江头扁舟静泊，云岫深处藏着古寺，留白的烟岚晕开天地，把林下幽寂的清旷意境铺陈开来。\n整幅画以淡墨晕染出空寂冷逸的氛围，将林泉高致的雅趣藏于山水间，尽显悠然超脱的林下风流，暗合文人寄情林泉、清宴忘忧的隐逸襟怀。",[23,194,24,25,29,173,7,177,685,378,175,37,106,379],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59ac221a46ecf53a5c3c912cd524c59d.jpg","104.7 x 101.4",[42],{"id":10868,"slug":10869,"title":10870,"dynasty":18,"author":2244,"museum":191,"description":10871,"tags":10872,"thumbUrl":10873,"material":123,"size":10874,"collection":45,"collections":10875,"showCount":10792,"zanCount":48,"manualWeight":48,"mainColor":94},219947,"li-nu-xiao-ying-tu-li-di-219947","狸奴小影图","猫在古代文人的笔下，也名狸奴，“猫”谐音“耄”，有长寿的吉祥寓意，成为入画的好题材。中国画史上曾出现过不少善画猫的名家，这幅画的作者李迪，就是其中之一。",[23,24,25,194,81,28,7,745],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e16cdf4bf4cb0f1950637379b428d38.jpg","23.6x24.1cm",[45],{"id":10877,"slug":10878,"title":8337,"dynasty":99,"author":3416,"museum":191,"description":10879,"tags":10880,"thumbUrl":10881,"material":123,"size":10882,"collection":90,"collections":10883,"showCount":10792,"zanCount":1379,"manualWeight":48,"mainColor":94},219526,"hua-die-tu-wen-chu-219526","以水墨晕染湖石，嶙峋苍古，苔点缀饰更添朴拙意趣。萱花挺然而立，淡墨勾茎，朱红逐层点染花瓣，柔妍舒展，浅绿草叶衬其娇态。粉蝶振翅翩跹，翅翼晕透清浅绿意，灵动似逐香而来。\n整幅设色明丽温婉，笔法细秀工致，揉合工笔精巧与文人写意的雅致，将花草柔妍与湖石朴拙相映成趣，把初夏小景晕染得生机清逸，淡冶宜人，尽抒细腻柔婉的闺中情思。",[24,25,226,7,28,83,230,873,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F576da20624683bb4876eb7e480a8d79c.jpg","149.3x47厘米",[90],{"id":10885,"slug":10886,"title":10887,"dynasty":99,"author":923,"museum":101,"description":10888,"tags":10889,"thumbUrl":10890,"material":123,"size":139,"collection":44,"collections":10891,"showCount":10792,"zanCount":889,"manualWeight":48,"mainColor":94},219451,"xing-yuan-ya-ji-tu-xie-huan-219451","杏园雅集图","描绘了明正统二年（1437年）三月初一，时值阁臣们的沐休假期，杨士奇、杨荣、王直、杨溥、王英、钱习礼、周述、李时勉、陈循9位朝中大臣以及画家谢环雅集于杨荣在京师城东的府邸——杏园聚会之情景。其中，杨士奇、杨荣、杨溥时人合称“三杨”，三人均历事永乐、洪熙、宣德、正统四朝，先后位至台阁重臣，正统时以大学士辅政，权倾一时。“三杨”还是当时“台阁体”诗文的代表人物。时人称杨士奇有学行，杨荣有才识，杨溥有雅操。又以居第所处，称杨士奇为西杨，杨荣为东杨，杨溥为南杨。按照当时《翰林记》的记载，当时谢环作画，与会者人手一画，也就是说至少有九幅（画家不算）《杏园雅集图》存世（现存世两幅）。",[23,24,25,26,7,28,178,937,212,86,106,34,175,1552,195,8804,63,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff366cd140ea847bfbf260d622bdcd92a.jpg",[44,2065],{"id":10893,"slug":10894,"title":3708,"dynasty":99,"author":3248,"museum":191,"description":10895,"tags":10896,"thumbUrl":10897,"material":123,"size":10898,"collection":45,"collections":10899,"showCount":10792,"zanCount":48,"manualWeight":48,"mainColor":49},219418,"hua-niao-zhou-bian-wen-jin-219418","此图绘竹、梅、雀，经营位置错落有致，鸟之姿态生动富情趣；用笔学宋朝院体勾勒填彩，设色妍丽生动。以梅竹、百雀为主题，象征吉祥瑞应。",[24,25,226,28,7,83,227,245,353,686,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4928cc9b3bf2e52344cbbd9dc5bf5f65.jpg","160.1x74.2公分",[45],{"id":10901,"slug":10902,"title":10903,"dynasty":189,"author":2083,"museum":442,"description":10904,"tags":10905,"thumbUrl":10909,"material":123,"size":10910,"collection":90,"collections":10911,"showCount":10792,"zanCount":1379,"manualWeight":48,"mainColor":49},219002,"ku-mu-shui-qin-tu-huang-quan-219002","枯木水禽图","这幅画描绘了湖岸边的寒冷冬景，大雁、白天鹅、野鸡和各种水鸟在三棵巨树下觅食、嬉戏，空旷荒凉的场景也让人不禁想起过去的繁华。这幅画被认为是五代时期西蜀画家黄荃的作品，但实际上它接近于元代罗稚川的风格。",[23,24,194,25,28,7,226,446,834,245,10906,3519,10209,353,7428,176,10907,1530,10908,3883],"白鹅","水泊","水畔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F928b9b088db206fb252396d6d64c69ee.jpg","纵148横107厘米",[90,181],{"id":10913,"slug":10914,"title":10915,"dynasty":99,"author":10916,"museum":442,"description":10917,"tags":10918,"thumbUrl":10919,"material":123,"size":10920,"collection":44,"collections":10921,"showCount":10792,"zanCount":1379,"manualWeight":48,"mainColor":2504},218375,"ri-ben-luo-han-tu-dui-fu-ji-shan-ming-zhao-218375","日本· 罗汉图对幅","吉山明兆","他在东福寺工作，是寺庙的看门人，负责打扫殿堂和点灯，被称为兆殿司。他学习了中国宋元的绘画技巧，用笔有力，色彩浓重。",[23,24,226,260,7,28,106,2235],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e7af49e70e9910ccb9bd13b6073fbb8.jpg","107.2x50.2",[44],{"id":10923,"slug":10924,"title":205,"dynasty":76,"author":329,"museum":20,"description":10925,"tags":10926,"thumbUrl":10927,"material":40,"size":10928,"collection":139,"collections":10929,"showCount":10930,"zanCount":2368,"manualWeight":48,"mainColor":94},232976,"hua-niao-ce-lang-shi-ning-232976","此图册分别描绘了牡丹、兰花、罂粟、萱草、荷花、梅花等艳丽多姿的花卉和体态生动的蝶、鸟。构图上取法中国传统花鸟画的格局，以虚托实，注重对所绘物象的突出。在表现技法上，则充分发挥了欧洲绘画注重明暗及透视的特点，以工致细腻的笔触，刻画出花瓣、叶片以及鸟雀的羽毛质感和体积感，呈现出与传统的中国花鸟画迥然不同的艺术风貌。这种“中西合璧”的画风成为清代宫廷绘画艺术的一大特色，受到了清皇室的青睐。",[24,25,81,28,7,136,137,484,83,84,568],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58118af921331845033ac41b6553a729.jpg","纵32.6厘米，横28.6厘米",[],122,{"id":10932,"slug":10933,"title":10934,"dynasty":76,"author":10935,"museum":316,"description":10936,"tags":10937,"thumbUrl":10938,"material":139,"size":139,"collection":90,"collections":10939,"showCount":10930,"zanCount":1003,"manualWeight":48,"mainColor":94},230217,"shi-er-jin-chai-tu-zhou-zhang-shan-ma-230217","十二金钗图轴","张善孖","此作跳脱了猛虎惯常的威肃凌厉之态，绘虎缓步于烟霭乱石间，笔力劲挺勾勒出雄健躯干，斑纹晕染苍劲写实，却敛去凶煞戾气，姿态带着幽婉柔媚的意趣。\n\n题诗呼应画意，以佳人风姿拟虎，将百兽之王与婉约情致相融，淡墨晕染的空濛云雾衬出悠远氛围感，工写兼具，既尽显虎的筋骨力道，又裹挟着文人画的雅致文心，是独出机杼的写虎佳制。",[23,24,25,226,173,7,5443,746],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21b4ce6ce085278e695890e586d2946e.jpg",[90,181],{"id":10941,"slug":10942,"title":10943,"dynasty":76,"author":10944,"museum":316,"description":10945,"tags":10946,"thumbUrl":10948,"material":599,"size":600,"collection":139,"collections":10949,"showCount":10930,"zanCount":48,"manualWeight":48,"mainColor":49},229049,"qing-xiu-xian-fo-xiang-qi-shi-jia-mu-ni-fu-zhou-qing-ren-229049","清绣线佛像（七）释迦牟尼佛轴","清人","此作为彩丝绣就的佛造像，配色明丽沉静，以石青为底烘托圣像庄严。释迦牟尼安坐须弥莲台，朱红袈裟雅致厚重，衣纹流转自然，面含慈悲，神态沉静超脱，头身光以金地绣缠枝宝相花，华贵雍容。上方华盖绣云纹流苏，下方祥云满铺，意境缥缈清宁。两侧胁侍尊者衣饰各具意趣，一者素净安然，一者衣纹缀满宝纹，姿态恭谨肃穆。整作针脚细密匀整，晕色柔和自然，将礼佛的虔诚融入丝丝绣线，把造像的静穆庄严与刺绣工艺的精巧华美相融，尽显典雅规整的宫廷佛造像气韵。",[10947,226,260,7,106,1488,3661],"绣线","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5254649c6064181aefa5ccdc0172a3ec.jpg",[],{"id":10951,"slug":10952,"title":10953,"dynasty":76,"author":10954,"museum":316,"description":10955,"tags":10956,"thumbUrl":10965,"material":139,"size":139,"collection":139,"collections":10966,"showCount":10930,"zanCount":2368,"manualWeight":48,"mainColor":94},228930,"shu-guo-tu-gu-luo-228930","蔬果图","顾洛","此作用长卷铺陈出满幅鲜活意趣，以工笔淡彩晕染描摹，设色清妍雅致。枝蔓果蔬次第绵延，宛如将乡野生机尽数铺展于素纸之上。石榴裂瓣露籽，饱满鲜活；水蜜桃色泽娇嫩，肌理宛然，各类蔬果皆刻画入微，菜叶舒展自然，浆果晶莹饱满，连蒜叶、菜根都写实生动，将日常烟火里的瓜果蔬蔬，赋予了文人画的隽雅格调，把清蔬佳果的鲜活生命力淋漓尽致地呈现，于平实间尽显雅致意韵。",[23,24,28,7,26,9850,1060,10957,567,10958,7418,9267,10959,10960,7417,10961,10962,10963,10964,554,211],"草莓","梨","玉米","豆角","萝卜","梅子","桑葚","栗子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaf3cd4ae119b84b1a3922ca91fd46c7.jpg",[],{"id":10968,"slug":10969,"title":4428,"dynasty":18,"author":257,"museum":1846,"description":10970,"tags":10971,"thumbUrl":10972,"material":599,"size":600,"collection":139,"collections":10973,"showCount":10930,"zanCount":48,"manualWeight":48,"mainColor":94},226506,"pu-sa-yi-ming-226506","眉眼低垂，敛尽尘世喧嚣，将悲悯藏在温婉柔和的轮廓里。线条凝练温婉，晕染过渡自然，把东方含蓄的慈悲刻在面庞之上。繁复华美的冠饰精巧细腻，宝饰层叠间尽显造像的庄严华贵。青绿头光褪去了初绘时鲜亮色泽，沉淀着千年岁月的厚重。\n\n残存的朱褐石色衣纹晕染层次柔和，历经风沙侵蚀的斑驳痕迹，是时光镌刻的印记。将宋人清雅内敛融于造像，褪去张扬余韵，只留沉静温柔的悲悯。每一寸残存色彩，都带着敦煌洞窟里漫过千年的砂砾气息，让这尊菩萨跨越光阴，将千年前的虔敬与温柔，静静呈现在观者眼前。",[194,24,25,511,260,7,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2f1c1d83a52e0ad15451662404b4efa.jpg",[],{"id":10975,"slug":10976,"title":10977,"dynasty":76,"author":10978,"museum":316,"description":10979,"tags":10980,"thumbUrl":10987,"material":599,"size":600,"collection":139,"collections":10988,"showCount":10930,"zanCount":48,"manualWeight":48,"mainColor":49},224114,"yuan-xiao-xing-le-tu-zhou-qian-long-224114","元宵行乐图轴","乾隆","此图描绘的是清代乾隆皇帝与皇族子弟们在宫苑内庆贺元宵节的情景。元宵节，又称为“上元节”、“小正月”、“元夕”或“灯节”，是岁朝之后的第一个重要节日。按照中国民间的传统，在这天皓月高悬的夜晚，人们除吃意寓团圆美满的元宵外，还要点起彩灯万盏，燃放焰火和猜灯谜。图中乾隆皇帝坐在楼阁上，正安详地目视着皇族子弟们庆贺元宵节。\n此图没有落作者的名款，从技法上分析，图中人物的画像应是由擅长写实画的郎世宁绘制。他在西洋肖像画的基础上，巧妙地吸取了传统中国“写真”画技法，生动地表现出不同人物的体态和神情。图中的屋宇、树石背景是由中国画家补绘，画家们以传统的中国山水画、界画技法，精心勾描、点染，不仅渲染出元宵节喜庆祥和的热烈气氛，同时展示出乾隆皇帝与家人间浓浓的亲情。",[24,226,7,6170,104,28,8377,107,4629,176,34,10981,10982,10983,10984,10985,10986],"元宵节","彩灯","焰火","喜庆","祥和","亲情","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e37e5be34ab9d1fa4c454a4cece0f98.jpg",[],{"id":10990,"slug":10991,"title":10992,"dynasty":99,"author":3307,"museum":191,"description":10993,"tags":10994,"thumbUrl":10995,"material":123,"size":10996,"collection":90,"collections":10997,"showCount":10930,"zanCount":1379,"manualWeight":48,"mainColor":49},222397,"xing-hua-kong-que-tu-lv-ji-222397","杏花孔雀图","此画属于吕纪工笔花鸟画的代表作品，右方署款「吕纪」，钤盖「四明吕廷振印」一方。画中描绘一对孔雀在杏花树下栖息的景况。位于画面中央的孔雀单脚伫立于岩石上，回首注视绽放的红色牡丹，另一只孔雀则蜷伏石上，观察地面景况。画中的孔雀、杏花、牡丹等象征着吉祥意味。杏花以白色、粉赭色系颜料敷染，牡丹花及孔雀则使用浓重的赭红色，与石青、石绿的颜料搭配，充满着富贵绮丽的装饰性。",[23,24,25,226,7,28,83,2328,277,292,230,245],"https:\u002F\u002Foss.chua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余下四人为随从仆役，九人九骑，神态各异，呼之欲出\n2020年10月8日，在香港苏富比古代书画拍卖中，《五王醉归图》最终以3.065亿港币（折合约2.7亿元人民币）成交。\n《五王醉归图》描绘了唐代临淄王李隆基（即唐玄宗，712-756年在位）与他的四个兄弟宋王李成器、申王李成礼和岐王李范、薛王李业出游饮酒，醉后骑马回家的情景。据唐郑处诲《明皇杂录》中记载，五王少时感情和睦，常一同宴饮，或喝酒、下棋，或斗鸡、击球，或打猎、游赏。此卷画中共有五王，四个侍从，九骑九乘。其中，穿深红色衣服，由两个侍从搀扶者为李隆基，坐骑为“照夜白”；在李隆基后面的是身着淡黄衣、骑乌骓马、面部醉红的宋王李宪；接着是顾前盼后、骑玉花骢的岐王李范和骑黄骢骠的薛王李业；需要侍从侧骑服侍、伏鞍欲吐者为申王李撝，坐骑为九花虬。伺从挽着袖子，一边照料身旁醉得快坐不住的王，一边还要回头问后边那位能否撑得住，好不生动。",[23,24,26,7,28,106,150,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb754a83b3cca8f419f2c984d519f85bc.jpg","35.5x212.5厘米",[44,45],{"id":11009,"slug":11010,"title":11011,"dynasty":869,"author":870,"museum":11012,"description":11013,"tags":11014,"thumbUrl":11015,"material":139,"size":139,"collection":139,"collections":11016,"showCount":10930,"zanCount":48,"manualWeight":48,"mainColor":94},220591,"jiu-hu-he-ju-hua-qi-bai-shi-220591","酒壶和菊花","Hong Kong Museum of Art","淡赭晕染出酒壶憨朴轮廓，留白衬出器物的温润拙厚。下方提篮中菊花攒簇，朱红明丽、赭黄沉凝、墨白清雅，花瓣勾勒老辣朴拙，枝叶苍劲带着蓬勃生机。右侧题笔顶天立地，楷隶相融的题字与画面相映成趣。虚实相生间，将日常小物化为寄情之物，以酒菊托祝寿深意，笔力雄浑简括，把乡野意趣与文人雅韵揉合一处，尽显冲淡隽永的东方意致，将寻常烟火绘成动人的诗意画卷。",[23,24,25,226,7,498,83,897,196,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6b1dcc70632968186c19f507f452f51.jpg",[],{"id":11018,"slug":11019,"title":11020,"dynasty":18,"author":2244,"museum":191,"description":11021,"tags":11022,"thumbUrl":11024,"material":123,"size":11025,"collection":42,"collections":11026,"showCount":10930,"zanCount":2368,"manualWeight":48,"mainColor":49},220356,"feng-yu-gui-mu-tu-li-di-220356","风雨归牧图","绘两牧童沿柳岸归牧，风雨大作，柳枝、丛芦在风雨中摇荡。牧童策牛逆风徐行，一牧童披蓑衣俯身紧拉住斗笠，另一牧童的斗笠被风吹落。画家善于从江南乡村常见的景象中挖掘出美感，非常富有生活气息。全图用笔工细严谨，牧童的神情、水牛的憨态也都描绘得很真切。",[23,24,28,7,177,151,746,106,378,6582,11023],"风雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdacf6fa6d8af2dba4881d869e5c6742d.jpg","纵120.7cm，横102.8cm",[42],{"id":11028,"slug":11029,"title":11030,"dynasty":76,"author":11031,"museum":495,"description":11032,"tags":11033,"thumbUrl":11034,"material":7,"size":11035,"collection":181,"collections":11036,"showCount":10930,"zanCount":2368,"manualWeight":48,"mainColor":11037},214176,"xie-qin-you-ju-tu-tu-xiang-zeng-qiang-cha-shi-biao-214176","携琴幽居图(图像增强)","查士标","查士标（1691年-1765年），字叔标，号槃湖，清代著名山水画家。他是清代著名的四王之一，与石涛、郎世宁、唐伯虎合称“四王”。查士标擅长山水画，尤其以山水风景和人物画闻名。",[24,7,177,26,29,175,108,109,34,176,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d6e5f238a3606b6d1cab864e69f3c2f.jpg","135.8*25.5",[181],"aaa79f",{"id":11039,"slug":11040,"title":10247,"dynasty":76,"author":997,"museum":20,"description":11041,"tags":11042,"thumbUrl":11044,"material":770,"size":5618,"collection":181,"collections":11045,"showCount":11046,"zanCount":48,"manualWeight":48,"mainColor":94},234296,"yuan-ji-shan-shui-tu-ce-shi-tao-234296","原济(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[194,24,25,81,7,173,177,29,378,106,35,1169,11043,212],"近水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff66ce93c8dd6e2917b723381f2a32347.jpg",[181,45],121,{"id":11048,"slug":11049,"title":11050,"dynasty":76,"author":2805,"museum":223,"description":11051,"tags":11052,"thumbUrl":11053,"material":638,"size":11054,"collection":139,"collections":11055,"showCount":11046,"zanCount":2368,"manualWeight":48,"mainColor":94},231946,"fang-shen-zhou-hua-hui-tu-wang-wu-231946","仿沈周花卉图","作品是在国民期间被带入国门的，但有几幅作品却被比齐白石的画漂亮，画的细节比齐白的还好。\n齐白石牛的蝉，比不过他画的天牛，可惜作品少了海外！这本书国画精口的细节很少，就是画了三张天牛画在上面树上的野画。简单的绘画风格与齐白石的一样，但作品却充满了满满的童趣。\n如果不是亲眼所见，谁也不会相信这是一张清朝的绘画，而且是由王武一个画家画出来的。笔墨十分的潇洒，尤其是在婚纱中的小作品中，烘焙精品的超小纸条。\n作品贵的精巧，贵在细节上面，大家仔细看绘画的整体风格，实际上比齐白石的作品外观要，而且布局更漂亮，但在工整秀丽之间又不失童趣。把一些动物与植物相间的神韵的画出来，难怪在外国的目光，这一类作品太妙了。\n对比的绘画，这只天牛虽然是属于水墨画，但要知道在200多年前，这水墨的风格画，尤其是场景小类的，能画到非常逼真的多，最重要的就如真的还活着，余生如生。\n一张好画的感觉体验一个人的绘画天赋，更表现了一个人的绘画功底。像王武和齐白石的作品，深入要光，还需要依靠对艺术绘画的一种深入理解，这样子有神韵！",[23,24,173,7,83,568,211,554,569,81,498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25155c1c911c2cd3f45e7be509419dbd.jpg","53x38 厘米",[],{"id":11057,"slug":11058,"title":11059,"dynasty":302,"author":257,"museum":316,"description":11060,"tags":11061,"thumbUrl":11062,"material":139,"size":139,"collection":139,"collections":11063,"showCount":11046,"zanCount":1379,"manualWeight":48,"mainColor":49},228216,"mu-dan-hua-hui-tu-zhou-yi-ming-228216","牡丹花卉图轴","以深沉绢地托举群芳，白牡丹莹洁似凝脂，红牡丹浓艳若燃霞，紫牡丹晕染出雅致柔韵。花姿或肆意盛放、或含苞颔首，俯仰之间各有姿态。叶片以细腻晕染分出阴阳向背，脉络清浅舒展，将草木柔润生机尽藏笔底。构图繁而不乱，错落排布尽显繁茂却不觉拥塞，将牡丹的雍容富贵融于清雅古拙的笔意之中，尽显花鸟写生的精湛功力，把国色天香的神韵晕染得恰到好处。",[23,194,24,25,226,28,7,292,84,3074],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f44b549ecd7f5efb68ebd193de03a4a.jpg",[],{"id":11065,"slug":11066,"title":11067,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":11068,"thumbUrl":11070,"material":599,"size":600,"collection":139,"collections":11071,"showCount":11046,"zanCount":2368,"manualWeight":48,"mainColor":49},226164,"ku-zhu-shi-bei-bi-yi-ming-226164","窟主室北壁",[511,260,7,104,106,107,11069],"殿堂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F748644ad0fd67b6179cedd9df594a9ea.jpg",[],{"id":11073,"slug":11074,"title":11075,"dynasty":189,"author":257,"museum":191,"description":11076,"tags":11077,"thumbUrl":11078,"material":282,"size":11079,"collection":139,"collections":11080,"showCount":11046,"zanCount":2368,"manualWeight":48,"mainColor":49},223336,"dan-feng-you-lu-tu-yi-ming-223336","丹枫呦鹿图","《丹枫呦鹿图》描绘的是群鹿游憩于色彩斑斓的秋林中的情景，造型生动真实，颇具情趣。其构图繁密饱满，形式美感强烈，装饰味浓。\n《丹枫呦鹿图》中，作者使用传统的皴法、勾勒之法较少，却大幅度使用了类似西方的光影之法来表现鹿的立体感，且敷色富丽鲜艳又有别干常见的没骨山水。实异于汉族文化地区之画作，属辽画之精品。",[23,24,25,194,226,7,28,4952,2479,746,34,1754],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05a0c1c1455178893acd65ad00afdad0.jpg","纵118.5cm，横64.6cm",[],{"id":11082,"slug":11083,"title":11084,"dynasty":76,"author":11085,"museum":316,"description":11086,"tags":11087,"thumbUrl":11088,"material":770,"size":11089,"collection":90,"collections":11090,"showCount":11046,"zanCount":918,"manualWeight":48,"mainColor":94},223158,"qun-xian-zhu-shou-tu-fu-dao-ren-xiong-223158","群仙祝寿图佛道","任熊","此幅图画场面宏大，共绘神仙达22位之多，八仙中的七仙，寒山、拾得等包括佛教、道教及民间信仰的各路神仙。",[23,24,194,25,26,260,28,7,106,107,29,34,746],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea49554b72b9cdd2c017d8d51d64b0c0.jpg","86X170cm",[90],{"id":11092,"slug":11093,"title":11094,"dynasty":76,"author":2805,"museum":191,"description":11095,"tags":11096,"thumbUrl":11097,"material":11098,"size":11099,"collection":90,"collections":11100,"showCount":11046,"zanCount":48,"manualWeight":48,"mainColor":94},222807,"zhu-xia-hong-mei-wang-wu-222807","竹下红梅","王武，1632年生，1690年逝世，吳縣（今江蘇蘇州）人。字勤中，晚號忘庵，又號雪顛道人。明代畫家王鏊六世孫，精鑑賞，富收藏，擅畫花鳥，風格工整秀麗，正如王時敏所云：“神韻生動，應在妙品中。”為清初院畫的名家。亦擅詩文。傳世作品有《水仙柏石圖》、《紅杏白鴿圖》、《鴛鴦白鷺圖》等。",[23,24,25,81,7,28,83,227,820,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe28b7f42c49990357f197784cca3d392.jpg","紙","27.9×36.3",[90,45],{"id":11102,"slug":11103,"title":11104,"dynasty":99,"author":3248,"museum":191,"description":11105,"tags":11106,"thumbUrl":11107,"material":123,"size":11108,"collection":90,"collections":11109,"showCount":11046,"zanCount":1379,"manualWeight":48,"mainColor":49},221937,"san-you-bai-qin-tu-bian-wen-jin-221937","三友百禽图","《三友百禽图》描绘了初冬时节，百禽嬉戏于松竹梅之间的场景，画中禽鸟或飞翔，或栖息，或嬉戏，或高瞻远瞩，或转首探望，或自理羽毛，无一重复，整个画面气氛热闹欢快，一派生机勃勃。\n此图中各个禽鸟的动姿刻画得生动活泼，诸鸟细致入微的描绘，使大多鸟类品种可辨，布满全幅的构图，呈现“茂密”的特点，画风工细精微又富装饰性，堪称边景昭最具宫廷花鸟特色的佳作。\n《三友百禽图》中以松、竹、梅和坡石为主要架构，其间穿插近百只禽鸟于枝头、坡上、空中等处。画面下部绘有数块峻峭的山石，在坡石缝隙之间，只见一截老松弯卧，树干表面显得沧桑嶙峋；在老松一侧两株粗壮的翠竹凛然耸起，直入画外，上不见其端顶，下不着其根部，在两棵竹子之间，一枝幼竹迎而立，竹叶繁密；在画面左上角，古老的梅干斜逸而出，茁壮的梅枝低垂，白色梅花凌寒怒放；梅竹之后，又有苍翠的松枝隐现其间。",[23,24,28,7,226,83,1133,227,820,209,245,230,211,686],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cb578f9fef886db366ada747d3fe3e2.jpg","纵152.2厘米，横78.1厘米",[90,45],{"id":11111,"slug":11112,"title":11113,"dynasty":869,"author":870,"museum":8765,"description":11114,"tags":11115,"thumbUrl":11117,"material":11118,"size":139,"collection":139,"collections":11119,"showCount":11046,"zanCount":48,"manualWeight":48,"mainColor":94},220589,"hua-cao-gong-chong-ce-ye-lv-e-qi-bai-shi-220589","花草工虫册页 - 绿蛾","画作兼用工笔与写意之法，赭石晕染的残叶朴拙温润，淡墨轻勾叶脉，寥寥数笔便将深秋枯叶的枯瑟质感尽显，晕开沉静的秋意。停栖的绿蛾则以工笔细描，翠色鲜亮通透，翅脉纤毫毕现，绒毛蓬松质感呼之欲出，将小虫鲜活灵动之态尽数铺陈。暖调枯叶与冷调青蛾冷暖相映，静穆与生机形成强烈反差，于极简构图里藏着对日常小景的入微体察，将秋隅细碎生机凝练成雅致诗意，尽显平凡小景中的盎然意趣。",[24,7,28,173,81,554,11116,380],"蛾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1c99521d45e323f18a6b311b794894d.jpg","纸本水墨设色",[],{"id":11121,"slug":11122,"title":11123,"dynasty":18,"author":1046,"museum":3038,"description":11124,"tags":11125,"thumbUrl":11126,"material":123,"size":11127,"collection":181,"collections":11128,"showCount":11046,"zanCount":48,"manualWeight":48,"mainColor":49},220123,"han-shan-xue-ji-tu-guo-xi-220123","寒山雪霁图","郭熙(1023年--约1085年)，字淳夫、河阳(今河南温县)人，北宋绘画大师。宋神宗熙宁元年(1068年)奉诏入图画院，初为“艺学”，后任翰林待诏直长。宋神宗赵顼深爱其画，曾“一殿专皆熙作”。王安石变法时新立中书、门下两省和枢密院、玉堂等墙上壁画。皆为其所作。郭熙擅画山水，无师承，早年风格较工巧，后取法李成，画艺大进，到晚年落笔益壮，能自放胸臆 ，炉火纯青。其画论有《林泉高致》，提出高远、深远、平远“三远法”。画山石多用“卷云”或“鬼脸”皴；画树枝如蟹爪下垂，笔势雄健，水墨明洁。传世作品有《早春图》(台北故宫博物院藏)、 《窠石平远图》 (北京故宫博物院藏)，以及《树色干远图》《早春图》《关山春雪图》《山林图》《秋山行旅图》《幽谷图》等。",[23,24,194,226,177,173,7,29,685,2086,795,3518,174,106,150,379,378,149,1426,9231],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c60aecd1eeb13e336efcac40bcc130b.jpg","147.6x78.1",[181],{"id":11130,"slug":11131,"title":11132,"dynasty":18,"author":11133,"museum":191,"description":11134,"tags":11135,"thumbUrl":11137,"material":123,"size":11138,"collection":90,"collections":11139,"showCount":11046,"zanCount":1379,"manualWeight":48,"mainColor":49},219228,"ye-ju-qiu-chun-tu-li-an-zhong-219228","野菊秋鹑图","李安忠","画幅中心位置上画两只鹑鸟，全身几乎长满了近似粉白色的翎毛，只有少量的黑褐色斑毛，将头部与背勾画得更加显明突出。一只鹑鸟抬头远望，一只鹑鸟低头啄食，它们伫立在倾斜的土坡上、土坡的上方，白色的野菊花穿插在带棘的灌木中，还有竹竿枝权探头画面上、土坡的下方有蒲公英等野草花点缀着，一仰一俯的两只鹑鸟，互相依偎，自由地在大自然的环境中生活，其神态逼真，栩栩如生。该图设色淡雅，配色和谐。",[23,24,194,28,7,83,7956,11136,227],"野菊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F763aa29896547493e563c587705ce6b7.jpg","纵24.1cm，横40.5cm",[90,45,42],{"id":11141,"slug":11142,"title":9340,"dynasty":99,"author":257,"museum":191,"description":11143,"tags":11144,"thumbUrl":11146,"material":88,"size":11147,"collection":44,"collections":11148,"showCount":11046,"zanCount":48,"manualWeight":48,"mainColor":94},216958,"ming-tai-zu-ban-shen-xiang-yi-ming-216958","这幅画描绘了朱元璋的长脸，气势非凡，眼睛深邃，脸颊修长。",[24,25,28,7,106,63,406,11145],"明代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f24401c5275f2f31ff091e08817cfd6.jpg","101.6x65.4",[44],{"id":11150,"slug":11151,"title":11152,"dynasty":76,"author":997,"museum":316,"description":11153,"tags":11154,"thumbUrl":11155,"material":599,"size":600,"collection":139,"collections":11156,"showCount":11157,"zanCount":2368,"manualWeight":48,"mainColor":94},290425,"shan-shui-ce-8-zhen-shi-tao-290425","山水册8帧","石涛（1642年－1708年）明末清初著名画家，原姓朱，名若极，广西桂林人，小字阿长，别号很多，如大涤子、清湘老人、苦瓜和尚、瞎尊者，法号有元济、原济等，明靖江王朱亨嘉之子，与弘仁、髡残、朱耷合称“明末四僧”。\n石涛是中国绘画史上一位十分重要的人物，他既是绘画实践的探索者、革新者，又是艺术理论家。\n他幼年遭变后出家为僧，驻锡于安徽宣城敬亭山广教寺，后半世云游，以卖画为业。早年山水师法宋元诸家，画风疏秀明洁，晚年用笔纵肆，墨法淋漓，格法多变，尤精册页小品；花卉潇洒隽朗，天真烂漫，清气袭人；人物生拙古朴，别具一格。工书法，能诗文。存世作品有《石涛罗汉百开册页》《搜尽奇峰打草稿图》《山水清音图》《竹石图》等。著有《苦瓜和尚画语录》。名言有“一画论”、“搜尽奇峰打草稿”、“笔墨当随时代”等。",[24,81,29,173,7,177,808,37,34,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10e43bd7167cf84e5eb97a9e84d36de0.jpg",[],120,{"id":11159,"slug":11160,"title":7862,"dynasty":76,"author":2200,"museum":316,"description":2962,"tags":11161,"thumbUrl":11162,"material":599,"size":600,"collection":139,"collections":11163,"showCount":11157,"zanCount":2368,"manualWeight":48,"mainColor":94},289981,"mei-hua-tu-li-zhou-wu-chang-shuo-289981",[23,24,226,173,7,820,1133,230,83,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F064a0d9d4e3f29549f1c436bae20a6d3.jpg",[],{"id":11165,"slug":11166,"title":11167,"dynasty":18,"author":391,"museum":316,"description":3785,"tags":11168,"thumbUrl":11169,"material":599,"size":600,"collection":139,"collections":11170,"showCount":11157,"zanCount":1379,"manualWeight":48,"mainColor":49},287892,"xie-sheng-ling-mao-tu-zhao-ji-287892","写生翎毛图",[23,194,24,26,7,28,83,245,484,2223,84,210,3442],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F991c70342fcdd1f954ce69e99322aad5.jpg",[],{"id":11172,"slug":11173,"title":1641,"dynasty":76,"author":717,"museum":316,"description":11174,"tags":11175,"thumbUrl":11177,"material":599,"size":600,"collection":139,"collections":11178,"showCount":11157,"zanCount":2368,"manualWeight":48,"mainColor":94},283778,"shi-nv-tu-wu-ying-zhen-283778","女。字含五，江苏吴江人，适同邑赵氏。工写生，风神婉约，自是闺房之秀。",[24,194,7,28,106,59,230,11176,226,212],"古树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb55007fbc6c66e7d3ac331b04cbec31f.jpg",[],{"id":11180,"slug":11181,"title":11182,"dynasty":76,"author":257,"museum":316,"description":11183,"tags":11184,"thumbUrl":11185,"material":139,"size":139,"collection":139,"collections":11186,"showCount":11157,"zanCount":1379,"manualWeight":48,"mainColor":94},239214,"zhao-zhi-qian-mu-dan-tu-zhou-yi-ming-239214","赵之谦牡丹图轴","此作兼工带写，以淡墨绘枯木顽石，焦墨点苔晕出水墨层次。粉牡丹柔妍灵动，花瓣从淡粉晕染至绯色，金黄花芯点簇鲜活。蓝叶以没骨法晕开，色韵清透雅致。右上角行书题笔苍劲朴拙，诗画相映。\n\n花木娇柔与湖石浑朴刚硬形成鲜明对照，刚柔并济，尽显文人写意意趣，将初夏庭间牡丹倚石盛放的清寂雅致铺展开来。笔意纵逸随性，设色秀而不媚，尽显晚清写意花鸟的典型风貌，借花石传递出悠然古淡的文人情致。",[24,226,7,83,292,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff10e1ffe0de8cd4eac0f7a47ebe7cb28.jpg",[],{"id":11188,"slug":11189,"title":11190,"dynasty":76,"author":997,"museum":316,"description":11191,"tags":11192,"thumbUrl":11193,"material":139,"size":139,"collection":139,"collections":11194,"showCount":11157,"zanCount":2368,"manualWeight":48,"mainColor":94},228995,"hua-hui-ce-shi-zhen-shi-tao-228995","花卉册十帧","此作以桃花配墨竹，刚柔互衬。粉桃花朵晕染柔润，娇妍含露，枯笔写枝拙朴苍劲，尽显花柔枝老的生趣。右下角墨竹以浓墨挥写，叶片挺拔清瘦，与柔媚桃花相映，愈见雅致。\n\n行书题款舒朗流畅，诗文借春日江南景致抒放逸闲情，诗书画意相融无间。整幅以淡墨轻色写意，随性疏朗，以简淡笔墨托出春日清妍，将文人心底的闲情雅趣寄于花枝竹影间，淡而有味，简而有神，尽显文人画的写意真趣。",[194,24,25,81,173,7,83,243,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fade10183679772013e35beae8b8ea357.jpg",[],{"id":11196,"slug":11197,"title":11198,"dynasty":99,"author":170,"museum":316,"description":11199,"tags":11200,"thumbUrl":11201,"material":139,"size":139,"collection":139,"collections":11202,"showCount":11157,"zanCount":1003,"manualWeight":48,"mainColor":94},228833,"jiang-cun-yu-le-tu-shen-zhou-228833","江村渔乐图","此作用平远之景铺展江南水乡，水墨晕染出烟波澹荡的汀渚沙洲，村舍依山临溪错落排布，渔舟泛于江面，往来悠然。林木苍润华滋，点染出清秋深秀的意态，笔墨朴厚雅致，带着吴门画派典型的文人意趣。\n卷后长题与画作相映成趣，行书笔力苍劲朴拙，诗画合璧，将江村渔隐的日常闲趣，化作寄情林泉的诗意栖居图景，淡远悠长的意境里，尽是文人心底向往的幽隐闲适。",[23,194,24,26,173,7,29,796,108,109,174,6582,7600,34,86,178,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea1163c6c32f2922961a6b7c01e40462.jpg",[],{"id":11204,"slug":11205,"title":11206,"dynasty":256,"author":3184,"museum":316,"description":6534,"tags":11207,"thumbUrl":11208,"material":599,"size":600,"collection":3195,"collections":11209,"showCount":11157,"zanCount":2368,"manualWeight":48,"mainColor":49},225640,"rembrandt-harmensz-van-rijn-050-lun-bo-lang-225640","Rembrandt Harmensz.van Rijn - 050",[194,3187,106,2954,260,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b2617e4dd48b90098e3e3e484604e0b.jpg",[3195],{"id":11211,"slug":11212,"title":11213,"dynasty":99,"author":257,"museum":11214,"description":11215,"tags":11216,"thumbUrl":11218,"material":529,"size":11219,"collection":139,"collections":11220,"showCount":11157,"zanCount":918,"manualWeight":48,"mainColor":49},223381,"qian-qiu-jue-yan-tu-yi-ming-223381","千秋绝艳图","中国国家博物馆","此卷在六米多长的画面上，绘写了近七十位古代仕女形象，画中女子采用工笔重彩，多用铁线描钩勒衣纹。服饰敷彩妍丽鲜明。每个人物都手持或配有最能代表和体现她们身份的配物，并在右上方，各题有七言绝句一首。",[23,24,25,26,28,7,106,59,195,8804,64,63,4355,84,11217],"珊瑚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ca25007acf93fb2441506aa6e02095e.jpg","29.5x667.5厘米",[],{"id":11222,"slug":11223,"title":11224,"dynasty":76,"author":329,"museum":20,"description":11225,"tags":11226,"thumbUrl":11233,"material":770,"size":11234,"collection":44,"collections":11235,"showCount":11157,"zanCount":1003,"manualWeight":48,"mainColor":94},222773,"hong-li-guan-hua-tu-lang-shi-ning-222773","弘历观画图","此幅利用画中画的构图方式，表现乾隆皇帝弘历在清风中欣赏《洗象图》的情景。《洗象图》描绘的是扮作普贤菩萨的乾隆皇帝正在观看众人为普贤的坐骑白象洗刷的场景。\n乾隆皇帝在其统治期间建立了一套完整的佛教文化体系，同时他还自诩是佛教中 “文殊”、“普贤”的化身，给自己罩上了一层神秘的宗教光环，意味着他不仅是人间的帝王，也是佛界的要神。因此该画在创作意图上是幅宣扬乾隆皇帝宗教信仰的作品。\n此图无作者名款，从创作手法上分析应该是中西画家的合璧之作。图中乾隆皇帝的肖像是由擅长写实画的郎世宁绘制。作者运用解剖学，以西洋绘画技法表现人物面部，五官的刻画细腻、清晰，富有层次、立体感。乾隆皇帝的服饰则由中国画家以传统的人物画“战笔描”表现，衣纹线条抖动弯曲，极具动感。图中的小童、房舍、树木等亦是由中国画家联手完成的。东、西方绘画艺术风格呈现在同一幅作品中无疑丰富了宫廷绘画创作的表现形式，这也是乾隆朝宫廷绘画的一大特色。",[23,24,7,28,6170,11227,6768,11228,8300,1273,3712,108,109,176,11229,3429,11230,11231,11232],"画中画","普贤菩萨","帝王","白象","西洋写实技法","战笔描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc096af4b80506a97a712105edd6edc41.jpg","纵136.4厘米，横62厘米",[44,45],{"id":11237,"slug":11238,"title":5883,"dynasty":76,"author":7863,"museum":539,"description":11239,"tags":11240,"thumbUrl":11241,"material":500,"size":11242,"collection":44,"collections":11243,"showCount":11157,"zanCount":2368,"manualWeight":48,"mainColor":49},222705,"fo-xiang-jin-nong-222705","图中释迦牟尼，正面全身，头顶青螺结，身着红袈裟，一臂袒露拱手伫立，神态安详而肃穆。面部以刚劲的铁线描勾出，敷设淡彩，丰腴圆润，神采飘逸。周身的衣纹采用枯笔折绝画法，下接卷云莲座，线条展转流动，有升腾动荡之感。\n又于释迦两侧作记，右边文日：“十五年前为暖鹑居士写金刚经卷，刻之枣木，精装千本，善施天下名胜禅林……今又画佛，画菩萨、画罗汉，将俟世之信心，敬俸者锓摹上石，一如写经之流传云。七十四双机郡金农记。”左边题《古佛颂》，长远百余字。书体楷中兼隶，有“漆书”之称，其风格独绝。书画和谐，使佛像更为突出。其画面形式极适于“摹上石”流传于世。",[23,24,25,260,106,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ef5ee14a984d59580b5e0d42f846e7c.jpg","133cm×62.5cm",[44],{"id":11245,"slug":11246,"title":11247,"dynasty":99,"author":857,"museum":223,"description":11248,"tags":11249,"thumbUrl":11250,"material":81,"size":139,"collection":90,"collections":11251,"showCount":11157,"zanCount":2368,"manualWeight":48,"mainColor":94},221905,"hua-niao-jing-pin-ce-chen-hong-shou-221905","花鸟精品册","陈洪绶（1599～1652），明末清初著名书画家、诗人，字章侯，号老莲，浙江绍兴人。其画手法简练，格调高古，享誉明末画坛，与当时的顺天崔子忠齐名，号称“南陈北崔”。花鸟工笔描绘精细，设色清丽，富有装饰味。",[24,25,81,7,28,83,230,836,554],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F852ddfb4bab4ecb9d65b1c1507a19737.jpg",[90,45],{"id":11253,"slug":11254,"title":11255,"dynasty":302,"author":7943,"museum":20,"description":11256,"tags":11257,"thumbUrl":11258,"material":40,"size":11259,"collection":90,"collections":11260,"showCount":11157,"zanCount":2368,"manualWeight":48,"mainColor":49},221839,"hua-zhu-jin-ji-tu-zhou-wang-yuan-221839","花竹锦鸡图轴","元代的花鸟画不及宋代昌盛，但却有新的面貌。一部分画家继承了北宋院画刻画严谨的传统并加以变化，发展了勾勒、点染相结合的写生技法，画风朴实拙茂又不失精微细密；另一部分画家则彻底摆脱院体工整妍巧的写生风格，以萧散简逸为宗，充分体现了赵孟頫以书法入画的艺术主张。但总体来看，元代花鸟画的气格是宁静、沉着和庄严的，既不变形又不放纵，体现了“法不逾矩”的特点。活跃于元代中后期的王渊是继承北宋院画的代表画家。",[23,302,24,25,226,28,7,83,2703,227,230,245,380,686,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7466780a1e6d1a39bd28e7e52a2208b0.jpg","纵175.7cm，横110.1cm",[90,45],{"id":11262,"slug":11263,"title":11264,"dynasty":18,"author":10770,"museum":3038,"description":11265,"tags":11266,"thumbUrl":11267,"material":123,"size":11268,"collection":181,"collections":11269,"showCount":11157,"zanCount":1379,"manualWeight":48,"mainColor":49},219898,"shui-ge-ya-ji-tu-jiang-can-219898","水阁雅集图","江参,（公元12世纪）〔南宋〕字贯道，南徐（今江苏省镇江市辖丹徒）人，江大方之子。居霅川（今浙江湖州市南），形貌清癯，平生特嗜香茶，和当时叶梦得(1077-1148)等众多文人学者关系甚密。终身飘泊，\n(公元12世纪)〔南宋〕字贯道，南徐(今江苏省镇江市辖丹徒)人，居霅川(今浙江湖州市南)，形貌清癯，平生特嗜香茶，和当时叶梦得(1077-1148)等众多文人学者关系甚密。终身飘泊，曾居三衢(今浙江常山县)，治园筑馆，园馆取《楚辞》之言名曰“崇兰”，平日与陈与义(1090-1138)、程俱(1078-1144)等交往甚多，生卒年不详。长于山水，师董源、巨然、赵叔问，参以“范郭”画法，创“泥里拔钉皴”，自成一家。高宗赵构召见，委临安府治，不意竟得暴病而卒，人惋惜其“未尽其才”。",[23,2003,194,24,25,26,29,173,177,7,107,108,109,176,34,106,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F598872c82e751688193dc1fe0421b50f.jpg","30.5x120厘米",[181],{"id":11271,"slug":11272,"title":11273,"dynasty":99,"author":100,"museum":78,"description":11274,"tags":11275,"thumbUrl":11276,"material":123,"size":11277,"collection":181,"collections":11278,"showCount":11157,"zanCount":48,"manualWeight":48,"mainColor":49},219780,"lin-song-ren-hua-ce-chou-ying-219780","临宋人画册","《临宋人画册》凡十五开，题材涉及了山水画、花鸟画、仕女图、文人画、界画、鞍马等，乃为仇英临摹宋人的集成之作，画风皆为典型的南宋院体风格，而其中数开现在尚可找到宋画原作，两相对照，确实可见仇英落笔乱真的妙技；又如其中《滕王阁》之类的扎实界画工夫，在文人画逸笔草草的时代，早已难得一见。",[24,194,25,81,105,28,7,29,245,230,109,353,1273,686,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbed6bd597703f54b095befe2d3e1dd07.jpg","27.2x25.5厘米",[181,44],{"id":11280,"slug":11281,"title":11282,"dynasty":99,"author":100,"museum":191,"description":11283,"tags":11284,"thumbUrl":11287,"material":123,"size":11288,"collection":44,"collections":11289,"showCount":11157,"zanCount":1379,"manualWeight":48,"mainColor":94},218181,"chun-xiao-tu-chou-ying-218181","纯孝图","仇英是中国明朝时期的一位著名画家。他出生于江苏省的一个艺术世家，从小就对绘画和书法有浓厚的兴趣。仇英擅长画花鸟，尤其擅长画山水。他的画作以精细的笔法和精致的画风著称，并且被认为是当时中国画坛的佼佼者之一。\n\n整幅画渲染出了浓浓的母爱之情和孝顺之心。它成为了中国传统文化中关于孝道的经典代表作之一，并被广泛收藏和喜爱。",[194,24,25,81,28,7,106,107,11285,11286],"孝道","母爱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb17260b42142b1b7cf5eaa6624bcc18.jpg","32.8x21.9",[44],{"id":11291,"slug":11292,"title":11293,"dynasty":99,"author":257,"museum":191,"description":11294,"tags":11295,"thumbUrl":11297,"material":88,"size":139,"collection":44,"collections":11298,"showCount":11157,"zanCount":1003,"manualWeight":48,"mainColor":49},217063,"ming-dai-di-hou-ban-shen-xiang-yi-ming-217063","明代帝后半身像","宪宗纯皇帝与孝贞纯皇后",[24,25,28,7,106,11296,406,63,64,860],"肖像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcae4dd485eb0cd4eaa47ae7a14e2407c.jpg",[44],{"id":11300,"slug":11301,"title":11302,"dynasty":76,"author":698,"museum":101,"description":11303,"tags":11304,"thumbUrl":11305,"material":88,"size":702,"collection":139,"collections":11306,"showCount":11157,"zanCount":2368,"manualWeight":48,"mainColor":94},216257,"jing-fu-si-qi-dong-jing-tu-3-qian-wei-cheng-216257","景敷四气冬景图-3","此套《景敷四气》冬景图，是清乾隆时期画家钱维城的作品。此套画册共含十二帧，纯以水墨为之或薄施淡色擦染，构图简练，自出机杼。运笔较为多样，笔法松秀，墨色疏淡，用色恬然，具有很显著的文人绘画的样式。最后一幅有：甲午新正月御题。钤印：乾隆鉴赏、三希堂精鉴玺、宜子孙、乾隆。\n洞口飞泉一道斜，是谁泛泛小舟拿。藤萝石上依然在，只欠洲前芦荻花。钤印：古香、太宝",[24,25,29,81,177,7,685,262,795,175,686,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23a2cf71eecc41ef3e7946ed6d498677.jpg",[],{"id":11308,"slug":11309,"title":11310,"dynasty":76,"author":2200,"museum":316,"description":2962,"tags":11311,"thumbUrl":11312,"material":599,"size":600,"collection":139,"collections":11313,"showCount":11314,"zanCount":48,"manualWeight":48,"mainColor":94},289648,"ju-hua-tu-li-zhou-wu-chang-shuo-289648","菊花图立轴",[23,24,25,226,7,83,897,230,212,86,1070],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17b0b195545b21cb0c63067b6bbe12e1.jpg",[],119,{"id":11316,"slug":11317,"title":11318,"dynasty":76,"author":257,"museum":316,"description":11319,"tags":11320,"thumbUrl":11321,"material":599,"size":600,"collection":139,"collections":11322,"showCount":11314,"zanCount":48,"manualWeight":48,"mainColor":94},236741,"huang-ju-mao-die-wan-shan-yi-ming-236741","黄鞠猫蝶纨扇","这帧纨扇小品取右虚左实之构图，苔石隐于浅草花丛间，乌背白腹的狸奴踞坐其上，圆瞳灼灼，紧盯翩跹粉蝶，蓬松绒毛以晕染细笔勾绘，憨态灵动，将花猫窥蝶的凝神一瞬定格。\n\n左上花枝柔曼，粉花轻缀，没骨笔法晕染出淡冶花色，明丽雅致。侧旁题笔规整清雅，与画面相映成趣。\n\n整幅小品以清隽设色勾勒日常闲趣，将庭间小景的恬淡野趣尽数铺陈，温婉雅致的意趣浸透绢面，尽显小品画的悠然雅韵。",[24,25,194,1260,7,28,320,745,484,62,263,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a6235c2fe94225bf65dcfca3543ed3c.jpg",[],{"id":11324,"slug":11325,"title":7377,"dynasty":76,"author":257,"museum":20,"description":2337,"tags":11326,"thumbUrl":11328,"material":40,"size":675,"collection":139,"collections":11329,"showCount":11314,"zanCount":48,"manualWeight":48,"mainColor":49},236170,"yong-zheng-shi-er-yue-xing-le-tu-zhou-yi-ming-236170",[194,24,25,226,28,7,104,29,107,175,11327,109,3584,243,34,106,115,1169,11043],"廊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F704e226b49976041020eba48c7e2be86.jpg",[],{"id":11331,"slug":11332,"title":3327,"dynasty":76,"author":11333,"museum":316,"description":11334,"tags":11335,"thumbUrl":11336,"material":139,"size":139,"collection":44,"collections":11337,"showCount":11314,"zanCount":1379,"manualWeight":48,"mainColor":94},234263,"ren-wu-gu-shi-ce-fan-xue-yi-234263","范雪仪","范雪仪〔清〕女，本姓淑，嫁范氏为妻，江苏苏州人，生卒年不详。\n康熙(1662-1722)间吴郡(今苏州)妇女善书画者甚多，范雪仪与傅德容两人才能最为突出，两人均擅人物画，范尤在傅上，为吴门女画家之翘首，所画内容多历史故事、神话传奇。所作用笔工细，线条流畅，神态生动，设色艳丽。传世作品有《张敞画眉图》《寿阳梅花妆图》《班昭续汉书图》《苏蕙织锦回文图》《木兰从军图》《公孙大娘舞剑器图》《白傅姬人试舞图》《秦女吹箫图》《裴航兰桥遇仙图》《交甫解佩图》及《月宫折桂图》扇、《采药图》扇，藏故宫博物院。",[23,28,7,104,106,59,107,378,229,115,278,1364],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d3ccc5f64642ebe7afbee730b09f5c1.jpg",[44,45],{"id":11339,"slug":11340,"title":11341,"dynasty":99,"author":170,"museum":316,"description":11342,"tags":11343,"thumbUrl":11344,"material":139,"size":139,"collection":139,"collections":11345,"showCount":11314,"zanCount":48,"manualWeight":48,"mainColor":94},228825,"dong-zhuang-tu-ce-shen-zhou-228825","东庄图册","《东庄图册》是212年出版的图书，作者是沈周。\n《范本传真·中国高等艺术院校教学范本:东庄图册》描绘其师吴宽家的庭园景色。\n吴宽官至礼部尚书，是沈周的老师和挚友，多有诗文唱和。\n东庄是吴宽的庄园，也是江南士大夫经常聚会、吟诗、品茗的地方。\n后人盛赞沈周的《东庄图册》，“观其出入宋元，如意自在，位置既奇绝，笔法复纵宕，虽李龙眠山庄图、鸿乙草堂图不多让也。\n” 这里所选的一幅是“北港”，图中画一荷塘，波光如镜，荷叶亭亭玉立，疏密有致，摇曳多姿，岸上树木点写自然，情态各具；坡岸皴染结合，浓重得宜。\n本书作者沈周（1427～159）明代杰出书画家。\n传世作品有《庐山高图》、《秋林话旧图》、《沧州趣图》。",[24,173,7,81,177,29,34,176,109,1785],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff908fba6b302417e7c10f3ab17a103ba.jpg",[],{"id":11347,"slug":11348,"title":11349,"dynasty":302,"author":257,"museum":316,"description":11350,"tags":11351,"thumbUrl":11352,"material":67,"size":11353,"collection":139,"collections":11354,"showCount":11314,"zanCount":1379,"manualWeight":48,"mainColor":2504},223496,"pu-xian-pu-sa-xiang-yi-ming-223496","普贤菩萨像","普贤菩萨，佛教菩萨名，梵文Samantabhadra的意译，也曾译为遍吉菩萨，音译为三曼多跋陀罗。普贤菩萨是中国佛教的四大菩萨之一，象征着理德、行德，与象征着智德、正德的文殊菩萨相对应，同为释迦牟尼佛的左、右胁侍。此外，毗卢遮那如来、文殊菩萨、普贤菩萨被尊称为“华严三圣”。",[23,24,25,226,260,7,106,746,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0a209573aaa667331b08a345b2354a2.jpg","71x71",[],{"id":11356,"slug":11357,"title":11358,"dynasty":76,"author":698,"museum":191,"description":11359,"tags":11360,"thumbUrl":11361,"material":500,"size":11362,"collection":90,"collections":11363,"showCount":11314,"zanCount":2368,"manualWeight":48,"mainColor":94},222694,"mei-cha-shui-xian-zhou-qian-wei-cheng-222694","梅茶水仙轴","钱维城（1720—1772）清朝官吏、画家。初名辛来，字宗磐，一字幼安，号纫庵、茶山，晚号稼轩，江苏武进人。乾隆十年状元，官至刑部侍郎，谥文敏。书法苏轼，初从陈书学画写意折枝花果，后学山水，经董邦达指导，遂成名手，供奉内廷，为画苑领袖。曾随乾隆帝在木兰围场狩猎，帝以神枪殪虎，命维城绘图刻石纪事。著有《茶山集》。\n钱维城自幼甚喜绘画，开始从族祖母陈书学习画写意折枝花果，勾描渲染，随类赋形，气联意合，整体协调。后来得到了画家董邦达指导，学画山水。所画山水，山势逶迤，流泉飞泻，烟霭飘浮，水光荡漾。构图井然，意境清幽。山石多用皴笔。他的绘画远学元代四家即黄公望、倪瓒、吴镇、王蒙，近学清初四王即王时敏、王鉴、王徽、王原祁。。《桐阴论画》说他的山水画“笔意亦临摹仿麓台，邱壑幽深，树石灵秀，颇臻妙境。”钱维城投身科举时，很少有人知道他擅长书画，直到状元及第后，在随乾隆的一次狩猎中，乾隆射中一只老虎，于是钱维城受命创作“射虎图”，作品完成后乾隆连连称赞，并下令将此画刻在木兰围场的石头上，从此钱维城在画坛上名声大振。在钱维城的绘画中，带棱角的石形、双勾少皴的树干，以及中锋含蓄的细笔、淡墨勾皴的线条，都存有董邦达的笔意，但他更擅长缜密的用笔和青绿、赭石相间的设色，其中也显示出清初“四王”的流派风格，他的作品经常呈现出来的是一派宫廷富贵的气息。在乾隆的收藏目录《石渠宝芨》中，收录的钱维城作品有160多幅，由此可见乾隆皇帝对钱维城作品的赏识程度。著名的有《九秋图卷》。\n钱维城擅长书法，工整精细，“宗磐工书，书法东坡。”他师法宋朝书法四大家之一的苏东坡。落笔苍润，秀骨天成。也能吟诗，以杜少陵为宗。人称“钱文敏尚书，诗宗少陵，书规苏文忠。”可谓诗、书、画一体。",[23,194,24,25,226,28,7,662,470,898],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb394ac89657041d7c37b5fb8d711ba23.jpg","114.1x75.6",[90,45],{"id":11365,"slug":11366,"title":11367,"dynasty":99,"author":857,"museum":539,"description":11368,"tags":11369,"thumbUrl":11378,"material":529,"size":11379,"collection":44,"collections":11380,"showCount":11314,"zanCount":1379,"manualWeight":48,"mainColor":49},221914,"jiao-lin-zhuo-jiu-tu-chen-hong-shou-221914","蕉林酌酒图","该图设色画夏日庭园，湖石玲珑，蕉竹摇翠，月季盛开。花石丛中，一老人傍石案，手把古爵，悠然酌酒。下有一仕女、一婢女，正忙于漉酒。画面器物，如鼎、壶、琴、书等，皆为古物，反映出主人的身份，是一位超然世外的好古博雅之士。\n线条:全画线条细劲，画法全用细劲的线描勾勒而成，衣褶用笔，细劲清圆，芭蕉奇石用笔简净而抑健，线条有如刀刻，呈现出刚柔、曲折，变化多端，功力极其精湛。其线描的长短、疏密、粗细均服从于写实要求，更多地按照画面构成的需要，产生一种略有装饰的效果，具有较高的审美价值。赋色淡雅透明，即使古铜器上的石绿、石青锈斑，也不作浓涂厚抹。\n色彩:此画总体来说，以青绿冷色凋为主，仅在蕉花、靠垫和仕女的内衣部位点染朱红，万绿丛中有几点红，因而观之对比鲜明而强烈，色彩较为艳丽，但却没有艳俗火气，充分说明画家在用墨设色方面，已达到了炉火纯青的境界。",[23,24,7,28,11370,27,11371,11372,611,3584,629,106,1551,11373,11374,4999,9367,11375,11376,196,11377,10363],"线描","夏日","庭园","漉酒","青铜器","鼎","壶","冷色调","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F722b97356d758cf77ecdb51664e87f38.jpg","纵156.2厘米，横107厘米",[44,45],{"id":11382,"slug":11383,"title":11384,"dynasty":18,"author":1350,"museum":56,"description":11385,"tags":11386,"thumbUrl":11387,"material":7,"size":11388,"collection":42,"collections":11389,"showCount":11314,"zanCount":2368,"manualWeight":48,"mainColor":49},221525,"song-shou-tu-ma-yuan-221525","松寿图","此图是马远典型的山水小景画布局风格，描绘山崖一角，苍松斜伸。一文人闲坐石台之上，仰目远眺，旁侧一童子持杖侍立。临溪疏竹丛生，远山寥寥而成。山石用斧劈皴，松树用笔奇崛。右下角行书“马远”单款，画幅上端有宋宁宗赵扩行书七言诗：“道成不怕丹梯峻，髓宝常欺石榻寒，不恋世间名与贵，长生自得一元丹。赐王都提举为寿”。",[23,24,25,226,7,29,106,177,1273,176,261,615,3712,353,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa6f346761d8847499876d6085320103.jpg","纵122厘米，横52.7厘米",[42,181,163],{"id":11391,"slug":11392,"title":11393,"dynasty":54,"author":257,"museum":191,"description":11394,"tags":11395,"thumbUrl":11397,"material":123,"size":11398,"collection":181,"collections":11399,"showCount":11314,"zanCount":1379,"manualWeight":48,"mainColor":49},220432,"tang-ren-hua-xue-jing-tu-yi-ming-220432","唐人画雪景图","这幅画，一座山一座山的描绘，大多形成三角形，有平正古拙的感觉。设色主要填染了石青、石绿，山石以金勾勒纹路表现，尚未有皴纹的使用，画法与李思训青绿山水一派相近。此幅现藏于台北故宫博物院，绢本青绿设色。",[23,24,226,7,29,177,2562,685,795,35,176,11396],"雪地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc57d5ca5811dfaa4e9fdb31720f68781.jpg","135.4x69.1",[181,45],{"id":11401,"slug":11402,"title":11403,"dynasty":18,"author":11404,"museum":191,"description":11405,"tags":11406,"thumbUrl":11408,"material":7,"size":11409,"collection":90,"collections":11410,"showCount":11314,"zanCount":1379,"manualWeight":48,"mainColor":49},219945,"zhong-si-mian-die-tu-han-you-219945","螽斯绵瓞图","韩祐","本幅选自“宋元集绘”册第十三开。描写田间一角，花叶生长茂盛，瓜果也已熟透，引来了两只觅食的螽斯。",[23,194,24,25,28,7,568,11407,554,62,553],"瓜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F233d23d19042c4fdd48f185c470972b0.jpg","25.3 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26公分",[90],{"id":11412,"slug":11413,"title":11414,"dynasty":99,"author":3774,"museum":191,"description":11415,"tags":11416,"thumbUrl":11417,"material":123,"size":11418,"collection":45,"collections":11419,"showCount":11314,"zanCount":48,"manualWeight":48,"mainColor":49},219456,"jiu-an-da-ji-tu-lu-zhi-219456","久安大吉图","苍劲古木虬枝盘结，葫芦藤蔓攀援其上，累累硕果垂挂如盏，青绿叶片间点缀嫩黄，生机漫溢。枝头红羽轻栖，喙啄新晴，似与藤蔓私语。树下草间，数只鹌鹑闲步，羽纹细腻如织，憨态可掬。葫芦谐音福禄，藤蔓绵延喻长久；鹌鹑踱步藏“安”意，红鸟报喜兆吉昌。赭黄绢本为底，设色清雅却层次分明，古木苍朴与蔬果鲜活相映，禽鸟灵动与草石静谧相谐。将俗世祈愿化作笔底清欢，尽显文人画“托物言志”的雅趣，观之如沐春风，心随画境渐入平和吉庆之境。",[24,28,7,226,378,1819,209,553,554,4472],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa955d93748bcf719728ffee49b118d33.jpg","189.4×81.4cm",[45],{"id":11421,"slug":11422,"title":11423,"dynasty":99,"author":3307,"museum":442,"description":11424,"tags":11425,"thumbUrl":11427,"material":123,"size":139,"collection":90,"collections":11428,"showCount":11314,"zanCount":1003,"manualWeight":48,"mainColor":49},219005,"shou-zhu-heng-chun-tu-lv-ji-219005","寿祝恒春图","该场景描绘了一对公鸡和母鸡在一个有花有竹的郁郁葱葱的院子里。这幅画被认为是吕纪的作品，但除了鸡群与蓝山鹊很像吕纪的笔触外，湖石和花竹都与吕纪无关，印记也不是真的。然而，画家的作品是如此深刻，以至于可以作为边景昭画派的作品来欣赏。",[23,24,25,83,28,7,226,227,2703,11426,380,176],"雏鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa63c8c7a0ec2a692f833b7185730dd23.jpg",[90,45],{"id":11430,"slug":11431,"title":11432,"dynasty":99,"author":3307,"museum":132,"description":5711,"tags":11433,"thumbUrl":11434,"material":123,"size":11435,"collection":90,"collections":11436,"showCount":11314,"zanCount":1379,"manualWeight":48,"mainColor":49},218920,"fu-rong-shuang-yan-tu-lv-ji-218920","芙蓉双雁图",[23,24,194,28,7,83,634,3765,264,211,554,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac8fb431edd8bf3e6cbb2221cc53cd04.jpg","114x52cm",[90],{"id":11438,"slug":11439,"title":11440,"dynasty":18,"author":4254,"museum":132,"description":11441,"tags":11442,"thumbUrl":11443,"material":123,"size":11444,"collection":181,"collections":11445,"showCount":11314,"zanCount":1379,"manualWeight":48,"mainColor":49},218518,"shu-zhan-xing-lv-tu-fan-kuan-218518","蜀栈行旅图","这幅画被认为是范宽的作品，但事实上，这幅画的风格应该是李寅、颜峄的风格一派作品",[23,24,3559,226,177,7,29,176,34,3960,6152,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff29c07d65148db3c2cafe7e03228c14d.jpg","192.9x74.4cm",[181],{"id":11447,"slug":11448,"title":11449,"dynasty":76,"author":77,"museum":539,"description":1182,"tags":11450,"thumbUrl":11451,"material":123,"size":1189,"collection":139,"collections":11452,"showCount":11314,"zanCount":48,"manualWeight":48,"mainColor":49},216105,"yun-shou-ping-hua-guo-shu-cai-ce-ye-6-yun-shou-ping-216105","恽寿平花果蔬菜册页-6",[24,25,81,82,7,173,28,1184,1185,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3724ec920b115a05ae3e781e2301e54f.jpg",[],{"id":11454,"slug":11455,"title":11456,"dynasty":99,"author":3774,"museum":20,"description":11457,"tags":11458,"thumbUrl":11459,"material":7,"size":11460,"collection":90,"collections":11461,"showCount":11314,"zanCount":1379,"manualWeight":48,"mainColor":94},216097,"qiang-wei-shan-mian-lu-zhi-216097","蔷薇扇面","陆治（1496—1576年），字叔平，吴县（今属江苏苏州）人。因居太湖之包山，号包山子，后隐居支硎山中。文徵明弟子，诗、文、书、画都有相当造诣，擅长画山水、花鸟，为“吴门画派”后期重要画家。花鸟画兼工能写，风格清秀。山水画笔墨劲峭，深受宋元人和文徵明影响而又创立了自己的风格。",[23,1260,24,7,83,84,5075,210,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b8d7a219ff7f6c557ee6210e2bc55f4.jpg","15.9x49cm",[90],{"id":11463,"slug":11464,"title":11465,"dynasty":76,"author":698,"museum":191,"description":11466,"tags":11467,"thumbUrl":11468,"material":88,"size":11469,"collection":181,"collections":11470,"showCount":11314,"zanCount":1379,"manualWeight":48,"mainColor":94},214728,"fang-huang-gong-wang-qiu-shan-tu-qian-wei-cheng-214728","仿黄公望秋山图","这幅浅绛色的溪山图是清代对黄公望笔法的典型再创作。",[194,24,25,7,177,105,212,29,34,109,175,176,37,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48650c798602818f548f4a9796a6aefe.jpg","92.3x43.5",[181],{"id":11472,"slug":11473,"title":11474,"dynasty":76,"author":77,"museum":191,"description":596,"tags":11475,"thumbUrl":11476,"material":88,"size":11477,"collection":139,"collections":11478,"showCount":11479,"zanCount":1379,"manualWeight":48,"mainColor":94},287445,"qiao-ke-xiu-zhu-tu-yun-shou-ping-287445","乔柯修竹图",[194,24,25,226,173,7,353,227,230,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d2a4a5bac926514b0d81e6b64ae1eed.jpg","101.6x47.8",[],118,{"id":11481,"slug":11482,"title":6834,"dynasty":76,"author":11483,"museum":20,"description":11484,"tags":11485,"thumbUrl":11486,"material":770,"size":139,"collection":181,"collections":11487,"showCount":11479,"zanCount":48,"manualWeight":48,"mainColor":94},237184,"shan-shui-ce-sun-yi-237184","孙逸","孙逸(1604—约1658) ，字无逸，号疎林，亦号石禅，明朝末清朝初海阳（今安徽休宁）人，与萧云从齐名，合称孙萧，与弘仁、汪之瑞、查士标为新安派四大家；字仲举。",[24,7,27,177,81,29,108,109,176,34,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff34d67da6623fc74c8d4a14b73f0be1b.jpg",[181,45],{"id":11489,"slug":11490,"title":11491,"dynasty":99,"author":257,"museum":20,"description":11492,"tags":11493,"thumbUrl":11494,"material":529,"size":139,"collection":44,"collections":11495,"showCount":11479,"zanCount":2368,"manualWeight":48,"mainColor":94},236158,"han-xin-xiang-zhou-yi-ming-236158","韩信像轴","原清宫内务府广储司茶库旧藏。茶库旧藏历代功臣像为轴二十有一",[194,24,25,226,28,7,106,2439,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1956b8da97887c124abf6a3d65a946c6.jpg",[44,45],{"id":11497,"slug":11498,"title":11499,"dynasty":18,"author":11500,"museum":316,"description":11501,"tags":11502,"thumbUrl":11503,"material":67,"size":11504,"collection":139,"collections":11505,"showCount":11479,"zanCount":1003,"manualWeight":48,"mainColor":49},232879,"li-nu-xian-qu-tu-juan-liang-kai-232879","狸奴闲趣图卷","梁楷","宋代画坛，因为有皇家画院的支持和倡导，各类题材的国画大多崇尚描摹精微、细致逼真的画风。这种风格将我国古代工笔画推向了顶峰，也长久以来占据主流地位。但物极必反，严整的工笔画到达极致，必定会走向散乱的写意。这一方面，梁楷可谓是我国古代写意画的开山祖师。\n梁楷是南宋著名画家，师从贾师古。贾师古以师法吴道子的写实工笔著称，而梁楷能在其基础上更胜一筹，青出于蓝。梁楷曾在宁宗朝的画院供职，他继承吴道子写实技法的画风，无疑是非常受皇帝青睐的。他常常奉皇帝诏令，画了许多细腻严整的工笔画。\n这一时期的梁楷已经享有盛名，人们见到他精妙的画作，“无不敬服”。比如《狸奴闲趣图卷》里面的猫，形态各异细腻活泼，通体的毛都纤毫毕现。更不必说周围逼真的山石、花草、蝴蝶，刻画之精细，给人如在目前之感。",[23,24,194,26,7,28,745,227,62,873,379,838,746],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F980cc771075692f3c9ed45d7b13dcd33.jpg","33.2x185.4厘米",[],{"id":11507,"slug":11508,"title":11509,"dynasty":76,"author":2837,"museum":316,"description":11510,"tags":11511,"thumbUrl":11512,"material":139,"size":139,"collection":139,"collections":11513,"showCount":11479,"zanCount":48,"manualWeight":48,"mainColor":94},224363,"fu-gui-bai-tou-tu-ju-lian-224363","富贵白头图","《富贵白头图》为光绪十三年（公元1887年）居廉晚年之作。\n此时居廉画风已完全成熟，因此其艺术追求和体格特点在这幅画作中有充分的体现。\n收藏于 。\n《富贵白头图》为纸本，设色，纵12.1厘米，横74.82厘米，收藏于 。\n图中所绘牡丹艳放，在春风中姹紫嫣红，争奇斗妍，引得蜜蜂、蝴蝶在花间流连嬉戏，石上停息着一双白头翁鸟，神态娴静，与喧闹的蜂蝶相映成趣。\n湖石坚实厚重，衬出花卉的秀美。\n图中偏右一侧一块硕大而玲珑剔透的太湖石兀然而立，湖石的周围一丛盛开的牡丹，姹紫嫣红，争奇斗艳，或低首沉吟，或迎风怒放，引来一群蜜蜂、彩蝶在花丛之中追逐嬉戏，流连忘返，给人一种明媚而又温暖的春天气息。\n在湖石的上端栖停着一对白头翁鸟，一俯一仰，怡然自得，与上下翻飞，喧闹不已的蜂蝶，一动一静，相映成趣，美不胜收。\n该画鸟、蜂、蝶以工笔重彩画出，形态生动。\n花朵的红色、粉色、黄色晕染，非常写实。\n敷以深浅绿叶，以浓墨和红色勾筋。\n线条圆润饱满，叶片清秀洒脱，疏密有致；设色浓淡相依，明丽艳秀。\n而花中奇石用积墨与淡墨晕染相结合绘出，素雅动人。\n在绘画技法上，整幅画作的格调极为工致，造型准确，赋色艳丽，然而却又没有丝毫单滞、艳俗之感，可算得是居氏画作中的精品。\n（1828-194），字古泉，自号隔老人，广西桂林人，占籍广东番禹（今广州），居巢之堂弟。\n善画花鸟、草虫及人物，尤以写生见长。\n初学宋光宝及孟丽堂，亦得恽南田遗意，后吸收诸家之长，自成一体。\n笔法工整，设色妍丽，在继承和发展恽南没骨画法的基础上，创造出撞水法和撞粉法，为岭南派的重要奠基人之一，“二高一陈”皆出自其门下。\n《富贵白头图》自识“丁亥”，应为光绪十三年，也即公元1887年，乃其晚年之笔。\n此时居廉画风已完全成熟，因此其艺术追求和体格特点在这幅画作中有充分的体现。",[23,24,25,226,28,7,83,292,3053,484,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F575773c294369c3e892af56386f46796.jpg",[],{"id":11515,"slug":11516,"title":11517,"dynasty":76,"author":375,"museum":132,"description":8106,"tags":11518,"thumbUrl":11523,"material":529,"size":11524,"collection":90,"collections":11525,"showCount":11479,"zanCount":2368,"manualWeight":48,"mainColor":94},223163,"bai-niao-chao-feng-qian-bu-fen-shen-quan-223163","百鸟朝凤（前部分）",[23,24,26,28,7,83,11519,381,926,277,245,34,662,292,11520,1241,176,109,11521,10985,11522],"百鸟","翠竹","繁花","四季景色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6000dd4bebda5da888f414ac55bd6c91.jpg","纵40厘米，横1600厘米",[90,45],{"id":11527,"slug":11528,"title":11529,"dynasty":18,"author":1350,"museum":191,"description":11530,"tags":11531,"thumbUrl":11532,"material":11533,"size":11534,"collection":42,"collections":11535,"showCount":11479,"zanCount":1379,"manualWeight":48,"mainColor":49},221522,"xiao-xue-shan-xing-tu-ma-yuan-221522","晓雪山行图","此图描写大雪封山的清晨，一山民赶着两只身驮木炭的小毛驴在白雪皑皑的山间行走。山民衣着单薄，弓腰缩颈，使人感到雪天寒气逼人。毛驴、竹筐、木炭及人物衣纹均用干笔钩勒，并施以水墨渲染。\n作为环境的山石以带水墨笔作斧劈皴，方硬有棱角，远处山石用水墨大笔扫出。近处树枝以焦墨钩出，横斜曲折富有变化，远处用淡墨钩出。近与远的笔墨浓与淡效果，有着较强的画面空间感，画面用大斧劈侧锋直皴山石，下笔爽利果断， 画树简括，枝条劲健。作者以局部取景，来表现出当时人们生活。",[23,24,194,25,173,7,177,106,6927,2724,795,176,3389,2562],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5068fd109904211180892e4da691f20e.jpg","卷，绢本，水墨","纵：27.6厘米，横：42.9厘米",[42,181,163],{"id":11537,"slug":11538,"title":11539,"dynasty":18,"author":7833,"museum":191,"description":11540,"tags":11541,"thumbUrl":11543,"material":7,"size":11544,"collection":42,"collections":11545,"showCount":11479,"zanCount":2368,"manualWeight":48,"mainColor":49},221456,"qie-zi-tu-juan-chen-ju-zhong-221456","茄子图卷","陈居中（生卒年不详），南宋时期宫廷画家。在画史有关他的记载十分简略，元代夏文彦《图绘宝鉴》卷四中记有：“陈居中，嘉泰间画院待诏，专工人物、蕃马，布景著色，可亚黄宗道。”另据《画史会要》记载，陈居中曾在开禧三年（1207年）为崔丽人画像，悉知他在1207年尚任职于画院，并擅长画肖像。 虽然有关陈居中的记载十分简单，但他留下的作品却比较多且十分精彩，这在南宋宫廷画家中是十分难得的。就目前所知确为其真迹的作品有《文姬归汉图》、《胡茄十八拍图》、《绝塞逢春图》、《进马图》、《四羊图》等。这些作品所表现的多为历史故事或少数民族风情题材，这与“专工人物、蕃马”的记载是相吻合的。这些作品的画法多样，技艺高超，笔法精细，形象传神，正如明人吴其贞在题陈居中《八骏图》时所评：“精彩逼真似唐画，系临史道硕、韩干之辈，为两宋人物第一神品也。”",[23,194,24,25,26,28,7,9267,210,1187,568,11542],"杂草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41a2515db414029768f29a0bf0dd13bc.jpg","35.8x 191.2",[42,90,45],{"id":11547,"slug":11548,"title":11549,"dynasty":76,"author":2837,"museum":191,"description":11550,"tags":11551,"thumbUrl":11553,"material":88,"size":2842,"collection":139,"collections":11554,"showCount":11479,"zanCount":2368,"manualWeight":48,"mainColor":94},220334,"cao-chong-hua-hui-hu-shi-si-ping-xiu-qiu-ju-lian-220334","草虫花卉湖石四屏-绣球","这四屏分写牡丹、凌霄、绣球、紫薇等时卉，并配以湖石、蜂、蝶、知了、螳螂。于精密写实之外，饶富没骨花卉清新典丽的特质，虽因重装颜色稍褪，犹可清晰得见居氏惯采的撞水与撞粉画技，笔法工整，设色妍丽，让人赏心悦目。",[23,24,25,83,226,28,7,11552,484,3584],"绣球","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F245a38d04b5ce9f9c1b46c5c7acdf76a.jpg",[],{"id":11556,"slug":11557,"title":11558,"dynasty":189,"author":1642,"museum":132,"description":11559,"tags":11560,"thumbUrl":11562,"material":123,"size":139,"collection":44,"collections":11563,"showCount":11479,"zanCount":1379,"manualWeight":48,"mainColor":49},219495,"ming-huang-hui-qi-tu-zhou-wen-ju-219495","明皇会棋图","南唐画家周文矩的《明皇会棋图》。 画面上有八个人物，明皇坐位前置一棋局，官员一人、和尚二人、道士二人、 优人一人、侍从内官一人。关于画面上的八个人物有各种不同说法，至今未 有定论。有人认为，跟唐明皇下棋的是日本留学僧辨正；有人说，在是棋待 诏郑观音。不论画中的人物是谁，这幅作品都真实地反映了唐代宫廷中的围棋活动",[28,7,26,106,11561,63,212,86],"棋盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F004c58d3b635335bb0e20419635d93d8.jpg",[44],{"id":11565,"slug":11566,"title":11567,"dynasty":99,"author":100,"museum":78,"description":11568,"tags":11569,"thumbUrl":11570,"material":2365,"size":139,"collection":44,"collections":11571,"showCount":11479,"zanCount":2368,"manualWeight":48,"mainColor":94},219403,"liu-xia-mian-qin-tu-zhou-chou-ying-219403","柳下眠琴图轴","柳丝轻垂，拂过苍劲老干，似携幽微风意。树下文人斜卧，衣袂舒展，琴置身侧，眉宇间尽是悠然散淡。童子捧物而立，眸中带着稚气的专注，悄然侍立，不扰这份清宁。山石寥寥数笔见嶙峋之态，草色浅淡更衬天地宽闲。笔墨工致中藏写意，线条柔中带刚，将文人林下之趣、物我两忘的心境悄然铺展。仿佛能闻柳间蝉鸣，听风过琴弦余韵，一派魏晋风骨般的疏朗自在，尽在尺幅间流转。",[24,25,226,28,173,7,106,1241,4999,230,912],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F782e410afa50f999f6c817fada7ee75f.jpg",[44],{"id":11573,"slug":11574,"title":11575,"dynasty":99,"author":257,"museum":132,"description":11576,"tags":11577,"thumbUrl":11578,"material":123,"size":11579,"collection":90,"collections":11580,"showCount":11479,"zanCount":48,"manualWeight":48,"mainColor":49},216673,"mei-hua-xiao-niao-tu-yi-ming-216673","梅花小鸟图","梅花小鸟图是明朝时期的一幅著名图画，作者佚名。这幅图画描绘了一只小鸟停在一棵梅花树上，周围是一片茂密的树林。图画中使用了精致的线条和细腻的色彩，捕捉了小鸟和树林的美妙景象。这幅图画被认为是明朝时期图画艺术的杰作，具有极高的艺术价值。",[24,25,1260,7,28,83,820,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef71e1b2dede42b0a2dc0768e23aa09f.jpg","24.5x25cm",[90],{"id":11582,"slug":11583,"title":11584,"dynasty":99,"author":100,"museum":316,"description":11585,"tags":11586,"thumbUrl":11588,"material":599,"size":600,"collection":139,"collections":11589,"showCount":11590,"zanCount":1003,"manualWeight":48,"mainColor":49},287560,"gong-nv-you-yuan-tu-juan-chou-ying-287560","宫女游园图卷","此图中的女子涵盖量是真的不少了，有围坐对弈的，有团团坐斗草的，更有乐器演奏的，梳妆熏香烫衣一样不少，慢慢均是仪式感的古代慢生活",[23,24,26,28,7,614,107,115,3584,11587],"游园","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbed9f08f4878403d82d79b31123c8e1d.jpg",[],117,{"id":11592,"slug":11593,"title":11594,"dynasty":99,"author":857,"museum":20,"description":11595,"tags":11596,"thumbUrl":11597,"material":1038,"size":11598,"collection":44,"collections":11599,"showCount":11590,"zanCount":1003,"manualWeight":48,"mainColor":49},237386,"shi-nv-zhou-chen-hong-shou-237386","仕女轴","陈洪绶(1597—1652年)，字章侯，号老莲、悔迟，诸暨（今属浙江省）人。明代画家。早年受业于著名学者刘宗周、黄道周门下，1642年曾到北京为国子监生，授中书舍人，供奉内廷，不久即离京南归。明朝灭亡后，为躲避清兵，一度在绍兴云门寺出家为僧，自号悔迟，亦号老迟。后在杭州以卖画为生。工诗，擅画，山水、人物、花鸟无一不精。其画初受蓝瑛影响，后广泛临学古人，并大胆突破创新，所作人物、花鸟形象古拙，擅用夸张变形手法，独树一帜，为晚明变形主义绘画大师。与崔子忠齐名于南北，世称“南陈北崔”。其画风对后世有巨大影响。著《宝纶堂集》。",[24,25,226,7,28,106,59,6240,84,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F113668156e4a80c8b3cb0d089b3479d4.jpg","纵173.5cm，横95.3cm",[44],{"id":11601,"slug":11602,"title":11603,"dynasty":76,"author":11604,"museum":20,"description":11605,"tags":11606,"thumbUrl":11607,"material":770,"size":139,"collection":90,"collections":11608,"showCount":11590,"zanCount":48,"manualWeight":48,"mainColor":94},237156,"zi-wei-gui-hua-tu-zhou-yun-huai-e-237156","紫薇桂花图轴","恽怀娥","恽怀娥为恽源濬长女，字纫兰，善画花卉， 尤其善画桃，窦镇《国朝书画家笔录》称其“花 卉精雅”，《耕砚田斋笔记》 则称其“著色鲜 润，一本家法”，都是指其花卉画而言，并言 其继承了恽南田一路的“家法”。传世作品目前 仅见有一件《紫薇桂花图轴》（北京故宫博物院 藏），文献著录的作品也仅有一件《岁朝图》（李 玉棻《瓯钵罗室书画过目考·附》）[32]。笔者并未 见过其传世作品，但从李湜《明清闺阁绘画研 究》中可知，“图中花瓣以粉笔带脂点染，气韵 生动，色度变化妙极自然，为其小帧画作中的 佳品”，说明仍然还是恽寿平没骨写生一路 的风格。",[24,226,7,83,2840,885],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6298096c9a83f2e4e2d26c8c1da3a71f.jpg",[90],{"id":11610,"slug":11611,"title":11612,"dynasty":76,"author":3221,"museum":316,"description":11613,"tags":11614,"thumbUrl":11615,"material":139,"size":139,"collection":90,"collections":11616,"showCount":11590,"zanCount":2368,"manualWeight":48,"mainColor":94},236537,"xu-gu-san-yu-tu-zhou-xu-gu-236537","虚谷三鱼图轴","虚谷（1824—1896年），姓朱，名怀仁，出家为僧后以虚谷名，号紫阳山民、倦鹤等，祖籍安徽新安（今歙县），寓居扬州、苏州、上海等地，卖画为生。能诗擅画，工于书法，尤以善绘瓜果鱼蔬、人物、山水等为人称道。喜用枯笔焦墨，具有拙于外秀于内的笔墨特征。与任颐、胡公寿等交往密切，是晚清著名的海上名家。",[24,25,226,7,722,319],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F322ba8e10765708da950451e20edb9d5.jpg",[90,163],{"id":11618,"slug":11619,"title":11620,"dynasty":2720,"author":257,"museum":316,"description":4025,"tags":11621,"thumbUrl":11629,"material":599,"size":600,"collection":139,"collections":11630,"showCount":11590,"zanCount":48,"manualWeight":48,"mainColor":49},227062,"ku-zhu-shi-dong-bi-yi-ming-227062","窟主室东壁",[511,11622,11623,11624,7,5883,4428,4027,11625,11626,7701,3190,11627,11628],"南北朝风格","宗教题材","线条勾勒","供养人","古代服饰","宗教壁画技法","壁面绘制","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71b3a62d2883cac04e8b299e670573b7.jpg",[],{"id":11632,"slug":11633,"title":11634,"dynasty":76,"author":329,"museum":191,"description":11635,"tags":11636,"thumbUrl":11637,"material":581,"size":11638,"collection":90,"collections":11639,"showCount":11590,"zanCount":2368,"manualWeight":48,"mainColor":94},222775,"hua-shi-jun-quan-jin-chi-xian-zhou-lang-shi-ning-222775","画十骏犬金翅猃轴","画中十条品种高贵的名犬，这些名犬大都是当时周边部落首领进献给皇帝的，，均为郎世 宁写生作品。由于他深谙动物的解剖结构，所以其笔下的名犬形象非常准确，且富于立体感。在笔法上，他以细碎的小笔触来表现动物皮毛的质感，使得入 画的名犬栩栩如生。\n十条品种高贵的名犬，分别命为：苍水虬、斑锦彪、金翅猃、蓦空鹊、墨玉璃、茹黄豹、睒星狼、霜花鹞、雪爪卢、苍猊犬。其中，前九条狗都属小头长吻、腰腹收缩、四肢细劲那类品种，均为出色的擅长奔跑的猎手，敏捷强壮，速度耐力惊人，成为皇帝一行围猎时的好帮手;最后那条威猛的苍猊犬，应当是藏獒。\n从画面上看，图中的犬，无疑是由画家郎世宁所绘，因为狗采用的是西方的素描画法，造型立体具有质感，欧洲风味很足;而图画背景部分的花草坡石，讲究皴法、勾勒，追求平面的装饰效果，与动物的画法相比较，二者有很大的差异，这应当是由供奉宫廷的中国画家用传统画法补画的，但署名只有郎世宁一人。作品用中国的毛笔、纸绢和色彩，却以欧洲的绘画方式来诠释动物的结构、体积感及皮毛的质感，使得动物造形准确、生动，立体效果强。在这幅作品中骏犬的描绘用素描式的方法，通过光影明暗的变化，来达到栩栩如生的效果。但环境的描绘却遵循中国绘画的传统技法，勾、皴、点、染，兼工带写，以工为主，营造出中国花鸟画所特有的清秀明丽的韵味。\n《十骏犬》册中的每幅图都有当朝的文职大臣的题诗赋词。据史料记载，乾隆皇帝拿到时，大加赞赏，百看不厌，爱不释手。这幅册页，艺术水准相当高，郎士宁使用的是中国的软笔，却按西画的透视和光感等技巧，把犬的形态和神态表现出来，体现了高超的写生功夫和创意能力，画得相当精细，栩栩如生，立体感极强。比如犬的毛是单笔渐入，虽然用的不是画油画的油彩，却根根呈现，逼真到让人忍不住触手去摸，中国画是散点透视，西画是高光点和近光点，一点透视。这种透视效果在这两幅册页中充分体现出来。这些技法对后来中国画的发展都有很大的影响。",[226,28,7,746,8941,1273,353,62,838,230,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3d9b7654a0339edd6a81f4425fe0115.jpg","每幅纵246.6厘米，横163.9厘米",[90,45],{"id":11641,"slug":11642,"title":11643,"dynasty":76,"author":9857,"museum":5827,"description":11644,"tags":11645,"thumbUrl":11647,"material":88,"size":11648,"collection":181,"collections":11649,"showCount":11590,"zanCount":48,"manualWeight":48,"mainColor":49},220430,"you-gu-tu-kun-can-220430","幽谷图","髡（kūn）残(1612-1692)，清画家。本姓刘，出家为僧后名髡残，字介丘，号石溪、白秃、石道人、残道者、电住道人。湖广武陵(今湖南常德)人。与石涛合称“二石”。髡残一生中大部分时间都在山水中度过，经常驻足于名山大川，在山林泽薮之间，侣烟霞而友泉石，踯躅峰巅，留连崖畔，以自然净化无垢之美，对比人生坎坷、市俗机巧，从中感悟禅机画趣。\n髡残在明末遗民中享有很高的声望，他的画也为世人所瞩目。当时著名的文人兼大鉴赏家周亮工就十分景仰、看重髡残的人品和画学，在《读画录》中为他写小传，谓：“人品笔墨俱高人一头地……绘事高明，然轻不为人作。”张怡在髡残的《仿米山水册》中是这样评价这位心灵相契的老友的：“举天下言诗，几人发自性灵?举天下言画，几人师诸天地?……此幅自云效颦米家父子，正恐米家父子有未到处，所谓不恨我不见 髡残古人，恨古人不见我耳。”他认为髡残的诗，是写出了自己的性灵；髡残的画是直师造化，甚至比宋代米芾父子还好；髡残的佛学是直指本心，而没有出家人开堂说法的那种俗套。张庚《国朝画征录·髡残传》云：“奥境奇辟，缅邈幽深，引人入胜。笔墨高古，设色精湛，诚元人之胜概也。此种笔法不见于世久矣!” [4] 这段话说明髡残的画深得元季四大家的精髓。总之，三百多年来，髡残一直以其人品与画品并重的高华之气，影响着画坛，成为画家心目中的丰碑",[23,24,25,226,29,7,177,107,109,176,34,37,106,11646,1273,1170],"山谷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F784ed53c41b7939b3a557817b650a269.jpg","143.19 × 59.21",[181,45],{"id":11651,"slug":11652,"title":11653,"dynasty":76,"author":77,"museum":78,"description":11654,"tags":11655,"thumbUrl":11656,"material":123,"size":1885,"collection":139,"collections":11657,"showCount":11590,"zanCount":1003,"manualWeight":48,"mainColor":94},219815,"hua-hui-shi-kai-8-yun-shou-ping-219815","花卉十开-8","此作以没骨法绘鸢尾，淡紫花瓣晕染柔润细腻，深浅紫韵自然晕开，将含露轻绽的娇柔情态尽致铺陈。叶片以汁绿分染，浅赭醒出叶筋，苍润舒展，与柔花形成刚柔互衬的清和意趣。\n\n左侧题书与花绘相映，诗画交融，逸韵悠然。全作弃墨线勾勒，以色造型，明洁秀润尽显清逸冶丽之风，将花草天趣与文人情思相融，淡冶之中自有静雅高致，是没骨花鸟的精妙佳构。",[194,24,25,81,82,7,84,85],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff281040b68aa6c58226f8690b30d0dcf.jpg",[],{"id":11659,"slug":11660,"title":11661,"dynasty":18,"author":257,"museum":316,"description":11662,"tags":11663,"thumbUrl":11664,"material":123,"size":139,"collection":42,"collections":11665,"showCount":11590,"zanCount":48,"manualWeight":48,"mainColor":49},218401,"e-xi-tu-yi-ming-218401","鹅戏图","这幅画描绘了一个池塘，漂浮着如盘子般碧绿的荷叶，点缀着鲜红的荷花，四只白天鹅在水中嬉戏，一只领头，两只尾随，最后一只正在奋力追赶。\n这幅画色彩淡雅，薄而透明，色彩与水墨相得益彰，整体上没有浓墨重彩，导致前景的四只白天鹅特别明亮。",[23,24,194,1260,28,7,7355,228,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde4cd89f1d562c9fdb8d729cb3008bbc.jpg",[42],{"id":11667,"slug":11668,"title":11669,"dynasty":76,"author":7596,"museum":20,"description":11670,"tags":11671,"thumbUrl":11672,"material":123,"size":11673,"collection":181,"collections":11674,"showCount":11590,"zanCount":48,"manualWeight":48,"mainColor":49},218366,"lu-shan-bai-yun-tu-wang-hui-218366","庐山白云图","此图绘于清康熙三十六年（1697年），作者时年66岁，是其晚年诸多仿古作品中的代表性画作之一。据王翚自题，因30年前曾观北宋关仝《庐山白云图》，故今用其法绘制此图，以遵“古香主人”之嘱。王翚曾与其师王时敏遍游大江南北，尽得观摹收藏家之秘本，故其摹古功力极高。王时敏称赞他：“集古人之长，尽趋笔端，故能妙绝千古。前诸制作，固足乱真，此则更为脱化，每仿一家曲尽其致，而超逸之趣则又过之。”这幅作品恰恰印证了王时敏对王翚的评价。\u2028　　“古香主人”即爱新觉罗·岳乐，王翚为其创作极为精心。画面上峰峦起伏，云雾迷茫，其中间的瀑布、杂树、竹亭、山石以浓密的雨点皴出之，正是仿关仝一路北方山水画法。全图工整谨密，秀润苍浑，深得关仝“笔简景少，气壮意长”之旨。",[23,24,25,26,173,7,29,8450,30,34,1426,175,37,176,35,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa38fdd2ef1404824446ef2999ef18a75.jpg","纵35厘米，横323.5厘米",[181],{"id":11676,"slug":11677,"title":11678,"dynasty":18,"author":1599,"museum":316,"description":11679,"tags":11680,"thumbUrl":11682,"material":123,"size":11683,"collection":44,"collections":11684,"showCount":11590,"zanCount":918,"manualWeight":48,"mainColor":49},216738,"ren-wu-gu-shi-tu-juan-liu-song-nian-216738","人物故事图卷","人物故事图卷是宋朝时期的一部传统文学作品，由刘松年编撰。这部作品记录了中国历史上许多杰出人物的生平故事，内容涵盖了从周朝到宋朝的历史时期。人物故事图卷以简要的文字和生动的图画讲述了各个人物的故事，并通过对比和描述来展示他们的性格、品质和道德。这部作品对了解中国历史和文化具有重要意义，并且今天仍然是中国传统文学研究的重要参考资料。",[23,28,7,26,178,86,104,106,107,115,34,176,278,1364,8330,175,113,11681,1241,1273],"人物故事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06547500b479d14c237b5c8c3448d3ed.jpg","26.1x446.5",[44],{"id":11686,"slug":11687,"title":11688,"dynasty":18,"author":257,"museum":191,"description":11689,"tags":11690,"thumbUrl":11692,"material":123,"size":11693,"collection":90,"collections":11694,"showCount":11590,"zanCount":2368,"manualWeight":48,"mainColor":94},216598,"xiu-huang-quan-hua-hua-niao-ce-1-yi-ming-216598","绣黄筌画花鸟册-1","绣线摹写黄筌笔意，工致入微。禽鸟翎羽以细针密缕铺陈，绒光流转间似含振翅之态；喙爪纹理清晰，两两相顾的闲趣跃然绢上。花草茎脉如丝，花瓣晕染若初绽，嫩黄与绯红相映，衬出枝叶的翠色层次。石矶以淡墨绣线勾勒，朴拙中见古雅。整幅绣品将宋画的清隽风骨凝于针下，每一处细节皆藏巧思——无论是禽鸟的灵动神情，还是草木的自然生机，都在方寸间流转，尽显宋代绣艺摹古传真的妙境与对自然意趣的细腻捕捉。",[18,11691,7,83,2703,62,230,264,81,28],"绣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb50574abd884824c93c805bfc865464.jpg","23.1x21.1cm",[90],{"id":11696,"slug":11697,"title":11698,"dynasty":76,"author":563,"museum":191,"description":564,"tags":11699,"thumbUrl":11700,"material":88,"size":139,"collection":139,"collections":11701,"showCount":11590,"zanCount":48,"manualWeight":48,"mainColor":94},214855,"xie-sheng-ce-9-hua-yan-214855","写生册-9",[24,25,81,7,83,209,227,3052],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F368bbeff93155c53a4c9aede55749065.jpg",[],{"id":11703,"slug":11704,"title":11705,"dynasty":189,"author":3894,"museum":316,"description":11706,"tags":11707,"thumbUrl":11708,"material":599,"size":600,"collection":139,"collections":11709,"showCount":71,"zanCount":2368,"manualWeight":48,"mainColor":49},290143,"yao-miao-san-tu-tu-huang-ju-cai-290143","药苗三兔图","黄居寀[cǎi]（933年—993年后），字伯鸾，成都（今属四川）人，五代十国名画家黄筌第三子。善画花竹、翎毛，为西蜀翰林待诏。蜀亡入宋，得宋太宗礼遇，黄家画法遂成宋初画院评画的标准。精于勾勒，用笔劲挺工稳，填彩浓厚华丽，其园竹翎毛形象逼真，妙得自然；怪石山水超过乃父，与父同仕后蜀，为翰林待诏，入宋仍任翰林待诏。尝合作殿廷墙壁，宫闱屏幛，不可胜记。",[24,194,26,28,7,83,2181,245,84,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb438f57aef3d2f318cc466e59d223e48.jpg",[],{"id":11711,"slug":11712,"title":11713,"dynasty":99,"author":170,"museum":20,"description":11714,"tags":11715,"thumbUrl":11717,"material":1038,"size":11718,"collection":139,"collections":11719,"showCount":71,"zanCount":2368,"manualWeight":48,"mainColor":94},234896,"tong-yin-wan-he-tu-zhou-shen-zhou-234896","桐荫玩鹤图轴","北京故宫博物院建院90周年石渠宝笈特展（2015.9.8）首次释出，之前仅见于出版物。具体规格不详。网上找不到更多的资料。从画面上看，乾隆曾经两度题跋，可见对此画之钟爱。绘画风格属于沈周细笔青绿山水一路，表现的是文人雅士向往的闲适生活。\n沈周(1427-1509)，明代书画家。字启南，号石田、白石翁、玉田生、有竹居主人等。长洲(今江苏苏州)人。不应科举，专事诗文、书画，是明代中期文人画吴派的开创者，与文徵明、唐寅、仇英并称明四家。传世作品有《庐山高图》、《秋林话旧图》、《沧州趣图》。著有《石田集》、《客座新闻》等。\n沈周在元明以来文人画领域有承前启后的作用。他书法师黄庭坚，绘画造诣尤深，兼工山水、花鸟，也能画人物，以山水和花鸟成就突出。 在绘画方法上，沈周早年承受家学，兼师杜琼。后来博取众长，出入于宋元各家，主要继承董源、巨然以及元四家黄公望、王蒙，吴镇的水墨浅绛体系。又参以南宋李、刘、马、夏劲健的笔墨，融会贯通，刚柔并用，形成粗笔水墨的新风格，自成一家。沈周中年时成为画坛领袖，技法严谨秀丽，用笔沉着稳练，内藏筋骨。晚年时性情开朗，笔墨粗简豪放，气势雄浑。纵观沈周之绘画，技法全面，功力浑厚，在师宋元之法的基础上有自己的创造，进一步发展了文人水墨山水、花鸟画的表现技法，被誉为吴门画派之领袖。",[24,25,194,226,173,7,177,29,11716,60,176,34,106,809,407],"桐树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feff1190c5847d26b513d9f435eb7b973.jpg","纵123.8cm，横62.6cm",[],{"id":11721,"slug":11722,"title":11723,"dynasty":76,"author":6776,"museum":20,"description":11724,"tags":11725,"thumbUrl":11730,"material":11731,"size":11732,"collection":139,"collections":11733,"showCount":71,"zanCount":889,"manualWeight":48,"mainColor":2504},223246,"wu-liang-shou-fu-tu-ding-guan-peng-223246","无量寿佛图","祥云朵朵，周围站立四大金刚及佛祖两大弟子伽叶、阿难，前有女信徒合掌跪拜，旁立哼、哈二将。线条工细，佛像脸部、手部及莲座，均用晕染法，显出明暗凹凸之感。以''钉头鼠尾''描表现的衣纹于规整中又平添几分洒脱。采用''勾勒填金''的方式，以泥金为墨绘在瓷青纸上，使画面色泽深重雅丽。",[23,320,24,194,28,11726,7,260,106,11727,11728,11729,107,3661,212],"描金","佛","弟子","护法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76ded1bcb112cae3a4d25a8535de94a4.jpg","瓷青纸金画","纵99．3厘米，横61．9厘米",[],{"id":11735,"slug":11736,"title":11737,"dynasty":76,"author":11085,"museum":20,"description":11738,"tags":11739,"thumbUrl":11740,"material":88,"size":11741,"collection":90,"collections":11742,"showCount":71,"zanCount":1003,"manualWeight":48,"mainColor":94},219285,"tao-liu-shuang-yan-tu-ren-xiong-219285","桃柳双燕图","杨柳青青随风摇曳，桃花几株隐现其中，枝头上两只燕子正欢快地嬉戏。画家巧妙地通过弯曲的柳条和燕子的上下飞舞增加了画面的动感，暗示出轻拂花柳的春风。画面风貌写实，设色明丽，色彩对比柔和，桃花在柳条间若隐若现，成为画面中最明丽的亮点，可见画家在色彩运用上的娴熟技艺。",[23,24,7,83,226,243,2532,7714],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50f133d7080974e75316cc983e4b2b15.jpg","纵140.7厘米，横32.7厘米",[90],{"id":11744,"slug":11745,"title":11746,"dynasty":18,"author":257,"museum":132,"description":11747,"tags":11748,"thumbUrl":11750,"material":123,"size":139,"collection":90,"collections":11751,"showCount":71,"zanCount":2368,"manualWeight":48,"mainColor":49},218950,"cao-chong-tu-yi-ming-218950","草虫图","藤蔓如蚓，蜿蜒牵惹着几片翠叶与明黄的花，柔劲的线条里藏着自然的生趣。笼栅细劲，圈住一只草虫——翅翼的纹理纤毫毕现，触须轻颤似在嗅闻叶间清香，敛足欲跃的姿态，让静穆画面漫出一丝灵动。绢本的古褐底色如陈年书卷，淡绿与嫩黄的晕染，似将春日温煦凝在绢上。\n\n宋人画草虫向来重写实却不泥于形，这帧小品无浓墨喧阗，只有对生命细微处的温柔体察：藤蔓卷舒、花叶轻颤、草虫意态，都藏着文人案头的闲雅时光。风过叶隙时，仿佛能听见那若有若无的虫鸣，漫溢出清宁的田园况味，古雅的色调里，沉淀着时光的温煦与悠然。",[23,24,28,7,83,483,553,554,1187,11749],"虫笼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fd768168c81591ad3b140352772d501.jpg",[90,42],{"id":11753,"slug":11754,"title":11755,"dynasty":18,"author":257,"museum":191,"description":11756,"tags":11757,"thumbUrl":11758,"material":123,"size":11759,"collection":42,"collections":11760,"showCount":71,"zanCount":48,"manualWeight":48,"mainColor":94},218811,"jie-hua-lou-ge-2-yi-ming-218811","界画楼阁2","这幅画和另一幅亭子的边框画应该是同一个人在同一时间画的，但这幅画离建筑更近一些，这使它更富丽堂皇。在这幅山崖画中，笔触与马、夏相似，但有相同的魅力。",[24,25,104,81,7,107,29,34,108],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4826f7703c0edc976ee25967d7cb579d.jpg","23.9x26.1",[42],{"id":11762,"slug":11763,"title":11764,"dynasty":18,"author":11500,"museum":608,"description":11765,"tags":11766,"thumbUrl":11767,"material":123,"size":11768,"collection":181,"collections":11769,"showCount":71,"zanCount":1379,"manualWeight":48,"mainColor":94},218036,"xue-shan-xing-lv-tu-liang-kai-218036","雪山行旅图","宋朝时期的画家梁楷是一位杰出的画家，其中最著名的作品之一就是《雪山行旅图》。\n\n《雪山行旅图》是一幅山水画，描绘的是一群人在雪山中旅行的场景。图中的人物用简单的线条勾勒出来，而山川、林木则是用浓厚的墨色勾勒出来的，给人以山水画的秀美感受。\n\n在《雪山行旅图》中，梁楷用笔触简练，表现出了雪山的壮丽景色。图中的人物虽然简练，却也能够传达出自然与人斗争的感觉。整幅画给人以清新、舒适的感觉，让人仿佛置身于山间，感受到大自然的魅力。\n\n《雪山行旅图》在宋朝时期是一幅非常具有代表性的作品，因为它体现了宋朝时期山水画的特点。梁楷在这幅画中巧妙地融合了中国传统的山水画风格与西方的透视画法，使得这幅画在当时颇受欢迎。目前，《雪山行旅图》还是许多博物馆和美术馆的珍藏之作。",[194,24,25,173,177,7,29,2724,106,150,795,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10b55a72db1829645297c286ba7aa49e.jpg","24.3x25.7cm",[181],{"id":11771,"slug":11772,"title":11773,"dynasty":76,"author":563,"museum":191,"description":564,"tags":11774,"thumbUrl":11775,"material":88,"size":139,"collection":139,"collections":11776,"showCount":71,"zanCount":2368,"manualWeight":48,"mainColor":94},214837,"xie-sheng-ce-23-hua-yan-214837","写生册-23",[24,25,81,28,173,7,83,209,838],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F554a2a03ccf067e9257790a3edcb8044.jpg",[],{"id":11778,"slug":11779,"title":11780,"dynasty":76,"author":257,"museum":191,"description":11781,"tags":11782,"thumbUrl":11783,"material":123,"size":11784,"collection":181,"collections":11785,"showCount":71,"zanCount":1003,"manualWeight":48,"mainColor":94},214660,"qian-long-ke-si-shan-shui-gua-ping-si-zhou-1-yi-ming-214660","乾隆缂丝山水挂屏四轴-1","此四轴用挑经显纬的刻丝之法绘就仙山楼阁，有仙鹤和白云，象征着吉祥如意。在山体的岩石部分用蓝色和赭石绘制的织品，使其与丝绸和纸上的绘画完全相同，显示出乾隆时期丝绸织品的精致。",[24,1329,7,29,107,34,176,2235,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f9319e86c70e3c72abbd72d15b43374.jpg","93.8x25.6",[181],{"id":11787,"slug":11788,"title":11789,"dynasty":18,"author":11133,"museum":316,"description":11790,"tags":11791,"thumbUrl":11792,"material":599,"size":600,"collection":139,"collections":11793,"showCount":11794,"zanCount":48,"manualWeight":48,"mainColor":94},289110,"zhu-jiu-tu-li-an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戊午为乾隆三年（178年）。\n钤清高宗弘历“乾隆御览之宝”、“古希天子”、“乐善堂图书记”等印共6方。\n《月曼清游图》册描绘的是宫廷嫔妃们一年12个月的深宫生活：正月“寒夜探梅”、二月“杨柳荡千”、三月“闲亭对弈”、四月“庭院观花”、五月“水阁梳妆”、六月“碧池采莲”、七月“桐荫乞巧”、八月“琼台玩月”、九月“重阳赏菊”、十月“文窗刺绣”、十一月“围炉博古”、十二月“踏雪寻诗”。\n通过这一幅幅生动的画面体现了宫廷生活与民间生活的密切关联。\n嫔妃们的活动内容，在民间生活中均习以为常，只不过由于宫廷的特殊地位，而令这些活动从内容到形式都具有更加富贵、繁琐及典制化的特点。\n作者在人物创作的审美取向上有别于唐代张萱、周昉笔下体态丰腴的嫔妃形象，而以明代唐寅、仇英笔下的仕女画为审美标准，追求秀润飘逸的情致。\n画家以工细流畅的线条和亮丽鲜活的色彩将嫔妃们描绘成身材修长、体态轻盈、“倚风娇无力”之貌。\n她们三五成群地行进在以界画表现的亭台楼阁内或是细笔勾染皴点的花石下。\n富贵闲逸的宫苑生活令她们的物质生活十分充足，也使她们的精神世界极度贫乏。\n在技法上，此图所绘人物造型生动准确，笔致工细严谨，源于宋代院体画风。\n图中的楼台房室建筑则采用西洋 绘成，根据图中透视线斜度的变化，可以准确地推求出灭点的具体位置，从而加强了平面画幅的立体、纵深效果，在有限的画面上扩展出无限的空间。\n此图册于乾隆三年（178年）绘成后深得乾隆皇帝的赞赏。\n乾隆帝于六年谕令皇宫“造办处”的优秀匠人，如擅镶嵌技艺的常存，擅牙雕工艺的陈祖章、陈观泉父子及顾彭年、萧汉振等，以陈枚的这本图册为画稿，用象牙、玉石等进行雕刻。\n匠人们精雕细琢，密切结合牙雕和镶嵌的技艺特点，令画面层次分明，富有立体感。\n这件雕有1人的牙雕精品被称作“百美图”。\n乾隆皇帝在为它题写诗文时将其正式定名为《月曼清游》。",[28,7,104,59,106,820,229,212,409,107,3701],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e6e1bafcf4e74f158449349167ce92e.jpg",[],{"id":11819,"slug":11820,"title":11821,"dynasty":76,"author":11822,"museum":316,"description":11823,"tags":11824,"thumbUrl":11825,"material":67,"size":6185,"collection":181,"collections":11826,"showCount":11794,"zanCount":1379,"manualWeight":48,"mainColor":49},224596,"e-pang-gong-tu-ping-yuan-jiang-224596","阿房宫图屏","袁江","本幅无款，钤“袁江之印”、“文涛”印2方。有宋伯鲁录《阿房宫赋》全文并识。\n古代历史上著名的宫阙殿宇和民间传说中的阆苑琼楼都是袁江笔下反复描绘的题材内容，此幅即以秦始皇三十五年（公元前212年）兴建的阿房宫为题。画家凭借自己精深的古建知识和丰富的想象力使一组组已经逝去的带有神秘色彩的建筑得以再现。此图使用12条通景屏的表现手法，充分利用画面的宽度与广度，再现了阿房宫当年的恢弘气势，将华贵绮丽的画风发展到极致。",[23,194,24,25,104,28,7,29,107,176,34,37,968,3884],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f7ea797c054eb61e8fe9d424db56755.jpg",[181],{"id":11828,"slug":11829,"title":745,"dynasty":76,"author":742,"museum":539,"description":1373,"tags":11830,"thumbUrl":11831,"material":500,"size":7105,"collection":139,"collections":11832,"showCount":11794,"zanCount":48,"manualWeight":48,"mainColor":94},223235,"mao-ren-yi-223235",[23,24,7,173,3052,745,611,211,838,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3992e488d1b2dab6e076bb2a4b4a642e.jpg",[],{"id":11834,"slug":11835,"title":11836,"dynasty":18,"author":9555,"museum":191,"description":11837,"tags":11838,"thumbUrl":11839,"material":7,"size":11840,"collection":42,"collections":11841,"showCount":11794,"zanCount":48,"manualWeight":48,"mainColor":94},221227,"hu-xiang-xue-bu-tu-juan-zhao-ling-rang-221227","湖乡雪捕图卷","此作用淡墨晕染出江南雪后的萧寒清寂，以留白衬出遍野积雪，坡岸沙洲覆着薄雪，汀渚逶迤向远，尽显平远小景的幽旷淡荡。\n枯木虬枝错落，竹丛清劲挺拔，林间茅舍隐现，不见村人渔事，只留空寂的雪色天地。笔法温婉秀雅，淡墨轻勾慢染，不着浓艳重彩，将冬日湖乡的静谧空濛晕染开来，不取雄奇壮阔之景，只以细碎小景铺就幽寂诗意，把江南雪后的雅致清寒娓娓铺展，尽显淡远萧散的文人逸趣，是小景山水里的绝佳逸品。",[23,194,24,26,173,7,29,2562,795,3712,176,2563,177,11396,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a702fe2585679e8059dde2bea057470.jpg","25.9x161.7",[42,181,163],{"id":11843,"slug":11844,"title":11845,"dynasty":99,"author":1270,"museum":442,"description":11846,"tags":11847,"thumbUrl":11850,"material":88,"size":139,"collection":181,"collections":11851,"showCount":11794,"zanCount":2368,"manualWeight":48,"mainColor":49},220428,"you-jian-zhuo-zu-tu-wen-zheng-ming-220428","幽涧濯足图","图绘深山幽涧，高士濯足涤俗。山石皴法不作奇峭之笔，徐徐擦出，崖上之树叶全用细笔点染，全幅清气出尘，观之使人爽然。",[23,194,24,25,226,7,29,106,34,686,11848,109,1273,177,11849,212],"洞穴","苔点","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad6ce959c12441f921b6cc387711c038.jpg",[181,44,45],{"id":11853,"slug":11854,"title":11855,"dynasty":76,"author":257,"museum":442,"description":11856,"tags":11857,"thumbUrl":11858,"material":123,"size":11859,"collection":44,"collections":11860,"showCount":11794,"zanCount":2368,"manualWeight":48,"mainColor":49},219549,"nv-wang-wei-duo-lie-xiao-zhao-tu-yi-ming-219549","女王威多烈小照图","道光壬寅（1842年）英军围困南京，清廷被迫签订辱国丧权的《南京条约》。此图绘的正是当时的英国女王（威多烈）维多利亚，跋文称“其主人极英明，年仅廿一岁（实则二十三岁），择国人子雅那博为婿。”对照1843年英国本国留存的其油画像，此画颇有几分神似，身材短小，微胖，是以中国画方式绘制的写实肖像画。",[23,28,7,106,59,63,64,11296],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2dba6020a464e8e7d9e9dcf6ae41be7.jpg","71x43厘米",[44,45],{"id":11862,"slug":11863,"title":11864,"dynasty":18,"author":257,"museum":191,"description":11865,"tags":11866,"thumbUrl":11867,"material":123,"size":11868,"collection":42,"collections":11869,"showCount":11794,"zanCount":1379,"manualWeight":48,"mainColor":49},218797,"hua-hu-tu-yi-ming-218797","画虎图","这幅画上的签名是 袁桂珍画虎。在面板的左侧是 归真 的签名，似乎已经被改变。因此需要进一步研究，以确定这幅画是由 归真 还是 李 姓画家创作的。画中，旷野荒凉，松树茂盛，绿竹随风飘荡，溪水潺潺。中国的习俗是把鹰和虎都画在一起。'虎'字形容地势雄伟险要，'鹰'字指的是雄伟壮丽的人才展示。这是一种比喻方式，表达了一种优越的地位和挥舞大权的能力。对于古代画家来说，老虎并不像今天这样容易看到，这幅画对老虎的形态描绘得非常精致，是中国绘画史上最好的作品之一。画风的上限可能早于元代，但可能是南宋的作品。",[23,24,1260,7,177,5443,746,34,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15501d2a2c11b6aebfe96cf28f72ce0c.jpg","25.6x26.6",[42],{"id":11871,"slug":11872,"title":11873,"dynasty":18,"author":1599,"museum":191,"description":11874,"tags":11875,"thumbUrl":11876,"material":123,"size":11877,"collection":181,"collections":11878,"showCount":11794,"zanCount":1003,"manualWeight":48,"mainColor":49},218530,"tian-bao-jiu-ru-tu-liu-song-nian-218530","天保九如图","此卷是刘松年所作，画风精细，似乎是在文征明之后，卷首有宋高宗的题词，但不是真迹。",[23,24,25,26,27,7,28,177,29,107,175,353,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d4c2a25e8fe1441ec33f5a675e61a18.jpg","53.8x302.2cm",[181],{"id":11880,"slug":11881,"title":6294,"dynasty":76,"author":257,"museum":132,"description":11882,"tags":11883,"thumbUrl":11884,"material":123,"size":11885,"collection":90,"collections":11886,"showCount":11794,"zanCount":48,"manualWeight":48,"mainColor":49},216675,"zhu-que-tu-yi-ming-216675","竹雀图是一幅出自清朝佚名画家之手的名画。这幅画描绘了一只竹雀和一些竹子的景象。竹雀图以其细腻的线条和精确的造型而闻名，代表了清朝时期中国画的高超技艺。此外，竹雀图还被认为是一幅充满寓意的画作，象征着含蓄、谦虚和高尚的品质。",[24,25,226,7,28,83,227,209,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5af219407ce773a050075d6ae42b557d.jpg","128x29cm",[90],{"id":11888,"slug":11889,"title":11890,"dynasty":76,"author":257,"museum":316,"description":11891,"tags":11892,"thumbUrl":11895,"material":599,"size":600,"collection":139,"collections":11896,"showCount":11897,"zanCount":48,"manualWeight":48,"mainColor":94},234412,"qing-ren-lv-cai-shen-xiang-zhou-yi-ming-234412","清人绿财神像轴","画面核心的绿财神身覆翠色，忿怒面容暗含慈悲，踞坐白狮宝座，宝冠披帛华丽庄严，尽显护法尊神的威仪。虚空云海间环布诸位化现圣尊，层次分明；下方雪域山林间，信众牵驼持礼，列队朝奉，烟火供品俱全，融肃穆神性与鲜活世情于一体。\n\n以矿物彩料敷色，青蓝底色衬得诸像明丽厚重，铁线描流畅勾勒衣袂飘逸、瑞兽雄健，精准恪守藏传造像仪轨，又以细腻笔触铺陈出佛国盛景，尽显清代藏式唐卡富丽庄严的独特风韵。",[24,226,27,7,28,260,106,746,8378,150,11893,245,2235,29,11894,63],"狮子","供品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51485349796cab9064d6a260e9da4fb8.jpg",[],114,{"id":11899,"slug":11900,"title":11901,"dynasty":99,"author":1196,"museum":223,"description":11902,"tags":11903,"thumbUrl":11905,"material":5011,"size":11906,"collection":139,"collections":11907,"showCount":11897,"zanCount":1379,"manualWeight":48,"mainColor":94},232644,"hua-shan-tu-tang-yin-232644","华山图","唐伯虎才气横溢，但并不风流，他的诗、书、画被称为三绝，在绘画上，唐寅擅长山水，又工画人物，尤其是精于仕女，画风既工整秀丽，又潇洒飘逸，被称为“唐画”，为后人所推崇。书法源自赵孟頫一体，俊逸秀挺，颇见功夫。此外，他还能作曲，多采民歌形式。如此多才，明代文人中是少见的。\n唐寅早期绘画，“远攻李唐”、“近交沈周”。早期拜吴门画派创始人沈周为师。沈周和周臣都是当时苏州名画家，沈以元人画为宗，周则以南宋院画为师，这是明代两大画派，唐寅虽师周臣，却有胜蓝之誉。唐寅兼其所长，在南宋风格中融元人笔法，一时突飞猛进，以至超越老师周臣，名声大振。",[24,173,177,7,29,176,1426,34,109,37,230,1171,11904],"山间建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe916074f76617bd5a06b97eccc3110f2.jpg","116.4x41.4厘米",[],{"id":11909,"slug":11910,"title":11911,"dynasty":18,"author":846,"museum":316,"description":11912,"tags":11913,"thumbUrl":11914,"material":139,"size":139,"collection":139,"collections":11915,"showCount":11897,"zanCount":48,"manualWeight":48,"mainColor":49},227964,"pi-pa-xiu-yan-tu-tuan-shan-ye-wu-bing-227964","枇杷绣眼图团扇页","画面中枇杷垂枝，圆实饱满的果子晕染出暖黄熟色，果皮绒毛似可触感，叶片正反层次分明，筋脉勾勒细致，一片残叶添了自然错落的意趣。绣眼鸟栖于枝桠，墨绿羽色莹润光泽，身形小巧灵动，垂首望向满枝鲜果，将禽鸟的娇憨馋态刻画入微。\n\n整幅工笔细腻写实，设色雅致柔和，疏密构图恰到好处，静美的果枝与鲜活的禽鸟相映，定格了初夏果熟禽来的清逸小景，把藏在日常里的诗意娓娓道来，淡而愈真，静中生趣。",[1260,28,7,83,1036,245,24,194,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7715eb3815a372e3b5e1f25007e64c6c.jpg",[],{"id":11917,"slug":11918,"title":11919,"dynasty":189,"author":3894,"museum":316,"description":11920,"tags":11921,"thumbUrl":11922,"material":139,"size":139,"collection":139,"collections":11923,"showCount":11897,"zanCount":1003,"manualWeight":48,"mainColor":94},227547,"shi-liu-tu-ye-huang-ju-cai-227547","石榴图页","黄居寀[cǎi]（933年—993年后），字伯鸾，成都（今属四川）人，五代十国名画家黄筌第三子。擅绘花竹禽鸟，精于勾勒，用笔劲挺工稳，填彩浓厚华丽，其园竹翎毛形象逼真，妙得自然；怪石山水超过乃父，与父同仕后蜀，为翰林待诏，入宋仍任翰林待诏。尝合作殿廷墙壁，宫闱屏幛，不可胜记。",[23,194,24,25,81,7,28,83,1060,210,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3694de77f1763de9903d1d4aa0cf2982.jpg",[],{"id":11925,"slug":11926,"title":11927,"dynasty":256,"author":257,"museum":1846,"description":8010,"tags":11928,"thumbUrl":11935,"material":599,"size":600,"collection":139,"collections":11936,"showCount":11897,"zanCount":48,"manualWeight":48,"mainColor":49},226514,"bi-hua-p-4518-cai-hui-qian-shou-qian-yan-guan-yin-guan-yin-tu-yi-ming-226514","壁画P.4518彩绘千手千眼观音观音图",[511,6767,260,7,106,11929,11930,11931,8170,11932,3130,11933,6170,11623,11934],"观音像","千手千眼","光环","古画","宗教人物","设色画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab075ae459d8db70624d7a88f36c66cc.jpg",[],{"id":11938,"slug":11939,"title":11940,"dynasty":76,"author":10944,"museum":316,"description":11941,"tags":11942,"thumbUrl":11943,"material":139,"size":139,"collection":139,"collections":11944,"showCount":11897,"zanCount":48,"manualWeight":48,"mainColor":94},224570,"jin-yu-qi-qing-ren-224570","金鱼七","此作工致温婉，尽显池中游鱼之趣。红金鱼艳而不俗，鳞片刻画入微，鳍尾轻扬舒展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咸丰三年（1853）太平天国克扬州，迁邵伯，又迁郭村，逾年返扬。有请画南北斗星君像，乃诣蕃厘观图其塑像为稿本，其虚心若此。篆刻效法汉印，为画名所掩。卒年八十四。",[24,25,81,28,7,106,59,195],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bcbec6b44d875f6875f0d4a4e8faa49.jpg",[44],{"id":12073,"slug":12074,"title":12075,"dynasty":76,"author":742,"museum":316,"description":12076,"tags":12077,"thumbUrl":12079,"material":40,"size":12080,"collection":90,"collections":12081,"showCount":12037,"zanCount":48,"manualWeight":48,"mainColor":94},234983,"hua-hui-ling-mao-ping-ren-yi-234983","花卉翎毛屏","任颐(1839-1896)，初名润，字伯年，一字次远，号小楼(亦作晓楼)，萧山城厢镇人。其父善画肖像，任颐自幼随之习画。人物、山水、花卉、翎毛等均有扎实功底，尤以人物画见长，他在十余岁时即能勾勒出来访者容貌，使人见其画如见其人。\n咸丰十一年(1861)，太平军占领杭州、绍兴，任颐即投笔从戎，参加太平军，掌军旗，为前驱。同治二年(1863)，太平军撤离浙江，任留居家乡；次年，移居宁波，得到任熊、任薰悉心指导。同治七年(1868)春，随任薰去苏州，是年冬，转至上海定居。从此，任颐步入新兴的上海画派之列。\n任颐画路宽拓，所画人物具有独特的风韵，更以描写风俗人情、民间传说和神话故事中人物见长，如《女娲》、《钟 馗》、《八仙》、《群仙祝寿》等作品，将艺术与现实巧妙地容贯于画面。其人物肖像画既有深厚的传统基础，又注重写生，每次外出，备有速写本，随时勾录。寓居上海后，以卖画为生，创作甚富。《钟馗》、《关河一望萧索》、《苏武牧羊》、《野塘雨后》和《三友图》等为其代表作。且其参用画意的书法亦奇惊不凡，光绪二十二年(1896)逝世。\n任伯年因是浙江山阴人，故画面署款多写山阴任颐。儿时随父学画，十四岁到上海，在扇庄当学徒，后以卖画为生。所画题材，极为广泛，人物、花鸟、山水、走兽无不精妙。他的画用笔用墨，丰富多变，构图新巧，创造了一种清新流畅的独特风格，在正统派外别树一帜。\n任颐是近代杰出画家。字伯年，号小楼，浙江山阴人，因此他的画署款多写山阴任颐。任伯年的绘画题材广泛，人物、肖像、山水、花卉、禽鸟无不擅长。用笔用墨，丰富多变，构图新巧，主题突出，疏中有密，虚实相间，浓淡相生，富有诗情画意，清新流畅是他的独特风格。任伯年的主要成就是在于人物画和花鸟画方面，往往寥寥数笔，便能把人物整个神态表现出来，着墨不多而意境深远。其线条简练沉着，有力潇洒。他常画钟馗，他笔下的钟馗心胸磊落、不怕鬼，不信邪。他的花鸟画，总是把花与鸟连在一起，禽鸟显得很突出，花卉有时只作背景，整个画面充满了诗的意境。",[24,7,83,226,28,3442,84,2308,12078],"枝蔓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd890e2f692a2d99201f17f205a6278b8.jpg","149 x 61 cm",[90,45],{"id":12083,"slug":12084,"title":12085,"dynasty":76,"author":2837,"museum":316,"description":12086,"tags":12087,"thumbUrl":12088,"material":139,"size":139,"collection":139,"collections":12089,"showCount":12037,"zanCount":48,"manualWeight":48,"mainColor":94},224368,"hua-hui-qi-shi-ce-ju-lian-224368","花卉奇石册","此作为没骨小品，以太湖石为画面中心，嶙峋通透，以淡墨晕染出石体质感，皴擦兼具，灵秀古雅。两侧折枝柔花轻绽，粉紫花瓣晕染柔美，枝叶敷色妍润鲜活。石上驻足的星天牛刻画精微，鞘翅斑纹清晰如生，将草野清趣暗藏其间。右下角苔草细劲，淡色点染出苔藓苍润，和奇石花木相映成趣。整体设色明丽秀雅，笔致温婉细腻，生机澹然，将花间小景的意趣尽皆呈于尺幅之中，清隽动人。",[23,24,25,81,28,7,83,84,1633,568,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10bdde0deaa416907df62737b1070ff1.jpg",[],{"id":12091,"slug":12092,"title":12093,"dynasty":76,"author":329,"museum":12094,"description":12095,"tags":12096,"thumbUrl":12098,"material":40,"size":12099,"collection":90,"collections":12100,"showCount":12037,"zanCount":2368,"manualWeight":48,"mainColor":94},222777,"rui-gu-tu-lang-shi-ning-222777","瑞谷图","中国第一档案馆","雍正初年，全国五谷丰登，雍正皇帝令大学士张延玉传旨，清朝御用画师意大利传教士郎世宁作《瑞谷图》，雍正五年八月二十二日，雍正皇帝颁示《瑞谷图》，并降旨曰：「今蒙上天特赐嘉谷，养育万姓，坚实实好，确有明征，朕祗承之下，感激欢着绘图颁示各省督抚等。朕非夸张，以为祥瑞也。自兹以往，观览此图益加儆惕，以修德为事神之本，以敬民为立政之基」",[23,28,7,12097,212],"稻穗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F623c985ffdd6fd14c6fbf6f9eea47154.jpg","纵61厘米，横183厘米",[90,45],{"id":12102,"slug":12103,"title":12104,"dynasty":99,"author":3307,"museum":539,"description":12105,"tags":12106,"thumbUrl":12108,"material":529,"size":12109,"collection":90,"collections":12110,"showCount":12037,"zanCount":48,"manualWeight":48,"mainColor":49},222402,"xue-mei-ji-qin-tu-li-zhou-lv-ji-222402","雪梅集禽图立轴","吕纪主要是以工整精丽的院体传统作画，造型准确，设色鲜艳。但也能画活泼生动兼工带写的花鸟画。他的画生动，笔墨清新，是当时与边景昭、林良齐名的花鸟名家。",[23,24,25,226,28,7,83,820,1530,12107,176],"雪梅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14e407cc061f6c00f1c4b4a682ce1be3.jpg","192cmx110cm",[90,45],{"id":12112,"slug":12113,"title":12114,"dynasty":99,"author":100,"museum":316,"description":12115,"tags":12116,"thumbUrl":12118,"material":40,"size":12119,"collection":44,"collections":12120,"showCount":12037,"zanCount":2368,"manualWeight":48,"mainColor":49},222199,"gu-dai-shi-nv-li-zhou-chou-ying-222199","古代仕女立轴","图绘后院内芭蕉高大粗壮，叶片宽大下垂，一叶叶尖和中部开裂真实自然，与湖石相依成景；两位仕女头梳高髻，手执团扇，低垂的眼睑，手托下巴，或为情所困，或他事烦恼。画右侧题“实父仇英制”和印章一枚。",[23,860,24,25,226,28,7,614,106,611,115,9231,278,12117],"古装服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3009f0a28946d85c8a86a50a39f771cf.jpg","95×38cm",[44,163],{"id":12122,"slug":12123,"title":12124,"dynasty":18,"author":647,"museum":1577,"description":12125,"tags":12126,"thumbUrl":12127,"material":12128,"size":12129,"collection":42,"collections":12130,"showCount":12037,"zanCount":1003,"manualWeight":48,"mainColor":49},221298,"zhu-chong-tu-zhou-zhao-chang-221298","竹虫图轴","此图画幽篁疏影，双钩填彩，以色之而飞，又绘天牛、螽蜥，无不刻画入微，瓜赞，相阿弥题签，天室和尚题跋。浓淡来显叶之向背、竿之盘曲。枝叶饱满， 叶果实又仿效徐崇嗣的“没骨”画法。设姿态多样。另有花卉野瓜、蝴蝶蜻蜓萦绕 色浓丽而又不隐墨骨。",[23,194,24,25,226,28,7,83,227,484,636,62,554],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3caf6fb1a56d046b3a504e74b2fa9ef8.jpg","轴，绢本设色","纵99 4厘米，横54 2厘米",[42,45,2617],{"id":12132,"slug":12133,"title":12134,"dynasty":54,"author":55,"museum":191,"description":12135,"tags":12136,"thumbUrl":12137,"material":123,"size":12138,"collection":44,"collections":12139,"showCount":12037,"zanCount":2368,"manualWeight":48,"mainColor":49},221114,"yan-le-tu-zhou-zhou-fang-221114","演乐图轴","大松下五位士人围长案雅聚，童子张琴，仕女抱阮或备茶，人物器用俱以中锋细笔钩勒，顿起顿收，转折挺劲，如画树的枝桠。画上无作者款印，旧传周昉作。按周昉（活动于八世纪末）是陕西长安人，唐代著名人物画家，画史称其人物善于刻画个别的性格，并能掌握特定环境下的情态。本幅构图似是取自其他作品拼凑而成，如士人围坐的构图便是摹仿传世十八学士的一段。",[23,24,25,226,28,7,106,195,1273,245,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb21b1bfe7ff31574b4855b09db89917a.jpg","165.6x84.4",[44,45],{"id":12141,"slug":12142,"title":12143,"dynasty":18,"author":12144,"museum":5488,"description":12145,"tags":12146,"thumbUrl":12147,"material":123,"size":12148,"collection":42,"collections":12149,"showCount":12037,"zanCount":1003,"manualWeight":48,"mainColor":49},220122,"shi-liu-luo-han-tu-di-er-zun-zhe-jin-da-shou-220122","十六罗汉图-第二尊者","金大受","金大受是南宋时代浙江宁波具有代表性的佛画师。本图各幅有落款“大宋明州车桥西、金大受笔”，绘于庆元元年（1195）之前，当时的宁波被称为“明州”，作为现存浙江佛画中时代最早的作品而闻名。金大受所绘的罗汉笔锋收敛，形态把握准确，其赋彩也是巧用中间色，采用协调的自然表现手法，在宁波所绘制的罗汉图中也属于佳作。作为摄州多田院的镇院之宝而传来。曾为原邦造旧蔵。16幅作品中，现已确认有东京国立博物馆馆藏的10幅，以及群马县立近代美术馆馆藏的1幅，其他5幅估计流失海外，所在不明。\n金大受所画十六罗汉计十六幅，分藏三个处所，除了东京国立博物馆藏了十幅之外，其余分别由二个私人收藏家所收藏。十六幅中，每幅均有「大宋明州车桥西金大受笔」的落款，因此一直被误认为作者是西金居士。后来才被判定为南宋宁波车桥之西的画家金大受。\n十六幅中，现藏于群马县立近代美术馆的一幅，长一一七．四公分，宽五Ｏ．四公分。尊者着偏袒右肩式僧服，外罩水田衣，微侧脸注视手中的持花，其蹙眉掀鼻，张口露齿的表情，很是特出。画中除尊者之外，另有侍者一人，以及伏在矮几的小童一人，尊者头上的圆光，以青绿色为之，背后花树盛开，树枝上倒挂一朵莲花，色彩精致，笔触细腻，采用了较幽沉的色调，却烘托出尊者和圆光的明亮。",[23,194,24,25,226,7,28,260,106,3661],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c3ad92414ef1bcdc9e61d67eae92da0.jpg","118.8×51.7cm",[42,44],{"id":12151,"slug":12152,"title":12153,"dynasty":76,"author":77,"museum":78,"description":12154,"tags":12155,"thumbUrl":12156,"material":123,"size":1885,"collection":139,"collections":12157,"showCount":12037,"zanCount":1379,"manualWeight":48,"mainColor":94},219816,"hua-hui-shi-kai-7-yun-shou-ping-219816","花卉十开-7","这幅没骨花卉以柔淡晕染写就虞美人，花瓣由深粉向浅肉色自然过渡，将盛放时的娇慵舒展尽显无遗，薄如蝉翼的质感仿佛带着晨露的温润。叶片以嫩绿晕染，叶脉细劲清透，鲜活的生机随枝蔓漫溢开来。\n\n整幅画作摒弃勾勒轮廓的笔线，纯以色泽铺陈造型，色调雅净柔和，尽显空灵秀润之美。不着一笔多余的浓墨重彩，只以浅淡层次烘托出花草的天然意趣，将江南文人的清雅诗意融于尺幅间，仿佛能窥见晚春庭中花木的恬然风姿，予人静穆悠然的隽永观感。",[194,24,7,82,83,81,84,723,554],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23945fb0fe4a99f23fff1b0f01143428.jpg",[],{"id":12159,"slug":12160,"title":12161,"dynasty":99,"author":257,"museum":2754,"description":12162,"tags":12163,"thumbUrl":12164,"material":123,"size":139,"collection":44,"collections":12165,"showCount":12037,"zanCount":1003,"manualWeight":48,"mainColor":49},219577,"ting-zhong-shang-le-tu-yi-ming-219577","庭中赏乐图","画面绘闺中闲景，四位仕女各得幽趣。二人对坐似行猜枚之戏，指尖轻扬，情态灵动鲜活；侧坐仕女支臂观戏，慵懒悠然；侍立婢女持扇静候，恭谨安恬。衣褶线条柔婉舒展，晕染出绫罗软缎的垂坠质感，鬓间花钿衬出闺阁佳人的柔秀雅致。布景简淡，仅以浅绘草卉点染庭中清寂，古褐底色晕出庭院静谧松弛的氛围。笔致清逸简淡，将深闺日常的闲散意趣娓娓道来，尽显温婉含蓄的古典仕女审美意韵。",[24,25,28,7,106,59,898,195,409],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86260b0dda74b3817ea2971ec93bb2fa.jpg",[44],{"id":12167,"slug":12168,"title":1383,"dynasty":99,"author":12169,"museum":20,"description":12170,"tags":12171,"thumbUrl":12172,"material":123,"size":12173,"collection":181,"collections":12174,"showCount":12037,"zanCount":2368,"manualWeight":48,"mainColor":94},218515,"shan-shui-tu-du-qiong-218515","杜琼","画幅右上画家自题：“余尝写此境为有趣，适陈孟贤、郑德辉二公相访见之。孟贤曰，此幅可，郑公盍求诸？德辉略无健羡之色。孟贤强之，乃启言，予不敢靳也。德辉廉静寡欲，于物无所嗜好，使王维、吴道玄复生亦无所爱，此其所以能养其德也。夫以心之玩好，乃学者之病，观于德辉，则有以警于人人哉！景泰五年甲戌岁上元日，杜琼书。”题跋前钤白文“古心”、朱文“旌节名门”印，题跋后钤朱文“杜氏用嘉”、白文“东原耕者”、朱文“持敬观理”印。画面右下方有白文“陶情写意”印。\n此画作于明景泰五年（1454年），杜琼时年59岁。图中山峰耸峙，层峦迭嶂，弯曲的河流将画面中下部的山峰隔为两段，画面右下山谷林木间有山庄草亭，一文士正在草亭中读书；桥上有一拄杖文士携童子向山庄走来。该幅构图饱满，山石用圆润细密的披麻皴，浓墨点苔，系画家仿元王蒙风格而出新意的代表作之一。杜琼学王蒙颇有心得，他在52岁时作的《萝萱堂水墨山水》中就自题云：“余学黄鹤（王蒙号）最精。”顾复评价他于正统年间所作的《对泉图》时也称他“学叔明（王蒙字）能脱塞实之习，自然高雅”。",[23,194,24,25,226,173,7,177,29,108,109,34,176,106,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15565c9a8c4a1de8ad94b72defc1db1d.jpg","纵122.4厘米，横38.9厘米",[181],{"id":12176,"slug":12177,"title":12178,"dynasty":18,"author":1315,"museum":191,"description":12179,"tags":12180,"thumbUrl":12183,"material":123,"size":12184,"collection":44,"collections":12185,"showCount":12037,"zanCount":2368,"manualWeight":48,"mainColor":49},218162,"wen-ji-gui-han-tu-ce-li-tang-218162","文姬归汉图册","这本画册由18张图片组成，以上下系列的形式。每张图片大小不一，是独立的画作，与其他画作一起构成一个完整的故事。",[24,25,81,7,28,106,1023,113,12181,12182],"胡地","毡房","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb66d2ebe72e8271220a920899a0213a3.jpg","50.7x39.7",[44],{"id":12187,"slug":12188,"title":12189,"dynasty":189,"author":257,"museum":191,"description":12190,"tags":12191,"thumbUrl":12192,"material":599,"size":600,"collection":139,"collections":12193,"showCount":12194,"zanCount":48,"manualWeight":48,"mainColor":49},288517,"huan-yue-tu-yi-ming-288517","浣月图","庭院浓荫覆裹，夜色晕开朦胧柔光。仕女们姿态温婉舒展，正于池畔浣月戏玩。主角掬水揽月，月影随波轻漾，身侧女眷凝神静观，似沉溺在这静夜雅趣之中，案边侍女垂首侍立，屏声静气。\n\n衣袂线条柔婉凝练，寥寥几笔便勾勒出闺阁女子的柔婉体态，设色沉雅古拙，花木石台都晕染着幽幽夜色，将深宫院落的闲谧氛围尽数铺展。全画布景简淡却意蕴悠长，把月下清玩的闲情与深苑夜色相融，古雅沉静里藏着悠悠闺中意绪，尽显古画的含蓄雅致。",[23,24,7,28,106,59,115,84,265],"https:\u002F\u002Foss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“画家类能具其相貌，但吾辈胸次。\n自应有一种风规，俾神气悠然，韵味清远，不为物态所拘，便有佳处。 况吾所存，无媚于世而能合于众情者，要在悟此。\n”所以，这是一位皇族画家在受到皇帝恩典后发自内心的无限感激和祈祝之后创作的绘画。\n不过，也有学者认为，《万松金阙图》主要描绘了平江府天庆观及其周围的景致，图中金阙（楼阁）是天庆观内三清殿等为皇家祈福的道教圣殿，是一幅粉饰太平、歌颂孝宗赵昚的绘画作品。\n全图的笔法清细随意，并参用了一些意笔，格调柔丽雅洁，毫无匠气，意味着南宋青绿山水画的崛起。\n这件山水长卷的超越前人之处在于摆脱了自六朝以来青绿山水以钩廓填色的艺匠手法，有机地融进了一些文人意笔。\n使两者巧妙地糅合为一体，画家大量地运用了墨点，横点联树成片，竖点作青苔，手法较为自由随意，这在当时是极富有创意的笔墨技巧。\n山间布置几处“金阙”建筑，用没骨法涂金敷色而成，突出于万松之表。\n几处建筑虽只露顶部，仍可见其造型的准确。\n近景的山石用皴笔为之，浑厚凝重，透视感强。\n此图同时还吸收了马和之等文人画家的笔墨新形式、新趣味，形成了笔法清细繁复、格调清新秀雅的新风格。\n此图开卷作海天杳渺，月明霞青，高松数株挺拔而立，群鹤翔集。\n海岸延伸至海中的礁石嶙峋黝黑，海浪平静起伏。\n坡岸上绿草成茵，围绕松树有一片桃林，红花点点相映其间，仅此开卷一段便有无穷景致。\n起伏层叠的峰岗构成了画面主体，或远或近，或平或伏，皆郁郁葱葱。\n《万松金阙图》显示了赵伯骕在继承传统和改革创新的成功尝试：构图和设色继承唐代李思训《江帆楼阁图》的绘画传统，但又有所突破。\n因此，《万松金阙图》可以视为宋代青绿山水从追求北方的雄浑之美向江南水乡清雅之美转变的一件典型作品，为其后元代文人山水画的发展开创了新局面。\n从该图钤印可知，该图历经清梁清标、安岐、乾隆帝、宣统帝收藏，民国初年被溥仪盗出宫外，新中国成立后被国家收购，195年由文化部文物局（今国家文物局）拨交北京故宫博物院。\n该图曾经《墨缘汇观》、《大观录》著录。\n217年9月15日至12月14日，《万松金阙图》在故宫午门正殿展厅举办的“千里江山——历代青绿山水画特展”中展出。\n赵伯骕（1124～1182） ，南宋宗室，寄居平江府（治今江苏苏州），字希远。\n燕懿王赵德昭后裔。\n绍兴初，荫补入仕，为承节郎、监绍兴府馀姚县酒税。\n历任侍卫马军司干办公事、浙西安抚司干办官。\n隆兴二年（1164），擢浙西兵马副部监兼职德寿宫。\n进浙西兵马钤辖。\n乾道七年（1171），副中书舍人赵雄出使金朝，贺金主生日。\n还朝，自武翼郎超转武翼大夫，俄升浙西副总管。\n淳熙中，累迁浙西提点刑狱，官终武功大夫、和州防御使。\n善画山水花木，傅染轻盈，颇有生意。\n作品有《万松金阙图》、《仙峤白雪图》等。",[23,24,194,26,27,7,28,177,29,1273,107,176,37,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1377606a06e9e5e04495fcfb385c4f1.jpg","绢本青绿设色","纵27.7厘米，横136厘米",[],{"id":12251,"slug":12252,"title":6490,"dynasty":302,"author":1977,"museum":20,"description":6491,"tags":12253,"thumbUrl":12256,"material":40,"size":139,"collection":90,"collections":12257,"showCount":12194,"zanCount":1003,"manualWeight":48,"mainColor":94},220868,"qiu-jiao-yin-ma-tu-juan-zhao-meng-fu-220868",[23,7,28,26,86,212,150,34,31,106,12254,29,12255],"秋天","牧放","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c122896a7022800e9082ba42a60e43f.jpg",[90,45],{"id":12259,"slug":12260,"title":12261,"dynasty":76,"author":77,"museum":78,"description":12262,"tags":12263,"thumbUrl":12264,"material":123,"size":1885,"collection":139,"collections":12265,"showCount":12194,"zanCount":2368,"manualWeight":48,"mainColor":94},219817,"hua-hui-shi-kai-6-yun-shou-ping-219817","花卉十开-6","此作以没骨法绘就，以色代笔晕染柔润。粉白花瓣清透柔和，从边缘淡紫晕向花心莹白，将海棠怯怯娇柔的姿态尽显。叶片分敷粉绿，色泽过渡自然细润，以劲细线条勾勒叶脉，摹画出叶片舒展之态。\n\n整体格调清逸淡雅，摒弃轮廓勾勒的硬挺，纯以色彩晕染出花木鲜活生机，尽显文人情致里的秀润空灵，仿佛将庭前暮春幽花轻绽之景凝于绢上。笔简意足，将草木柔婉清丽的天趣诗意展现淋漓尽致。",[24,83,81,82,7,28,84,554,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe782f4173741fead3fb94a5abbe98375.jpg",[],{"id":12267,"slug":12268,"title":12269,"dynasty":99,"author":3774,"museum":191,"description":12270,"tags":12271,"thumbUrl":12273,"material":123,"size":12274,"collection":45,"collections":12275,"showCount":12194,"zanCount":48,"manualWeight":48,"mainColor":94},219463,"zhu-bao-ping-an-tu-lu-zhi-219463","竹报平安图","湖石朴拙矗立，青竹斜曳，叶叶清劲如裁，凌霄花攀缠绽蓝，晕染出柔润鲜活。三只鹌鹑姿态各异，或低首啄食细草，或两两偎依小憩，羽色晕染细腻，绒毛细密宛然。另有枯残秋叶秋意澹澹，衬出庭中一隅的幽寂生机。\n\n此作工写相融，设色雅致恬淡，淡赭底晕开古雅氛围。以幽竹暗合平安意涵，将清秋闲景揉入温润期许，笔致秀逸静美，尽显写生的雅致风神。",[194,24,25,226,7,28,227,379,209,553,12272,11542,212],"枯叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F776f1def841c12e7af55aa92f83b859e.jpg","117.9x43.1",[45],{"id":12277,"slug":12278,"title":12279,"dynasty":99,"author":257,"museum":191,"description":12280,"tags":12281,"thumbUrl":12283,"material":123,"size":12284,"collection":44,"collections":12285,"showCount":12194,"zanCount":48,"manualWeight":48,"mainColor":49},218437,"shi-jia-mu-ni-fu-yi-ming-218437","释迦牟尼佛","该图像描绘了佛祖坐在三个小孩子的身体上，这种仪式很少见。台北故宫的这幅画是由一位不知名的明代艺术家所作，但与宋旭的佛像画有一定的联系，面板上也有他的印记和印章，所以可以说是他的作品。",[24,7,28,260,226,106,11727,10538,378,12282],"衣纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7058a98101b5e16f2e6e599d46b8955b.jpg","135.7x76.8",[44],{"id":12287,"slug":12288,"title":10953,"dynasty":76,"author":10797,"museum":191,"description":12289,"tags":12290,"thumbUrl":12291,"material":88,"size":139,"collection":90,"collections":12292,"showCount":12194,"zanCount":1003,"manualWeight":48,"mainColor":94},216102,"shu-guo-tu-zhang-xiong-216102","清朝张熊的蔬果图是指18世纪末19世纪初的清朝画家张熊所创作的一幅著名的绘画作品，其中描绘了许多种类的水果和蔬菜。这幅画作品被认为是中国画的杰出代表作之一，也是中国传统艺术中著名的绘画作品之一。\n\n张熊是一位著名的清朝画家，他的蔬果图是他的代表作之一。这幅画作品描绘了许多种类的水果和蔬菜，包括苹果、梨、桃子、柑橘、葡萄、菠萝、香蕉、西瓜、茄子、辣椒、芹菜、芥菜、豆芽等。画中的水果和蔬菜都按照真实的外观进行描绘，颜色鲜艳，造型生动。\n\n张熊的蔬果图是以轮廓线和色彩为主要表现手法的，在描绘水果和蔬菜的同时，还表现了每种水果和蔬菜的独特的形态和质地。这幅画作品被认为是中国画的杰出代表作之一，也是中国传统艺术中著名的绘画作品之一。",[23,24,25,7,28,9850,10961,10958,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbf464bdc7825df56f0578c227961066.jpg",[90],{"id":12294,"slug":12295,"title":12296,"dynasty":76,"author":2200,"museum":316,"description":2962,"tags":12297,"thumbUrl":12299,"material":599,"size":600,"collection":139,"collections":12300,"showCount":12301,"zanCount":2368,"manualWeight":48,"mainColor":94},290181,"hua-hui-si-tiao-ping-wu-chang-shuo-290181","花卉四条屏",[23,24,194,25,226,7,173,83,12298,86,212,3827],"寿桃","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b9dc40faec11aee3f097844ed158d77.jpg",[],111,{"id":12303,"slug":12304,"title":1442,"dynasty":76,"author":77,"museum":316,"description":596,"tags":12305,"thumbUrl":12306,"material":599,"size":600,"collection":139,"collections":12307,"showCount":12301,"zanCount":48,"manualWeight":48,"mainColor":94},235084,"yun-shou-ping-hua-hui-ce-yun-shou-ping-235084",[24,25,81,7,82,83,136,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d27a48961942f8bb0bbc6702c8f07b6.jpg",[],{"id":12309,"slug":12310,"title":12311,"dynasty":302,"author":303,"museum":539,"description":12312,"tags":12313,"thumbUrl":12314,"material":1342,"size":12315,"collection":90,"collections":12316,"showCount":12301,"zanCount":48,"manualWeight":48,"mainColor":94},221715,"hua-niao-tu-juan-qian-xuan-221715","花鸟图卷","第一段桃花翠鸟，画一枝春桃花繁叶茂，枝头站立一只通体羽毛幽蓝的翠鸟，小鸟身体直立，极目远眺，正是鸟儿振翅起飞前的瞬间写照。第二段牡丹，画一束绿叶中，盛开着两朵淡粉的牡丹，叶子向左下微垂，似有阵阵清风掠过。第三段干枝梅，画一棵梅枝垂挂而下，错节的大小梅枝上许多梅花盛开。钱选画花鸟善于捕捉实景中最生动自然的情形，形态逼真富有情趣，此卷正是钱选这一画风的充分体现。图画设色淡雅清丽，精巧传神，洋溢着隽秀清高之美，构图虽简，但更显画家的技法精湛。\n如此形象准确，神态生动，笔力遒劲的得意之作，钱选自然要赋诗题上。在每段画的后面，都有钱选自题的七言诗一首。第一段和第三段的题诗已漫漶不能全识，第二段题诗如下：头白相看春又残，折花聊助一时欢。东君命驾归何连，犹有余情在牡丹。题诗以行楷书写，含蓄内敛、平淡天真，严谨而朴拙，颇有钟繇遗风。画卷诗情画意相得益彰，为钱选花鸟画的至精之作。卷尾署“至元甲午画于太湖之滨并题，习懒翁钱选舜举”。可知这是钱选晚年所作，正值钱选诗书画印诸艺炉火纯青之时。",[23,24,25,26,7,28,83,243,292,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38ccc0a162c10a33940263f3fc4a9708.jpg","纵38厘米 横316.7厘米",[90,163],{"id":12318,"slug":12319,"title":12320,"dynasty":18,"author":391,"museum":191,"description":12321,"tags":12322,"thumbUrl":12324,"material":40,"size":12325,"collection":42,"collections":12326,"showCount":12301,"zanCount":48,"manualWeight":48,"mainColor":49},221349,"xue-jiang-gui-zhao-tu-juan-zhao-ji-221349","雪江归棹图卷","画幅的右上角有宋徽宗赵佶瘦金书“雪江归棹（音照）图” 五字，左下角钤“宣和殿制”印并“天下一人”画押。\n这是一幅描绘冬日雪景的山水画。画面起首远山平缓，进入中段以后，山势渐渐高耸，转而趋于平缓，整幅画面富有高低错落的节奏感，使观者仿佛身临其境，坐于舟船中，沿江眺望窗外时时变换的景色，充分展示了长卷绘画的特点和魅力。全卷用笔细劲，笔法流畅，意境肃穆凝重，代表了宋徽宗时期画院的艺术水平。",[23,26,28,177,173,7,178,937,212,29,174,12323,34,176,118],"江景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1036396b87433672d8f6f1cab8e3a99f.jpg","纵30.3厘米，横190.8厘米",[42,181,163],{"id":12328,"slug":12329,"title":12330,"dynasty":302,"author":303,"museum":8208,"description":12331,"tags":12332,"thumbUrl":12334,"material":88,"size":12335,"collection":90,"collections":12336,"showCount":12301,"zanCount":1003,"manualWeight":48,"mainColor":94},219118,"shuang-jiu-tu-qian-xuan-219118","双鸠图","画面描绘了一根梨枝的主干，枝头有许多枝条，枝条上盛开着洁白的梨花。 树枝上栖息着两只鸽子，一只低着脖子哼了一声，一只好奇地盯着树枝。",[24,25,28,7,12333,836,84,86,212],"鸠鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0c9c5dce479a9ec47c315e8badbe4e8.jpg","30.5x97.8cm",[90],{"id":12338,"slug":12339,"title":12340,"dynasty":76,"author":12341,"museum":191,"description":12342,"tags":12343,"thumbUrl":12344,"material":88,"size":12345,"collection":90,"collections":12346,"showCount":12301,"zanCount":1379,"manualWeight":48,"mainColor":94},218916,"feng-huang-wu-tong-tu-yang-da-zhang-218916","凤凰梧桐图","杨大章","设色画梧桐竹石，众鸟翔集。凤凰、白鹤、鸳鸯双栖其下，色彩鲜艳，呈现一片祥瑞之气。当时宫廷绘画喜好吉祥，本幅题材与画风即属此类。",[24,25,226,28,7,83,381,2265,60,176,34,1530,689,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff067e5de5237cf8c1c1b5a25bd6bdb9b.jpg","337.3x122.6cm",[90],{"id":12348,"slug":12349,"title":12350,"dynasty":302,"author":257,"museum":316,"description":12351,"tags":12352,"thumbUrl":12353,"material":599,"size":600,"collection":139,"collections":12354,"showCount":12355,"zanCount":2368,"manualWeight":48,"mainColor":49},290164,"mo-li-zhao-dao-ming-huang-xing-shu-tu-yi-ming-290164","摹李昭道明皇幸蜀图","此图可能为宋代摹本，但比较接近李思训、李昭道父子的画风，是反映唐代山水画面貌的重要传世作品。宋代苏轼对此图的艺术手法曾有过一段描写，从马的特征认出骑马的便是唐明皇李隆基。",[24,105,27,7,29,106,150,1049,1273,176,2954],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ddcfa9101a675f217a7063e8075a829.jpg",[],110,{"id":12357,"slug":12358,"title":954,"dynasty":76,"author":77,"museum":316,"description":955,"tags":12359,"thumbUrl":12361,"material":139,"size":139,"collection":139,"collections":12362,"showCount":12355,"zanCount":48,"manualWeight":48,"mainColor":94},233906,"hua-hui-shan-shui-ce-yun-shou-ping-233906",[24,320,81,82,7,212,1241,1273,722,265,12360],"落花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45310b0b5b6eed41b29e10791b123347.jpg",[],{"id":12364,"slug":12365,"title":12366,"dynasty":76,"author":2883,"museum":316,"description":12367,"tags":12368,"thumbUrl":12369,"material":139,"size":139,"collection":139,"collections":12370,"showCount":12355,"zanCount":2368,"manualWeight":48,"mainColor":49},228958,"lan-hua-yue-ji-tu-jiang-ting-xi-228958","兰花月季图","此作用笔兼工带写，右方湖石以水墨晕染，苍朴温润，月季柔枝缠石而上，粉花轻绽，翠叶扶疏，娇妍鲜活。左侧兰叶舒展有姿，柔韧挺拔，幽兰隐于草间，清寂出尘。\n\n设色淡雅克制，月季粉柔、兰叶苍绿与湖石墨色相互调和，把花木的柔媚与清逸平衡得当。搭配题诗，诗画映合，将春日幽隅的清雅小景晕染出温婉意趣，既得院体花鸟的细腻秀润，又饱含文人写意的疏朗书卷气，把草木闲情与文心雅意相融，尽显雅致幽隽的古典情致。",[23,194,24,25,226,7,28,631,629,176,11542],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b7b6a2a772a0f5b748d8b4c9f8b7624.jpg",[],{"id":12372,"slug":12373,"title":12374,"dynasty":76,"author":329,"museum":191,"description":12375,"tags":12376,"thumbUrl":12377,"material":40,"size":12378,"collection":90,"collections":12379,"showCount":12355,"zanCount":2368,"manualWeight":48,"mainColor":94},222778,"bai-gu-tu-lang-shi-ning-222778","白鹘图","乾隆十六年，郎世宁六十二岁作山涧里，一湾小瀑，松干横空而出，一白鹘踏枝上，似闻声惊起。画白鹘以白粉精细描绘，松石配景全然中国写意笔墨，清代白鹘图为大学士忠勇公傅恒所进。郎世宁六十二岁作。\n图中白鹘栖息于涧松之上,于传统画法中,参用光影透视,遂使画面突出于绢上 落款：乾隆十六年间五月初十日大学士忠勇公傅恒进百鹘一架，命海西臣郎世宁绘图。",[23,194,24,25,28,7,245,1273,176,1426,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa618ea27a0bd8af02383347a6e3a0f11.jpg","纵121.7×横64公分",[90,45],{"id":12381,"slug":12382,"title":12383,"dynasty":76,"author":12384,"museum":316,"description":12385,"tags":12386,"thumbUrl":12387,"material":67,"size":12388,"collection":139,"collections":12389,"showCount":12355,"zanCount":1379,"manualWeight":48,"mainColor":49},222701,"hua-hu-die-tu-jin-yao-222701","花蝴蝶图","金钥","此作用笔工致秀润，设色清雅柔和。灵石皴染朴拙，野卉自石畔抽茎挺生，淡紫碎花垂缀梢头，圆叶绿丛铺陈其下，野趣盎然。数只蛱蝶翅纹斑斓鲜活，或栖于花枝、或振翅翩跹，将蝶之灵动与花之柔婉相融无间。画面右上角题诗配字，笔墨隽秀，书画相映成趣，晕染出悠然闲适的文人情致。整体构图错落舒展，将郊野一隅的幽微生机勾勒动人，把小品花鸟的雅致意趣尽数铺陈，尽显清和隽永的审美意韵。",[23,24,25,226,28,7,83,484,62,264,263,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9952c196199673acf5700bc014e2bd29.jpg","30x75.",[],{"id":12391,"slug":12392,"title":12393,"dynasty":18,"author":1315,"museum":132,"description":12394,"tags":12395,"thumbUrl":12396,"material":123,"size":139,"collection":181,"collections":12397,"showCount":12355,"zanCount":2368,"manualWeight":48,"mainColor":49},219476,"lin-quan-gao-yi-tu-li-tang-219476","林泉高逸图","此作以苍古之笔写林泉幽居，虬松蟠曲如铁，山石以斧劈皴挥就，棱角硬朗，带着雄浑峭拔的山野之气。林间水雾暗生，衬出空山清寂。静坐松下的高士，衣纹简括悠然，侍立童子低眉敛目，一动一静，将林下雅逸的襟怀铺陈开来。\n笔墨老辣洗练，以浓淡墨色晕染出山林层次，把文人寄情丘壑、放意林泉的隐逸高致，融在萧寒清旷的景致之中，尽显静谧淡远的林下风流。",[24,25,194,29,106,353,1353,109,230,177,173,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7964575762451efa5aa4d3c00822997d.jpg",[181],{"id":12399,"slug":12400,"title":12401,"dynasty":18,"author":1033,"museum":78,"description":12402,"tags":12403,"thumbUrl":12404,"material":123,"size":12405,"collection":90,"collections":12406,"showCount":12355,"zanCount":48,"manualWeight":48,"mainColor":49},219281,"mei-zhu-han-qin-tu-lin-chun-219281","梅竹寒禽图","《梅竹寒禽图》在不满方尺的画面上截取梅竹支干的局部，表现了梅树的老硬和竹簧丛生的气势。画中有一寒莺栖立梅梢，处于此画的显著地位，禽鸟的刻划柔和。在技法上梅枝用笔苍劲，竹枝叶勾撇笔力坚挺，从而使整体画法显得刚柔相济。画上有楷书林椿题款，是为难得的宋代有款之迹。",[194,24,25,1260,83,28,7,820,227,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdab319fa906b174b4282f08d0d10130a.jpg","纵24.8厘米，横26.9厘米",[90],{"id":12408,"slug":12409,"title":12410,"dynasty":256,"author":12411,"museum":5488,"description":12412,"tags":12413,"thumbUrl":12414,"material":123,"size":12415,"collection":44,"collections":12416,"showCount":12355,"zanCount":1379,"manualWeight":48,"mainColor":2504},219237,"xu-kong-zang-pu-sa-xiang-ri-ben-yi-ming-219237","虚空蔵菩萨像","日本·佚名","画面沉敛的墨色里，虚空藏菩萨端坐莲台，面容温润如满月，双目微阖似含慈悲。头戴宝冠缀饰精巧，璎珞垂肩映出细碎华光，衣纹线条婉转如流云，金箔点缀处更显庄严雅致。身后多层背光暗红交织墨色，层层晕染如涟漪扩散，凝住神性的辉光。莲座花瓣层叠纹理细腻，承托坐姿安稳如山。整幅作品以凝练笔触勾勒庄严法相，每一处细节都藏着对神性的敬畏与美的追求，凝视间仿佛能触到心灵的沉静，感知那怀纳无尽智慧与福德的力量，让浮躁心绪在这古典的静谧里慢慢沉淀。",[23,260,28,7,106,7701],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d15498dcc5a053db8d3797f3b59f65f.jpg","132.0×84.4",[44],{"id":12418,"slug":12419,"title":12420,"dynasty":18,"author":257,"museum":191,"description":12421,"tags":12422,"thumbUrl":12424,"material":123,"size":12425,"collection":44,"collections":12426,"showCount":12355,"zanCount":1379,"manualWeight":48,"mainColor":49},219215,"qi-xi-qi-qiao-tu-yi-ming-219215","七夕乞巧图","该画以赵构历史故事为题材，反映了北宋和南宋之间的政治形势，是一幅重要的历史画卷",[24,25,26,28,7,104,106,175,107,34,176,115,278,1010,12423,9231,11176,3712],"坐具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a58d9388e985a9f6a1f3b8c8fc737cb.jpg","29.6x149.2厘米",[44],{"id":12428,"slug":12429,"title":12430,"dynasty":76,"author":375,"museum":442,"description":12431,"tags":12432,"thumbUrl":12433,"material":123,"size":12434,"collection":90,"collections":12435,"showCount":12355,"zanCount":1379,"manualWeight":48,"mainColor":49},219043,"que-tu-tu-shen-quan-219043","鹊兔图","画面上是初春的小河，凉风习习，梅花和茶花盛开，三只野兔和三只鸟已经感受到春天的气息，出来觅食和活动。这幅画的风格与沈铨的风格不同，尤其是画的野草和流水，与沈铨的美术风格不一致，这幅画不是沈铨的作品。",[23,24,7,28,83,746,2181,245,820,378,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c22d6c57cb0a16f7d500ffac33a3533.jpg","纵140横63.8厘米",[90],{"id":12437,"slug":12438,"title":12439,"dynasty":76,"author":563,"museum":495,"description":12440,"tags":12441,"thumbUrl":12442,"material":88,"size":12443,"collection":90,"collections":12444,"showCount":12355,"zanCount":1379,"manualWeight":48,"mainColor":49},218733,"mei-zhu-chun-yin-tu-hua-yan-218733","梅竹春音图","这幅画描绘了一块形状奇特的湖石，靠着湖石生长的翠竹棚，枝条修长，叶子翠绿繁茂，枝头上有两只鸟儿相望；一枝梅花从上往下画，枝头上的花朵灿烂开放，枝头上的鸟儿张着嘴叫，尾巴上的羽毛色彩斑斓，十分可爱。",[23,24,25,226,7,28,498,820,227,209,83,230,212,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b3608b75058516a170e9b3e032d2de3.jpg","132.5×45.5cm",[90],{"id":12446,"slug":12447,"title":12448,"dynasty":18,"author":1350,"museum":132,"description":12449,"tags":12450,"thumbUrl":12453,"material":123,"size":12454,"collection":181,"collections":12455,"showCount":12355,"zanCount":1003,"manualWeight":48,"mainColor":49},218579,"ye-chuan-dai-du-tu-ma-yuan-218579","野川待渡图","烟波浩渺的水面上，淡墨晕染的远山若隐若现，与空濛的天际相融，漾开无尽悠远。近岸林木苍劲，枝干盘曲如虬，浓墨点染的叶丛间透着生机。岸边人影错落，或伫立待渡，或舟中轻楫，动静相宜间，藏着几分江南水乡的日常意趣。画面以边角构图见阔远，留白处藏万千思绪，将清寂与悠远凝于绢素，尽显宋人山水的空灵之境，仿佛能闻得水面风吟，见得旅人归心。",[194,24,25,173,7,177,12451,29,31,106,174,34,1169,686,12452,10209],"边角山水","渡口","ht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"showCount":12573,"zanCount":48,"manualWeight":48,"mainColor":94},235422,"zi-teng-tu-zhou-wu-chang-shuo-235422","紫藤图轴","《吴昌硕紫藤图轴》是清代画家吴昌硕创作的一幅金笺设色画。\n此图是195年吴昌硕62岁作，为花卉四条屏之末条。\n款：“乙巳（195年）八月八日，安吉吴俊卿拟十三峰草堂”。\n钤“吴俊之印”。\n绘藤叶凌空倚势，宛若龙翔凤舞。\n藤条盘绕回曲，缠石数重。\n作者娴熟地运用狂草般的笔法，飞动迅疾，一气呵成。\n同时，此画画气不画形，追求书法中气贯神通的审美意趣。\n正如他自言：“草书作葡萄，笔动走蛟龙”，又言：“临抚石鼓琅玡笔，戏为幽兰一写真”等。\n这种以书入画的画风别开蹊经，对近现代中国画的创作有着深远的影响。\n此外，该图施墨浑厚沉稳而又淋漓酣畅，构图不拘陈法，巧于设陈布势。\n挥洒之中妙趣横生，生动的笔墨赋予紫藤生机勃勃，其显现出的画境充分地印证了本幅题画诗：“繁英垂紫玉，条系好春光。\n岁岁花长好，飘（飘）满画堂。\n”的诗境。\n吴昌硕（1844-1927年），原名俊，字俊卿，后更字昌硕，号仓石、苦铁、缶庐等。\n浙江省安吉人，出身书香门第，祖父和父亲都是举人，均作过官。\n吴昌硕在诗文、书法、篆刻等方面也都有很高成就，著有诗文集、印谱，后人刊印的他的印集、画谱、书画作品集也很丰富，其诗书画印都成为世留宝贵的文化遗产。",[24,226,83,173,7,498,12593,1353,553,12594,554],"篆书笔意","紫藤花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00e30e37665bc4c94708ab11ee2ac7b4.jpg",[],{"id":12598,"slug":12599,"title":893,"dynasty":302,"author":7943,"museum":101,"description":12600,"tags":12601,"thumbUrl":12602,"material":67,"size":12603,"collection":139,"collections":12604,"showCount":12573,"zanCount":918,"manualWeight":48,"mainColor":49},232772,"bai-hua-tu-juan-wang-yuan-232772","王渊，生卒年不详，元代画家。字若水，号澹轩，一号虎林逸士，钱塘（今浙江杭州）人。\n幼习丹青，赵孟頫多指教之，故所画皆师古人，无一笔院体。山水师郭熙，花鸟画师承后蜀黄筌，先勾勒后皴染水墨，浓淡深浅，极有韵致，得写生之妙，时称“绝艺”。\n人物师唐人吴道子，一一精妙，注重线条勾勒，不讲究墨彩渲染，史称“有笔而无墨”，自成风韵。尤精墨花鸟竹石，当代绝艺。天机溢发，肖古而不泥古。",[23,194,24,26,7,28,83,292,634,896,662,898,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28c480c150ed6fe88a7f552eddcaa50d.jpg","32.1x 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。\n此图中绘体态雍容华丽的 、娇小素净的 等 15只和 1只，或平展双翼，或振翅飞舞，在明媚的春光下宛若俏丽的花团漫天绽放，形象生动地体现出“蝶戏”的创作主题。\n《宋李安忠晴春蝶戏图》本幅无款识。\n钤半印一方，印文模糊不辨。\n原载《四朝选藻图》册，旧签题“ 作”。\n裱边钤“ ”、“ ”。\n对幅有清乾隆御题七言诗一首：“蝡肖翘高复低，春园风物已昌兮。\n宣和画院曾经试，何未明拈逐马蹄”。\n钤“八征耄念之宝”、“自强不息” 等印。\n在蜂、蝶的塑造上，勾勒与渲染浑然一体，先以极细而淡的线条勾勒轮廓，然后再“随类赋彩”，或以粉白、土黄多层积色，或在墨线中填重彩，晕染工细而色泽丰富，展现出蛱蝶翅翼的绚烂之美。\n李安忠，生卒年不详，南宋画家，钱塘人。\n宋徽宗宣和年间为画院祗候，授成忠郎，南渡后绍兴年间复职。\n工花鸟走兽，尤长于“捉勒”（鹰鹘之类），得其搏攫惊避之状。\n传世作品有《晴春蝶戏图》《鹑图》等。",[23,194,24,25,1260,28,7,83,484,212,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf555e4c587bc0c91770957ec2a1b1b4.jpg",[],{"id":12622,"slug":12623,"title":12624,"dynasty":76,"author":6776,"museum":608,"description":12625,"tags":12626,"thumbUrl":12628,"material":88,"size":12629,"collection":44,"collections":12630,"showCount":12573,"zanCount":2368,"manualWeight":48,"mainColor":94},220140,"shi-nv-xi-ying-tu-juan-ding-guan-peng-220140","仕女戏婴图卷","丁观鹏，生卒年不详（生于康熙晚期，约卒于乾隆三十五年（1770年）以后），清代画家，艺术活动于康熙末期至乾隆中期，顺天（今北京）人。丁观鹏雍正四年（1726）进入宫廷成为供奉画家，他擅长画人物、道释、山水，亦能作肖像，画风工整细致，受到欧洲绘画的影响，其弟丁观鹤同时供奉内廷。",[23,28,7,26,212,106,59,4874,409,12627,912],"羽扇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff310295ea2961dee759cc9fec13486b2.jpg","24.64*167.48厘米",[44],{"id":12632,"slug":12633,"title":12634,"dynasty":76,"author":12635,"museum":8208,"description":12636,"tags":12637,"thumbUrl":12638,"material":88,"size":12639,"collection":181,"collections":12640,"showCount":12573,"zanCount":48,"manualWeight":48,"mainColor":94},219932,"fang-wen-zheng-ming-shan-shui-tu-gu-yun-219932","仿文徵明山水图","顾澐","顾澐（1835-1896），字若波，号云壶、壶翁，以字行。吴县（今属江苏苏州）人。工山水，泽古功深，汇四王、吴、恽诸家之长。清丽疏古，气韵秀出，间作花卉、人物，近于新罗。光绪十四年（1888）游日本，遍览东京诸胜，所画一树一石皆备受赞赏。长期鬻画沪上。出版有《顾若波山水集册》。",[23,24,25,194,226,7,27,177,29,1273,108,106,35,176,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6067fbcb05b4099e0dad02acc22a97e5.jpg","123.2x37.3厘米",[181],{"id":12642,"slug":12643,"title":12644,"dynasty":76,"author":77,"museum":78,"description":12645,"tags":12646,"thumbUrl":12647,"material":123,"size":1885,"collection":139,"collections":12648,"showCount":12573,"zanCount":1379,"manualWeight":48,"mainColor":94},219819,"hua-hui-shi-kai-4-yun-shou-ping-219819","花卉十开-4","此作以没骨法绘就杜鹃，枝桠舒展错落，艳红杜鹃次第绽放在绢素之上。花瓣以色晕染，从浓烈朱红渐过渡到柔粉，边缘轻透灵动，将盛放时的娇柔鲜活尽数呈现。叶片敷色层次分明，苍嫩绿意与丹红花瓣相映，鲜活雅致。\n右上角题诗与绘面呼应，诗画交融，将杜鹃含露待放的山野清灵勾勒入心。整作不用墨骨，纯以色彩塑形晕染，尽显清雅文人意趣，把春日杜鹃的生机定格，静谧间满溢草木蓬勃灵气，藏着笔下花木写意的雅致情致。",[24,25,81,7,82,83,84,3741,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd845887bc2884d5aced37e1e46e150a4.jpg",[],{"id":12650,"slug":12651,"title":12652,"dynasty":99,"author":1196,"museum":442,"description":12653,"tags":12654,"thumbUrl":12655,"material":123,"size":12656,"collection":44,"collections":12657,"showCount":12573,"zanCount":2368,"manualWeight":48,"mainColor":49},219791,"xian-shan-ji-xue-tu-wei-tang-yin-219791","仙山积雪图(伪)","以淡赭晕染层叠雪山，留白造境尽显雪域寥廓空寂。红衣胡商与褐驼形成鲜亮色彩反差，醒目亮眼。人物虬髯胡服，牵驼徐行，骆驼憨拙生动，抬蹄缓移，将塞外羁旅的苦寒苍茫尽显笔底。\n\n线条简括写意，舍弃繁复皴擦，以极简色调烘托荒寒辽远的异域氛围，写意间藏质朴厚重，把行者的孤寂与天地的浩渺相融，淡远清旷，尽显萧瑟冷寂的雪域行旅意趣。",[23,24,226,7,106,746,29,245,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd0633bdf79276409a6fb09df39c2199.jpg","纵109.9、横38.9厘米",[44],{"id":12659,"slug":12660,"title":12661,"dynasty":18,"author":391,"museum":191,"description":12662,"tags":12663,"thumbUrl":12664,"material":123,"size":12665,"collection":90,"collections":12666,"showCount":12573,"zanCount":48,"manualWeight":48,"mainColor":49},219243,"la-mei-shan-qin-tu-zhao-ji-219243","蜡梅山禽图","画中有蜡梅一枝，自右下方向左上方挺生，枝细瘦，却用双线勾成，并略加晕染，勾出结节。蜡梅花用勾线填色法画成，疏朗地缀于枝头。一对白头翁安逸地栖于枝上，形态各异，用笔精炼准确，形象生动。",[23,24,25,226,28,7,83,820,1530,898,212,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e78e323c8fc6210fddf024e14353a71.jpg","纵83.3横53.3厘米",[90,42,45],{"id":12668,"slug":12669,"title":12670,"dynasty":18,"author":1350,"museum":12671,"description":12672,"tags":12673,"thumbUrl":12674,"material":123,"size":12675,"collection":90,"collections":12676,"showCount":12573,"zanCount":1379,"manualWeight":48,"mainColor":2504},218913,"mei-shi-tu-ma-yuan-218913","梅石图","伯克利艺术博物馆","这幅画描绘了一棵老梅树从深谷野塘边的一块巨大岩石中探出头来，一只野凫藏在水草中。岩石的凿刻和梅树的拖曳枝条都是马远的绘画风格。",[23,194,24,25,173,7,29,820,230,1353,353,28,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2985d0d4a51d33cf93ad74d8c4c3a87b.jpg","横46.99纵80.01cm",[90,181],{"id":12678,"slug":12679,"title":10553,"dynasty":18,"author":12680,"museum":5827,"description":12681,"tags":12682,"thumbUrl":12683,"material":123,"size":12684,"collection":42,"collections":12685,"showCount":12573,"zanCount":48,"manualWeight":48,"mainColor":94},218643,"yue-xia-yu-she-tu-gu-liang-218643","顾亮","皎洁的月光下，三艘渔船停泊在湖岸的左右两边，右边船上的渔民坐在船中央仰望天空，岸边的树木郁郁葱葱，一间小屋躺在树下，四周有围栏，这里安静祥和。",[23,24,194,25,29,7,265,796,174,353,176,109,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21bd989e6eda292aac4a6ea806d7f79a.jpg","25.7x25.4",[42],{"id":12687,"slug":12688,"title":12689,"dynasty":76,"author":12690,"museum":191,"description":12691,"tags":12692,"thumbUrl":12693,"material":88,"size":12694,"collection":181,"collections":12695,"showCount":12573,"zanCount":48,"manualWeight":48,"mainColor":94},214537,"wu-she-jie-han-tu-yu-sheng-214537","无射戒寒图","余省","这幅画描绘的是九月初九在福海北岸的高阁上游乐的场景，其实高阁只有三四米高，远没有画面上的那么陡峭，所谓的 升天 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字和庵。天津人。师从孟绣村，多才多艺，通晓西洋照相技法和诗文书画，尤擅写生，画花鸟，并吸收郎世宁西洋画法，开一代画坛新风，自成一派。其作品传世甚少，尤为宝贵。藏于天津市艺术博物馆的《石榴花》，色彩浓艳，风姿绝伦，堪称珍品。其弟子陆文郁等人也在画坛名噪一时。",[24,25,1260,7,28,83,1261,210,1187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4c0b8090cb60efc3ac11e58b2f23728.jpg",[],{"id":12729,"slug":12730,"title":12731,"dynasty":54,"author":12732,"museum":316,"description":12733,"tags":12734,"thumbUrl":12735,"material":67,"size":12736,"collection":139,"collections":12737,"showCount":12704,"zanCount":2368,"manualWeight":48,"mainColor":2504},232270,"luo-han-tu-zhou-wu-dao-zi-232270","罗汉图轴","吴道子","吴道子又名道玄，被后人称为“画圣”，开元年间以善画被召入宫廷，擅佛道、神鬼、人物、山水、鸟兽、草木、楼阁等，尤精于佛道、人物，长于壁画创作。存世作品有《送子天王图》，《八十七神仙卷》，《罗汉图立轴》等。",[23,194,24,25,226,260,106,352,7,378,686],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce47e1d86e72735b929b272c4c741b4c.jpg","148.4x76.6厘米",[],{"id":12739,"slug":12740,"title":12741,"dynasty":256,"author":9588,"museum":12742,"description":12743,"tags":12744,"thumbUrl":12746,"material":12747,"size":12748,"collection":139,"collections":12749,"showCount":12704,"zanCount":48,"manualWeight":48,"mainColor":2504},231574,"mu-dan-he-jin-si-que-ge-shi-bei-zhai-231574","牡丹和金丝雀","美国国会图书馆","这幅《牡丹和金丝雀》就是十分典型的葛饰北斋晚期花鸟画。 画面以亮丽的深蓝色为背景，前面是四朵开放得十分热烈的粉色牡丹，中间的花蕊灵动嫩白，在周围绿色的花叶衬托下显得更加娇妍欲滴。葛饰北斋将俯冲向牡丹的金丝雀画在了中央。金丝雀张开双翅，羽翼丰满光滑，富有活力，与平日养在精美鸟笼中的金丝雀截然不同。\n葛饰北斋一直被称为日本美术史上最奇特、最有才气的画家之一。他自称“画狂人”，一生留下了大量的作品，创作一直持续到他90岁去世时的前三个月。他的才能不仅在人们熟悉的风景画领域，在读本插图、花鸟画，甚至《百物语》这种妖怪画等领域都有崭新的表现。他的很多画作都令人耳目一新，深受江户市民的欢迎。",[23,12745,4006,7,83,292,245],"浮世绘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3363479890ca007e42afefe258fccd82.jpg","布面油画","19.2 x 17.4 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一股“我闺女棒棒哒”的自豪溢出来了～\n蒋淑（生卒年不详），清代杰出女性画家，从其画作上判断她大致生活于清康熙至雍正年间，字又文，江苏常熟人。蒋廷锡女，华亭王敬妻。其父蒋廷锡官至大学士，闲暇之余以逸笔作写生花卉，机趣天然。蒋淑自幼秉承家教，亦以擅绘花鸟著称。",[24,25,81,7,105,83,579,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e08f4453ea59c906d1aecbc008de815.jpg",[90],{"id":12883,"slug":12884,"title":12885,"dynasty":18,"author":2244,"museum":12886,"description":12887,"tags":12888,"thumbUrl":12889,"material":638,"size":12890,"collection":139,"collections":12891,"showCount":165,"zanCount":1379,"manualWeight":48,"mainColor":49},232874,"pan-tao-qing-niao-tu-juan-li-di-232874","蟠桃青鸟图卷","美国弗瑞尔美术馆","此幅重色画蟠桃青鸟，用笔应物象形，禽鸟造形精确，蟠桃用没骨画法，枝叶安排妥帖，整体观之，明代宫廷画家所作的可能性大一些。 李迪，生卒年不详。",[23,194,24,25,26,28,7,83,567,245,34,569],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e9c8c8a18311cb4fc28befe1cd47b8a.jpg","38.3x193.2cm",[],{"id":12893,"slug":12894,"title":4024,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":12895,"thumbUrl":12897,"material":599,"size":600,"collection":139,"collections":12898,"showCount":165,"zanCount":1379,"manualWeight":48,"mainColor":49},226287,"ku-zhu-shi-zao-jing-yi-ming-226287",[511,260,7,1488,6228,5884,12896,6767],"花卉纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff963ad1c51eaf236514c19ad97825a22.jpg",[],{"id":12900,"slug":12901,"title":11764,"dynasty":18,"author":1599,"museum":11965,"description":12902,"tags":12903,"thumbUrl":12904,"material":529,"size":12905,"collection":42,"collections":12906,"showCount":165,"zanCount":48,"manualWeight":48,"mainColor":49},223667,"xue-shan-xing-lv-tu-liu-song-nian-223667","《雪山行旅图》山势苍莽，白雪皑皑，映衬秋霜红叶丛树，分外妖娆。林中房舍隐现，桥横岸渚，山重水回，一舟泊于岸边。行旅者踏雪而行。全画用笔工细，人物面貌高古，神态刻画入微。房舍以界画笔法，工整严谨。作者巧妙地将山水和人物有机地融为一体。画面左侧下端右上署有“刘松年画”四字款。原为张大千收藏。刘松年传世作品极少，从该画可以窥见其善画山水人物的风貌。",[23,24,194,25,226,173,7,29,2724,176,795,108,109,1049,177,28,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F513fc8700efc5270d65c3050a193f2d5.jpg","纵160厘米，横99.5厘米",[42,181],{"id":12908,"slug":12909,"title":7361,"dynasty":18,"author":257,"museum":101,"description":12910,"tags":12911,"thumbUrl":12912,"material":12913,"size":12914,"collection":42,"collections":12915,"showCount":165,"zanCount":2368,"manualWeight":48,"mainColor":49},223647,"guan-pu-tu-yi-ming-223647","图中危崖耸立，瀑布垂挂直落谷底，水雾弥漫。雅士于园林一角。凭栏观飞泉，神态怡然陶醉，超然清逸之趣溢于画外。 山石全以斧劈皴出之，描绘树木勾点并用。整幅图有峻峭秀逸之气。",[23,24,25,3559,7,177,176,1426,175,1273,109,407,353,108],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2237080d6dc050c086dee19035000720.jpg","水墨，淡设色","纵178厘米，横104厘米",[42,181],{"id":12917,"slug":12918,"title":12919,"dynasty":76,"author":329,"museum":12920,"description":12921,"tags":12922,"thumbUrl":12923,"material":529,"size":12924,"collection":90,"collections":12925,"showCount":165,"zanCount":2368,"manualWeight":48,"mainColor":49},222774,"liu-yin-shuang-jun-tu-lang-shi-ning-222774","柳荫双骏图","镇江市博物馆","《柳荫双骏图》卷绘两匹马一立一卧，一棵老柳树，斜在背景中，马匹及树木均画出了明暗和凹凸，强调物象的质感和立体感。郎世宁书款中不署“臣”字，显然该作品不是为皇帝画的，受画者应当是某位有着亲王或郡王身份的满洲贵族。",[23,194,24,25,28,7,150,2532,353,686,912,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b142639faf49024649f5fe7e4a3f35c.jpg","横62厘米，纵115.1厘米",[90,45],{"id":12927,"slug":12928,"title":12929,"dynasty":76,"author":329,"museum":191,"description":1518,"tags":12930,"thumbUrl":12932,"material":7,"size":1521,"collection":139,"collections":12933,"showCount":165,"zanCount":48,"manualWeight":48,"mainColor":94},222753,"xian-e-chang-chun-tu-08a-ji-guan-hua-lang-shi-ning-222753","仙萼长春图-08a（鸡冠花）",[23,320,24,25,83,28,7,12931,230,554,553],"鸡冠花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2dcd6f6155e0f1e2f0398d2738fe5f5a.jpg",[],{"id":12935,"slug":12936,"title":12937,"dynasty":76,"author":329,"museum":191,"description":1518,"tags":12938,"thumbUrl":12939,"material":7,"size":1521,"collection":139,"collections":12940,"showCount":165,"zanCount":2368,"manualWeight":48,"mainColor":94},222741,"xian-e-chang-chun-tu-02a-shao-yao-lang-shi-ning-222741","仙萼长春图-02a（芍药）",[23,24,194,28,7,83,899,62,783,211,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0c91a3aea82e716ab6aa9b460afb178.jpg",[],{"id":12942,"slug":12943,"title":12944,"dynasty":99,"author":100,"museum":20,"description":12945,"tags":12946,"thumbUrl":12948,"material":40,"size":12949,"collection":181,"collections":12950,"showCount":165,"zanCount":1003,"manualWeight":48,"mainColor":49},222185,"lin-xi-shui-ge-tu-chou-ying-222185","临溪水阁图","仇英“初为漆工，兼为人彩绘栋宇，后徙而业画，工人物楼阁。”或许是出身的关系，其笔下的楼阁多用界笔，刻画精工，但与纯界画不同的是，仇英的绘画技艺同时受到职业画师和文人画家的双重影响。此幅亦是将文人山水与界笔水阁巧妙结合的作品，追求含蓄蕴藉的格调，着意塑造文人高士所欣赏的艺术形象。",[23,24,7,28,29,105,12947,109,1273,176,1426,106,808],"水阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d90792ff94d1f0e49ced0c4da982ca0.jpg","纵41.1厘米，横33.8厘米",[181,45],{"id":12952,"slug":12953,"title":12954,"dynasty":18,"author":1350,"museum":1577,"description":12955,"tags":12956,"thumbUrl":12958,"material":6393,"size":12959,"collection":42,"collections":12960,"showCount":165,"zanCount":48,"manualWeight":48,"mainColor":49},221667,"dong-shan-du-shui-tu-ma-yuan-221667","洞山渡水图","为宋代画家马远绘制。描绘的是曹洞宗祖师洞山良价在云游途中，涉水之时见到自己水中之影而恍然大悟的一刹那，是为数不多的马远的真迹之一。原藏于圆明园，1860年火烧圆明园后被掠夺并流失海外，现收藏于日本东京国立博物馆。图上有南宋皇帝宋理宗的皇后杨妹子之题字。款识：携藤拔草胆风，未免登山涉水，不知触处皆渠，一见低头自喜。本与天龙寺所藏的云门大师图、清凉法眼禅师图同为描绘禅宗法师的画作之一。",[23,194,24,25,226,173,7,106,29,109,230,12957,177,178,212],"藤杖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e95161b48bfccbab4bee9ff42ba247b.jpg","纵77.6厘米，横33厘米",[42,181],{"id":12962,"slug":12963,"title":12964,"dynasty":18,"author":1350,"museum":191,"description":12965,"tags":12966,"thumbUrl":12967,"material":7,"size":12968,"collection":42,"collections":12969,"showCount":165,"zanCount":48,"manualWeight":48,"mainColor":49},221533,"hua-xue-jing-zhou-ma-yuan-221533","画雪景轴","由于崇庆皇太后年事已高，这是乾隆皇帝最后一次奉母南巡。题诗语及‘旅客’、‘渔翁’，显示乾隆皇帝除了豪华宅邸中赏梅的文士，也注意到披蓑负篓、赤足而行的渔夫，以及骑马朝青旗酒馆前去的旅人。画中撑伞的行者，暗示着山间仍垂降雨雪，故有‘六花飘未止’之句。乾隆皇帝对这幅雪景山水的评价甚高，认为是南宋马远（活动于1190 —1224）真迹，然由其笔墨、构图研判，更近于明中期浙派画家王谔。",[23,24,25,226,28,177,7,29,2562,175,1133,150,106,108,1426,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f2774f7c6b0224e9363e78bd08e4160.jpg","纵163.3cm，横82.4cm",[42,181,45],{"id":12971,"slug":12972,"title":629,"dynasty":869,"author":4525,"museum":6047,"description":12973,"tags":12974,"thumbUrl":12975,"material":139,"size":139,"collection":139,"collections":12976,"showCount":165,"zanCount":1379,"manualWeight":48,"mainColor":94},220524,"yue-ji-xu-bei-hong-220524","以浅赭绢底烘托素白月季，花瓣以淡彩轻晕，层层叠叠如凝霜含露，将白花柔润清雅的质感尽数铺展。枝蔓棘刺历历分明，叶片以浓淡墨色晕染，苍劲中带着鲜活生机。笔意兼用工写，将写实的鲜活感融入传统花鸟笔墨，褪去浓艳，独留清隽格调，把月季素净温婉却坚韧的姿态勾勒入微。淡远沉静的底色里，花木如携晚风朝露，灵秀雅致中暗涌生命张力，打破程式化的花鸟范式，尽显温婉又坚韧的雅致意趣。",[24,28,7,629,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9ac48078259be0067175805c7578624.jpg",[],{"id":12978,"slug":12979,"title":12980,"dynasty":302,"author":2603,"museum":101,"description":12981,"tags":12982,"thumbUrl":12983,"material":88,"size":12984,"collection":181,"collections":12985,"showCount":165,"zanCount":2368,"manualWeight":48,"mainColor":49},220427,"su-an-tu-wang-meng-220427","素庵图","作品布局层峦耸峙，岭头山体突兀而拙实，不为奇巧。近坡老松相映，林间草堂呈“四合院”状。全图气象峥嵘，突现山脚下的草堂。此图为精致优雅的浅绛山水画，明净苍秀，在王蒙轴幅作品中较少见。其妙处在两崖逼而为瀑，瀑泉由上而下，长短相间，气贯全幅。\n此图石法用云头皴，不同于《春山读书图》用单纯的解索皴法，也不同于《青卞隐居图》之融数家皴法于一体。黄宾虹评其“笔力劲利而无怒张之态，墨气酣厚而无痴肥之病”，幽深高淡之趣流露于画面之外。观此秋景，又使人联想到吴渔山所说的王蒙浅绛山水“霜红林密，笔笔生动”的特色。王蒙秋景画法较大痴浅绛用色偏重，其近景树干用朱砂点苔，为其他着色山水所未见，另有一番典雅清新别致的审美效果。图中人物及小鹿、仙鹤，造型虽小，皆笔简形具，耐人寻味。图上以小篆题“素庵图”三字，后两行署“黄鹤山樵王蒙为素庵高士画”，笔致雅拙，趣味高古，与画面形成相得益彰的艺术效果。",[23,24,25,194,226,173,7,29,107,109,34,176,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a2c770848d5adacc5affe77c66ce6a4.jpg","纵136cm，横45cm",[181,45],{"id":12987,"slug":12988,"title":12989,"dynasty":99,"author":257,"museum":442,"description":12990,"tags":12991,"thumbUrl":12992,"material":123,"size":12993,"collection":44,"collections":12994,"showCount":165,"zanCount":2368,"manualWeight":48,"mainColor":49},219569,"xian-nv-feng-huang-tu-yi-ming-219569","仙女凤凰图","仕女身姿柔婉，高髻簪饰，曳地长裙衣带萦回，袂角随风轻扬，仪态娴静端雅，尽是闺秀仙姿。身旁凤凰翎毛苍劲蓬松，写意笔法朴拙大气，与仕女衣纹的细劲铁线描相映成趣。浅淡设色融于古旧绢底，晕染出幽渺古雅的氛围感，仙姝伴灵禽，似正欲乘鸾凌云，缥缈出尘。\n\n笔墨兼具工写之妙，仕女沉静柔婉，凤凰灵动苍健，动静相生，将世外仙乡的清隽逸气凝于尺幅之间，尽显雅致出尘的古典意韵。",[23,24,25,352,7,106,381,226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5aad1fb6eda19289875db3f46e21ef8.jpg","146.8x94.5厘米",[44],{"id":12996,"slug":12997,"title":12998,"dynasty":189,"author":2083,"museum":442,"description":12999,"tags":13000,"thumbUrl":13001,"material":123,"size":139,"collection":90,"collections":13002,"showCount":165,"zanCount":1379,"manualWeight":48,"mainColor":49},219025,"ban-jiu-tu-huang-quan-219025","斑鸠图","画的是一棵顶部断裂的枯树干，一只鸽子站在树干上，蓬松的羽毛中夹杂着白色的毛发，盯着树根处发芽的树枝，绿叶红花。",[23,194,24,25,81,28,7,83,245,209,62,210,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a51e04c34bcf36d6653aa90ca568823.jpg",[90],{"id":13004,"slug":13005,"title":13006,"dynasty":76,"author":2883,"museum":191,"description":13007,"tags":13008,"thumbUrl":13010,"material":123,"size":13011,"collection":90,"collections":13012,"showCount":165,"zanCount":2368,"manualWeight":48,"mainColor":49},218778,"si-rui-qing-deng-tu-jiang-ting-xi-218778","四瑞庆登图","蒋廷锡（西元一六六九－一七三二年），江苏常熟人。字扬孙，号酉君，又号西谷。官至文华殿大学士，工画花卉草虫，以逸笔写生，没骨花鸟画继承恽寿平风格。\n画两棵高梁结满穗粒，并点缀有白头翁、菊花和泉石。画法承恽氏之风，虽用笔工致，但不板滞，兼有写生之趣。此时蒋氏五十五岁，调任礼部侍郎，同年又调任户部。蒋氏鲜少在画上落款处加官职，此图以端正楷书写上礼部右侍郎等字，应是应制之作。而四瑞写各种祥瑞事物，应是称颂雍正皇帝继承帝位是顺天应民之意。",[24,7,28,83,226,209,245,13009,263,630,212],"高粱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff73b7e62a8dadfcb098962fa2d8a6e8a.jpg","185.2x87.2cm",[90],{"id":13014,"slug":13015,"title":13016,"dynasty":18,"author":7833,"museum":132,"description":13017,"tags":13018,"thumbUrl":13019,"material":88,"size":139,"collection":44,"collections":13020,"showCount":165,"zanCount":48,"manualWeight":48,"mainColor":49},218541,"zhong-xing-rui-ying-tu-chen-ju-zhong-218541","中兴瑞应图","苍莽绢素间，人马奔涌如沸，旌旗翻卷似火，甲胄冷光与衣袍艳色在青绿底色上跃动。左侧群鸟振翅惊飞，羽翼划破暮霭；右侧峭岩劲松静立，与奔涌的动势形成奇妙张力。笔锋细腻处，鞍马筋肉、人物神情历历可辨；设色古朴中，山水悠远衬出叙事沉厚。奔突的队列藏着热望，翻飞的翎羽似携吉兆，将历史壮阔与人心祈盼凝作绢上流转的光影——每一处细节都在诉说那段岁月里，对“中兴”的期盼与激昂，让沉厚的过往在笔墨间鲜活如初。",[24,28,7,106,150,245,29,34,3982],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa0604cba49667b67c7ec636b0895bcd.jpg",[44,45],{"id":13022,"slug":13023,"title":6016,"dynasty":18,"author":257,"museum":132,"description":13024,"tags":13025,"thumbUrl":13026,"material":123,"size":13027,"collection":181,"collections":13028,"showCount":165,"zanCount":1003,"manualWeight":48,"mainColor":49},217066,"chun-shan-xing-lv-tu-yi-ming-217066","春山行旅图是宋朝（960-1279年）佚名的一幅山水画作品。这幅画描绘了一位旅人在春天游览山水的景象。画面中的景色十分优美，充满了生机和活力。画中的山峰高耸，水流清澈，树木茂密，空气清新。整幅画浓烈的山水意境，清新自然的画风，使得这幅画在当时颇受欢迎，被认为是一幅杰出的艺术作品。",[24,25,3559,177,7,685,34,108,107,176,106,109,353],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24ab87eb107c3ff0a2caa7861e5582bd.jpg","104x51cm",[181],{"id":13030,"slug":13031,"title":13032,"dynasty":189,"author":2083,"museum":2754,"description":13033,"tags":13034,"thumbUrl":13035,"material":123,"size":13036,"collection":90,"collections":13037,"showCount":165,"zanCount":2368,"manualWeight":48,"mainColor":49},216746,"xie-sheng-yuan-yang-tu-huang-quan-216746","写生鸳鸯图","画面描绘了一棵古老的梅花树，枝干粗壮，梅花枝条细长，树下有一丛绿竹；右下方是一对羽毛鲜艳的鸳鸯，一只蹲在地上，扭曲的头和嘴藏在羽毛中。",[24,25,1260,28,7,83,2014,353,7428,820],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78b5310b6859685fde5b35c131cf676e.jpg","23.6x24.2cm",[90],{"id":13039,"slug":13040,"title":13041,"dynasty":99,"author":257,"museum":316,"description":6765,"tags":13042,"thumbUrl":13043,"material":599,"size":600,"collection":139,"collections":13044,"showCount":13045,"zanCount":2368,"manualWeight":48,"mainColor":2504},287649,"shui-yue-guan-yin-zuo-xiang-wu-se-cha-ban-yi-ming-287649","水月观音坐像（无色差版）",[23,24,25,260,7,28,106,1487,261,2479],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3b48459cb8a2b78d98dd220d80ef855.jpg",[],105,{"id":13047,"slug":13048,"title":13049,"dynasty":99,"author":2189,"museum":316,"description":13050,"tags":13051,"thumbUrl":13052,"material":599,"size":600,"collection":139,"collections":13053,"showCount":13045,"zanCount":1003,"manualWeight":48,"mainColor":94},235799,"mu-dan-shan-chen-chun-235799","牡丹扇","陈淳（1483年—1544年），字道复，后以字行，更字复甫，号白阳，又号白阳山人，长洲（今江苏苏州）人，明代绘画大师。\n陈淳少年作画以元人为法，深受水墨写意的影响。他的写生画，一花半叶，淡墨欹毫，自有疏斜历乱之致。他的有些作品，所画质朴，可以看出受沈周画法的影响， 从他现存作品中即可见风格和用笔，既能放得开，又能收得住。他能诗文，擅书法，尤精绘画。陈淳与徐渭并称白阳、青藤。陈氏少年作画工细，中年后笔法放纵，自立门户。陈淳从师文徵明，在其门下声誉最高。擅长写意花卉，其作品虽表现一花半叶，却淋漓疏爽，深受当时文人士大夫的赞赏；他是继沈周、唐寅之后对水墨写意花鸟画的发展作出了重要贡献的画家。",[1260,24,25,83,292,7,173,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95b4e60c9cc0dc84edd2a1739d852f0d.jpg",[],{"id":13055,"slug":13056,"title":13057,"dynasty":189,"author":362,"museum":20,"description":13058,"tags":13059,"thumbUrl":13061,"material":67,"size":13062,"collection":139,"collections":13063,"showCount":13045,"zanCount":2368,"manualWeight":48,"mainColor":49},233213,"dou-jia-qing-ting-tu-ye-xu-xi-233213","豆荚蜻蜓图页","图中画的是田野苗圃间菜豆花与蜻蜓之类昆虫常见的景物。画面为长圆扇形，画家以独具的慧眼撷之入画，采取了特写镜头，只取其豆花的枝头，豆茎自左下向右上斜出，枝叶微下垂，枝上有浅紫色的豆花、绿色的豆叶和沉甸甸地挂下来的长长豆荚。枝梢上歇息着一只大蜻蜓，正在吮吸豆荚嫩叶的鲜汁。蜻蜓呈黄褐色，张开双翼，长长的身子下垂，尾部稍有弯曲。\n图中豆荚一枝，果实乍结。一只黄褐色的蜻蜓轻轻停落在枝端，将豆荚压得微微颤动。画面构图简洁自然，疏密得体。画家用中锋细笔勾勒豆荚枝叶的轮廓，用花青、石绿轻染，以白粉点花瓣，线条沉稳，色彩丰富，形象写实逼真。图中尤以蜻蜓描绘得出神入化，其翅膀透明的质感以及清晰的纹络都表现得清清楚楚，活灵活现，反映了宋画在写实方面所达到的高度水平。\n整幅作品结构自然，疏密得体，色彩丰富，工写结合。其中蜻蜓的描绘神妙入微。画家不仅再现了蜻蜓的形态，甚至连透明的翅膀及纹络都表现了出来。而豆花则以简笔写出，野趣天然。\n整幅作品结构自然，疏密得体，中锋运笔，线条沉稳，色彩丰富，写实逼真，作者善于刻画和铺排是这幅作品在技巧上的特色。菜豆的枝干、花叶、荚部是用粗简的线条勾出，然后略施粉彩，尤其对蜻蜓的描绘神妙入微。蜻蜓身子晕染工细，头部网网眼和翅翼细细刻画轻轻染色，十分清晰透剔，甚至连透明的翅膀及纹络状的小组织，都细微地表现了出来。蜻蜓身上的色斑与浅紫色的豆花，一深一浅，使主题显明突出，这充分反映了宋画在写实方面所达到的高度水平。从绘画题材及笔墨技巧上看，具有徐熙画的特征。《圣朝名画评》说，徐熙画花卉“多做园圃以求情状，虽蔬菜茎苗，以人图写”。但本图无款识，至少可以这样说，虽非出于徐熙之手笔，但可以代表北宋徐熙一派的画风，亦可以说此幅是徐派留下来的凤毛麟角般的珍品。此图右下方押“徐熙”二字伪印。\n此图无款，有“徐熙”朱印。旧题为徐熙作。徐熙“善画花竹林木、蝉蝶草虫之类，多游园圃以求情状，虽蔬菜茎苗亦人图。写意出古人之外，自造于妙。尤能设色，绝有生意”。从这幅作品亦可领略上述特点，所以虽非出于徐熙之手，也可代表北宋徐熙一派的画风。\n此图写豆茎一枝自右下向左上斜出，而梢头着一大蜻蜓。这农家随处可见的景物，画家以独具的慧眼撷之入画，可谓别开生面。豆花、豆叶，点缀生动，长豆三两根，垂垂可喜。茎、叶、豆荚，均以墨勾，疏疏几笔，中设豆绿色，叶中锈斑、虫蚀均为描出，紫白色的豆花和蜻蜓，以没骨法晕染，蜻蜓尤备极工细，神韵奕奕。对花写照的写生功力，令人惊叹。色调素雅，变化层次微妙，工写兼施，相映成趣。构图善从一角生发，全幅荡漾着空灵的诗意，尤觉流走圆美。不是面面俱到，或泛泛大略，而是择取一枝一梢作精心的观赏，一枝一叶总动情，这种审美性格为宋人所独具，风气所开，遥领千古。此图笔墨间随处散发着一种田园佳趣，尤为感人至深，而熠耀其中的是诗意的空间。宋画一如宋诗，其异于唐人之处：一为田园气息，二为哲理之思（以景喻理）。",[194,24,25,83,28,7,13060,635,554,62,212],"豆荚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F880a27b634787e986672e82222fc17bb.jpg","纵27厘米，横23厘米",[],{"id":13065,"slug":13066,"title":13067,"dynasty":76,"author":77,"museum":191,"description":13068,"tags":13069,"thumbUrl":13070,"material":529,"size":13071,"collection":139,"collections":13072,"showCount":13045,"zanCount":2368,"manualWeight":48,"mainColor":94},232677,"dong-li-qiu-se-tu-yun-shou-ping-232677","东篱秋色图","恽寿平(1633~1690)，初名格，字寿平，后以字行，更字正叔，号南田、云溪外史、东园生，晚年又号白云外史、瓯香散人。善画山水、花卉。早年画山水，取法元、五代大家。中年后以画花卉为主，自创一种名为“仿北宋徐崇嗣”的没骨花卉画法，即以潇洒秀逸的用笔直接点蘸敷染而成。这种画法独开生面，风靡一时。其山水画创作亦从未间断，有很高成就，笔墨灵秀，以神韵、情趣取胜。作品有《晴川揽胜图轴》、《设色花卉册》、《花果图册》等。",[320,24,25,226,83,84,7,82,630,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62e5c11e2567494e206962fa4dbf026f.jpg","107.6x54.5厘米",[],{"id":13074,"slug":13075,"title":5487,"dynasty":18,"author":1599,"museum":316,"description":13076,"tags":13077,"thumbUrl":13079,"material":139,"size":139,"collection":139,"collections":13080,"showCount":13045,"zanCount":918,"manualWeight":48,"mainColor":49},227801,"gong-nv-tu-liu-song-nian-227801","桐荫覆满深院，围栏外花木萦回，三位宫女消磨着悠长白日。红衣女子斜身倚过小杌，抬手遥遥指向前方，似唤榻上友人共赏景致，罗裙纹饰随抬手动作柔婉舒展。榻上宫女支颐托腮，目光追着前者指尖，眉眼浸着慵懒娇柔。立在侧旁的侍女垂眸静立，敛着恭谨自持。\n\n全幅设色古雅妍丽，衣物质感纤毫毕现，花木围栏皆以细笔晕染，棕褐绢底衬得满幅宁和。画中无宫闱沉郁，只将深宫日常里松弛闲散的片刻定格，把少女间的娇憨意趣藏在细腻笔触中，晕开宋时独有的雅致闲淡。",[23,24,194,25,1260,28,7,106,59,378,3007,13078,65,63],"凳子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febc5296a5a36c0ab6eb8605bdcbdefd0.jpg",[],{"id":13082,"slug":13083,"title":13084,"dynasty":76,"author":329,"museum":191,"description":1518,"tags":13085,"thumbUrl":13086,"material":7,"size":1521,"collection":139,"collections":13087,"showCount":13045,"zanCount":2368,"manualWeight":48,"mainColor":94},222751,"xian-e-chang-chun-tu-07a-lang-shi-ning-222751","仙萼长春图-07a",[23,24,25,28,7,83,136,484,137,84,194],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fb31a611f6bc17b2cd92a02ab60f10f.jpg",[],{"id":13089,"slug":13090,"title":13091,"dynasty":302,"author":303,"museum":1577,"description":13092,"tags":13093,"thumbUrl":13094,"material":40,"size":13095,"collection":44,"collections":13096,"showCount":13045,"zanCount":2368,"manualWeight":48,"mainColor":49},221714,"ba-jiao-tang-zi-tu-qian-xuan-221714","芭蕉唐子图","图绘三个孩童呆在一个似沙窖一样的场地里，二孩端坐，一孩侧卧，皆专心致志玩耍；后面一块蓝色湖石耸立，形状奇特，数棵芭蕉长势茂盛，叶面碧绿宽大，生机勃勃。",[23,24,7,28,106,261,611],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3adc604b34d72f5e7124ec9b6584ce7d.jpg","25.2×21cm",[44,45],{"id":13098,"slug":13099,"title":13100,"dynasty":18,"author":391,"museum":191,"description":13101,"tags":13102,"thumbUrl":13103,"material":67,"size":13104,"collection":42,"collections":13105,"showCount":13045,"zanCount":2368,"manualWeight":48,"mainColor":49},221344,"la-mei-shan-qin-tu-zhou-zhao-ji-221344","腊梅山禽图轴","画面构图十分简约，两丛开花的萱草，一株劲秀挺拔的腊梅；几朵绽放的梅花，枝头上还蜷缩着两只依偎在一起的白头翁。\n画家笔墨细致。萱草、梅树、花朵的轮廓，都用工细线条勾勒，树杆的质感用干墨渲染皴擦，花朵则施以明艳的黄色，是典型的院体工笔。但是疏朗的梅枝，分明有着文人画的韵味。\n两只挤在一起的白头翁最为传神，鸟头都朝向左前方，呼应着左边的留白。身体成交叉向，两只鸟眼圆溜溜，显得机警而敏感，似乎一有风吹草动，随时就要腾空而去。",[23,24,194,226,28,7,83,820,579,10744,212,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3dbda2c89bcfa6df1b60effce2a1968.jpg","82.8x52.8cm",[42,90,45],{"id":13107,"slug":13108,"title":13109,"dynasty":189,"author":13110,"museum":20,"description":13111,"tags":13112,"thumbUrl":13113,"material":160,"size":13114,"collection":181,"collections":13115,"showCount":13045,"zanCount":48,"manualWeight":48,"mainColor":94},221160,"gao-shi-tu-juan-wei-xian-221160","高士图卷","卫贤","本幅无款识，卷前有宋徽宗赵佶瘦金书标题“衛賢高士圖”，虽为立幅，但装裱成手卷形式，是北宋内府“宣和装”。\n描绘汉代隐士梁鸿与妻孟光“相敬如宾，举案齐眉”的故事。画家把梁鸿的居所安排在山环水绕的大自然中，全幅上半部为巨峰壁立，远山苍茫，下半部为竹树蓊郁，溪水潺潺。人物活动在画面中部，恰是观者的视觉中心：梁鸿端坐于榻，竹案上书卷横展，孟光双膝跪地，饮食盘盏高举齐眉。主人公神态坦然平和，虽房舍简陋、粗食布衣，但高人隐士志在山野的高洁志趣令人油然而生敬意。\n此图虽为主题人物画，实则集山水、人物、建筑画为一体。山石多用干笔皴擦，注意用墨色的深浅对比强调峰岫的凹凸和凝重的质感，石上干笔点苔的技法更是画家的独创。房屋和木栏栅篱用界笔描绘，结构交待严谨清楚，并能表现出一定的立体感和纵深关系，是今天我们能见到的传世卷轴画中年代最早的以界笔“植柱构梁”的建筑画迹之一。\n此图曾经宋周密《云烟过眼录》，明张丑《清河书画舫》、清孙承泽《庚子销夏记》、安岐《墨缘汇观》、《石渠宝笈·续编》、阮元《石渠随笔》等书著录，是一件递藏有绪、鉴定界公认的五代卫贤真迹。",[23,24,28,104,7,177,29,106,107,34,686,115,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd234cb19159b5ecad6fb82a14b63fd9.jpg","纵134.5厘米，横52.5厘米。",[181,163],{"id":13117,"slug":13118,"title":13119,"dynasty":54,"author":2394,"museum":132,"description":13120,"tags":13121,"thumbUrl":13122,"material":67,"size":13123,"collection":181,"collections":13124,"showCount":13045,"zanCount":48,"manualWeight":48,"mainColor":49},221101,"jing-ji-rui-xue-tu-li-si-xun-221101","京畿瑞雪图","本幅无款识，右裱边项子京题：“唐云麾将军李思训画京畿瑞雪图，宋宣和御府藏物也，定为神品第一。\n古胥山樵项圣谟获于梅花和尚塔前，得秘玩焉，百金亦勿与易。\n” 扇面绘雪景楼阁，山水重青绿敷色，画法古拙，明显带有所谓李思训父子“金碧山水”传派的特点，与故宫收藏的另外两件传为唐人的楼阁作品《宫苑图》卷、《九成避暑图》页画风相近，并都曾被题为李思训作。\n这三幅画在清代以前均未见著录，也缺乏早期的收藏印记和题跋作为断代的佐证，而且尚无公认的唐代同类作品可资比较，因此，我们不能仅仅以其勾勒填色为主的质朴画法和追求简古的生拙风格便简单地断定为唐人作品。\n正因为缺乏断代依据，这三件作品的时代归属在学术界一直有不同看法。\n在这种情况下，通过画面上大量古代建筑所反映出的宫室形制来判定作品的创作时代就成为较为科学和行之有效的方法。\n有学者将画面中建筑装饰的细部，如：琉璃瓦、格子门、木牌坊和斗拱的形制作为“详辨古今之物，商较土风之宜”的有力物证，认为这三幅画所表现的建筑群非唐非宋，进而得出结论，断定它们不是唐人的作品，而是南宋“临安以外地区或民间画家所绘的装饰画”。",[23,27,7,104,29,107,34,176,2562,245,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf2334ec9cbe1a44a99cc3ae230e4e85.jpg","纵42.7cm，横45.2cm",[181,45],{"id":13126,"slug":13127,"title":13128,"dynasty":76,"author":77,"museum":101,"description":13129,"tags":13130,"thumbUrl":13131,"material":13132,"size":13133,"collection":181,"collections":13134,"showCount":13045,"zanCount":48,"manualWeight":48,"mainColor":94},220969,"lin-wen-zheng-ming-ce-yun-shou-ping-220969","临文徵明册","文征明的书画造诣极为全面，诗、文、书、画无一不精，人称是“四绝”的全才，诗宗白居易、苏轼，文受业于吴宽，学书于李应祯，学画于沈周。其与沈周共创“吴派”。在画史上与沈周、唐伯虎、仇英合称“明四家”（“吴门四家”）。在诗文上，与祝允明、唐寅、徐祯卿 并称“吴中四才子”。",[23,24,194,25,6083,7,178,86,105,378,554,265,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1f9a9d7eae5ddf59a5433237393b6bf.jpg","纸本 册","20.6 x 30.5 cm",[181,45],{"id":13136,"slug":13137,"title":13138,"dynasty":76,"author":2837,"museum":191,"description":11550,"tags":13139,"thumbUrl":13140,"material":88,"size":2842,"collection":139,"collections":13141,"showCount":13045,"zanCount":2368,"manualWeight":48,"mainColor":94},220332,"cao-chong-hua-hui-hu-shi-si-ping-ling-xiao-ju-lian-220332","草虫花卉湖石四屏-凌霄",[23,24,194,226,7,28,292,483,230,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23c30eb79bde7328d62f40006fb6c480.jpg",[],{"id":13143,"slug":13144,"title":4872,"dynasty":18,"author":257,"museum":316,"description":13145,"tags":13146,"thumbUrl":13147,"material":123,"size":13148,"collection":45,"collections":13149,"showCount":13045,"zanCount":1379,"manualWeight":48,"mainColor":49},219054,"ying-xi-tu-yi-ming-219054","苍树虬枝荫蔽下，一架斜搭的棚架成了稚子的欢闹场。红衣孩童伏在架面，似要顺着木纹滑下，姿态憨拙可爱；旁侧小儿伸手引伴，另一个正手脚并用地向上攀爬，顶端的孩子扬臂欢笑，满是得意。笔墨细腻处，衣纹的褶皱、孩童的发髻皆清晰可见，质朴的色调晕染出温润的氛围。画面无繁复修饰，却将童年的天真烂漫描摹得淋漓尽致，仿佛能听见稚子的嬉笑声穿透时光，让观者也不禁被这份纯粹的欢愉所感染，沉醉在那片无忧的童趣里。",[194,24,25,28,7,106,4874,378,1463,8665],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cdaf16c7bbadec7066e3e97e58d9b97.jpg","22.3x20.7",[45],{"id":13151,"slug":13152,"title":13153,"dynasty":18,"author":1350,"museum":132,"description":13154,"tags":13155,"thumbUrl":13156,"material":123,"size":139,"collection":181,"collections":13157,"showCount":13045,"zanCount":2368,"manualWeight":48,"mainColor":2504},218584,"tao-hua-chun-shui-tu-ma-yuan-218584","桃花春水图","春波漾开绢本的暖褐底色，山影如黛晕染天边。几树桃枝轻绽，粉蕊隐在苍松与杂树间，似有若无的艳色，恰衬出春水的清寂。近坡散卧的石群、浅滩上的细浪，与远景淡墨勾勒的峰峦虚实相映，留白处尽是烟波浩渺的余韵。笔墨简劲，山石斧劈皴显刚健，松枝如屈铁见骨力，却在水纹轻描中柔化棱角，刚柔相济。整幅画如清绝小令，不肆铺张，却将春日温润与山水悠远藏进每一处笔墨转折，读来心尖漫过淡淡春愁与旷远，余味绵长。",[24,194,25,29,7,177,226,685,262,378,243,109,151,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3487685dfafca30f80a992cf8814f4dd.jpg",[181],{"id":13159,"slug":13160,"title":1689,"dynasty":99,"author":257,"museum":442,"description":13161,"tags":13162,"thumbUrl":13163,"material":123,"size":13164,"collection":90,"collections":13165,"showCount":13045,"zanCount":48,"manualWeight":48,"mainColor":49},216733,"hua-niao-tu-yi-ming-216733","花鸟图是中国明朝时期的一种流行的图画作品，通常用来装饰宫殿、庙宇、寺庙和民间住宅。花鸟图画的主题是花和鸟，这些图画通常具有浓郁的艺术气息，并且富有想象力。花鸟图画的风格各异，有的呈现出绚丽多彩的色彩，有的则更加简洁和精细。花鸟图画被广泛地应用于家具、屏风、纸品等各种物品上，为人们的生活带来美感和情感的满足。",[23,24,25,7,28,83,209,210,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2ee16ee0d6aa3b7e54d2fc25984cc1c.jpg","26x22.2cm",[90],{"id":13167,"slug":13168,"title":13169,"dynasty":76,"author":997,"museum":442,"description":9505,"tags":13170,"thumbUrl":13171,"material":88,"size":9508,"collection":139,"collections":13172,"showCount":13045,"zanCount":48,"manualWeight":48,"mainColor":94},214888,"shan-shui-tu-ce-5-shi-tao-214888","山水图册-5",[23,24,173,7,81,177,29,107,34,30,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69c7502bb24d845dbe3fdcd70b9b300d.jpg",[],{"id":13174,"slug":13175,"title":13176,"dynasty":76,"author":4108,"museum":191,"description":13177,"tags":13178,"thumbUrl":13181,"material":88,"size":13182,"collection":181,"collections":13183,"showCount":13045,"zanCount":2368,"manualWeight":48,"mainColor":94},214832,"fang-tang-ren-da-yu-zhi-shui-tu-xie-sui-214832","仿唐人大禹治水图","谢遂（1743-1815年）是一位清代画家，他最著名的作品之一是《仿唐人大禹治水图》。这幅画描绘了传说中的大禹如何利用智慧和勇气治理水旱，保护人民免受灾害的故事。画中大禹站在江边，手持着伞，身旁是他的忠实追随者。大禹所在的位置是一座山峰，表示他的权威和力量。整幅画的画风浓重，线条流畅，色彩和谐。这幅画是谢遂在清代的代表作之一，在当时颇受欢迎，并被广泛流传。",[194,24,7,106,29,176,1426,13179,13180],"大禹治水","神话传说","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3af9e7e13ca4921759b92fd42dfeb838.jpg","160.7x89.8",[181,44],{"id":13185,"slug":13186,"title":13187,"dynasty":76,"author":2849,"museum":316,"description":13188,"tags":13189,"thumbUrl":13193,"material":599,"size":600,"collection":139,"collections":13194,"showCount":13195,"zanCount":2368,"manualWeight":48,"mainColor":49},290321,"sui-chao-huan-qing-tu-zhou-yao-wen-han-290321","岁朝欢庆图轴","姚文瀚（公元18世纪）清代画家。号濯亭，顺天（今北京）人，生卒年不详。乾隆时供奉内廷，工道释、人物、山水、界画。传世作品有《四序图》卷。",[194,24,226,7,28,104,106,107,121,2385,13190,937,212,13191,13192],"欢庆","岁朝","热闹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf8387fdb8f15f8876fbb2dd7fcc6d29.jpg",[],104,{"id":13197,"slug":13198,"title":13199,"dynasty":76,"author":13200,"museum":316,"description":9031,"tags":13201,"thumbUrl":13202,"material":139,"size":139,"collection":139,"collections":13203,"showCount":13195,"zanCount":48,"manualWeight":48,"mainColor":94},234591,"jin-yu-wan-shan-duan-xue-hai-234591","金鱼纨扇","段学海",[24,25,1260,28,7,83,5769,319,1220],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21f8c809ca71eff535a97f2bdaa63cab.jpg",[],{"id":13205,"slug":13206,"title":13207,"dynasty":76,"author":742,"museum":316,"description":13208,"tags":13209,"thumbUrl":13210,"material":139,"size":139,"collection":139,"collections":13211,"showCount":13195,"zanCount":48,"manualWeight":48,"mainColor":94},230120,"ping-lan-shang-he-tu-ren-yi-230120","凭栏赏荷图","《任伯年绘画作品图录》是 27年5月1日出版的图书，由任伯年编著。\n出版社: ; 第1版 (27年5月1日) ISBN: 755441 条形码: 尺寸: 22.2 7.5 cm 重量: .9 Kg 《任伯年绘画作品图录(套装上下卷)》内容简介：任伯年的艺术像海派诸家一样，以个性鲜明的艺术风貌反映了怫郁昂藏而又充满生机的时代气息，一变晚清文人画家笔下的雅人高致、陈陈相因与不食人间烟火，作品立意由出世而入世，艺术趣味由雅转“俗”，艺术形式由千篇一律而化为多姿多彩。\n他的艺术风格生动雅丽，明快清新，既不同于赵之谦的朴茂道艳，虚谷的冷隽超逸，也有别于吴昌硕的苍浑醇厚，加以多能兼善，题材广泛，意趣盎然，技艺超妙，诗情洋溢，某些人物画更是寄托深远，所以生前身后，声誉极高，一直被认为是海派的重要代表之一。\n《任伯年绘画作品图录(套装上下卷)(上卷)》目录： 1865年 乙丑 1.仕女图 1866年 丙寅 2.小浃江话别图 .悔花仕女图 1867年 丁卯 4.松下问道图 5.孔雀牡丹图 6. 7.范湖居士六十八岁小像 8.授书图 9.四李人物屏之一 1.四季人物屏之二 11.四季人物屏之三 12.四季人物屏之四 1868年 戊辰 1.斗梅图 14.沙馥三十九岁小像 15.佩秋夫人小像(合作) 16.横云山民行乞图 17.陈允升像 18.榴生像 19.任阜长像 2.水草金鱼图 21. 22.悟生出尘图 2.梅柏白鹏图 1869年 己巳 24.任淞云像(合作) 187年 庚午 25.新秋鹅浴图 26.松鹤图 27.吹箫引凤图 28.访友图 29.人物图 1871年 辛未 .孔雀芭蕉图 1872年 壬申 1.钟馗图 2.凤凰牡丹图 .献瑞图 4.钟馗图 5.礼佛图 6.花蝶图 7.南瓜三鸡图 8.水仙飞禽图 9.芭蕉燕子图 4.夜荷栖鸭图 41.蕉花母鸡图 42.牡丹猫石图 4.山雨欲来风满楼 44.花鸟册(合作) 45.游艇吟箫图 46.凭栏赏荷图 187年 癸酉 47.爱莲图 48.葵花双鸡图 49.残荷鹭鸶图 5.茂叔爱莲图 51.葛仲华二十七岁小像 52.松鹤寿柏图 5.三思图 54.牵牛菖蒲图 1874年 甲戌 55.钟馗图 56.二老并坐图 57.苏武牧羊图 58.女仙图 59.红薇飞禽图 6.苏武牧羊图 61.富贵长寿 62.三羊开泰 6.芍药幽禽图 64.花鸟扇 1875年 乙亥 65.牡丹图 …… 《任伯年绘画作品图录(套装上下卷)(下卷)》目录： 1886年 丙戌 76.三仙图 77.东坡玩砚图 78.东坡玩砚图 79.桃花八哥 8.深山观泉图 81.牧羊图 82.仙鹤 8.听溪图 84.承天夜游图 85. 86.芦鸭图 87.幽鸟鸣春图 88.隔帘规梅图 89.松鹤竹石图 9.桃石群鸟图 91.桃源问津图 92.苍松紫藤图 9.枇杷栖禽图 94.临八人山人八哥图 95.仿高克恭云山图 96.山水阁页 97.玉兰四禽图 98.花鸟册 99.桃花小鸟图 4.仿石田山水图 41.银河秋浅图 1887年 丁亥 42.村居立锄图 4.钟馗图 44.高邕之像 45.松下论诗图 46.童子斗蟋蟀图 47.寒林高士 48.苏长公石钟辨讹图 49.策马图 41.牧羊图 411.岁朝图 412.松鸠图 41.桃鹅图 414.花鸟册 415.封侯图 416.萍花八哥图 417.江上秋痕图 418.天竹白猫图 419.焦叶题书图 42.秋江渔父图 421.紫微鸳鸯图 422.桃石图 1888年 戊子 42. 424.女娲炼石图 425.归牧图 426. 427.寒林牧马图 428.玉局参禅图 429.金谷园图 4.芭蕉狸猫图 41.苏武牧羊图 42.羲之爱鹅图 4.仕女图册之一 44.仕女图册之二 45.仕女图册之三 46.仕女图册之四 47.仕女图册之五 48.仕女图册之六 49.仕女图册之七 44.仕女图册之八 441.仕女图册之九 442.仕女图册之十 44.仕女图册之十一 444.仕女图册之十二 445.午瑞图 446.白猫双雀图 447.岁朝清供图 448.雀声藤影 449.猫鸟图 45.柳塘清趣图 451.红松仙鹤图 ……",[23,194,24,25,226,7,28,106,228,136,278,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd66ee07d43326e2168f004fc64dd0a95.jpg",[],{"id":13213,"slug":13214,"title":4819,"dynasty":76,"author":2883,"museum":316,"description":4139,"tags":13215,"thumbUrl":13216,"material":599,"size":600,"collection":139,"collections":13217,"showCount":13195,"zanCount":48,"manualWeight":48,"mainColor":94},228959,"mu-dan-tu-ce-jiang-ting-xi-228959",[23,25,28,7,83,292,178,86,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb801dbc41af410daf446972498e3c49f.jpg",[],{"id":13219,"slug":13220,"title":4024,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":13221,"thumbUrl":13224,"material":599,"size":600,"collection":139,"collections":13225,"showCount":13195,"zanCount":48,"manualWeight":48,"mainColor":49},226430,"ku-zhu-shi-zao-jing-yi-ming-226430",[7230,511,7,260,4028,84,6767,5884,13222,13223],"缠枝纹","对称纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F341011cc2b12d4d9c9d58edb7f57fb73.jpg",[],{"id":13227,"slug":13228,"title":13229,"dynasty":76,"author":7596,"museum":316,"description":13230,"tags":13231,"thumbUrl":13241,"material":139,"size":139,"collection":139,"collections":13242,"showCount":13195,"zanCount":48,"manualWeight":48,"mainColor":94},224449,"tang-yin-shi-yi-tu-li-zhou-wang-hui-224449","唐寅诗意图立轴","此作取景虚实相映，笔意苍秀兼具。右侧危崖层叠，斧劈皴勾勒出山岩厚重质感，苔点晕染让山石愈发生动，崖顶山居藏在深林之中，清寂出尘。左侧烟水浩淼，汀渚林木错落，远处楼阁隐在薄雾间，晕染出空濛烟雨之态。浅滩孤舟随波，渔翁独钓，漾出幽淡闲远的林下意趣。浅绛设色柔和雅致，将宋画的精工与元人山水的萧散相融，把林泉隐逸之思，铺陈为可游可居的湖山胜境，尽显文人山水画里悠远澹泊的雅韵。",[23,24,194,25,226,13232,7,6711,8883,13233,4706,13234,107,174,10725,981,13235,13236,13237,13238,13239,13240],"文人山水画","危崖","烟水","湖山","隐逸","澹泊","苍秀","萧散","精工","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48ebebd62a991bc27c793316c7c0ff81.jpg",[],{"id":13244,"slug":13245,"title":13246,"dynasty":18,"author":257,"museum":316,"description":13247,"tags":13248,"thumbUrl":13249,"material":40,"size":13250,"collection":139,"collections":13251,"showCount":13195,"zanCount":1379,"manualWeight":48,"mainColor":49},223374,"feng-huang-tu-zhou-yi-ming-223374","凤凰图轴","图上一只蓝翎凤凰立于花丛中，红冠鲜艳，眼神威严、犀利，羽毛七彩斑斓，尾翎修长，单脚站立彰显百鸟之王的尊贵；四周牡丹盛开，花团锦簇，丹顶鹤、鸳鸯数只陪伴左右。此幅无款无印，应出自宫廷画家之手，宫廷风格甚浓。",[23,194,24,226,28,7,83,381,60,2014,292,34,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b738fbba9f87096a63c79173451352a.jpg","92x43cm",[],{"id":13253,"slug":13254,"title":13255,"dynasty":76,"author":538,"museum":20,"description":13256,"tags":13257,"thumbUrl":13258,"material":13259,"size":13260,"collection":44,"collections":13261,"showCount":13195,"zanCount":1233,"manualWeight":48,"mainColor":49},222874,"bai-zi-tu-leng-mei-222874","百子图","百子的典故最早出于《诗经》，是歌颂周文王子孙众多的。画面常用谐音谐意，寓意多福多寿，多子多孙，子孙昌盛，万代延续。《百子图》描绘了一百个天真烂漫的孩子在亭台楼阁间互相追逐嬉戏，他们有的手执彩旗，好像在站岗放哨，还有的在捉迷藏、打秋千、下棋、乘船、玩木偶、放鞭炮…每个孩子神态各异，无一雷同，惟妙惟肖，栩栩如生。孩童服饰色泽艳丽，线条流畅，刻画精致形像都各不相同，表情天真可爱，十分有趣，将小孩的调皮可爱之处都表现得淋漓尽致。背景配以湖水荡漾，荷花盛开，岸柳垂荫，芭蕉葱郁，古木森天景色；将亭台、楼阁、水榭、宫室，因地制宜，聚散错落，一应纳入，园林界画，景色秀丽，令人应接不暇。\n笔墨洁净，色彩韶秀，其画法兼工带写，点缀屋宇器皿，笔法极精细。绘画用料为内廷专供，尤其色料多为专用的矿物制品，色泽鲜艳明丽，特征明显，是典型的宫廷题材珍品。\n通篇气度雍容典雅，构图疏密有致，其用笔细腻、精工，设色妍丽清秀而注意质感，不乏对光影明暗的追求与立体透视的体现，显然受到西洋绘画技巧的影响",[23,28,7,26,106,175,107,2340,136,2234,34,278,115,137,8328,114,12015],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd80e3fe3947e693b07fbefa84c8d0fd0.jpg","设色，绫本，手卷","纵40厘米，横200厘米",[44],{"id":13263,"slug":13264,"title":13265,"dynasty":99,"author":9875,"museum":191,"description":9876,"tags":13266,"thumbUrl":13267,"material":67,"size":13268,"collection":44,"collections":13269,"showCount":13195,"zanCount":48,"manualWeight":48,"mainColor":94},222066,"mi-le-fo-wu-bin-222066","弥勒佛",[23,24,25,7,28,260,106,81,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ce39456c770de63cb1cae3b58b4969d.jpg","62.3 x 35.3厘米",[44,45],{"id":13271,"slug":13272,"title":13273,"dynasty":18,"author":1350,"museum":191,"description":13274,"tags":13275,"thumbUrl":13280,"material":13281,"size":13282,"collection":42,"collections":13283,"showCount":13195,"zanCount":48,"manualWeight":48,"mainColor":49},221518,"han-yan-ji-xue-tu-zhou-ma-yuan-221518","寒岩积雪图轴","季节的变化，为大自然改换面貌、增添新色，冬天时万物凋零，呈现一片幽寂的景象，最适宜入画。画中白雪覆盖了整个溪岸与山峰。长松挺立在庭园中央，屋宇周围处梅花绽开，在静谧的气氛中增添生气。屋内坐着两位秉烛谈心的文人，微弱的烛光，也为幽寂昏暗的景色带来丝丝地暖意。",[23,194,24,25,226,173,7,177,29,265,13276,13277,1273,795,106,13278,686,13279,957],"寒岩","积雪","轩","湖面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe690130e1e87bba26c0e4e9523fbab3e.jpg","绢本浅设色","纵：156.7厘米，横：82.4 厘米",[42,181,163],{"id":13285,"slug":13286,"title":13287,"dynasty":18,"author":2509,"museum":1577,"description":13288,"tags":13289,"thumbUrl":13291,"material":529,"size":13292,"collection":42,"collections":13293,"showCount":13195,"zanCount":1233,"manualWeight":48,"mainColor":49},221353,"zhen-tong-kui-lei-tu-su-han-chen-221353","侲童傀儡图","本画署款苏汉臣所作，苏汉臣（1094―1172），汴梁（今河南开封）人，宋代宫廷画家，历徽宗、高宗、孝宗三朝。苏汉臣画师刘宗古，善画仙佛人物，尤以婴戏图题材最为著名。苏汉臣在宋代画家中以画儿童婴戏著称，因此后世凡见宋人无款婴戏图常题苏汉臣作用来提高画的价值。宋朝社会流行木偶戏，宋人称之为“傀儡戏”，同时傀儡也被制成了儿童的玩具。本幅苏汉臣所画的《侲童傀儡图》描绘的正是三个小童在玩“杖头傀儡”的场景。作者笔下的小童神情专注，笔法简洁细劲，设色典雅。石色的使用最忌板滞轻浮，而本画中的石色明丽沉稳，堪称典范。图中假山的画法与宋徽宗《祥龙石图》如出一辙，阴阳凹凸皆以龙麟状的墨块点画而成，这与南宋院体画喜用小斧劈皴不同。这也在一定程度上反映了作者传承的是北宋宣和院体画风。",[23,194,24,28,7,106,8328,13290,34,913],"傀儡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F128d6f14c797843ff768db6c9441c208.jpg","23.6×23.2cm",[42,44,45],{"id":13295,"slug":13296,"title":29,"dynasty":869,"author":4782,"museum":6047,"description":13297,"tags":13298,"thumbUrl":13299,"material":139,"size":139,"collection":139,"collections":13300,"showCount":13195,"zanCount":2368,"manualWeight":48,"mainColor":94},220477,"shan-shui-fu-bao-shi-220477","此作用笔秀润，设色雅致，以烟岚晕染远山，黛色层叠间漾出空濛秋意。中景丹枫与青松交错，赭石铺就秋山暖调，村居隐于林麓，野趣横生。近畔水榭临流，凭栏二人闲对，静赏天光云影，将秋日江村的幽寂闲恬铺陈开来。题画诗与笔墨相映，文心入画，将文人寄情山水、栖居林泉的诗意愿景藏于尺幅之间，观之如临清秋江村，尽揽山居雅趣。",[24,7,177,29,107,34,1169,11043,1754,1273,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7d127d461e95daec85dc02446a8bd1d.jpg",[],{"id":13302,"slug":13303,"title":13304,"dynasty":76,"author":77,"museum":78,"description":13305,"tags":13306,"thumbUrl":13307,"material":123,"size":1885,"collection":139,"collections":13308,"showCount":13195,"zanCount":2368,"manualWeight":48,"mainColor":94},219821,"hua-hui-shi-kai-2-yun-shou-ping-219821","花卉十开-2","这幅花卉以没骨之法绘就，淡赭底衬出清透雅致的基调。嫩黄花瓣以轻匀色彩晕染，边缘微微化开，仿佛带着朝露舒展，花蕊明黄点睛，尽显娇妍柔媚。叶片以深浅绿意区分阴阳向背，细劲墨线勾勒叶脉，将草木鲜润柔嫩的质感全然带出。\n\n花枝穿插错落，删繁就简，毫无生硬雕琢之感。全作以色彩堆叠出花叶层次，不见勾勒硬线，尽显江南花木清隽秀雅的天趣，将仲夏篱边悠然自在的清景凝于尺幅，淡静雅致间蕴藏蓬勃自然生机。",[24,25,81,7,83,84,82],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02991a6910c01aff3d84e90e53c39c06.jpg",[],{"id":13310,"slug":13311,"title":13312,"dynasty":76,"author":4285,"museum":191,"description":13313,"tags":13314,"thumbUrl":13315,"material":123,"size":13316,"collection":181,"collections":13317,"showCount":13195,"zanCount":48,"manualWeight":48,"mainColor":94},219653,"song-yan-jing-le-tu-wang-shi-min-219653","松岩静乐图","烟客画山水，宗法元四家，晚年尤倾力黄公望，逐入痴翁堂奥，巽笔湿笔，自具心裁。此为七十九岁老年之作，笔墨犹不脱秀润之色。",[24,7,177,29,1273,176,109,34,35,1171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe485b1637050632062640af0dec5e5eb.jpg","168x76.3",[181],{"id":13319,"slug":13320,"title":13321,"dynasty":18,"author":2414,"museum":191,"description":13322,"tags":13323,"thumbUrl":13324,"material":123,"size":13325,"collection":181,"collections":13326,"showCount":13195,"zanCount":1233,"manualWeight":48,"mainColor":49},218527,"yu-wang-zhi-shui-tu-zhao-bo-ju-218527","禹王治水图","大禹治水（鲧禹治水）是中国上古时期大禹治理大洪水的传说。此《禹王治水图》卷传为南宋画家赵伯驹绘。画卷为青绿描金，其主题内容为大禹治水采用凿岭开山、决江济川，疏导方式治理水患的故事。卷末附元代文学家虞集书《禹贡》。此卷现藏于台北故宫博物院。",[23,194,24,25,26,27,7,106,29,28,176,31,34,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1730ee5c62d100c4fdf05af2481cfa4b.jpg","30.5x373cm",[181],{"id":13328,"slug":13329,"title":13330,"dynasty":302,"author":13331,"museum":539,"description":13332,"tags":13333,"thumbUrl":13334,"material":123,"size":13335,"collection":181,"collections":13336,"showCount":13195,"zanCount":1379,"manualWeight":48,"mainColor":49},218229,"qing-shan-hong-xing-tu-ma-wan-218229","青山红杏图","马琬","青山红杏图是中国元朝时期著名的画家马琬的杰作之一。这幅图像是一幅山水画，描绘了一片山峰环绕的山谷，谷底有一条清澈的小溪流过。山峰上绿油油的树木点缀着几朵红色的杏花，与苍翠的山峰形成鲜明的对比。整幅画非常细腻，笔触流畅，给人以清新自然的感觉。\n\n马琬是元朝时期著名的画家，他的画风独特，善于描绘自然风光。他的作品中常常出现山水、花鸟、山峰和小溪的景象，并融入了自己的想象力和创造力。青山红杏图就是马琬这种画风的经典代表之一。",[24,194,25,27,7,29,177,685,378,4735,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F210df1734801534a679e4b785cd61260.jpg","24.2x22.7cm",[181],{"id":13338,"slug":13339,"title":13340,"dynasty":18,"author":257,"museum":191,"description":13341,"tags":13342,"thumbUrl":13343,"material":123,"size":11693,"collection":90,"collections":13344,"showCount":13195,"zanCount":1379,"manualWeight":48,"mainColor":94},216599,"xiu-huang-quan-hua-hua-niao-ce-2-yi-ming-216599","绣黄筌画花鸟册-2","绣线交织出兰叶的柔婉姿态，针脚起落间，叶脉的细腻纹路清晰可见，似微风拂过便会轻颤。浅金色花簇缀于青碧草间，色泽温润雅致，与素净底色相衬，流露宋人独有的清逸审美。角落的红墨小物，色彩对比鲜明却不失和谐，为静谧画面添了几分灵动。此作以针代笔，将绘画的工致与刺绣的肌理感相融，既复刻了黄筌画派的细腻，又借丝线的质感赋予画面立体生机，仿佛能窥见宋时窗下，一缕兰香随绣线漫开的静谧时刻，尽显传统工艺与文人意趣的精妙碰撞。",[194,24,25,81,7,83,579,62,212,8969],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9056d18793811b531cba23d39e80e11f.jpg",[90],{"id":13346,"slug":13347,"title":13348,"dynasty":18,"author":13349,"museum":1337,"description":13350,"tags":13351,"thumbUrl":13352,"material":123,"size":13353,"collection":44,"collections":13354,"showCount":13195,"zanCount":1233,"manualWeight":48,"mainColor":94},215008,"xie-shen-lao-jun-bian-hua-shi-shi-tu-wang-li-yong-215008","写神老君变化十式图","王利用","道教以老子为祖先，赋予这位先秦哲人以神秘而神圣的光芒，赋予他自己神奇的力量。在这幅画中，老子被分段描绘在横幅上，从天地初开到殷商时期，老子化身为顾主、金阙皇帝、玉华子、大成子、广寿子、广成子、镇星子、解颐子、牟成子、川桓子等真实人格。宋朝皇帝提倡道教，所以这类题材的绘画很受欢迎。",[23,194,24,25,26,28,7,260,106,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F474edbfbed198eb48c688584feee12ec.jpg","44.8x188.4",[44],{"id":13356,"slug":13357,"title":13358,"dynasty":302,"author":831,"museum":5488,"description":13359,"tags":13360,"thumbUrl":13362,"material":123,"size":13363,"collection":90,"collections":13364,"showCount":13195,"zanCount":2368,"manualWeight":48,"mainColor":49},214823,"da-dou-tu-ren-ren-fa-214823","大豆图","任仁发是中国元代的一位画家，他的作品中有一幅著名的名为《大豆图》的画作。《大豆图》是一幅巨幅的屏风画，画面上描绘了一片肥沃的大豆田，田里满是绿油油的大豆苗和成熟的大豆果实，非常生动形象。据说，这幅画是任仁发在他的经历过艰苦卓绝的农村生活后创作的，他希望通过这幅画向人们展示农村的美好景象，并寄托对故乡的怀念之情。任仁发的《大豆图》被誉为元代绘画的杰作，并被认为是中国古代农业画的典范。",[24,7,28,13361,783,229],"大豆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fabe52ec754cf337e53d8710c0851e8.jpg","18.7x19.4cm",[90],{"id":13366,"slug":13367,"title":8040,"dynasty":189,"author":7237,"museum":316,"description":8041,"tags":13368,"thumbUrl":13369,"material":599,"size":600,"collection":139,"collections":13370,"showCount":13371,"zanCount":2368,"manualWeight":48,"mainColor":49},283688,"qiu-shan-wan-cui-tu-guan-tong-283688",[23,194,24,25,226,173,7,29,5411,176,34,808,1426,177,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff74413aeaf6fe0fbb9e4679e693b6af8.jpg",[],103,{"id":13373,"slug":13374,"title":13375,"dynasty":76,"author":2200,"museum":316,"description":13376,"tags":13377,"thumbUrl":13378,"material":139,"size":139,"collection":139,"collections":13379,"showCount":13371,"zanCount":2368,"manualWeight":48,"mainColor":94},235233,"ju-shi-zhou-wu-chang-shuo-235233","菊石轴","此作用笔雄老苍劲，以篆籀之法入画，将金石意趣融于绘事。左侧狂草长题与右侧花木山石虚实相映，通篇气机贯通。泼墨写石，干湿浓墨晕染出嶙峋朴拙之态，淡墨勾菊瓣、浓墨点枝叶，尽显菊花清隽凌霜之姿；下方牡丹设色秾丽饱满，艳而不俗，与寒菊形成雅艳对照。\n\n诗画互衬，借黄英、牡丹寄寓疏狂高逸的襟怀，将文人意趣与世俗审美相融，尽显晚年沉郁浑朴的大写意风骨。",[24,25,226,194,7,173,498,897,379,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84ca9fe70ff6300da429378a633361f7.jpg",[],{"id":13381,"slug":13382,"title":13383,"dynasty":256,"author":13384,"museum":316,"description":13385,"tags":13386,"thumbUrl":13387,"material":599,"size":600,"collection":139,"collections":13388,"showCount":13371,"zanCount":2368,"manualWeight":48,"mainColor":49},230653,"fo-tuo-xiang-li-zhou-xi-zang-tang-ka-230653","佛陀像立轴","西藏唐卡","西藏唐卡是用彩缎装饰成的一种卷轴画，多数是在布面、绢面和纸面上进行彩画，还有许多刺绣、织锦、绎丝和贴花等织物唐卡，历来被人们视为珍宝。\n西藏唐卡是用彩缎装饰成的一种卷轴画，具有鲜明的民族特点、浓郁的宗教色彩和独特的艺术风格，历来被人们视为珍宝。唐卡的质地是多种多样的。多数是在布面、绢面和纸面上进行彩画，还有许多刺绣、织锦、绎丝和贴花等织物唐卡。西藏唐卡的主要内容是反映宗教这一主题，作为宗教文化，唐卡是前人留下来的历史遗产，是研究古代绘画艺术的宝贵资料。",[23,226,260,7,106,3661,84,7690,7689,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F840c96ea911ffbfafc10c83a61d794ef.jpg",[],{"id":13390,"slug":13391,"title":13392,"dynasty":76,"author":2200,"museum":316,"description":4194,"tags":13393,"thumbUrl":13394,"material":1342,"size":139,"collection":45,"collections":13395,"showCount":13371,"zanCount":48,"manualWeight":48,"mainColor":94},224237,"ju-you-huang-hua-wu-chang-shuo-224237","鞠有黄花",[23,24,25,226,7,173,83,897,230,212,86,1070],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51472c0177bf4af05998090e6d6ffd8e.jpg",[45],{"id":13397,"slug":13398,"title":13399,"dynasty":76,"author":3071,"museum":539,"description":3072,"tags":13400,"thumbUrl":13401,"material":67,"size":3076,"collection":139,"collections":13402,"showCount":13371,"zanCount":1233,"manualWeight":48,"mainColor":94},222683,"si-ji-hua-niao-tu-ping-6-chen-mei-222683","四季花鸟图屏6",[23,24,28,7,83,634,209,230,838],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78822ac937e1da347d3173f152b03859.jpg",[],{"id":13404,"slug":13405,"title":13406,"dynasty":18,"author":1350,"museum":20,"description":6390,"tags":13407,"thumbUrl":13408,"material":67,"size":13409,"collection":42,"collections":13410,"showCount":13371,"zanCount":2368,"manualWeight":48,"mainColor":49},221516,"kong-qiu-xiang-tu-ye-ma-yuan-221516","孔丘像图页",[23,24,25,81,106,352,7,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F140533cc0f37b2814b2ddd30cf0df06f.jpg","27.7x23.2",[42,44,45],{"id":13412,"slug":13413,"title":13414,"dynasty":76,"author":742,"museum":101,"description":13415,"tags":13416,"thumbUrl":13417,"material":13418,"size":139,"collection":139,"collections":13419,"showCount":13371,"zanCount":1379,"manualWeight":48,"mainColor":94},220471,"dong-wu-hua-niao-ren-yi-220471","动物花鸟","此作用笔灵动写意，淡墨晕染出空濛柔润的水色背景，烘托出清寂悠然的氛围。枝上红顶雀鸟，以干湿笔墨皴擦出蓬松绒羽，朱红顶冠鲜亮醒目，将禽鸟的灵动野趣尽显无遗。下方伏于枝叶间的禽鸟探身侧目，姿态机敏鲜活。\n\n枯笔写就的老枝苍劲疏朗，叶片以浓淡墨色晕染，虚实相映，留白恰到好处。画面简淡天真，将秋意里的幽寂与小禽的生机相融，寥寥数笔，便把闲淡野逸之趣藏于笔墨间，尽显传统写意花鸟的雅致意韵。",[24,25,173,7,498,83,209,836,554],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3adf0c2f4c3b76213aefde5481ee095a.jpg","纸本水墨",[],{"id":13421,"slug":13422,"title":13423,"dynasty":18,"author":13424,"museum":191,"description":13425,"tags":13426,"thumbUrl":13429,"material":123,"size":13430,"collection":42,"collections":13431,"showCount":13371,"zanCount":48,"manualWeight":48,"mainColor":49},220121,"jiang-xiang-nong-zuo-tu-zhao-shi-lei-220121","江乡农作图","赵士雷","赵士雷（公元11世纪）〔北宋〕字公震，承平王孙，生卒年不详，曾任襄州观察使等职。善画湖塘小景，驰誉于时，师法惠崇，作雁鹜鸥鹭、溪塘汀渚有诗人思致，至其绝胜佳处，往往形容之所不及。又作花竹，多在于风雪荒寒之中，洗尽绮纨之习，故幽情雅趣，落笔高超。李錞（希声）曾跋其《四季山水图》卷，春跋云：“九江应共五湖连，尺素能开万里天；山杏野桃零落处，分明寒食绕风前。”夏跋云：“繁阴杂树映汀沙，三伏江天自一家；欲唤扁舟渡云锦，平铺明锦是荷花。”秋跋云：“春鉏寂寞绕疏丛，霜后云生浦溆风；此处年年报秋色，只应衰柳与丹枫。”冬跋云：“剪水飞花细舞风，断芦洲外水连空；剡处几曲知名处，何似今朝眼界中。”《宣和画谱》著录御府所藏其作品有《春岸初花图》《桃溪鸥鹭图》等51件。",[23,194,24,25,26,7,28,29,108,109,151,34,13427,13428,245,175],"农舍","农田","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cfa33b631688a5c074e9d9711c535cd.jpg","该幅30.4x316.9公分；隔水一13.1公分；隔水二13.1公分",[42,181],{"id":13433,"slug":13434,"title":13435,"dynasty":99,"author":257,"museum":191,"description":13436,"tags":13437,"thumbUrl":13439,"material":123,"size":13440,"collection":45,"collections":13441,"showCount":13371,"zanCount":48,"manualWeight":48,"mainColor":49},219353,"hua-niao-tu-xing-hua-shuang-ya-yi-ming-219353","花鸟图-杏花双鸭","此幅绘柳岸池塘，杏花繁茂，双燕翻飞，翠鸟窥机、二鸭嬉戏。",[24,7,28,83,2328,13438,1241,245,3519,263,10287],"双鸭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd08be92aa3800553c043da2d21b1ba09.jpg","161.5x80.1",[45],{"id":13443,"slug":13444,"title":13445,"dynasty":99,"author":6624,"museum":13446,"description":13447,"tags":13448,"thumbUrl":13450,"material":123,"size":13451,"collection":90,"collections":13452,"showCount":13371,"zanCount":2368,"manualWeight":48,"mainColor":49},219115,"zao-chun-hua-qin-tu-yin-hong-219115","早春花禽图","金贝尔艺术博物馆","枯枝盘曲如铁，山茶吐艳似燃，几枝早梅缀着淡粉花苞，悄然泄露春讯。禽鸟或栖于岩畔顾盼，或立于枝间啁啾，翅羽纹理细如毫发，喙爪色泽鲜妍如生。地面鹌鹑缩颈梳羽，与岩上对视双鸟相映成趣，动静之间满是早春的慵懒与生机。设色温润雅致，墨骨与彩晕交融，既见工笔细腻，又含写意灵动。整幅画如无声春曲，将料峭时节的萌动鲜活凝于绢素，观者仿佛能嗅到微香、听见轻啼，尽览自然生机的悄然苏醒。",[23,24,25,28,7,83,176,109,84,1530,34,13449],"早春","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F569747867dc70978b50213d39ad4728a.jpg","纵168.7cm横102.7cm",[90],{"id":13454,"slug":13455,"title":13456,"dynasty":18,"author":13457,"museum":457,"description":13458,"tags":13459,"thumbUrl":13462,"material":123,"size":13463,"collection":42,"collections":13464,"showCount":13371,"zanCount":1379,"manualWeight":48,"mainColor":94},218561,"chi-bi-tu-yang-shi-xian-218561","赤壁图","杨士贤","此卷一直被传为杨士贤的画笔，画史上认为杨士贤学郭熙用笔作小景，这种画法与郭熙相去甚远，不能确定是杨士贤所画，（《宋画全集》）为南宋初期无名画家。",[23,24,25,26,173,7,177,29,174,265,13460,13461,34,86,178,212],"江","风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe32e2e40b11422761cb7bd67762bcddd.jpg","30.9x128.8cm",[42,181],{"id":13466,"slug":13467,"title":13468,"dynasty":256,"author":257,"museum":608,"description":13469,"tags":13470,"thumbUrl":13471,"material":123,"size":13472,"collection":44,"collections":13473,"showCount":13371,"zanCount":2368,"manualWeight":48,"mainColor":2504},218291,"di-ba-fa-an-luo-fu-duo-luo-zun-zhe-yi-ming-218291","第八伐闇罗弗多罗尊者","怒目含威却藏澄明，头光晕染出柔和光晕，与尊者棱角分明的面容形成微妙平衡。膝畔蛟龙盘绕，鳞爪毕肖却敛去戾气，似被指尖轻触的温煦驯服——那是愿力凝成的慈悲。衣袂间墨线流转如行云，青蓝裙摆与深褐袈裟相映，古雅色调裹着绢本的厚重质感。赤足踏地，趾节细节入微；袈裟褶皱层叠，每一道纹路都似承载着岁月的呼吸。笔墨刚健处见筋骨，柔婉处显气韵，庄严中透着灵动：尊者以定力伏龙，让野性归于安宁，千年后的今天，仍能从这帧古画里，触摸到那份深邃的佛法力量与匠心温度。",[24,226,260,106,406,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1687d11dff2f0af58d4d94077f2ae885.jpg","114.4x59.5",[44],{"id":13475,"slug":13476,"title":13477,"dynasty":869,"author":870,"museum":20,"description":13478,"tags":13479,"thumbUrl":13481,"material":88,"size":13482,"collection":90,"collections":13483,"showCount":13371,"zanCount":2368,"manualWeight":48,"mainColor":94},216936,"zhu-qin-tu-ping-qi-bai-shi-216936","竹禽图屏","篆笔古拙沉厚，墨痕间似淌商周遗韵，线条凝练如铸金石。下方禽鸟羽色简淡却神完气足，喙微张欲鸣，爪踏竹篮边缘，憨态可掬。竹篮以寥寥数笔勾廓，经纬交错处见质朴野趣。旁题书法笔势洒脱，墨色浓淡相宜，与禽鸟的鲜活、竹篮的拙朴相映成趣。整幅书画相融，于简淡中藏盎然生机，质朴里蕴文人雅逸，将日常小景化为耐人寻味的意趣，尽显笔墨与生活的交融之妙。",[23,24,173,7,1070,178,212,498,209,13480,86],"竹编器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94d0b158a23761978220ebb961394c51.jpg","36.5x33.2cm",[90],{"id":13485,"slug":13486,"title":13487,"dynasty":18,"author":13488,"museum":457,"description":13489,"tags":13490,"thumbUrl":13492,"material":123,"size":13493,"collection":44,"collections":13494,"showCount":13371,"zanCount":2368,"manualWeight":48,"mainColor":94},214920,"jiu-ge-tu-zhang-dun-li-214920","九歌图","张敦礼","由屈原创作的九歌具有很强的宗教性，是献给当时楚国存在的九种自然神的，由11首歌曲和韵文组成。本卷中缺少的是第二首《云中君》和第三首《湘君》。据说它是由张敦礼创作的，但张敦礼的作品没有现存的例子，所以无法确认它是由他创作的。",[23,194,24,25,26,7,28,177,106,29,34,6020,13491,86,1070,937,63,212],"神仙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F147d00ca234fc4e4d8490dbae4e29906.jpg","24.7x608.5",[44],{"id":13496,"slug":13497,"title":13498,"dynasty":76,"author":563,"museum":191,"description":564,"tags":13499,"thumbUrl":13500,"material":88,"size":139,"collection":139,"collections":13501,"showCount":13371,"zanCount":48,"manualWeight":48,"mainColor":94},214840,"xie-sheng-ce-21-hua-yan-214840","写生册-21",[320,24,25,566,28,7,5443,746,838,568,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10f0efa4299c6b9b513e46407f757961.jpg",[],{"id":13503,"slug":13504,"title":13505,"dynasty":76,"author":13506,"museum":316,"description":13507,"tags":13508,"thumbUrl":13510,"material":599,"size":600,"collection":139,"collections":13511,"showCount":13512,"zanCount":2368,"manualWeight":48,"mainColor":94},289921,"sui-chao-ji-xiang-ru-yi-tu-chen-shu-289921","岁朝吉祥如意图","陈书","陈书（1660～1736）字南楼，号上元弟子，晚号南楼老人，秀水（今浙江嘉兴）人，适海监钱纶光，善画花鸟虫草，家贫，卖画自给，教子甚严。以长子钱陈群诰封太淑人。\n陈书擅长人物、山水、花卉，书法也秀丽遒劲，诗文颇为精通。她成年后嫁于钱纶光为妻，钱氏为嘉兴望族，惜乎她的丈夫很早就离开了人间。她只能勤俭持家，夜来纺纱织布，苦度岁月，对于子女的教育从不放松，教子读经吟诗至深夜。其子钱陈群在她的精心培育下，在清康熙六十年中了进士，进入朝廷担任侍读学士等官职。陈书教子成名，自己画了一幅“夜纺授经图”，此图描绘夜深人静一边纺纱，一边教子读经，神态毕俱。这幅面得皇帝的赞赏，并题诗二首在画上，当时乾隆皇帝带头题诗称道这幅画，那些高官名人也纷纷题诗歌颂之。这幅令人瞩目的“夜纺授经图”，后来刻在石上，嵌在嘉兴中山路钱氏故居壁间，笔者曾见其拓本，原作是否存在，已不得而知。但其刻石仍保存在钱氏后裔手中。因在扩展中山路时有人看到其石刻完好地嵌在墙间，现钱氏故居已拆除，其旧址即现在中国银行嘉兴支行这块地基上。\n陈书在书画方面的造诣很高，笔墨娴雅，结构严谨。当时书画家评论她画的人物称得上逸品，画的山水、花卉称为神品，可见对她的评价相当高。陈书的子孙受她的影响也能书画，在笔墨技法上很像她，可以说一门数代继承家风。她的作品曾为清代皇室珍藏，流传民间也不少。嘉兴博物馆藏有她的花卉真迹，笔者在杭州、苏州、扬州等地也看到过她的作品。她的诗为人们所重视，《复庵吟稿》收集了她诗作的精华，流传至今。",[24,25,226,7,28,83,820,292,579,2203,2288,13509,86,212,3828],"瓷瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38029323e05c021e6acdaff4db1b6ef7.jpg",[],102,{"id":13514,"slug":13515,"title":13516,"dynasty":76,"author":257,"museum":316,"description":13517,"tags":13518,"thumbUrl":13521,"material":599,"size":600,"collection":44,"collections":13522,"showCount":13512,"zanCount":1379,"manualWeight":48,"mainColor":94},289911,"sheng-ping-le-shi-tu-ce-shi-er-kai-yi-ming-289911","升平乐事图册十二开","设色雅致柔润，取景精妙入微。水岸雕栏楼阁内，仕女孩童凭栏观览，孩童探身嬉玩，仕女悠然垂目，神态鲜活尽显闲逸松弛。水滩货幌高挑，摊贩游人往来鲜活，将市井升平的融融暖意铺陈开来。\n\n画面远近疏密相宜，浅淡水色晕染出空濛柔美的水岸氛围，细碎笔触勾摹衣饰、风物细节，将日常里的安乐太平藏进雅致笔墨里，把俗世闲情的脉脉温情揉进方寸画幅间，尽显清和悠然的盛世烟火意趣。",[24,81,7,28,106,151,34,13519,13520,2852],"廊台","喜乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f4559f7002287957a6986f15ff5dae2.jpg",[44],{"id":13524,"slug":13525,"title":13526,"dynasty":99,"author":1196,"museum":316,"description":2456,"tags":13527,"thumbUrl":13528,"material":599,"size":600,"collection":139,"collections":13529,"showCount":13512,"zanCount":1379,"manualWeight":48,"mainColor":94},288079,"shi-liu-zhi-tu-zhou-tang-yin-288079","石榴枝图轴",[23,24,226,83,7,1060,86,178,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40f63c78923d96b6e2af743b41cfd6d6.jpg",[],{"id":13531,"slug":13532,"title":13533,"dynasty":76,"author":742,"museum":316,"description":13534,"tags":13535,"thumbUrl":13536,"material":139,"size":139,"collection":90,"collections":13537,"showCount":13512,"zanCount":48,"manualWeight":48,"mainColor":94},237138,"la-mei-han-que-zhou-ren-yi-237138","腊梅寒雀轴","任颐绘画题材广泛，人物、肖像、山水、花卉、禽鸟无不擅长。用笔用墨，丰富多变，构图新巧，主题突出，疏中有密，虚实相间，浓淡相生，富有诗情画意，清新流畅是他的独特风格。\n任颐（1840—1896年），初名润，字小楼、伯年，浙江绍兴人，寓居上海，以卖画为生。擅长人物、肖像、花鸟、山水画。其绘画除继承民间及传统文人画，融汇陈洪绶、陈淳、徐渭诸家之长外，还吸收了西画速写、设色诸法，形成丰姿多彩，新颖生动的独特画风，具有雅俗共赏的艺术趣味和鲜明的时代气息。与任熊、任熏、任预并称为“海上四任”。",[24,226,7,173,83,820,4323,498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F021cedaf0e04a0116abaa047e0a25a57.jpg",[90],{"id":13539,"slug":13540,"title":13541,"dynasty":76,"author":13542,"museum":316,"description":13543,"tags":13544,"thumbUrl":13545,"material":139,"size":139,"collection":139,"collections":13546,"showCount":13512,"zanCount":48,"manualWeight":48,"mainColor":49},231002,"song-shi-mu-dan-zhu-da-231002","松石牡丹","朱耷","苍松顶天立地，老干皴朴嶙峋，松针如戟排布，笔意极简却自带虬劲孤傲之势。玲珑湖石以泼墨晕染，虚实间尽显奇崛冷逸。柔婉牡丹隐于松石缝隙，淡粉轻敷，娇柔花姿与枯硬松石形成强烈反差，艳而不俗，静吐幽芳。\n\n整幅画作以寥寥笔墨勾勒冷寂孤高的格调，将沉郁心境寄于物象，于简淡笔触中藏着磅礴生命张力，把物我合一的禅意融于松石花影之间，静穆里带着疏旷风骨，尽显冷逸疏朗的独特意趣，寥寥数笔便写尽出世孤高的襟怀。",[23,194,24,25,226,173,7,498,1133,379,292],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9ec2733997ab825ea604ee9dbe4626d.jpg",[],{"id":13548,"slug":13549,"title":13550,"dynasty":76,"author":9598,"museum":316,"description":13551,"tags":13552,"thumbUrl":13553,"material":139,"size":139,"collection":139,"collections":13554,"showCount":13512,"zanCount":2368,"manualWeight":48,"mainColor":94},230156,"chun-quan-xi-yao-tu-juan-chang-juan-yu-zhi-ding-230156","春泉洗药图卷（长卷）","画作以青绿设色绘就江南春景，溪岸桃杏如云，山舍隐于繁枝茂叶之间，幽泉蜿蜒穿绕药圃。松下隐士凭坐观览，僮仆在溪桥边劳作，一派清寂雅静的林下幽居之景，尽显洗药林泉的隐逸意趣。\n\n整卷书画合璧，后续题跋行书笔致秀逸舒展，与工致明丽的设色画面相得益彰，将文人寄迹丘山、疗心养性的高怀雅韵融于卷中，笔墨温婉雅致，意境淡远出尘，尽显传统文人画的书卷意趣与审美追求。",[23,194,24,25,26,7,28,29,106,108,109,175,243,178,212,34,380],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7d01b255a94c4d9b31be5c7ce3228f0.jpg",[],{"id":13556,"slug":13557,"title":13558,"dynasty":76,"author":2200,"museum":316,"description":4194,"tags":13559,"thumbUrl":13560,"material":638,"size":13561,"collection":90,"collections":13562,"showCount":13512,"zanCount":2368,"manualWeight":48,"mainColor":94},224227,"nong-yan-zhuo-zhuo-yun-jin-xian-li-zhou-wu-chang-shuo-224227","秾艳灼灼云锦鲜立轴",[23,24,25,226,7,83,230,243,498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a9cf103a50a6f03f9f5e08b4a20601c.jpg","93x45cm",[90,45],{"id":13564,"slug":13565,"title":13566,"dynasty":76,"author":563,"museum":316,"description":13567,"tags":13568,"thumbUrl":13569,"material":139,"size":139,"collection":139,"collections":13570,"showCount":13512,"zanCount":2368,"manualWeight":48,"mainColor":94},224178,"mu-dan-zhu-shi-tu-hua-yan-224178","牡丹竹石图","此作淡素底色铺陈，花卉、湖石与秀竹错落排布，虚实相生。冰蓝牡丹以没骨晕染而成，摒弃浓艳富丽，清冷幽洁自带孤高韵致，一扫牡丹流俗的富贵之气。\n淡墨湖石以写意皴染绘就，朴雅苍润，苔点隐约，与柔媚花影形成刚柔对照。旁生秀竹浅赭敷色，清瘦挺拔，枝叶舒展柔和，衬得花容愈发幽绝尘寰。左上行题诗呼应画意，将牡丹幽芳风骨引向诗文意境，工写兼备间，尽抒文人清雅出尘的审美意趣。",[23,24,25,226,7,28,173,292,227,230,83,212,86],"https:\u002F\u002Foss.chuangqi.store\u00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横5厘米。",[194,24,25,226,7,28,83,292,1273,209,176,380],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5c4c0d3181e223fbb9eb02524df05a4.jpg",[],{"id":13806,"slug":13807,"title":13808,"dynasty":76,"author":2200,"museum":316,"description":2962,"tags":13809,"thumbUrl":13810,"material":599,"size":600,"collection":139,"collections":13811,"showCount":13796,"zanCount":2368,"manualWeight":48,"mainColor":94},235133,"ju-shi-tu-zhou-wu-chang-shuo-235133","菊石图轴",[24,226,83,498,7,897,379,13730],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee122e684142d4f2b96c49a249c633f3.jpg",[],{"id":13813,"slug":13814,"title":954,"dynasty":76,"author":77,"museum":316,"description":955,"tags":13815,"thumbUrl":13816,"material":139,"size":139,"collection":139,"collections":13817,"showCount":13796,"zanCount":2368,"manualWeight":48,"mainColor":94},233904,"hua-hui-shan-shui-ce-yun-shou-ping-233904",[24,25,81,7,83,820],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafbf2e23316e1383346d504dafb8bee8.jpg",[],{"id":13819,"slug":13820,"title":13821,"dynasty":76,"author":329,"museum":191,"description":1518,"tags":13822,"thumbUrl":13825,"material":7,"size":1521,"collection":139,"collections":13826,"showCount":13796,"zanCount":48,"manualWeight":48,"mainColor":94},222752,"xian-e-chang-chun-tu-07b-lang-shi-ning-222752","仙萼长春图-07b",[23,194,24,25,81,7,28,83,245,13823,2521,13824],"麻雀","稷穗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d348e9e77d0b308e8a29479ec471bb0.jpg",[],{"id":13828,"slug":13829,"title":13830,"dynasty":99,"author":756,"museum":191,"description":13831,"tags":13832,"thumbUrl":13833,"material":67,"size":13834,"collection":181,"collections":13835,"showCount":13796,"zanCount":1233,"manualWeight":48,"mainColor":49},221974,"gu-mu-han-quan-tu-zhou-wen-zheng-ming-221974","古木寒泉图轴","一松一柏，相旁而生。柏树老干分披，杈枒四出；其后松树两干并伸，参云直上。背景石壁与松柏紧贴，塞地漫天，几无余地，忽于绝高处界出飞泉一道，数折而下，遂使通幅于紧迫繁复之中，遽尔空灵疏朗，确为神来之笔。",[23,24,226,173,7,177,29,353,109,176,1273],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd84d499504792f62282c466eaa4ed0af.jpg","194.1x59.3cm",[181,45],{"id":13837,"slug":13838,"title":13839,"dynasty":18,"author":13840,"museum":191,"description":13841,"tags":13842,"thumbUrl":13844,"material":13845,"size":13846,"collection":42,"collections":13847,"showCount":13796,"zanCount":1379,"manualWeight":48,"mainColor":94},221240,"song-ke-si-qun-xian-gong-shou-tu-zhou-song-ren-221240","宋缂丝群仙拱寿图轴","宋人","素地设色织。寿星骑鹤从天而来，八仙拱手翘首观望。\n画面极小，但织工细微精致，人物构图愈小愈难制作，但此幅却不受这样的限制，虽然人物全挤在小小的空间中，但无论是动作、神态都十分写实自然，尤其以八仙的面部表情最为生动，将八人不同的特性表露无遗，尤其须眉等处都用针法勾线，更增添几分写实活泼的面貌。",[23,1329,226,7,106,13491,212,260,13843],"丝织工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf97f2b70cc41bd7d15d665e12e812cc.jpg","图轴，绢本","纵：41.3 厘米，横：23.8 厘米",[42,44,45],{"id":13849,"slug":13850,"title":13851,"dynasty":76,"author":77,"museum":78,"description":13852,"tags":13853,"thumbUrl":13854,"material":123,"size":1885,"collection":139,"collections":13855,"showCount":13796,"zanCount":1379,"manualWeight":48,"mainColor":94},219818,"hua-hui-shi-kai-5-yun-shou-ping-219818","花卉十开-5","此作用没骨法绘就，不见墨线勾勒，纯以色泽晕染造型。粉紫月季花瓣自瓣根至瓣尖由深渐浅，层层晕开，盛放者娇柔饱满，含苞花蕾玲珑含露，柔媚动人。叶片以深浅青绿区分阴阳向背，色泽清润鲜活，将月季的盎然生机传神铺陈。画面右侧题字配朱印，与花叶相映成趣，融笔墨意趣与写生精妙为一体，尽显雅致秀逸的文人意趣，把花卉清妍之态鲜活定格，笔墨简淡却意蕴悠长，尽显淡雅明净的审美意趣，将月季柔媚风姿静静铺展于绢素之上。",[24,7,82,83,629,84,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bce3f469d9ea7fa61fd921e063a2d5f.jpg",[],{"id":13857,"slug":13858,"title":13859,"dynasty":99,"author":257,"museum":223,"description":13860,"tags":13861,"thumbUrl":13862,"material":7,"size":139,"collection":44,"collections":13863,"showCount":13796,"zanCount":48,"manualWeight":48,"mainColor":49},219244,"zeng-zhang-tian-wang-xiang-yi-ming-219244","增长天王像","青面怒目，须髯戟张，增长天王的威严扑面而来。铠甲错金缀彩，纹饰繁复如锦，每一处云纹、兽首皆精雕细琢，尽显庄重华贵。手中长剑横陈，寒光隐现，似欲斩断世间烦恼；身侧旌旗飘曳，彩带翻飞，裹挟着风雷之势。周围护法形象各异，或嗔目咆哮，或持械拱卫，动静之间，张力十足。色彩沉厚而不失明艳，线条刚劲又含灵动，将护法神祇的勇猛与神圣刻画得入木三分，仿佛能感受到那份震慑邪魔、守护正法的磅礴力量。整幅画作既保留了宗教造像的庄严法度，又以细腻笔触赋予形象鲜活生命力，尽显传统绘画的精湛技艺与精神内涵。",[23,24,28,7,7692,260,106,2439,3661,409,860],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4d8acda20c1ab0fd65a2786e1df0fa2.jpg",[44],{"id":13865,"slug":13866,"title":13867,"dynasty":18,"author":13868,"museum":191,"description":13869,"tags":13870,"thumbUrl":13876,"material":123,"size":13877,"collection":90,"collections":13878,"showCount":13796,"zanCount":2368,"manualWeight":48,"mainColor":94},219202,"xian-yan-yuan-lu-tu-ma-shi-rong-219202","仙岩猿鹿图","马世荣","岩岫间古木扶疏，虬枝盘曲，叶态丰茂，翠影婆娑。猿猱或攀附枝柯，或隐于叶隙，姿态灵动；麋鹿潜身丛筱，茸角微露，神情悠然。山石皴法细腻，纹理毕现，苔点繁密如星，更添苍润之气。设色古雅沉静，赭石为底衬出林木葱郁，墨色浓淡相宜，线条细劲却不失婉转。整幅画将仙岩幽邃与生灵自在融于一体，笔墨工致中见生机，意境空灵里藏野趣，仿佛能闻林间风声、猿啼鹿鸣，尽显宋人对自然生灵的细腻观照与诗意捕捉。",[23,24,1260,7,28,746,7995,2479,686,34,176,13871,13872,10853,10692,13873,13874,13875],"宋代绘画","花鸟兽类","山石景观","枝叶树木","动物形象","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F022e7f9aab8d54c6068b8efa4d35a5e4.jpg","26.6x26.6cm",[90,42],{"id":13880,"slug":13881,"title":11440,"dynasty":76,"author":5359,"museum":223,"description":13882,"tags":13883,"thumbUrl":13884,"material":123,"size":13885,"collection":181,"collections":13886,"showCount":13796,"zanCount":1379,"manualWeight":48,"mainColor":49},219094,"shu-zhan-xing-lv-tu-yuan-yao-219094","层岩叠嶂间，栈道似银线盘绕绝壁，危石嶙峋欲倾，云雾如幔轻笼深谷。红叶点染崖侧，秋意暗生，却难消蜀道之险。行旅者负囊牵马，沿窄道缓行，身影虽微，步履之艰可见。袁耀以劲皴写山石肌理，界画栈道线条精准如铁，墨色浓淡相济，赭色晕染得宜。山川雄浑与行旅之微相融，既展自然伟力，又藏人间烟火。险峻中见生机，苍茫里显温情，尽现清代山水界画之精妙意趣。",[23,24,25,7,29,177,104,808,6152,106,150,34,37,1049,3960],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03b289cc09c905080f6e7bad369ba016.jpg","186.7x255.3",[181],{"id":13888,"slug":13889,"title":13890,"dynasty":18,"author":1474,"museum":191,"description":13891,"tags":13892,"thumbUrl":13894,"material":123,"size":13895,"collection":42,"collections":13896,"showCount":13796,"zanCount":48,"manualWeight":48,"mainColor":49},218974,"shui-dian-zhao-liang-tu-li-song-218974","水殿招凉图","画中有一道门，将湖水引入运河，流向宫廷花园。有顶的廊桥建在池塘和沼泽上，下面是底，上面是一排叉柱，柱子上有锅炉，锅炉之间有梁，这对研究宋代的桥梁和水闸是很有价值的资料。碑文上写着 李部长 几个字，从画风上看，应该是李松的作品。",[23,194,24,1260,104,7,106,107,13893,109,1241,115],"廊桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F666a148dad7f30d97877d2b6a766c63a.jpg","24.5x25.4",[42],{"id":13898,"slug":13899,"title":13900,"dynasty":189,"author":362,"museum":191,"description":13901,"tags":13902,"thumbUrl":13903,"material":123,"size":13904,"collection":90,"collections":13905,"showCount":13796,"zanCount":48,"manualWeight":48,"mainColor":49},218703,"ji-he-tu-xu-xi-218703","芰荷图","徐熙出生于江宁（今南京），也有记载认为他出生于锺陵（今江西南昌进贤县），一生从没有担任官职，只是专心绘画，他的绘画风格质朴简练，他创作了水墨淡彩的绘画方法，运用墨的浓淡变化，勾点兼施，画出花卉的枝叶萼蕊，略施淡彩，使色不碍墨不掩笔迹而生气动人。善于描绘汀花野竹、水鸟渊鱼、凫雁、鹭鸶、蒲藻、虾鱼、丛艳、折枝、园蔬药苗等。",[23,24,25,226,83,173,7,28,228,136,137,484],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d2cbafe8b7c62d5722cbe40085ab683.jpg","97.6x46.2cm",[90],{"id":13907,"slug":13908,"title":255,"dynasty":302,"author":257,"museum":316,"description":13909,"tags":13910,"thumbUrl":13911,"material":123,"size":13912,"collection":44,"collections":13913,"showCount":13796,"zanCount":48,"manualWeight":48,"mainColor":49},218444,"shui-yue-guan-yin-tu-yi-ming-218444","月色漫过绢面，晕开一层古雅的昏黄。观音趺坐于石上，衣袂如流水般铺展，垂眸间似含万顷慈悲。身后水月相涵，清波与月影交融成虚灵的境象，竹影疏斜掠过衣纹，添几分清寂禅意。线条柔婉却藏力道，每一笔都似在诉说禅心的空灵——不著凡尘，只留月华与水韵缠绵。这帧古画如同一枚被时光浸润的禅偈，静静铺展时，便将观者引入那片空明澄澈的水月世界，心也随之沉静下来。衣纹的流转、月色的朦胧、禅意的悠远，在方寸之间交织成一场无声的修行，让浮躁被温柔涤荡，只余对空性的敬畏与向往。",[23,24,25,226,260,28,352,7,106,265,3712,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67e706788ef465ef888e2024e9954d0f.jpg","83.8x43.2",[44],{"id":13915,"slug":13916,"title":13917,"dynasty":76,"author":2849,"museum":316,"description":13918,"tags":13919,"thumbUrl":13920,"material":123,"size":139,"collection":44,"collections":13921,"showCount":13796,"zanCount":2368,"manualWeight":48,"mainColor":642},217227,"li-dai-di-wang-zhen-xiang-yao-wen-han-217227","历代帝王真像","姚文瀚的《历代帝王真像图》是一部巨著，包含了从秦始皇到清朝乾隆帝的220位帝王的真像。这幅画卷以宫廷内务府的资料为基础，经过姚文瀚的精心研究和描绘，每一位帝王的真像都非常逼真，与当时的实际相差无几。\n\n姚文瀚在制作《历代帝王真像图》时，花了超过20年的时间，并且聘请了许多著名的艺术家协助他的工作。最终，他完成了这部传世的巨著，使得我们能够通过这幅画卷了解到中国历史上许多伟大的帝王的长相。",[24,25,28,7,106,406,63,937],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faaf5715b9cb0f6635601027daac360af.jpg",[44],{"id":13923,"slug":13924,"title":5449,"dynasty":76,"author":77,"museum":316,"description":596,"tags":13925,"thumbUrl":13926,"material":599,"size":600,"collection":139,"collections":13927,"showCount":13928,"zanCount":48,"manualWeight":48,"mainColor":94},290525,"ju-hua-zhou-yun-shou-ping-290525",[194,24,226,25,7,83,897,230,212,86,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c6f67635860a905d349624dcec02c18.jpg",[],99,{"id":13930,"slug":13931,"title":131,"dynasty":76,"author":658,"museum":316,"description":8264,"tags":13932,"thumbUrl":13933,"material":599,"size":600,"collection":90,"collections":13934,"showCount":13928,"zanCount":2368,"manualWeight":48,"mainColor":94},238346,"hua-hui-ce-dong-gao-238346",[24,25,83,81,7,28,243,629,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9149d6e60a547adda3d2705a79a31ea9.jpg",[90,45],{"id":13936,"slug":13937,"title":13938,"dynasty":18,"author":257,"museum":316,"description":13939,"tags":13940,"thumbUrl":13941,"material":139,"size":139,"collection":139,"collections":13942,"showCount":13928,"zanCount":48,"manualWeight":48,"mainColor":49},227564,"shui-yue-guan-yin-yi-ming-227564","水月观音","水月观音佛经谓观音菩萨有三十三个不同形象的法身，画作观水中月影状的称水月观音。见《法华经普门品》。后用以喻人物仪容清。",[194,24,260,106,7,6768,13938],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5104d21de40843aa626a5a833467fa9.jpg",[],{"id":13944,"slug":13945,"title":13946,"dynasty":76,"author":2837,"museum":191,"description":11550,"tags":13947,"thumbUrl":13948,"material":88,"size":2842,"collection":139,"collections":13949,"showCount":13928,"zanCount":2368,"manualWeight":48,"mainColor":94},220331,"cao-chong-hua-hui-hu-shi-si-ping-mu-dan-ju-lian-220331","草虫花卉湖石四屏-牡丹",[23,24,25,226,28,7,292,230,483,84,836,1090,6068],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9405a060a876dc38c257ff27f089ad9e.jpg",[],{"id":13951,"slug":13952,"title":13953,"dynasty":99,"author":13954,"museum":132,"description":13955,"tags":13956,"thumbUrl":13958,"material":123,"size":13959,"collection":90,"collections":13960,"showCount":13928,"zanCount":2368,"manualWeight":48,"mainColor":49},219125,"han-liu-yuan-yang-tu-wang-feng-219125","寒柳鸳鸯图","王酆","图为两只鸳鸯在河边游泳的场景，其中一只已经在水中游动，另一只正在奔跑等待下水。 鸳鸯造型精巧，色墨交融，栩栩如生。 岸边画一枝老柳，笔墨老辣。 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mainColor":49},219583,"zhen-qin-huo-lang-tu-yi-ming-219583","珍禽货郎图","画面里货郎车层层叠叠，珍禽翎羽、精巧玩物错落排布，老者俯身递出物件，眉眼含着温煦笑意。周遭稚童各有神态，或踮脚抬首凝眸张望，或蹲坐嬉玩，灵动尽显。\n\n笔线细腻遒劲，晕染古雅柔和，将巷陌间的鲜活烟火铺展开来，把货郎营生的热闹、孩童嬉游的天真揉为一处，藏着市井日常的融融暖意，尽显世俗浮生的悠然意趣，是描摹民间烟火气的精妙之作。",[23,24,28,7,106,2385,9249,1530,280,14097,860],"传统","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc1b0f675a44b3481be33a930c92e338.jpg","纵161.5横97.2厘米",[44,45],{"id":14102,"slug":14103,"title":14104,"dynasty":18,"author":1350,"museum":191,"description":14105,"tags":14106,"thumbUrl":14108,"material":123,"size":14109,"collection":181,"collections":14110,"showCount":14004,"zanCount":48,"manualWeight":48,"mainColor":49},219001,"shan-shui-ren-wu-tu-ma-yuan-219001","山水人物图","在松树的阴影下，两个人面对悬崖的对面站着，各自做着倾斜和弯曲的动作，似乎在练习呼气的艺术。岩石用横笔侧画，松枝扭曲僵硬，布满雾气，用笔墨画出了南宋的风格。这幅画的年代大约是在元朝和明朝初期。最初它可能是一个屏幕，但现在它以卷轴的形式被框住了。",[23,194,24,25,29,106,1273,176,108,173,7,177,14107,6938],"南宋风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2c415298a6ebf1893920cac4c8f6236.jpg","77.1x126.4",[181],{"id":14112,"slug":14113,"title":14114,"dynasty":99,"author":14115,"museum":191,"description":14116,"tags":14117,"thumbUrl":14118,"material":88,"size":14119,"collection":181,"collections":14120,"showCount":14004,"zanCount":48,"manualWeight":48,"mainColor":94},218371,"wu-yue-jiang-shen-tu-wen-bo-ren-218371","五月江深图","文伯仁","画面以对角线构图，一边布置葱郁的山林，一边则为浩瀚的江天；山林中隐蔽数间屋舍，有一人独倚栏杆远眺江景，传达出僻地幽居的情景。",[24,226,7,177,212,29,685,262,378,686,1426,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c0b946e829e4768e353c4fcb8e2f88a.jpg","110.3x45.3cm",[181],{"id":14122,"slug":14123,"title":14124,"dynasty":76,"author":698,"museum":101,"description":14125,"tags":14126,"thumbUrl":14127,"material":88,"size":702,"collection":139,"collections":14128,"showCount":14004,"zanCount":2368,"manualWeight":48,"mainColor":94},216245,"jing-fu-si-qi-dong-jing-tu-12-qian-wei-cheng-216245","景敷四气冬景图-12","此套《景敷四气》冬景图，是清乾隆时期画家钱维城的作品。此套画册共含十二帧，纯以水墨为之或薄施淡色擦染，构图简练，自出机杼。运笔较为多样，笔法松秀，墨色疏淡，用色恬然，具有很显著的文人绘画的样式。最后一幅有：甲午新正月御题。钤印：乾隆鉴赏、三希堂精鉴玺、宜子孙、乾隆。\n朵开月月映阶唇，带雪披风更可人。须识此花深易理，四时一气贯长春。甲午新正月御题。钤印：乾隆鉴赏、三希堂精鉴玺、宜子孙、乾隆",[24,3559,173,7,177,2724,3883,35,686,13277,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedc995690cd5b9f284ba9e2c0b83cd22.jpg",[],{"id":14130,"slug":14131,"title":14132,"dynasty":54,"author":14133,"museum":191,"description":14134,"tags":14135,"thumbUrl":14136,"material":88,"size":14137,"collection":90,"collections":14138,"showCount":14004,"zanCount":48,"manualWeight":48,"mainColor":94},214586,"xie-sheng-hua-hui-ce-ku-shu-wu-yang-pan-tuo-liu-shui-diao-guang-yin-214586","写生花卉册-枯树五羊磐陀流水","刁光胤","刁光胤的写生花卉册是一件著名的绘画作品，其中的枯树五羊磐陀流水图是一件精美的山水画作品。\n\n这件作品的画风精细，色彩鲜艳，构图巧妙。画中的山水风景清新自然，体现了刁光胤对自然的热爱和对传统文化的尊重。他运用了山水画的特点，使得整件作品显得舒缓而优美。\n\n在这幅画中，刁光胤运用了清新的色彩和精细的线条来描绘山水风景。他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。画中的枯树五羊磐陀流水是一幅清新而美丽的山水画，它体现了刁光胤对自然的热爱和对传统文化的尊重。\n\n总的来说，刁光胤的写生花卉册是一件精美的绘画作品，其中的枯树五羊磐陀流水图是一件优美的山水画作品，它描绘了中国传统的山水风景，也体现了刁光胤对自然的热爱和对传统文化的尊重。",[24,25,81,7,29,795,746,109,230,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab32d24499975cca0c619bebd3c0cd32.jpg","33.9x36.4cm",[90],{"id":14140,"slug":14141,"title":14142,"dynasty":76,"author":329,"museum":20,"description":14143,"tags":14144,"thumbUrl":14145,"material":40,"size":14146,"collection":90,"collections":14147,"showCount":14148,"zanCount":1379,"manualWeight":48,"mainColor":94},236270,"qian-long-huang-di-luo-yan-tu-lang-shi-ning-236270","乾隆皇帝落雁图","此图是乾隆皇帝谕令宫廷画家绘制的巡狩题材系列作品之一。图绘乾隆皇帝在悬崖石壁处，弯弓射雁的情景，表现了乾隆皇帝极强的反应能力和精准的骑射功力。\n根据图中所运用的绘画技法分析，此幅是件中西画家合璧之作。图中乾隆皇帝的肖像及坐骑白马、大雁由西洋画家郎世宁所绘，其笔法细腻，造型准确，尤其将大雁中箭后向下滑行时的动感，及乾隆皇帝箭发后，手由动到静的瞬间都表现得恰到好处，显示出作者具有较强的观察力和表现力。图中点景的山石、树木及溪流当出自中国画家之手，笔墨法度严谨，点染娴熟，得宋元人古意，高大的石壁与树木、曲水共同营造出一个清幽的狩猎环境，将本是伤残的行猎活动点缀得惬意而温馨。",[24,194,25,226,28,7,1022,106,150,245,29,795,686,912,31,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe798b081b98ec064f1de8deddba91ab5.jpg","纵259厘米，横171.6厘米",[90,181,44,45],97,{"id":14150,"slug":14151,"title":14152,"dynasty":99,"author":257,"museum":20,"description":11492,"tags":14153,"thumbUrl":14154,"material":529,"size":139,"collection":44,"collections":14155,"showCount":14148,"zanCount":1379,"manualWeight":48,"mainColor":49},236160,"zhang-fei-xiang-zhou-yi-ming-236160","张飞像轴",[24,226,7,106,28,2439,63,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc798faf4f2e36c88656db7ea294b9113.jpg",[44,45],{"id":14157,"slug":14158,"title":14159,"dynasty":256,"author":257,"museum":316,"description":14160,"tags":14161,"thumbUrl":14162,"material":599,"size":600,"collection":139,"collections":14163,"showCount":14148,"zanCount":48,"manualWeight":48,"mainColor":2504},231611,"fu-hua-qi-xiang-pu-xian-pu-sa-xiang-li-zhou-yi-ming-231611","佛画 骑象普贤菩萨像立轴","此作为工笔佛绘，菩萨面容端严沉静，合掌趺坐莲台之上，身覆璎珞宝饰，衣纹晕染厚重沉稳，残存敷色仍见旧日明丽华贵，尽显慈悲圆融的气度。其座下六牙白象憨态恭谨，披挂錾花鞍鞯与垂悬璎珞，愿行广大的寓意尽显其中。深褐暗调的背景点缀残损缠枝花卉，愈发衬得圣像高洁出尘。岁月浸蚀留下斑驳痕迹，却为画作添就古拙沧桑的厚重韵味，残色旧彩间，藏着跨越时光的虔敬匠心，静穆间弥散着平和肃穆的宗教感染力。",[23,260,226,7,106,746,8378,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f07b6ca8883d802aa44f6991a838e5d.jpg",[],{"id":14165,"slug":14166,"title":14167,"dynasty":76,"author":329,"museum":20,"description":14168,"tags":14169,"thumbUrl":14170,"material":67,"size":14171,"collection":44,"collections":14172,"showCount":14148,"zanCount":48,"manualWeight":48,"mainColor":94},222791,"dao-guang-di-chao-fu-xiang-zhou-lang-shi-ning-222791","道光帝朝服像轴","郎世宁（1688-1766），意大利米兰人，原名朱塞佩·伽斯底里奥内。清康熙五十四年（1715）作为天主教耶稣会的修道士来中国传教，到京后约于雍正元年（1723）进入如意馆，成为宫廷画家。他很好地融合了中西绘画技法，在中国传统绘画技法中融合了讲究立体效果，注意透视和明暗，重视写实和结构准确的合理性。擅画肖像、走兽、花果、翎毛，尤善画马。他是将欧洲的绘画品种和方法传授给中国的宫廷画家，为中西文化艺术的交流作出了积极贡献，颇得皇家青睐。",[23,24,25,226,28,7,106,11229,63,406,333],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0ebc1b16c1a24a78979bfc2d02b1314.jpg","35x57",[44,45],{"id":14174,"slug":14175,"title":14176,"dynasty":302,"author":1977,"museum":20,"description":14177,"tags":14178,"thumbUrl":14179,"material":14180,"size":14181,"collection":181,"collections":14182,"showCount":14148,"zanCount":1233,"manualWeight":48,"mainColor":49},220878,"shu-dao-nan-zhao-meng-fu-220878","蜀道难","此图描写了大自然动人心魄的奇险与壮伟，给人以回肠荡气之感。诸多的画面此隐彼现，无论是山之高，水之急，河山之改观，林木之荒寂，连峰绝壁之险，皆有逼人之势，其气象之宏伟，其境界之阔大，确非他人可及。再从总体来看，其变化极速，愈变愈奇，又往往出人意料，使人目不暇接。正如清代诗评家沈德潜所盛称：“笔势纵横，如虬飞蠖动，起雷霆于指顾之间。”",[23,24,7,29,106,150,378,176,37,1049,114,1754,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54697ce08d4ec72533884797c61458dd.jpg","立轴，纸本设色","纵154.4厘米，纵56.6厘米",[181,45],{"id":14184,"slug":14185,"title":14186,"dynasty":99,"author":1782,"museum":608,"description":14187,"tags":14188,"thumbUrl":14190,"material":88,"size":14191,"collection":181,"collections":14192,"showCount":14148,"zanCount":48,"manualWeight":48,"mainColor":94},220413,"qiu-jiang-yu-ting-tu-dai-jin-220413","秋江渔艇图","《秋江渔艇》图卷是现存戴进面迹中最长的手卷，有名款及静庵”一印，论者大多将这幅画和吴镇 (1280一1354年）的《渔父图》及吴伟 （1459—1508年）的《渔乐图》相提并论。有关戴进的生平资料中，没有记载他管经接触那些过去的作品，但是在北京时，应该有机会见到宋元人作品，后来在浙江享有盛名，也使他有机会结识收藏家，接触到前人的名作，其中可能包括了出生于浙江的吴镇。\n《秋江渔艇》的简笔人物、人物的姿态，斜向的小舟，凸笔中锋的树石，和吴镇《渔父图》有许多相近之处，可以说明两者的关系。不过基本出发点并不相同，吴镇是以张志和《渔父词》为依据，面隐居的文人雅士，戴进关心的是在河川中以捕鱼为业的乡土人物，用笔也较为放纵．转折顿挫十分明显，即使径寸的人物，也表现出强劲有力的线条，和吴镇内敛含蓄的笔法有很大的差别。戴进在这面里发展出的笔墨形态，到了中叶的浙派画家吴伟的《渔乐图》时，运用得过度，尤其是水墨的渲染，已经纯然是笔墨的表演了。",[23,24,25,26,173,7,29,177,796,174,245,353,109,176,14189,6582,175,34],"江面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09db0f94b0f1be9504aad5e181144fe8.jpg","46 x 741.7",[181,45],{"id":14194,"slug":14195,"title":4872,"dynasty":99,"author":14196,"museum":442,"description":14197,"tags":14198,"thumbUrl":14201,"material":123,"size":139,"collection":44,"collections":14202,"showCount":14148,"zanCount":1379,"manualWeight":48,"mainColor":49},219555,"ying-xi-tu-you-qiu-219555","尤求","孩子们骑着竹马，拉着彩色的战车，在松木庭院的树荫下拿着中国的盖子，敲打着锣鼓，仿佛在模仿国王或王子出征。孩子们张开的脸是相似的，在他们的衣服上使用了沉重、笨拙的笔触，与尤秋的传统笔触相差甚远。",[23,24,25,194,7,28,106,2385,1273,14199,14200,12836,263],"竹马","灯笼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8800e97a0f44aa56d05b931855ed98b.jpg",[44,45],{"id":14204,"slug":14205,"title":14206,"dynasty":76,"author":11822,"museum":78,"description":14207,"tags":14208,"thumbUrl":14209,"material":123,"size":14210,"collection":181,"collections":14211,"showCount":14148,"zanCount":2368,"manualWeight":48,"mainColor":49},218727,"shui-dian-chun-shen-tu-yuan-jiang-218727","水殿春深图","袁江字文涛，号岫泉。清代宫廷画家，专工山水楼阁界画。\u2028 袁的画法继承宋代宫廷画的风格，结实、工细，体积感强。并能把雄伟壮阔的山色与富丽堂皇的楼阁很好地融为一体，既精细入微，又气势磅礴，有力地提高了“界画”的表现能力，被推为清代“界画”第一。",[24,25,226,104,7,28,107,968,34,176,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F541a38c45bc135a29e893993570190f9.jpg","纵104厘米，横49.5厘米",[181,45],{"id":14213,"slug":14214,"title":1641,"dynasty":76,"author":14215,"museum":442,"description":14216,"tags":14217,"thumbUrl":14218,"material":88,"size":14219,"collection":44,"collections":14220,"showCount":14148,"zanCount":1379,"manualWeight":48,"mainColor":49},218513,"shi-nv-tu-wang-zhao-xiang-218513","王兆祥","描绘了一个女人在喂养一只八哥，她的身体很轻盈，展示了她的三寸金莲。",[24,25,226,352,7,106,59,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F960305f61098ea3cba367f9a0d72cb95.jpg","136.8x61.8",[44],{"id":14222,"slug":14223,"title":14224,"dynasty":99,"author":2425,"museum":78,"description":4071,"tags":14225,"thumbUrl":14226,"material":88,"size":139,"collection":139,"collections":14227,"showCount":14148,"zanCount":48,"manualWeight":48,"mainColor":2504},214658,"qiu-xing-ba-jing-tu-ce-1-dong-qi-chang-214658","秋兴八景图册-1",[3560,173,7,29,5218,34,81,177,498,176,6020,986],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10dabbb12a6134bd0b3af4b7144fde3e.jpg",[],{"id":14229,"slug":14230,"title":14231,"dynasty":99,"author":14232,"museum":316,"description":14233,"tags":14234,"thumbUrl":14237,"material":599,"size":600,"collection":139,"collections":14238,"showCount":14239,"zanCount":2368,"manualWeight":48,"mainColor":49},288002,"tang-yuan-xi-chun-tu-juan-zhu-zhan-ji-288002","唐苑嬉春图卷","朱瞻基","画面上画了五只猫，其动作神情都不一样。颜色趋于白花的猫。这种动物类的绘画里，无非就是两种要注意的。\n其一是造型。照猫画虎也行，照虎画猫也行，一定要把它的型抓住，神另说。这五只猫，每一只猫的形态还是很生动的。这只叼着鸟的猫，其回身的动作和眼神，都是一致的。",[23,24,194,26,28,7,745,227,84,14235,14236],"走兽","嬉春","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e0eac807c246b76d65c027745f5ba9a.jpg",[],96,{"id":14241,"slug":14242,"title":14243,"dynasty":18,"author":2509,"museum":316,"description":14244,"tags":14245,"thumbUrl":14248,"material":599,"size":600,"collection":139,"collections":14249,"showCount":14239,"zanCount":48,"manualWeight":48,"mainColor":49},287575,"dong-ri-xi-ying-tu-su-han-chen-287575","冬日戏婴图","图中画二童婴在庭园嬉戏。男孩左手拿着一根美丽的孔雀毛，女孩右手持一面绣花的小锦旗来回摇摆，逗着跟随着他们来回跑的小猫。画中描绘的虽然是冬景，但是花园中翠竹青青，茶花、梅花竞相开放。儿童形象富而不骄，华而不贵，充满宋代城市中的世俗生活情趣。整幅画面作者用笔工整细致，设色艳丽。技法纯熟，形神兼备。",[194,24,226,7,28,106,2385,820,227,661,745,14246,14247],"冬日","戏婴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56f4da80266afbaa0934659384b709df.jpg",[],{"id":14251,"slug":14252,"title":5449,"dynasty":76,"author":3221,"museum":191,"description":14253,"tags":14254,"thumbUrl":14255,"material":638,"size":14256,"collection":90,"collections":14257,"showCount":14239,"zanCount":1379,"manualWeight":48,"mainColor":94},237221,"ju-hua-zhou-xu-gu-237221","虚谷（1824年－1896年），清代僧人及画家。俗姓朱，名怀仁，一名虚白，号紫阳山人。新安（今安徽歙县）人，世居扬州，同治、光绪年间寓居上海。\n虚谷工山水、花卉、动物、禽鸟，尤善长画松鼠及金鱼。亦工肖像，擅书，能诗善文，着有《虚谷和尚诗录》。曾在上海、是晚清画坛的巨子，为“ 他曾任清军参将，后因不愿奉命打 其为人性情孤僻，非相处情深者不能得其片纸。携笔墨、着僧装，“闲中写出三千幅，行乞人间作饭钱”，其一生极为清苦，却云游四海，其行程之广，作品之多，为当时所罕见。他承古创新，独辟捷径，广集素材，勤于创作，终成一代巨擘。",[24,25,226,7,83,897],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fe7cc2ae8930ce3b58efcd7f5e7c78b.jpg","197.4×48.2",[90],{"id":14259,"slug":14260,"title":14261,"dynasty":99,"author":257,"museum":316,"description":14262,"tags":14263,"thumbUrl":14264,"material":67,"size":139,"collection":90,"collections":14265,"showCount":14239,"zanCount":1379,"manualWeight":48,"mainColor":49},236282,"wang-zi-yuan-hua-niao-ce-yi-ming-236282","王子元花鸟册","此作清雅悠然，绶带鸟栖于梨枝之上，翎毛以细笔丝描晕染，墨色层叠尽显绒羽柔泽，蓝首醒目，长尾轻曳，姿态娴静灵动。枝头梨花绽放，淡墨勾瓣，敷色轻浅柔润，将花瓣舒展之态描摹尽致。叶片以没骨晕染，浓淡晕化间尽显春日枝叶的鲜活生机。\n\n画面构图疏朗雅致，工写相融，于细腻笔触中藏着写意的悠然意趣，将禽鸟的灵动与花木的温婉相融，笔墨间晕开春日清和的淡远意境，尽显静谧雅致的文人闲情。",[24,25,81,7,28,83,209,62,210,860],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c0060be9a1a7849c84dd94d58fb96a4.jpg",[90,45],{"id":14267,"slug":14268,"title":14269,"dynasty":76,"author":14270,"museum":20,"description":14271,"tags":14272,"thumbUrl":14274,"material":529,"size":14275,"collection":44,"collections":14276,"showCount":14239,"zanCount":48,"manualWeight":48,"mainColor":94},236148,"leng-mei-yang-zheng-tu-shu-he-ce-zhang-ruo-ai-236148","冷枚养正图书合册","张若霭","此套册页共十开，画面内容皆为历代贤明君主的故事。绘画部分由宫廷画家冷枚绘制，对题由张若蔼书写对应故事情节的文字。两者配合，图文并茂，能够起到以史为鉴、以图育人的教育目的。皇子们观摩此册，意在学习为君之道。\n之后，康熙皇帝带领皇太子（胤礽）、皇长子（胤禔）、皇三子（胤祉）、皇四子（胤禛）、皇五子（胤祺）、皇七子（胤祐）、皇八子（胤禩）一同来到无逸斋，命尹泰、德格勒传谕：「朕宫中从无不读书之子，今诸皇子虽非大有学问之人，所教然已俱能读书。朕非好名之主，故向来太子及诸皇子读书之处未尝有意使人知之，所以外廷容有未晓然者。今特诏诸皇子至前讲诵，汝等试观之。」\n康熙皇帝随即取下十余本经书授予汤斌，让他「信手拈出，令诸皇子诵读」。汤斌随揭经书，皇三子、皇四子、皇七子、皇八子依次进前，各读数篇，纯熟舒徐，声音朗朗。\n康熙皇帝又命皇长子讲「格物致知」一节，皇三子讲《论语》「乡党」首章，皆逐字疏解又能融贯大义。而一向在宫中被皇太后亲自抚养、不谙汉文的皇五子也不逊色，他虽不曾读汉书，但对满文却是精通，康熙皇帝命他当场诵读满文，读的「段落清楚，句句明亮」。\n当时，皇长子十六岁，皇太子十一岁，皇三子十一岁，皇四子十岁，皇五子九岁，皇七子八岁，皇八子七岁，诸皇子的表现无疑是很出色的。但康熙皇帝绝不夸赞，也不允许别人称赞，「诸皇子在宫中从无人敢赞好者，若有人赞好，朕即非之」。",[28,7,106,34,14273,912,115,1703],"草屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F506aab7253e1dccbdeebb1a3e5f16af2.jpg","纵三二·二厘米 横四二·三厘米",[44,45],{"id":14278,"slug":14279,"title":131,"dynasty":76,"author":2805,"museum":316,"description":2806,"tags":14280,"thumbUrl":14281,"material":599,"size":600,"collection":90,"collections":14282,"showCount":14239,"zanCount":48,"manualWeight":48,"mainColor":94},235595,"hua-hui-ce-wang-wu-235595",[194,24,25,81,7,28,83,230,84,210,212,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53dfb5af791c81f1b8b2110f11c0c905.jpg",[90,45],{"id":14284,"slug":14285,"title":14286,"dynasty":99,"author":257,"museum":223,"description":14287,"tags":14288,"thumbUrl":14289,"material":139,"size":139,"collection":139,"collections":14290,"showCount":14239,"zanCount":1379,"manualWeight":48,"mainColor":49},232911,"fang-qian-xuan-hua-niao-tu-yi-ming-232911","仿钱选花鸟图","钱选以花鸟画成就最高。他的成熟花鸟画，在院画基础上吸取 扬无咎 一派水墨花卉的技法，创造了新的体格。\n后人很多仿画。",[23,24,25,26,28,7,105,83,227,634,62,209,484,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03e0b54ca3ef8f0e19e5c3536b8481fe.jpg",[],{"id":14292,"slug":14293,"title":14294,"dynasty":76,"author":2200,"museum":539,"description":14295,"tags":14296,"thumbUrl":14297,"material":500,"size":14298,"collection":90,"collections":14299,"showCount":14239,"zanCount":48,"manualWeight":48,"mainColor":94},224223,"song-mei-tu-wu-chang-shuo-224223","松梅图","松树倾斜，画面苍劲，树干稍写皴擦，尽显斑驳质感；松枝斜披，干笔勾枝，浓墨勾画松针。梅干多取直势，稍加润泽，小枝横陈，意境空潆深远。梅花点写，错落纷陈。全图笔势如龙飞，舒放自如，有意在笔先之妙。",[23,24,25,226,173,7,83,1133,820,212,498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F394f15aa9a6c228570b112034349569c.jpg","纵135.6厘米，横67.8厘米",[90,45],{"id":14301,"slug":14302,"title":3082,"dynasty":76,"author":329,"museum":20,"description":10925,"tags":14303,"thumbUrl":14304,"material":40,"size":10928,"collection":90,"collections":14305,"showCount":14239,"zanCount":2368,"manualWeight":48,"mainColor":94},222781,"hua-niao-ce-ye-lang-shi-ning-222781",[23,194,24,25,81,28,7,83,820,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1a60274f5f3dad5f48ce75b5aa1af22.jpg",[90,45],{"id":14307,"slug":14308,"title":14309,"dynasty":76,"author":3071,"museum":539,"description":3072,"tags":14310,"thumbUrl":14311,"material":67,"size":3076,"collection":139,"collections":14312,"showCount":14239,"zanCount":2368,"manualWeight":48,"mainColor":94},222684,"si-ji-hua-niao-tu-ping-7-chen-mei-222684","四季花鸟图屏7",[23,24,7,28,83,820,630,209,836,686,1754,838],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcaf378e4fccac3e55f9b45892458c5c.jpg",[],{"id":14314,"slug":14315,"title":14316,"dynasty":76,"author":77,"museum":316,"description":1338,"tags":14317,"thumbUrl":14318,"material":1012,"size":14319,"collection":90,"collections":14320,"showCount":14239,"zanCount":48,"manualWeight":48,"mainColor":801},221001,"hua-hui-li-zhou-yun-shou-ping-221001","花卉立轴",[23,24,226,82,7,83,292,227,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb72df777f65aff6071f8368bf22ed0ab.jpg","48.5×118.5",[90,45],{"id":14322,"slug":14323,"title":14324,"dynasty":76,"author":257,"museum":191,"description":14325,"tags":14326,"thumbUrl":14328,"material":123,"size":14329,"collection":90,"collections":14330,"showCount":14239,"zanCount":2368,"manualWeight":48,"mainColor":94},218818,"fu-gui-ji-qing-tu-yi-ming-218818","富贵吉庆图","这幅画是在七色牡丹花下画了一对公鸡和母鸡接近小鸡的场景。牡丹的画法是恽代英式的，鸡的形状也很准确，采用的是略带西方色彩的凹版画法，所以这幅画应该是清代宫廷画家的作品。",[24,7,28,83,8655,14327,11426,292,263,380],"母鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87b682bea290156c24b7bd4517051447.jpg","138.5x69cm",[90],{"id":14332,"slug":14333,"title":14334,"dynasty":18,"author":1350,"museum":132,"description":14335,"tags":14336,"thumbUrl":14337,"material":123,"size":139,"collection":181,"collections":14338,"showCount":14239,"zanCount":2368,"manualWeight":48,"mainColor":49},217999,"xue-an-guan-tiao-tu-ma-yuan-217999","雪岸观眺图","马远是宋朝时期的一位著名画家，他的作品中有一幅名为“雪岸观眺图”的水墨画，被认为是宋朝画坛上的杰作之一。\n\n这幅画描绘了一段冬日的景象，画面中的山峦积雪，河水冰冻，极富冬日特色。在画中，可以看到许多游客在观眺这片壮丽的景色。画中还有许多树木，它们的枝条被白雪覆盖，显得格外的美丽。\n\n马远在这幅画中运用了许多水墨画的技巧，包括“写意”和“虚实”。“写意”指的是画家用自己的感受来描绘景象，而“虚实”则指画家在画面中运用虚实对比来表现深浅、空间感等效果。在“雪岸观眺图”中，马远巧妙地运用了这些技巧，使得画面充满了生动的气氛和浓郁的冬日气息。\n总的来说，“雪岸观眺图”是宋朝画坛上的一幅杰作，它不仅展现了宋朝时期画家对冬日景色的传统描绘方式，还体现了马远对水墨画艺术的精湛技艺",[23,194,24,25,226,7,28,177,29,175,378,2086,106,686,1135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86c2a7d7b855598a8f3c175345fe606f.jpg",[181],{"id":14340,"slug":14341,"title":7012,"dynasty":18,"author":257,"museum":191,"description":14342,"tags":14343,"thumbUrl":14344,"material":123,"size":14345,"collection":90,"collections":14346,"showCount":14239,"zanCount":1379,"manualWeight":48,"mainColor":49},216214,"xi-ma-tu-yi-ming-216214","洗马图是宋朝时期的一幅著名图画，其作者不详。这幅图展示了一群人在洗马，图中人物栩栩如生，每个人都有自己独特的表情和动作。洗马图被认为是中国古代绘画史上的杰作，其精细的绘画技巧和生动的人物造型吸引了许多观众的眼球。\n\n洗马图是在宋朝时期创作的，当时中国的绘画艺术正处于高峰期。在宋朝时期，绘画艺术得到了极大的发展，许多著名的绘画家都涌现出来，创作出了许多传世的杰作。洗马图就是其中的一例，其精细的绘画技巧和生动的人物造型使其成为了中国古代绘画史上的杰作。\n\n目前，洗马图被认为是中国古代艺术宝藏之一，并被收藏在台北故宫博物院之中。许多人都向往能够看到这幅珍贵的图画，并为其中的细节所惊叹。洗马图是中国古代艺术的杰作，值得我们去探究和珍视。",[24,25,194,28,7,106,150,378,104,2003],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5b0938793c42dc54607d2778cc0ab9b.jpg","55x60.8cm",[90],{"id":14348,"slug":14349,"title":908,"dynasty":18,"author":257,"museum":4901,"description":14350,"tags":14351,"thumbUrl":14352,"material":123,"size":14353,"collection":42,"collections":14354,"showCount":14239,"zanCount":2368,"manualWeight":48,"mainColor":49},215141,"mu-niu-tu-yi-ming-215141","柳树下母子牛与牧童幽然自得，老牛正舔小水牛，使人很自然想起舔犊情深的成语。一牧童依坐在柳树下打盹欲睡，远处池塘水波拂动，柳树及所有青草一齐飘拂一边，显然是春风和熙的春天情境。",[23,24,28,7,106,151,378,912],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb029c7a8756d57f421eeee8d256b9e45.jpg","24.7x25.6cm",[42,90],{"id":14356,"slug":14357,"title":14358,"dynasty":99,"author":100,"museum":191,"description":14359,"tags":14360,"thumbUrl":14363,"material":123,"size":14364,"collection":181,"collections":14365,"showCount":14239,"zanCount":48,"manualWeight":48,"mainColor":94},214585,"lin-song-yuan-liu-jing-ce-gao-feng-yuan-hu-chou-ying-214585","临宋元六景册-高峰远湖","明代画家仇英的临宋元六景册是一件著名的绘画作品，其中的高峰远湖图是一件精美的山水画作品。\n\n这件作品的画风精细，色彩鲜艳，构图巧妙。画中的山水风景清新自然，体现了仇英对自然的热爱和对传统文化的尊重。他运用了山水画的特点，使得整件作品显得舒缓而优美。\n\n在这幅画中，仇英运用了清新的色彩和精细的线条来描绘山水风景。他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。画中的高峰远湖是一幅清新而美丽的山水画，它体现了仇英对自然的热爱和对传统文化的尊重。\n\n总的来说，仇英的临宋元六景册是一件精美的绘画作品，其中的高峰远湖图是一件优美的山水画作品，它描绘了中国传统的山水风景，也体现了仇英对自然的热爱和对传统文化的尊重。",[24,25,81,105,7,28,29,14361,14362,174,245,175],"高峰","远湖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F665c93acfe478b7285b0a2f003b964b0.jpg","29.2x47.1cm",[181],{"id":14367,"slug":14368,"title":14369,"dynasty":76,"author":563,"museum":608,"description":1497,"tags":14370,"thumbUrl":14371,"material":638,"size":1500,"collection":139,"collections":14372,"showCount":14239,"zanCount":2368,"manualWeight":48,"mainColor":49},214354,"san-jue-shan-shui-ce-7-hua-yan-214354","三绝山水册-7",[23,24,173,7,81,177,29,230,34,106,1169,3884,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6649a7f927eb2299be006731defc02c.jpg",[],{"id":14374,"slug":14375,"title":14376,"dynasty":18,"author":7992,"museum":316,"description":14377,"tags":14378,"thumbUrl":14379,"material":599,"size":600,"collection":139,"collections":14380,"showCount":14381,"zanCount":48,"manualWeight":48,"mainColor":49},288289,"mao-hou-tu-yi-yuan-ji-288289","猫猴图","《宋易元吉猴猫图卷》画孙猴儿一只，脖子上围绑着粗绳，圈系在地，两只小花猫，大概路经此地，不经意中，一为猴儿挟抱，另一则惊避回顾。画中二小猫，全身毫毛皆用纤细的笔线，笔笔丝出，再加色晕染。黄花猫斑纹处是以淡赭墨染绘，毛色层次井然分明。盘坐在地的猴儿也是采同样手法处理，然而毛发更见丰盈毛绒，多而不乱。作者传神体物的绘画表现，足能成为北宋人写生写实的艺事风格代表。\n画家除了在此展现出精巧的画技外，捕捉动物生态，更有其独到之处。无论是调皮捣蛋的顽猴；或是它怀中畏怯无奈的小猫；或是一旁怒目嘶叫、张牙舞爪的幸免者，这三者间生动的神情，及合于本性、出于自然的瞬间互动，都藉由画家敏睿的观察，和传神的画笔，铺陈出如此富有戏剧效果的画面。",[194,24,25,7,28,745,10516,746,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d00ee3f96e092903f2ea29821abb153.jpg",[],95,{"id":14383,"slug":14384,"title":14385,"dynasty":76,"author":10797,"museum":316,"description":10798,"tags":14386,"thumbUrl":14387,"material":599,"size":600,"collection":139,"collections":14388,"showCount":14381,"zanCount":48,"manualWeight":48,"mainColor":94},236740,"tao-hua-jia-die-wan-shan-zhang-xiong-236740","桃花蛱蝶纨扇",[24,25,1260,320,28,7,83,243,484],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55170b403bb25051d64dc082a1e881e2.jpg",[],{"id":14390,"slug":14391,"title":14392,"dynasty":76,"author":658,"museum":316,"description":14393,"tags":14394,"thumbUrl":14395,"material":139,"size":139,"collection":139,"collections":14396,"showCount":14381,"zanCount":2368,"manualWeight":48,"mainColor":94},230248,"he-hua-hong-liao-dong-gao-230248","荷花红蓼","此作对开铺陈，群芳错落生姿，粉山茶娇妍柔婉，朱月季明艳鲜活，黄萱草清雅舒展，枝叶穿插顾盼，尽显春日花木蓬勃生机。\n\n设色明丽柔和，晕染细腻匀净，将草木天然神韵勾勒得鲜活动人。左侧题诗与画境呼应，诗书画印相融相合，晕开文人雅趣。笔触秀逸兼具工致，既恪守写生法度，又暗合闲淡悠然的审美意趣，将春日群芳的柔媚丰姿凝于素笺，尽展传统花鸟雅致隽秀的笔墨情致。",[24,25,81,7,28,83,84,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5eb0cc576e00222d934108ce911daf05.jpg",[],{"id":14398,"slug":14399,"title":14400,"dynasty":99,"author":2189,"museum":316,"description":14401,"tags":14402,"thumbUrl":14403,"material":139,"size":139,"collection":139,"collections":14404,"showCount":14381,"zanCount":2368,"manualWeight":48,"mainColor":94},228466,"luo-yang-chun-se-tu-chen-chun-228466","洛阳春色图","明陈淳洛阳春色图此卷绘数株盛开的牡丹，雍容华贵，以没骨法写意。\n湖石枯笔勾皴，淡墨晕染，色墨并用。\n画风疏爽秀逸，艳丽清新。\n自题：“己亥秋日，道复书并图。\n”款“道复制”，钤‘白阳山人“朱文方印、”复父氏“白文方印。\n拖尾自题草书牡丹诗。\n【名称】明 陈淳 洛阳春色图 ，横111.2厘米。\n南京博物院藏。\n（148-1544）：又作1482-159年，长洲（今江苏苏州）人。\n字道复，后以字行，更字复甫，号白阳，又号白阳山人。\n陈淳少年作画以元人为法，深受水墨写意的影响。\n他的写生画，一花半叶，淡墨欹毫，自有疏斜历乱之致。\n他的有些作品，所画质朴，可以看出受沈周画法的影响。\n与徐渭并称白阳青藤。\n陈氏少年作画工细，中年后笔法放纵，自立门户。\n陈淳师从文徵明，在其门下声誉最高。\n曾评其曰：“吾于道复仅举业师耳，其书画自有门径。\n” 己亥为嘉靖十八年，作者时年五十七岁。",[23,24,25,26,7,173,498,83,292,230,178,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecafa67ce26c246c916ad4fb011d6f4d.jpg",[],{"id":14406,"slug":14407,"title":14408,"dynasty":76,"author":329,"museum":191,"description":1518,"tags":14409,"thumbUrl":14411,"material":7,"size":1521,"collection":139,"collections":14412,"showCount":14381,"zanCount":48,"manualWeight":48,"mainColor":94},222749,"xian-e-chang-chun-tu-06a-lang-shi-ning-222749","仙萼长春图-06a",[23,194,24,25,81,7,28,83,14410,292],"百合花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4adacdd9409943ffa72bb6bc318274c3.jpg",[],{"id":14414,"slug":14415,"title":14416,"dynasty":76,"author":3071,"museum":539,"description":3072,"tags":14417,"thumbUrl":14418,"material":67,"size":3076,"collection":139,"collections":14419,"showCount":14381,"zanCount":1233,"manualWeight":48,"mainColor":94},222679,"si-ji-hua-niao-tu-ping-2-chen-mei-222679","四季花鸟图屏2",[23,24,28,7,83,209,62,836,554,292,579,320],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81b6aab8d5cdb347668d913e6a8ccedc.jpg",[],{"id":14421,"slug":14422,"title":14423,"dynasty":99,"author":2189,"museum":191,"description":14424,"tags":14425,"thumbUrl":14429,"material":500,"size":14430,"collection":90,"collections":14431,"showCount":14381,"zanCount":48,"manualWeight":48,"mainColor":94},222555,"qiu-tang-hua-ya-zhou-chen-chun-222555","秋塘花鸭轴","陈淳，1483年生，1544年逝世（另一种说法是1482—1539），长洲（今江苏苏州）人。字道复，后以字行，更字复甫，号白阳，又号白阳山人。他的有些作品，所画质朴，可以看出受沈周画法的影响， 从他现存作品中即可见风格和用笔，既能放得开，又能收得住。在绘画史上，陈淳与徐渭并称为“白阳、青藤”， 陈淳的绘画当属文人隽雅一路的，即“白阳”一派画家。\n陈淳少年作画以元人为法，深受水墨写意的影响。他的写生画，一花半叶，淡墨欹毫，自有疏斜历乱之致。他的有些作品，所画质朴，可以看出受沈周画法的影响， 从他现存作品中即可见风格和用笔，既能放得开，又能收得住。他能诗文，擅书法，尤精绘画。陈淳与徐渭并称白阳、青藤。陈氏少年作画工细，中年后笔法放纵，自立门户。陈淳从师文徵明，在其门下声誉最高。擅长写意花卉，其作品虽表现一花半叶，却淋漓疏爽，深受当时文人士大夫的赞赏；他是继沈周、唐寅之后对水墨写意花鸟画的发展作出了重要贡献的画家。\n陈淳中年以后间作山水，技法学米友仁、高克恭，多以江南风景为题材，手法简练，极具文人生活情趣，文徵明曾微笑着说：“吾道复举业师耳，渠书、画自有门径，非吾徒也。”存世作品有《红梨诗画图》《山茶水仙图》《葵石图》《罨画图》等。其子陈括继承父风、擅花卉。\n陈淳绘山水，效法米友仁、高克恭，水墨淋漓，颇得氤氲之气。他的泼墨之功，往往见于画烟云之中。在写意花卉方面，陈淳独得玄门，笔法挥洒自如，富有疏朗轻健的风姿，用墨设色，则如徐沁所谓“浅色淡墨之痕俱化矣！”王世贞在《州续稿》中说：“胜国（元朝）以来，写花卉者无如吾吴郡，而吴郡自沈启南（周）后，无如陈道确，陆叔平（治）”。近代画家如蒲华、吴昌硕、齐白石等，在诗文题书画中，都对陈淳做出了极高的评价。明万历年间即有人曾评价过陈淳在花卉方面的造诣和声誉都超过了文征明，成为继沈周之后的吴门大家。明清以来画家，尤其在花鸟画方面，受他的影响很深。他与徐渭齐名，人称“青藤白阳”。现存的陈淳作品大部分均在博物馆收藏，民间甚少得见。",[23,24,226,173,7,498,83,136,720,835,319,1980,860,5218,1530,84,264,10687,3560,14426,14427,14428],"写意花鸟","水墨设色","明代绘画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57ed2c1673a772976ff5fcf779defb76.jpg","90.8x36.2厘米",[90,45],{"id":14433,"slug":14434,"title":14435,"dynasty":99,"author":2275,"museum":56,"description":14436,"tags":14437,"thumbUrl":14438,"material":139,"size":14439,"collection":90,"collections":14440,"showCount":14381,"zanCount":48,"manualWeight":48,"mainColor":94},222415,"mei-hua-ye-zhi-tu-zhou-zhi-mian-222415","梅花野雉图","彩绘老干红梅，野雉栖于其上，竹石映带左右。作者周之冕江苏苏州人，善画花鸟，能的其神态；设色清雅，在陈淳、陆治之间，钩花点叶，间出新意。惟酒成癖，诚是一病。此图写生意味颇浓，构图匀称；工笔精细逼真，而无板滞痕迹，正是难能可贵之处。上有作者“丙申夏日汝南周之冕写”名款，下钤“周之冕印”、“服卿”印章二方。图的整体布局严谨，描摹惟妙惟肖，是同时期画作中的佳品。",[23,24,83,7,173,820,209,230,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1dc2989106565d8ba25606cccdc69711.jpg","纵: 134.5厘米. 横: 33.6厘米",[90,45],{"id":14442,"slug":14443,"title":14444,"dynasty":302,"author":1917,"museum":191,"description":14445,"tags":14446,"thumbUrl":14447,"material":282,"size":14448,"collection":45,"collections":14449,"showCount":14381,"zanCount":2368,"manualWeight":48,"mainColor":49},221848,"zhu-lin-xian-zi-zhou-liu-guan-dao-221848","竹林仙子轴","刘贯道，字仲贤，生卒年不详，约为元世祖之人。善画佛道人物，又能做山水、花竹、鸟兽等。他在世的作品极少，画中人物多接近北宋传统技法，有古典风味，与南宋有明显的分别。或许是因为他出生在北方，较承袭了北宋的画法。",[23,24,25,194,226,28,7,106,59,227,230,62,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ae7dcfcc265fc0481ad92b6f1e12076.jpg","该幅70x31.4公分；全幅 57.5公分",[45,2617],{"id":14451,"slug":14452,"title":14453,"dynasty":18,"author":14454,"museum":101,"description":14455,"tags":14456,"thumbUrl":14457,"material":7,"size":14458,"collection":42,"collections":14459,"showCount":14381,"zanCount":48,"manualWeight":48,"mainColor":49},221254,"chu-shi-bei-jiang-tu-yang-bang-ji-221254","出使北疆图","杨邦基","杨邦基，生卒年不详。金画家。字德懋，号息轩，陕西华阴人。幼孤，好学。擅画山水、人物、鞍马。人物画有李公麟格调；山水学李成。潇洒脱俗，令人渺然有江湖尘外之思。存世作品有《聘金图》。\n《金史》称：杨邦基，字德懋，华阴人。父綯，宋末为易州州佐。宗望伐宋，蔡靖以燕山降，易州即日来附，綯被杀，邦基年十余岁，匿僧舍中，得免。既长，好学。天眷二年，登进士第，调滦州军事判官，迁太原交城令。太原尹徒单恭贪污不法，托名铸金佛，命属县输金，邦基独不与。徒单恭怒，召至府，将以手持铁拄杖撞邦基面，邦基不动。秉德廉察官吏，尹与九县令皆免去，邦基以廉为河东第一，召为礼部事。以兵部员外郎摄吏部差除，坐铨注李庆之、大奉国臣，与高衎等皆贬官，邦基降坊州宜君簿。转高密令。大定初，尚书省拟邦基刑部郎中，世宗曰：“县官即除郎中，如何？”太师张浩对曰：“邦基前为兵部员外郎矣，且其人材可用。”上许之。改太府少监，知登闻检院，为秘书少监，迁翰林直学士，再迁秘书监兼左谏议大夫，修起居注。中都警巡使张子衍与邦基姻家，子衍道中遇皇太子卫仗，立马市门不去伞，卫士诃之，子衍以鞭鞭卫士诃己者。御史台劾奏子衍，邦基见台官为子衍求解，及入见显宗，求脱子衍罪。诏削子衍官两阶。邦基坐削官一阶，出为同知西京留守事，徙山东东路转运使，永定军节度使，致仕。大定二十一年，卒。邦基能属文，善画山水人物，尤以画名当世云。",[23,24,194,26,7,177,29,1273,175,150,106,1169,37,1426],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dc8f70601233fd8feaa8e2ebbb9c268.jpg","26.7×142.2 cm",[42,181,163],{"id":14461,"slug":14462,"title":4872,"dynasty":99,"author":857,"museum":442,"description":14463,"tags":14464,"thumbUrl":14470,"material":88,"size":14471,"collection":44,"collections":14472,"showCount":14381,"zanCount":48,"manualWeight":48,"mainColor":49},218355,"ying-xi-tu-chen-hong-shou-218355","这是一幅简单的画，画的是一个孩子手里拿着一个拨浪鼓在玩。该图头大身短，衣服的画法很特别,贝壳雕工细致，造型奇特，上面站着一个带袖子的绿巨人，显示了明末时期儿童玩具的精致和多样化。",[23,24,25,226,28,7,106,8665,14465,14466,14467,14468,14469],"变形夸张","线条古拙","设色典雅","孩童形象","玩具元素","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6e183fec1f5f9e94d6157074b740cff.jpg","84.1x31.9",[44],{"id":14474,"slug":14475,"title":6056,"dynasty":99,"author":14476,"museum":191,"description":14477,"tags":14478,"thumbUrl":14479,"material":123,"size":14480,"collection":181,"collections":14481,"showCount":14381,"zanCount":1003,"manualWeight":48,"mainColor":49},217059,"xun-mei-tu-zhu-duan-217059","朱端","朱端，字克正，海盐人，出身渔樵，弘治末入宫，正德时期（1506－1521）直仁智殿，官「锦衣指挥」，曾获赐「钦赐一樵图书」，遂更号「一樵」。\n\n朱端的山水画取法郭熙（约1020-约1100）、马远。全幅采取半边的构图型式，以左方占据画面约二分之一高的双松为骨干，框出策杖撑伞的老翁和两位童子，他们正准备渡江至对岸的赏梅。冬天踏雪寻梅，一直被视为文人雅趣，从弘治时期（1488－1505）开始，这一类诗意图像逐渐增加，题材的转变似乎也反映了宫廷皇帝品味的变化。",[24,25,29,226,177,173,7,106,108,109,230,245,1133,820,175,685,378],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F674c65022384eae968e9c438b4fd0ecb.jpg","145x66cm",[181],{"id":14483,"slug":14484,"title":14485,"dynasty":18,"author":257,"museum":14486,"description":14487,"tags":14488,"thumbUrl":14489,"material":123,"size":14490,"collection":44,"collections":14491,"showCount":14381,"zanCount":1379,"manualWeight":48,"mainColor":49},217008,"dou-jiang-tu-yi-ming-217008","斗浆图","黑龙江省博物馆","斗浆这个词在宋代就是斗茶的意思。斗茶在宋代几乎发展成为了一种全民项目，不管是文人雅士、平民百姓，还是商贾人家、皇亲国戚，都躲不开它的魔力。斗茶没什么地点上的限制，茶室或街头都能进行。《斗浆图》是南宋风俗画的代表之一，描绘的是市井街头的斗茶场景。六位斗茶人身边都有全套的家伙什，大到加热所需的炭火、小到茶筅茶盏无一不备。",[23,194,24,25,7,28,106,229,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F137dc318c8daffb2d8540efeb64b42d9.jpg","33.8x40.6",[44],{"id":14493,"slug":14494,"title":14495,"dynasty":99,"author":257,"museum":191,"description":14496,"tags":14497,"thumbUrl":14498,"material":123,"size":14499,"collection":44,"collections":14500,"showCount":14381,"zanCount":48,"manualWeight":48,"mainColor":49},216956,"guan-yin-da-shi-xiang-yi-ming-216956","观音大士像","画一僧人，以狮子为座骑。名虽为观音，当是文殊。 文殊师利菩萨是中国佛教四大菩萨之一，以论述“般若性空”和“般若方便”的理论著称。",[860,24,260,106,7,28,746],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0851ac32f089bd3d50806252e5ff4f18.jpg","158.4x94.5",[44],{"id":14502,"slug":14503,"title":14504,"dynasty":99,"author":14505,"museum":316,"description":14506,"tags":14507,"thumbUrl":14508,"material":88,"size":139,"collection":44,"collections":14509,"showCount":14381,"zanCount":48,"manualWeight":48,"mainColor":94},216347,"xi-xiang-ji-cha-ye-min-qi-ji-216347","西厢记插页","闵齐伋","眉眼低垂间，凝着西厢故事里的幽婉心事。墨线勾勒的衣袂似随微风轻漾，素色衣衫衬得身姿温婉窈窕。精致的发髻簪着小巧头饰，鬓角发丝垂落，添了几分柔媚。手中淡蓝团扇半掩，扇面纹路隐约，与轻拢衣襟的手势相映，似在掩饰心头的娇羞与沉思。古朴边框饰以卷草纹样，缠缠绕绕间晕开明清插画的雅致。左侧题款墨痕清逸，朱红印章点缀，笔墨与丹青相融，将剧中人物的情态凝于一纸，淡远而悠长，尽显古典仕女画的含蓄之美。",[24,25,81,352,7,106,59,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39940e524f20f38b6f876b1cdd2cf929.jpg",[44],{"id":14511,"slug":14512,"title":14513,"dynasty":76,"author":9921,"museum":316,"description":14514,"tags":14515,"thumbUrl":14516,"material":88,"size":139,"collection":44,"collections":14517,"showCount":14381,"zanCount":48,"manualWeight":48,"mainColor":94},215098,"tui-bei-tu-ce-8-jiao-bing-zhen-215098","推背图册-8","焦秉贞是中国清朝时期著名的画家，他被认为是中国水墨画史上最伟大的画家之一。其中最著名的作品是他的推背图册，其中包含了十幅推背图。推背图是一种特殊的水墨画，它们通常是用单一的墨色在纸上描绘的，并且使用了特殊的技巧来创造出立体感。焦秉贞的推背图册在当时被认为是一件杰出的艺术品，并且至今仍然备受赞赏。",[23,24,25,81,7,28,106,10516,2703,378,260,746,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe4d07410d2bb7ccfcf7622ce2e9c2ff.jpg",[44],{"id":14519,"slug":14520,"title":14521,"dynasty":76,"author":3571,"museum":191,"description":14522,"tags":14523,"thumbUrl":14524,"material":123,"size":14525,"collection":181,"collections":14526,"showCount":14381,"zanCount":1379,"manualWeight":48,"mainColor":49},214810,"qing-feng-tu-tang-dai-214810","庆丰图","这是一幅典型的清代风格的庭院画，描绘了新建的凤仪城，其大厅宏伟，市场井然有序，色彩美丽。",[23,24,27,7,29,107,106,34,808,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faae9375823b07d0753215b6cf25b5637.jpg","393.6x234",[181],{"id":14528,"slug":14529,"title":205,"dynasty":76,"author":77,"museum":316,"description":596,"tags":14530,"thumbUrl":14531,"material":599,"size":600,"collection":139,"collections":14532,"showCount":14533,"zanCount":2368,"manualWeight":48,"mainColor":94},239436,"hua-niao-ce-yun-shou-ping-239436",[24,25,81,7,173,83,209,1980,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05eae777b986ef2a408940cb2ef9ae36.jpg",[],94,{"id":14535,"slug":14536,"title":14537,"dynasty":18,"author":14538,"museum":316,"description":14539,"tags":14540,"thumbUrl":14541,"material":139,"size":139,"collection":139,"collections":14542,"showCount":14533,"zanCount":2368,"manualWeight":48,"mainColor":94},227753,"ju-cong-fei-die-tu-ye-zhu-shao-zong-227753","菊丛飞蝶图页","朱绍宗","《菊丛飞蝶图》页，宋，朱绍宗绘，纨扇页，绢本，设色，纵23.7厘米，横24.4厘米。\n本幅款识：“朱”。钤鉴藏印2方，印文模糊，唯可辨一“璘”字。裱边题签：“朱绍宗菊丛飞蝶”。\n图绘丛菊盛开。花分黄、白、蓝、紫四色，构图繁复，灿若文锦。虽是篱边野景，却饶富贵典雅气象。蜜蜂逐花而至，蛱蝶上下翻飞，为画面增添了动感。花瓣、叶片的勾染皆极为精工，花心用白粉点染，立体感很强，望似凸出于绢素之上。画史称作者“描染精邃，远过流辈”，信是不虚。\n对幅有清乾隆御题诗：“趋炎殊众卉，放英独于秋。舞去风全香，承来露半流。绘者具神解，渊明晤庄周。”钤“八征耄念之宝”朱文印、“自强不息”白文印。\n存《四朝选藻》册中。《石渠宝笈续编》著录。",[23,24,25,6083,28,7,83,630,484,84,178,212,913,194],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faee499b5bb1bb99a6d174c1ae3c18abf.jpg",[],{"id":14544,"slug":14545,"title":14546,"dynasty":76,"author":7596,"museum":56,"description":10111,"tags":14547,"thumbUrl":14548,"material":1342,"size":10497,"collection":139,"collections":14549,"showCount":14533,"zanCount":2368,"manualWeight":48,"mainColor":49},222813,"fang-gu-si-ji-shan-shui-tu-fang-ju-ran-xia-shan-shui-bi-fa-wang-hui-222813","仿古四季山水图-仿巨然夏山水笔法",[23,24,25,29,2428,177,7,226,808,34,108,109,37,986,1785,106,686],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3613234851021f90e99e4b46a734550f.jpg",[],{"id":14551,"slug":14552,"title":14553,"dynasty":76,"author":3071,"museum":539,"description":3072,"tags":14554,"thumbUrl":14555,"material":67,"size":3076,"collection":139,"collections":14556,"showCount":14533,"zanCount":2368,"manualWeight":48,"mainColor":94},222685,"si-ji-hua-niao-tu-ping-8-chen-mei-222685","四季花鸟图屏8",[23,24,25,226,28,7,83,820,661,209,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff120bb949e796c509e974641e34be539.jpg",[],{"id":14558,"slug":14559,"title":14560,"dynasty":76,"author":3071,"museum":539,"description":3072,"tags":14561,"thumbUrl":14562,"material":67,"size":3076,"collection":139,"collections":14563,"showCount":14533,"zanCount":1003,"manualWeight":48,"mainColor":94},222682,"si-ji-hua-niao-tu-ping-5-chen-mei-222682","四季花鸟图屏5",[23,24,25,28,7,83,136,137,2014,1488,720,262],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6d0a7150805b19feb3ed4f0a01d4fd0.jpg",[],{"id":14565,"slug":14566,"title":14567,"dynasty":99,"author":170,"museum":191,"description":3932,"tags":14568,"thumbUrl":14569,"material":139,"size":14570,"collection":139,"collections":14571,"showCount":14533,"zanCount":48,"manualWeight":48,"mainColor":49},222109,"fang-fan-kuan-shan-shui-shen-zhou-222109","仿范宽山水",[23,24,173,7,29,378,176,106,177,105],"https:\u002F\u002Foss.chuangqi.store\u002F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《东山草堂图》画于元顺帝至正三年，即王蒙四十岁以后所作。\n此时，王蒙已初具自家风貌，用笔切实稳厚、灵活松快，笔墨已有一种稳重苍郁的意象。画面上松树、柏树以及山石都刻画得极其密实、精细。全图以淡赭色罩染，“水晕墨章”的绘画方法丰富了中国绘画的表现技法。",[23,24,173,7,177,29,34,1273,176,114,809,808,35,14605,981,1171],"崖壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18bd6ec16eba615a58d99aa211fdc5e2.jpg","纵111.4cm，横86.1cm",[181,163],{"id":14610,"slug":14611,"title":14612,"dynasty":76,"author":14613,"museum":191,"description":14614,"tags":14615,"thumbUrl":14617,"material":123,"size":14618,"collection":90,"collections":14619,"showCount":14533,"zanCount":48,"manualWeight":48,"mainColor":94},220405,"song-jian-wo-hu-tu-a-er-bai-220405","松间卧虎图","阿尔粺","清代阿尔粺绘。阿尔粺是一位满族画家，字香榖，舒穆禄氏，满洲镶蓝旗人。阿尔粺善画虎、鹰等，《啸亭杂录》云 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，张开的喙似乎受到惊吓并尖叫着求救。",[23,194,24,25,226,28,7,83,820,227,230,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37a9d6f070400e1b1a33505d902eaa96.jpg","纵142.2横78.7厘米",[42,90],{"id":14654,"slug":14655,"title":14656,"dynasty":18,"author":2220,"museum":132,"description":14657,"tags":14658,"thumbUrl":14659,"material":88,"size":14660,"collection":90,"collections":14661,"showCount":14533,"zanCount":1233,"manualWeight":48,"mainColor":94},218947,"e-tu-lu-zong-gui-218947","鹅图","绘有一只雏鸟在母亲脖子后面的右侧，低头看着水面，而另一只雏鸟则在母亲的左侧，抬头望天，呜呜地叫着。这个场景相当有趣，反映了动物之间的母子关系。",[24,194,25,28,7,83,7355,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e7faa8a7a2eafd67f868c6d30b023f7.jpg","60x80cm",[90],{"id":14663,"slug":14664,"title":14665,"dynasty":18,"author":257,"museum":316,"description":14666,"tags":14667,"thumbUrl":14668,"material":2365,"size":14669,"collection":181,"collections":14670,"showCount":14533,"zanCount":1379,"manualWeight":48,"mainColor":2504},218618,"chun-xi-ming-qin-tu-yi-ming-218618","春溪鸣禽图","画面上有古老的柏树，靠外的竹子，溪流中盛开的梅花，以及唱歌的鸟儿和仙女。浓烈的笔墨是宋代的风格，这也是自然小景的典范之作。\n这幅画采用了南宋的写实手法，画出了春日溪边宁静幽远而又生动的景象，造型准确，极为生动。",[24,25,1260,28,173,7,109,245,34,230,83,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff10a47e4d9461a9b24ee60330ea5a6c1.jpg","31x31",[181,42],{"id":14672,"slug":14673,"title":14674,"dynasty":76,"author":257,"museum":316,"description":14675,"tags":14676,"thumbUrl":14677,"material":123,"size":14678,"collection":44,"collections":14679,"showCount":14533,"zanCount":1003,"manualWeight":48,"mainColor":49},218281,"ting-yuan-chun-se-tu-yi-ming-218281","庭苑春色图","画面铺展雅致庭苑景致，暖棕底色晕染时光温润。端坐的女子轻抱琵琶，指尖似凝住弦上余韵，眉眼神情专注而娴静；旁侧侍女俯身案前，动作轻柔如春风拂过，案上器物错落，笼中雀鸟似待和鸣。枝间梅花疏影横斜，点点春意悄然入画，与古朴陈设相映成趣。细腻笔触勾勒人物情态，器物细节精致传神，将春日庭苑里的闲适雅致娓娓道来，尽显古典生活的温婉诗意，仿佛能闻得弦音与花香交织，静享一段时光的从容。",[23,24,7,28,104,106,59,107,820,229,195,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F029dbcde4f6cb854e31576e88c28885e.jpg","24x24",[44],{"id":14681,"slug":14682,"title":2872,"dynasty":18,"author":257,"museum":608,"description":14683,"tags":14684,"thumbUrl":14688,"material":123,"size":7628,"collection":44,"collections":14689,"showCount":14533,"zanCount":1379,"manualWeight":48,"mainColor":94},218235,"luo-shen-fu-tu-yi-ming-218235","这幅长卷以绢为本，设色古朴淡雅，依《洛神赋》诗意铺展浪漫图景。卷中景物疏密有致，人物神态生动：洛神衣袂飘飘，似乘云气而来，曹植立于舟中，怅惘凝望；水波轻漾，树木扶疏，云气缭绕间仙禽异兽点缀，尽显缥缈奇幻。画家以细腻如春蚕吐丝的线条勾勒身形，衣纹流转自然，色彩晕染柔和，将赋中“翩若惊鸿，婉若游龙”的意境具象化。画面分段叙事，从初见惊艳到离别的惆怅，情感脉络隐于山水人物间，让文学的浪漫在绢素上流转千年，是古典绘画中诗画交融的典范之作。",[23,194,24,25,26,7,28,106,59,14685,174,109,34,6020,14686,245,14687,8080],"洛神","仙禽异兽","怅惘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f923b996db22e3749b224b0bec4b967.jpg",[44],{"id":14691,"slug":14692,"title":14693,"dynasty":76,"author":494,"museum":1830,"description":14694,"tags":14695,"thumbUrl":14696,"material":88,"size":14697,"collection":44,"collections":14698,"showCount":14533,"zanCount":1379,"manualWeight":48,"mainColor":94},216737,"tan-zhu-tu-huang-shen-216737","探珠图","这些人物以狂野的斜体线条生动地呈现出来。笔触干净而流畅，无论是下龙取珠的老人还是婀娜多姿的女仙，都很好地表达了性格的刚强和形式的力量之间的对比。通过大面积的水墨渲染，云朵和波浪显露出来，创造出一种奇怪的危险气氛和一个充满勇气的世界。",[23,24,25,194,226,173,7,106,498,262,820,406],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20d0167c87aa5f07e7434b67578e3bc7.jpg","纵185厘米，横107厘米",[44],{"id":14700,"slug":14701,"title":14702,"dynasty":76,"author":658,"museum":316,"description":14703,"tags":14704,"thumbUrl":14705,"material":139,"size":139,"collection":90,"collections":14706,"showCount":14707,"zanCount":48,"manualWeight":48,"mainColor":94},238366,"dong-gao-yan-chun-hui-cai-tu-ce-dong-gao-238366","董诰延春荟彩图册","董诰（1740年－1818年），字雅伦，号蔗林，浙江省杭州府富阳县（今浙江省杭州市）人，生于顺天府（今北京市），清代大臣、书画家。工部尚书董邦达长子，与其父有“大、小董”之称。\n乾隆二十九年（1764）中举，隔年会试，名列一甲第三，得中探花，乾隆帝 将其改为二甲第一，作金殿传胪，形降实升。嘉庆四年（1799），董诰六十岁，以从庶吉士、编修、工部侍郎、军机大臣、东阁大学士等，擢为文华殿大学士（即宰相），钦赐“紫禁城骑马”。直军机先后四十年。董诰精书法，善绘画，更通晓军事。他五次归还故里，生活简朴，平易近人，从不倨傲，深为邻里称道。董诰卒于嘉庆二十三年（1818），终年七十九岁。\n董诰死后六天，嘉庆帝亲临祭奠，所写哀诗中有“只有文章传子侄，绝无货币置田庄”之句，并亲自拨款建立“董公祠”。",[24,25,81,28,7,83,84,554,630],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e56e69a03dcde8ab9a366f27b7c94c8.jpg",[90,45],93,{"id":14709,"slug":14710,"title":14711,"dynasty":76,"author":11822,"museum":316,"description":14712,"tags":14713,"thumbUrl":14714,"material":599,"size":600,"collection":181,"collections":14715,"showCount":14707,"zanCount":48,"manualWeight":48,"mainColor":94},235658,"shan-shui-ping-yuan-jiang-235658","山水屏","袁江（1662年—1735年），字文涛，号岫泉，江都（今江苏扬州）人，清代画家。",[24,25,226,104,7,28,177,29,107,35,34,176,245,109,1754,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74d1025c7cc3b3c23c5404aad98a7d7f.jpg",[181],{"id":14717,"slug":14718,"title":12311,"dynasty":302,"author":7943,"museum":316,"description":14719,"tags":14720,"thumbUrl":14721,"material":139,"size":14722,"collection":139,"collections":14723,"showCount":14707,"zanCount":1379,"manualWeight":48,"mainColor":49},231513,"hua-niao-tu-juan-wang-yuan-231513","王渊是元代著名花鸟画家，字若水，号澹轩，浙江杭州人。生卒年不祥，据陶宗仪《辍耕录》卷七记载，他“幼时获侍赵魏公（赵子昂）故多得指教，所以傅色特妙。天历中（1328—1330年），画集庆龙翔寺两庑壁”。其年龄要比赵子昂小，赵子昂生于南宋理宗宝佑二年（1254年），应活跃在1254年以后，从他的传世作品所签年款来看，多在元朝惠宗至正三年到九年，即1343—1349年，元朝灭亡于至正二十八年（1368年），也有文献记载，在至正二十六年（1366年）曾作《萱花白头图》。可见他从事艺术活动在元代中后期，他的卒年可能在元朝灭亡之前，或在明朝初年。\n王渊的花鸟、古木竹石、梅兰等题材绘画，在继承五代、两宋传统花鸟画的基础上，又有了新的发展和明显的变化，取得显著的成就，在中国美术史上占有重要的地位。他的表现手法属“黄家富贵”体。唯舍色彩而取水墨，通过勾勒和水墨晕染区别浓淡向背，造型极精严，神态亦颇生动，作到“墨具五色”的艺术效果。同钱选一样，王渊在花鸟画创作上起到了承前启后的作用。\n王渊的花鸟画给人以接近气势磅礴的感觉。我们不得不感叹这位画家令人惊羡的艺术造诣，同时又被其画中别样的意境所打动。",[23,24,194,26,28,7,86,212,83,820,292,227,230,243,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f04e0e5eaa4a4d2e89e6b687fe212f7.jpg","95.9×50.6 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映入眼帘是恬静的郊区农村，过护城河后进入金陵城，城里人车杂沓，各类店铺林立，贩夫走卒、男女老少穿梭于热闹喧嚣的市井中，全卷用色鲜明清亮，人物表情姿态生动，细节讲究，根据幅上作者款识，画成于乾隆五十六年（西元一七九一年）。与院藏〈清院本清明上河图〉皆为长卷式写实风俗画的代表。",[23,24,25,26,7,28,105,104,106,107,108,109,34,150,151,35,4060,117,111,986,153,116,152,31,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc51112ceba73713c1fa168c8c09ad47c.jpg","34.1x1088.3",[44,45],{"id":14820,"slug":14821,"title":14822,"dynasty":18,"author":1350,"museum":191,"description":1743,"tags":14823,"thumbUrl":14824,"material":123,"size":1746,"collection":139,"collections":14825,"showCount":14707,"zanCount":2368,"manualWeight":48,"mainColor":94},218578,"hua-niao-shan-shui-xiao-pin-ce-mu-dan-ma-yuan-218578","花鸟山水小品册-牡丹",[23,194,24,25,81,28,7,83,292,484],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F766926073a503e1a589f642282e16710.jpg",[],{"id":14827,"slug":14828,"title":14829,"dynasty":302,"author":257,"museum":316,"description":14830,"tags":14831,"thumbUrl":14832,"material":123,"size":14833,"collection":44,"collections":14834,"showCount":14707,"zanCount":1379,"manualWeight":48,"mainColor":49},218450,"e-mi-tuo-fo-tu-yi-ming-218450","阿弥陀佛图","佛像庄严伫立，右手施无畏印，左手自然垂落，姿态慈悲安详。身着暗红袈裟，饰金色法轮纹样，衣袂垂落间尽显古朴庄重。肤色温润，头光与背光层次分明，暗褐背景更衬神圣。装裱精致，上下深蓝底金纹织物，中间金色祥云边框环绕，金彩熠熠与暗红袈裟相映。整体色调深沉华丽，肃穆中透着慈悲，尽显元代佛教艺术的庄严典雅，仿佛能让人感受到超越时空的宁静与神圣。",[23,24,25,226,7,28,260,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8f3ca149a4f4214a7e0dedff73f805c.jpg","98.2x41.9",[44],{"id":14836,"slug":14837,"title":908,"dynasty":99,"author":1782,"museum":191,"description":14838,"tags":14839,"thumbUrl":14840,"material":123,"size":14841,"collection":44,"collections":14842,"showCount":14707,"zanCount":48,"manualWeight":48,"mainColor":49},216954,"mu-niu-tu-dai-jin-216954","戴进对人物的描绘通常是蚕头鼠尾式的，笔触笨拙而有力。柳树沾满了墨水，密密麻麻地洒满了叶子，加上风中摇曳的小草，纸面上一片清凉，沁人心脾。",[194,24,25,226,7,173,177,106,151,1241,912],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44c8c78bf69b7ec732d14fa5209f10d6.jpg","38.6x30.6",[44],{"id":14844,"slug":14845,"title":14846,"dynasty":99,"author":3248,"museum":191,"description":14847,"tags":14848,"thumbUrl":14849,"material":123,"size":14850,"collection":90,"collections":14851,"showCount":14707,"zanCount":48,"manualWeight":48,"mainColor":94},216775,"mei-hua-you-niao-tu-bian-wen-jin-216775","梅花幽鸟图","边文进（活动于1403-1428），字景昭，福建沙县人。永乐朝宫廷画家，至宣德年间被授与武英殿待诏官衔。善画花果翎毛，为明初宫廷画家中花鸟画最著名画家，并与善画山水人物的蒋子诚、画虎的赵廉并称「禁中三绝」。\n本幅为〈历代名绘册〉其中一开，描绘盛开白梅，并有一黄眉鵐栖于梅枝上，引颈顾盼。梅枝由左向画幅右侧伸出，曲虬横错，白梅盛开与将开的花苞倚侧枝头，并局部施以白线条勾勒花瓣型态，虽花朵颜料有些脱落，仍可略窥白梅盛开风华。枝头黄眉鵐鸟羽描绘精细，并呈现松活充盈之效。画幅左侧有「景昭」二字，提示画家身份，然似有涂抹痕迹。与院藏另一件边文进〈三友百禽〉相比，梅枝用笔略有相近之处，或许为时间相差不远的学仿者之作。此画整体承接宋代院画折枝花鸟的构图之趣以及优雅娴静气氛，与〈三友百禽〉所显示的喧闹气氛颇不相同，可丰富对明初宫廷花鸟画面貌的认识。",[23,24,194,25,1260,28,7,83,820,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F242a8a95847e379f0a5854c0f83e0499.jpg","23.8x24.7cm",[90],{"id":14853,"slug":14854,"title":14855,"dynasty":18,"author":1474,"museum":316,"description":14856,"tags":14857,"thumbUrl":14859,"material":599,"size":600,"collection":139,"collections":14860,"showCount":14861,"zanCount":48,"manualWeight":48,"mainColor":49},288495,"fen-xiang-bo-ruan-tu-li-song-288495","焚香拨阮图","李嵩（1166—1243），中国南宋画家，钱塘（今浙江杭州）人。少年时曾为木工，后成为画院画家李从训的养子，绘画上得其亲授，擅长人物、道释，尤精于界画，为光宗、宁宗、理宗（1190一1264）时期画院待诏。\n李嵩画过许多表现下层社会生活的风俗画，及表现农民劳动生活的《春溪渡牛图》、《春社图》和组画《服田图》等。传日的《货郎图》是李嵩传世的重要作品。他以货郎为题材，创作过多幅货郎图。除故宫博物院藏的一幅横卷外，余皆为小幅，分别藏于台北故宫博物院、美国堪萨斯州阿肯博物馆的尼尔逊美术馆及美国纽约大都会美术馆。\n李嵩具有多方面才能，尤其善于通过绘画，表达自己对生活的感受和态度，他的《夜湖图》《水殿招凉图》《观潮图》《西湖图》《仙山瑶涛图》《骷髅幻戏图》《观灯图》《柳塘聚禽图》《花篮图》等，都显示出他卓越的绘画技巧。其中《骷髅幻戏图》则以其不易被人理解的深刻的寓意，为美术史留下了一个画谜。",[194,24,25,226,7,106,59,195,28,115,34,611,615,14858,1010],"焚香","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e91c925d5a97ce7aba2fd11b9a72400.jpg",[],92,{"id":14863,"slug":14864,"title":14865,"dynasty":76,"author":14866,"museum":316,"description":14867,"tags":14868,"thumbUrl":14869,"material":599,"size":600,"collection":139,"collections":14870,"showCount":14861,"zanCount":1379,"manualWeight":48,"mainColor":94},237945,"yue-ji-lan-hua-wan-shan-zhang-pan-237945","月季兰花纨扇","张槃","张槃 （1812-？）本名张槃，河北定兴人，工篆隶书法，尤精画鸟。（清）原名柞枝，字小蓬（一作小槃），号圆腹道人，直隶定兴人。官山东武定同知。工篆、隶。放情诗酒，余事作花鸟，备极精能，亦能山水。光绪二年（1876）尝客袁浦作红药双鹑图。性简傲，乞其画者必择人而予。",[24,25,1260,7,83,629,579,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0e694aee14afb2a0093a45ad78f3bea.jpg",[],{"id":14872,"slug":14873,"title":14874,"dynasty":18,"author":2220,"museum":316,"description":14875,"tags":14876,"thumbUrl":14877,"material":139,"size":139,"collection":139,"collections":14878,"showCount":14861,"zanCount":48,"manualWeight":48,"mainColor":49},227735,"xia-hui-pian-fang-tu-ye-lu-zong-gui-227735","夏卉骈芳图页","《鹅图》是南宋鲁宗贵创作的绢本设色画。\n《鹅图》描绘一只母鹅，背上驼着两只雏鹅在水中游戏，其中一只雏鹅曲颈望着水面，另一只则似乎和母鹅述说着什么，母鹅扭转过头来爱抚地倾听，表现出母鹅和雏鹅之间有似慈母和娇子之间的母子亲情。\n图中绘有大白鹅一只，背负两只雏鹅在水面上浮游，其中一只雏鹅在母鹅右侧颈后，低头引颈望水中，另一只雏鹅在母鹅左侧，抬头向天呜叫，鹅妈妈欣喜扭转过头来，似作侧耳细细倾听小仔的歌声。\n画面颇为情趣，给人以一种温馨善良的感觉。\n作者在构图上颇有新意，无任何背景作陪衬，河水以浅墨一抹而过，起到衬托作用，突出其主题。\n作者捕捉到这种母鹅背负雏鹅的情节，在一般画鹅的作品中不乏多见。\n在布局上取近景，以特写的镜头，将主体突出在画面的居中位置，为了说明母鹅带着雏鹅在水中游戏，一是鹅身前方的匦面留空多；二是母鹅的腿向后伸，虽没有画出水波纹，但这二点足以看出运动的鹅体具有向前浮游的动感。\n另外，采取色差变化来塑造母鹅与仔鹅的形体，以周围的浅灰色烘托出母鹅的洁白，又以墨笔勾勒及黑色晕染出母鹅背上栖卧的两只雏鹅。\n一般来说雏鹅的毛羽是鹅黄色的，但作者采用了与实体自然色相差甚远的黑色，这也是作者的又一新意。\n全图以染为主，仅在嘴、脚及羽毛部略以淡线勾勒，其羽毛形态隐约见真。\n整个图的艺术语言凝重简练，形态栩栩如生，画意情趣生动，意味绵绵。\n鲁宗贵，生卒年未详。\n南宋画家。\n室名筠斋，钱塘(今浙江杭州)人。\n理宗绍定时(1228一12)为画院待诏，出人杨驸马家。\n工花竹、禽鸟、窠石，用笔意趣有余，描染佳妙。\n尤长于写生，鸡雏乳鸭，甚有生意。\n画迹有《金葵翠羽》、《竹枝山鹧》、《梨花白燕》等图，著录于《绘事备考》。\n传世作品有《春韶鸣喜图》、《夏卉骈芳图》册页。",[194,24,25,81,1260,28,7,83,84,896,634,554,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F271a4d7d9c178ff1ca01282a323a7b3e.jpg",[],{"id":14880,"slug":14881,"title":6964,"dynasty":76,"author":329,"museum":191,"description":14882,"tags":14883,"thumbUrl":14884,"material":40,"size":14885,"collection":90,"collections":14886,"showCount":14861,"zanCount":48,"manualWeight":48,"mainColor":94},222755,"ba-jun-tu-lang-shi-ning-222755","清郎世宁八骏图，虽然是采用中国传统的颜料来作画，但在马匹、人物和柳树的表现上，却融入了西画著重光影的手法，显得立体感十足。右下角的签名，用极工整的仿宋体书写，据此推测，此画应是郎世宁来华初期，亦即雍正年间（1723-1735）的作品。",[23,194,24,25,28,7,150,1241,106,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04e92b33c9ffa5dd5113ef3c90fe3aac.jpg","139.3公分，横：80.2公分",[90,45],{"id":14888,"slug":14889,"title":14890,"dynasty":99,"author":14891,"museum":56,"description":14892,"tags":14893,"thumbUrl":14894,"material":500,"size":14895,"collection":181,"collections":14896,"showCount":14861,"zanCount":48,"manualWeight":48,"mainColor":49},222466,"lan-ting-xu-quan-juan-zhu-yun-ming-222466","兰亭序全卷","祝允明","本卷为祝允明行书《兰亭序》全文与文徵明为之补图的书画合璧作品。祝氏书法宽博雄放，尤具自家风神。文氏补图画王羲之等人兰亭修契之事，设色雅丽，笔墨娴熟\n此本《兰亭序》即是二人追求隐逸自由的代表画作，也是二人友谊的见证。",[23,194,24,25,26,178,173,7,212,86,29,34,175,108,109,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa495121fe18a1376a9191624843f67a1.jpg","26.7x146厘米",[181,45],{"id":14898,"slug":14899,"title":14900,"dynasty":99,"author":1196,"museum":20,"description":4080,"tags":14901,"thumbUrl":14902,"material":20,"size":4083,"collection":44,"collections":14903,"showCount":14861,"zanCount":48,"manualWeight":48,"mainColor":94},222350,"wang-shu-gong-ji-tu-tang-yin-222350","王蜀宫妓图",[23,24,25,226,28,7,106,59,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2185c945ec24f42176232f09a48815d.jpg",[44,45],{"id":14905,"slug":14906,"title":14907,"dynasty":18,"author":4254,"museum":316,"description":4255,"tags":14908,"thumbUrl":14909,"material":7,"size":14910,"collection":42,"collections":14911,"showCount":14861,"zanCount":2368,"manualWeight":48,"mainColor":49},221431,"qiu-yi-tu-li-shan-fan-kuan-221431","秋意图立軕",[23,24,25,226,7,29,177,176,34,109,5218],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3263c8c2537dc9bc31283a3c58aea08c.jpg","50.8x36.5",[42,181,45],{"id":14913,"slug":14914,"title":14915,"dynasty":18,"author":1588,"museum":20,"description":14916,"tags":14917,"thumbUrl":14918,"material":40,"size":14919,"collection":90,"collections":14920,"showCount":14861,"zanCount":48,"manualWeight":48,"mainColor":49},221185,"ju-lv-tu-ma-lin-221185","橘绿图","图中橘子由绿转黄，满压枝头。\n画家以粗细匀整的用笔流畅地勾画出橘叶的外形轮廓，并以黄绿色填涂叶面，叶片虽然不多，但其充满生命力的色彩为画面增添了几许活力，而侧、转、反、正的种种姿态又为全图带来灵动的节律。\n橘子的画法一改平涂晕染，直接以笔着色粉戳染成形，从而生动地表现出橘皮粗糙不平的质感。\n虽然画作历经磨损，许多白色粉点已经剥落，并露出了黄色的绢底，但仍然可见马麟的非凡技艺。\n橘子又称香圆，寓团圆之意。",[23,24,194,25,1260,28,7,83,4687,783,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb517af2b4a5bcb26aab4781737446347.jpg","纵2cm，横2.5cm",[90,45],{"id":14922,"slug":14923,"title":14924,"dynasty":99,"author":170,"museum":1830,"description":14925,"tags":14926,"thumbUrl":14928,"material":88,"size":14929,"collection":139,"collections":14930,"showCount":14861,"zanCount":2368,"manualWeight":48,"mainColor":94},220024,"dong-zhuang-tu-ce-zhi-geng-xi-xuan-shen-zhou-220024","东庄图册之耕息轩","东庄是沈周的好友吴宽的庄园。原作有24幅，明末后只存21幅。",[23,24,25,81,173,7,177,29,106,34,14927,244],"亭轩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13d01d708daaa61717394c3e4b577c01.jpg","纵28.6厘米，横33厘米",[],{"id":14932,"slug":14933,"title":14934,"dynasty":18,"author":257,"museum":191,"description":14935,"tags":14936,"thumbUrl":14937,"material":7,"size":139,"collection":45,"collections":14938,"showCount":14861,"zanCount":1379,"manualWeight":48,"mainColor":49},219952,"li-nu-tu-yi-ming-219952","貍奴图","此作以工笔细绘幼猫，晕毫染素，将狸奴毛发的柔绒质感刻画入微，白棕毛色过渡自然柔和，仿佛能触到暖茸肌理。画师捕捉到幼猫乍然停驻的瞬间，碧眼圆睁，机警中带着娇憨稚气，似正留意周遭动静。蓬松长尾俏皮上扬，肉垫粉嫩的前爪轻抬，尽显稚态灵动。画面清简无赘饰，以素净绢底衬出小兽天真意趣，尽显写实传神的精妙，将幼猫软萌机警的鲜活情态定格于绢素之上，满溢悠然灵动的生机。",[23,194,24,25,28,7,745,746,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3beb66265cf8b96b721db868e2f7be6.jpg",[45],{"id":14940,"slug":14941,"title":14942,"dynasty":76,"author":14943,"museum":78,"description":14944,"tags":14945,"thumbUrl":14946,"material":7,"size":14947,"collection":90,"collections":14948,"showCount":14861,"zanCount":48,"manualWeight":48,"mainColor":49},219810,"hua-niao-cao-chong-tu-sun-long-219810","花鸟草虫图","孙龙","此册绢本设色，共十二图，描绘荷塘鹡鴒、蓼花螳螂、水藻玄蝉、秋塘青蛙、秋草蝗虫、蜀葵、黄叶麻雀、海棠白头等内容。",[24,194,7,83,483,874,264,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84436a5c33a598cea9820f16146645fc.jpg","纵22.9 厘米 横21.5 厘米",[90],{"id":14950,"slug":14951,"title":14952,"dynasty":76,"author":8706,"museum":191,"description":14953,"tags":14954,"thumbUrl":14955,"material":123,"size":14956,"collection":90,"collections":14957,"showCount":14861,"zanCount":1003,"manualWeight":48,"mainColor":94},219455,"tian-zhong-jia-hui-chen-shu-219455","天中佳卉","山石层叠，青绿晕染间见苍劲肌理，墨线勾勒出嶙峋之态；旁侧花枝扶疏，红英灼灼若焰，粉瓣轻舒似云，橙黄花朵衬着修长叶片，清雅动人。笔墨兼工带写，设色明丽却不失蕴藉，将草木的生机与石的沉稳相融，尽显初夏时节的盎然意趣。仿佛微风拂过，花香浮动，叶片轻颤，于静谧中藏着灵动，是一幅雅致动人的案头清供佳制，尽显文人画的秀逸之韵。",[24,7,28,173,83,226,230,84,210,176,896],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F541bb4ac861feedf8baad632d78276d4.jpg","115.8x46.1",[90],{"id":14959,"slug":14960,"title":14961,"dynasty":99,"author":1196,"museum":316,"description":14962,"tags":14963,"thumbUrl":14964,"material":88,"size":14965,"collection":44,"collections":14966,"showCount":14861,"zanCount":2368,"manualWeight":48,"mainColor":94},215040,"shi-cai-zi-tu-tang-yin-215040","十才子图","此卷是唐伯虎的虚构作品，后记说是宋徽宗赵佶临摹的，并说赵佶与吴宽一起南下。 吴宽死于1504年，而正德十年是1515年，吴宽已死了十一年，所以此画只能是赝品，但画技中上，可以作为参考。",[23,24,25,26,28,7,106,175,29,34,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b7c8a37613f6aa905d740483ae67edd.jpg","31.5x123.5",[44],{"id":14968,"slug":14969,"title":14970,"dynasty":76,"author":563,"museum":191,"description":564,"tags":14971,"thumbUrl":14972,"material":88,"size":139,"collection":139,"collections":14973,"showCount":14861,"zanCount":2368,"manualWeight":48,"mainColor":94},214854,"xie-sheng-ce-10-hua-yan-214854","写生册-10",[194,24,25,81,7,498,745,838,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c22dd57e8312db10b0da18f4b21fb8c.jpg",[],{"id":14975,"slug":14976,"title":14977,"dynasty":76,"author":563,"museum":608,"description":1497,"tags":14978,"thumbUrl":14979,"material":638,"size":1500,"collection":139,"collections":14980,"showCount":14861,"zanCount":48,"manualWeight":48,"mainColor":49},214349,"san-jue-shan-shui-ce-8-hua-yan-214349","三绝山水册-8",[23,24,173,7,177,81,29,175,108,34,176,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00ff06b8f3beab62344a0d21f610c76c.jpg",[],{"id":14982,"slug":14983,"title":14984,"dynasty":76,"author":3071,"museum":316,"description":14985,"tags":14986,"thumbUrl":14987,"material":599,"size":600,"collection":139,"collections":14988,"showCount":14989,"zanCount":48,"manualWeight":48,"mainColor":94},288092,"yuan-ben-qing-ming-shang-he-tu-chen-mei-288092","院本清明上河图","《清明上河图》是北宋相当流行的题材，其中以张择端《清明上河图》最为有名，他以清明时节作为引子，展开对汴京的精描细绘，是写实风俗画的杰作，受到历代喜爱。明末清初，苏州大量仿制《清明上河图》散落民间，后来纷纷进入清内府，一时间鱼龙莫辩。清宫不得不组织画工，另起炉灶，并于乾隆元年（1736年），由清宫画院的五位画家——陈牧、孙祜、金昆、戴洪、程志道参照各朝的仿本协作又画了一张《清明上河图》，故今人称之为清院本。\n清院本是集各家所长之作品，加之受西洋画风影响，街道房舍均以透视原理作画，并有西式建筑行置其中。从画面细节来看，结婚、戏台、船上生活、耍猴戏、虹桥、校场、饭馆、走索、小儿科、荡秋千、书画摊、画家、学堂、比武和鹿苑等等活动情节非常丰富，特别是虹桥市景已由张本木桥上的几个草棚凉亭和仇本石桥上的几个木售货亭，演进为石桥上两排统一规范且固定的商店，形成了整齐而繁华的桥上商业街区，画中人物也增加到超过4000人，尺寸较“仇本”及“张本”长许多，进而更加充分地展现了清初民俗风情，实为院画中的精品之作。",[24,104,26,28,7,107,175,1273,106,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b3f7497bacbc0ee63d999b8bc543f10.jpg",[],91,{"id":14991,"slug":14992,"title":14993,"dynasty":76,"author":2122,"museum":20,"description":14994,"tags":14995,"thumbUrl":14996,"material":770,"size":139,"collection":90,"collections":14997,"showCount":14989,"zanCount":1379,"manualWeight":48,"mainColor":94},237172,"hua-niao-kun-chong-ce-zhou-quan-237172","花鸟昆虫册","沈铨 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【类别】中国 【年代】明代 【作者】 【规格】该幅44.8128厘米，隔水一14.1厘米，隔水二14厘米，拖尾44.826.厘米 【收藏】 主题与关键字： 房舍、宫殿、马、后妃、渔夫、船夫、军士、瀑布、藤萝、江河、湖海、侍从（侍女、童仆）、兽力车、石磴、栈道、官员（臣）、栏杆、鹤、兵器、高士（士人、隐士）、桃花、溪涧、湍泉、帝王、狐狸、亭、乐器、台阁、杉、篷舟、鹿、仪仗（佛教宝盖）、桥、百姓、云、牛、篱笆、围墙、羊、帐篷、鸾凤、虎、鸡、茅草屋、田畴、松、狗。\n故宫书画录（卷八），第四册，页42 故宫书画图录，第十八册，页5-6 此幅图写 上林赋意，卷末并附有署文徵明款之隶书全文。\n相如此赋乃为献汉武帝而作，以华美靡丽之词句，铺陈颂扬皇家园囿上林苑之堂皇富丽，与天子射猎场面之壮阔伟盛。\n画中极力描绘各种水陆神兽、奇花异卉，宫殿巍耸，人马迤逶，以见天子声威之浩大。\n人马树石造型精谨，用笔工细，设色浓豔亮丽，与赡丽之赋文相辉映。\n此类工笔重设色青绿山水常被标为仇英作品，但应为后人所伪托。\n仇英，明朝，太仓（今江苏太仓）人。\n移家吴县（今江苏苏州）。\n画师 ，工山水、人物、士女，而格力不逮。\n特工临摹，粉图黄纸，落笔乱真。\n至于发翠豪金，丝丹缕素，精丽艳逸，无愧古人。\n尝作上林图，人物、鸟兽、山林、台观、旗辇、军容，皆臆写古贤名笔，斟酌而成，可谓绘事之绝境，艺林之胜事也。\n题其仙弈图谓：“仇实父是 后身，即文、沈亦未尽其法。\n”洵非过誉。\n尤工士女，神采生动，为明代工笔之杰。\n152年（正德十五年）与 合仿 莲社图，藏故宫博物院。",[23,28,27,7,26,29,107,106,34,176,109,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d654d1e6148064ec1640922c1921901.jpg",[],{"id":15046,"slug":15047,"title":2011,"dynasty":76,"author":742,"museum":20,"description":8235,"tags":15048,"thumbUrl":15049,"material":15050,"size":8238,"collection":90,"collections":15051,"showCount":14989,"zanCount":2368,"manualWeight":48,"mainColor":94},223238,"he-hua-yuan-yang-tu-ren-yi-223238",[23,24,7,83,136,2014,226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F748a198151e8ce689be26e752c960fdc.jpg","绢本、设色",[90,45],{"id":15053,"slug":15054,"title":15055,"dynasty":76,"author":329,"museum":191,"description":10188,"tags":15056,"thumbUrl":15060,"material":529,"size":10192,"collection":181,"collections":15061,"showCount":14989,"zanCount":2368,"manualWeight":48,"mainColor":94},222768,"shi-er-yue-ling-tu-9-yue-lang-shi-ning-222768","十二月令图（9月）",[23,24,28,7,977,15057,106,107,115,29,34,15058,15059],"时令图","赏菊","消闲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b4765ff320188bb74abd93a15b392fe.jpg",[181,45],{"id":15063,"slug":15064,"title":15065,"dynasty":99,"author":100,"museum":1577,"description":15066,"tags":15067,"thumbUrl":15068,"material":40,"size":15069,"collection":181,"collections":15070,"showCount":14989,"zanCount":48,"manualWeight":48,"mainColor":49},222207,"liu-yuan-ren-xing-shan-shui-tu-chou-ying-222207","柳园人形山水图","柳园里建筑整齐划一，假山和房屋非常考究，屋内三三两两侃侃而谈。运用点缀法，在灌木上点上白色，以示花开。仇英，明代画家，与唐寅、文征明、沈周并称“明四家”。",[23,24,28,7,104,29,107,106,353,378,114,1557],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00b13a4847e9f398ceeef59dd35da828.jpg","21.5*21cm",[181,45],{"id":15072,"slug":15073,"title":15074,"dynasty":18,"author":1315,"museum":191,"description":15075,"tags":15076,"thumbUrl":15077,"material":67,"size":15078,"collection":42,"collections":15079,"showCount":14989,"zanCount":1233,"manualWeight":48,"mainColor":49},221579,"zhi-ai-tu-li-tang-221579","炙艾图","《炙艾图》，又叫做《村医图》，是南宋著名画家李唐的传世作品;收藏于台北故宫博物院。《村医图》为一幅风俗人物画，描述走方郎中为村民治病的情形。作品通过对灸艾治疗这一紧张情节的朴实无华的具体描绘，反映了当时农民的困苦生活，有小中见大的寓意。\n《炙艾图》除了真实的记录一名中国古代村医用中医灸法为病人治病的情景 ，同时也充分体现了当时人民生活的现状。画中表现了一位医生正在给病人针灸，画面上的人物表情各异，栩栩如生，表现出画家对生活的细致观察和体验，也体现了画家的一种人文主义关怀，表达了作者对当时下层劳动人民的同情。这幅《炙艾图》既是一幅古代绘画珍品，也是传统艾灸治病的真实写照，为我们了解宋代中医灸法治病提供了宝贵而形象的资料。",[23,194,24,25,28,7,106,795,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bb7dc93dedae7fb05e015e0366dc9fc.jpg","纵68．8厘米，横58．7厘米",[42,44,45],{"id":15081,"slug":15082,"title":15083,"dynasty":18,"author":1350,"museum":191,"description":15084,"tags":15085,"thumbUrl":15086,"material":529,"size":15087,"collection":42,"collections":15088,"showCount":14989,"zanCount":48,"manualWeight":48,"mainColor":49},221514,"hua-deng-shi-yan-tu-juan-ben-ma-yuan-221514","华灯侍宴图绢本","描绘了杨次山父子在上元节侍宴的场面，记述了南宋宫廷的重大活动。该画以俯视的角度写华灯初上时分官员们随皇帝宴饮观舞的情景，并在全景山水的描写中，烘托出了室内的豪华与欢乐气氛。图中隐约可见几位官员属身随侍皇帝饮宴官殿之外，乐舞的宫女摇曳着身姿，大殿之外的树木，好似也随着音乐起舞，姿态横生。这些树林，由近面远，渐渐隐设于雾色之中，只见宫殿后盛立着几棵松树，和远处云雾中抹青山。中景的松树刻而很具特色，用笔瘦硬如屈铁，枝条长面斜向出。\n画中，远山眉黛，松枝逶迤，前庭梅树十余棵，数名宫女执灯起舞于梅林中，舞姿曼妙。殿宇华厦，灯火明亮，有几位大约是官员的人物，背向微躬，恭谨陪侍酒宴。内堂则幽深不可窥测。\n宋宁宗题一首御制诗，云：“朝回中使传宣命，父子同班侍宴荣。酒捧倪觞祈景福，乐闻汉殿动驩声。宝瓶梅蕊千枝绽，玉栅华灯万盏明。人道催诗须待雨，片云阁雨果诗成。”\n款署“臣马远”，钤有乾卦圆印、双龙圆印、御笔之宝。乾隆跋中点明：“盖当时作此图，以侈一时盛事”。\n对于该画的主题，不同学者提出不同观点，毕嘉珍提出画中描绘的是“奢侈的赏梅盛宴”。彭慧萍则从画师的视角出发，指出此图反映了“深夜禁中大内的当差场景”。高居翰的分析是“马远想出了一个富于诗意的构图”，将宴席隐藏在向后延伸的宫殿图像里，只以庭园中的演艺者和侍从来传达娱乐的场景。\n也有观点指出，这次宴会是宋宁宗为迎接签订“嘉定和议”的丞相史弥远而举办的，所谓“朝回中使传宣命”，并召马远及其子马麟陪侍，马远用绘画记录了这一重大时刻。\n构图:一座孤零零的殿宇，矗立在远山近林中。阶墀下方极少渲染。殿内的君臣侍从沉浸在一片歌舞之中。视线由梅树上顶之势领起，沿华堂左侧引上，由屋脊折而向右，绕出一个反S形，而到达松树与远山，然后下垂，落空于远方薄暮中。观者除了感受宴饮之乐，还可能被近景的梅树、中景的松树、远景的山及苍茫的夜空所吸引\n技法:此图以俯视的角度写华灯初上时分豪门达官酒宴的情景，但作者的兴趣并不是放在细写堂内宴席与众宾客的活动上，他的独特构思在于成功表现外部环境上，描写烘托出室内的豪华与欢乐气氛。图中表现松树很具特色，用笔瘦硬，如屈铁，枝条颀长，而斜向出，下笔严正，以雄奇简练的笔法，表现树枝的坚挺有力，有“拖枝马远”之称。",[23,24,25,226,7,104,28,29,107,106,1273,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ea1753402e13e92e3ed1f1221ce3c99.jpg","纵125.6厘米，横46.7厘米",[42,181,163],{"id":15090,"slug":15091,"title":15092,"dynasty":54,"author":8198,"museum":20,"description":15093,"tags":15094,"thumbUrl":15095,"material":67,"size":15096,"collection":181,"collections":15097,"showCount":14989,"zanCount":48,"manualWeight":48,"mainColor":49},221092,"peng-lai-fei-xue-tu-ye-yang-sheng-221092","蓬莱飞雪图页","《杨升蓬莱飞雪图》是元代诗人柯九思创作的一首七言绝句。\n仙山一夕遍琼瑶，万木森森长玉苗。\n处处楼台相掩映，素娥白鹤正逍遥。\n柯九思： 元台州临海人，字敬仲，号丹丘生。\n依附怀王图帖睦尔(文宗)。\n文宗即位，授典瑞院都事，迁奎章阁鉴书博士。\n文宗死，流寓江南。\n博学能文，善楷书，工画墨竹，能以书法为之。\n又善鉴识鼎彝古器。",[23,24,25,81,7,28,29,107,108,378,2086,106,262],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82511192a16c3e0b49ca5d24aa8f0676.jpg","75x68cm",[181,45],{"id":15099,"slug":15100,"title":15101,"dynasty":869,"author":4525,"museum":6047,"description":15102,"tags":15103,"thumbUrl":15104,"material":139,"size":139,"collection":139,"collections":15105,"showCount":14989,"zanCount":48,"manualWeight":48,"mainColor":94},220530,"shuang-mao-xu-bei-hong-220530","双猫","幽蓝繁枝澹叶垂落，晕开清寂雅致的底色。两只狸奴静踞石上，一醒一眠相映成趣。左侧玄纹花猫抬眸平视，蓬松绒毛以淡墨晕染留白，将软绒质感描摹入微，神情警觉又暗含温驯灵动。右侧花斑小猫蜷身假寐，柔润笔触晕出慵懒憨态。\n\n下方顽石以泼墨写意而成，枯涩苍劲的笔墨衬出朴拙厚重，与猫的柔润形成鲜明刚柔对照。整幅画作融中西技法，以写实造型捕捉生灵鲜活意态，又以文人水墨营造幽澹氛围，将闲庭猫趣定格纸面，尽显悠然松弛的闲适意韵。",[23,194,24,25,226,173,7,498,745,378,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd12e40cf83c19d7df05c2ff1a576a69e.jpg",[],{"id":15107,"slug":15108,"title":15109,"dynasty":99,"author":15110,"museum":223,"description":15111,"tags":15112,"thumbUrl":15113,"material":123,"size":15114,"collection":44,"collections":15115,"showCount":14989,"zanCount":1233,"manualWeight":48,"mainColor":49},220412,"feng-yu-gui-cun-tu-xie-shi-chen-220412","风雨归村图","谢时臣","《风雨归村图》是谢时臣比较有代表性的一幅画，描绘的是渔村风雨之景，图中风紧浪急，渔人纷纷结束劳作回家。各种景物由于受到风雨的影响，产生出了不同的应激反应。",[23,24,25,26,29,7,177,106,108,109,174,6582,107,34,176,5701,989,37,11023,1981],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45cff486492d2e306434488295267ef7.jpg","40.3×425.4",[44,45],{"id":15117,"slug":15118,"title":15119,"dynasty":76,"author":997,"museum":316,"description":15120,"tags":15121,"thumbUrl":15122,"material":88,"size":15123,"collection":181,"collections":15124,"showCount":14989,"zanCount":1379,"manualWeight":48,"mainColor":94},220124,"cai-shi-tu-zhou-shi-tao-220124","采石图轴","石涛(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[23,24,25,226,173,7,29,230,1273,407,37,1169,175,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda809bfbd4f3ca60ab1f69468e34e8e1.jpg","纵46.5cm，横30.7cm",[181],{"id":15126,"slug":15127,"title":15128,"dynasty":76,"author":6755,"museum":20,"description":15129,"tags":15130,"thumbUrl":15131,"material":123,"size":15132,"collection":90,"collections":15133,"showCount":14989,"zanCount":2368,"manualWeight":48,"mainColor":94},219221,"duan-yang-jing-tu-yu-zhi-219221","端阳景图","本图借助对动植物的描绘来体现端阳时节大地回暖的场景。在日丽水暖的郊外，牡丹花、野菊花等植物竞相绽放，青蛙、蟾蜍和蜻蜓等植物在春光中跳跃、飞翔，一派生机盎然的欢悦景象。此图是作者任职宫廷之后所作，线条工细、匀整、流畅，设色淡雅富丽并充满装饰性。动植物造型精确且充满生趣，显示出作者较强的写实手法。",[23,24,28,7,83,84,838,7539,635,746,568,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee229c4c1e5619fb234c345e8e4f6d14.jpg","纵137.3厘米，横68.8厘米",[90],{"id":15135,"slug":15136,"title":15137,"dynasty":18,"author":391,"museum":1830,"description":15138,"tags":15139,"thumbUrl":15140,"material":88,"size":15141,"collection":90,"collections":15142,"showCount":14989,"zanCount":1379,"manualWeight":48,"mainColor":49},219085,"qu-yu-tu-zhao-ji-219085","鸜鹆图","枯松虬枝如铁，松针细劲如丝，三只鸜鹆各呈姿态——枝上者振翅欲起，喙微张似唤侣；空中双鸟俯冲而下，羽翼翻飞间尽显灵动。鸟羽的绒质感与松皮的粗糙纹理形成鲜明对比，笔致工细却不失生趣。旁侧瘦金书题跋笔锋挺劲，与画面的苍劲灵动相映成趣，加之错落的朱印，更添古朴雅致。整幅画作将写实工笔与文人意趣融于一体，动静相宜，形神兼备，尽显宋代院体画的精妙与雅致。",[24,194,25,28,83,245,1273,7428,173,7,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d5e3b05c779fc2ee02230a1b9ba12cd.jpg","纵88.2横52厘米",[90],{"id":15144,"slug":15145,"title":15146,"dynasty":18,"author":15147,"museum":191,"description":15148,"tags":15149,"thumbUrl":15150,"material":123,"size":15151,"collection":181,"collections":15152,"showCount":14989,"zanCount":1003,"manualWeight":48,"mainColor":49},218533,"yan-shan-xu-bie-tu-zhao-zong-han-218533","雁山叙别图","赵宗汉","画楼台亭榭，二人设几拥书对坐，一人携杖，童子抱琴随行。此图嘉祐二年五月廿九日，宗汉奉使出镇广南，过浙中，其乡人旧友汪子卿少游浙中，登庆历进士，归从雁山，作此图为别。",[24,25,226,7,177,178,86,29,107,34,176,109,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ceca5bf5d4e52df96f93e938393a90e.jpg","纵156公分，横160公分",[181,42],{"id":15154,"slug":15155,"title":15156,"dynasty":99,"author":100,"museum":442,"description":15157,"tags":15158,"thumbUrl":15159,"material":123,"size":15160,"collection":44,"collections":15161,"showCount":14989,"zanCount":48,"manualWeight":48,"mainColor":49},218359,"luo-han-tu-chou-ying-218359","罗汉图","这是一幅十八罗汉过海拜见龙王的画，笔触轻快，造型优美，但与仇英的风格不同。",[23,26,28,7,104,260,106,2235,262,107,746,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa252c007a7e4f43338f663e8242a9940.jpg","24.3x321",[44],{"id":15163,"slug":15164,"title":15165,"dynasty":54,"author":257,"museum":2816,"description":15166,"tags":15167,"thumbUrl":15169,"material":2820,"size":139,"collection":139,"collections":15170,"showCount":14989,"zanCount":48,"manualWeight":48,"mainColor":49},217287,"jiang-mo-bian-dun-huang-tu-juan-3-yi-ming-217287","降魔变·敦煌图卷-3","树影婆娑间，故事徐徐铺展。墨线勾勒的衣袂翻飞里，左侧人群神色各异——或凝神静听，或交头接耳，衣袍的赭黄与青绿晕染出人间烟火气。\n\n帐幔轻垂，裹着一室虔诚：帐内人物或合十默祷，或低语交谈，虬髯者的粗犷与稚童的灵动相映成趣。旁侧大象纹饰古雅，背上的图案似藏玄机，卧于茵席间，添了几分神圣静谧。\n\n右侧僧众团坐，赭红衣袂与墨色僧袍交织，光头的圆润衬着肃穆神情，仿佛法音正缓缓流转。他们或指或听，姿态各异却皆凝向中心，将叙事的焦点引向那份庄严。\n\n淡彩晕染的纸页上，线条如行云流水，把宗教的神圣与人间的鲜活揉作一处。每一笔都藏着敦煌艺术的古朴韵致，让千年前的故事，在今日仍能触到那份温热的虔诚与生动。",[194,24,25,26,7,28,260,106,1846,8378,195,34,1488,1023,15168,406],"僧侣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe78417d9a75ae607f87c5184762deb39.jpg",[],{"id":15172,"slug":15173,"title":15174,"dynasty":302,"author":257,"museum":191,"description":15175,"tags":15176,"thumbUrl":15177,"material":123,"size":15178,"collection":90,"collections":15179,"showCount":14989,"zanCount":48,"manualWeight":48,"mainColor":94},215139,"bing-tao-han-xiao-tu-yi-ming-215139","饼桃含笑图","绢色温润如陈年素笺，托出一枝含笑与饼桃。墨笔勾枝，线条老劲却藏柔意，枝桠间，含笑花瓣轻展，白瓣晕浅粉，似含未语的羞涩；饼桃圆润饱满，裹着淡润光泽，透着朴拙生机。叶片以淡墨晕染，脉络细腻，与枝干苍劲相映成趣。几方朱印点缀，红韵与素色交织，更显古雅。画中无喧嚣，唯有花木静美：含笑的含蓄、饼桃的憨态，在简淡笔触里凝成清雅意境，仿佛能闻见那缕若有若无的暗香，尽得宋元文人画的幽淡之味，让观者心沉于这份素净的生机里。",[23,24,25,1260,28,7,83,2288,292,1807,783,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb03408a7f7684830af45e313ff9f410.jpg","22.9x23.6cm",[90],{"id":15181,"slug":15182,"title":15183,"dynasty":76,"author":563,"museum":191,"description":564,"tags":15184,"thumbUrl":15186,"material":88,"size":139,"collection":139,"collections":15187,"showCount":14989,"zanCount":2368,"manualWeight":48,"mainColor":94},214844,"xie-sheng-ce-18-hua-yan-214844","写生册-18",[194,24,25,81,7,173,566,83,650,15185,5809,554,62],"蜂巢","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33f36389e15970529a3aac15136cc8f6.jpg",[],{"id":15189,"slug":15190,"title":15191,"dynasty":99,"author":15192,"museum":191,"description":15193,"tags":15194,"thumbUrl":15197,"material":123,"size":15198,"collection":181,"collections":15199,"showCount":14989,"zanCount":48,"manualWeight":48,"mainColor":49},214735,"ren-wu-zhou-guo-chun-214735","人物轴","郭纯","在水边的柳树下摆上一张桌子，客人和主人坐在一起交谈，手持羽毛扇，身穿纱笼。三个孩子，一个炖着茶和水，另一个拿着苍蝇刷，站在客人身后，与拿着饭盒的人交谈。山石皴法是元代盛懋风格，其工艺也不弱。建筑物的笔触偶尔会有失误",[24,25,226,173,7,29,106,28,15195,1241,108,115,808,34,15196,14427,3130,11145],"屋宇","人物活动","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e11bebc6abc80b06f3d874186097f6b.jpg","110.8x62.1",[181],{"id":15201,"slug":15202,"title":15203,"dynasty":18,"author":257,"museum":316,"description":9820,"tags":15204,"thumbUrl":15205,"material":599,"size":600,"collection":139,"collections":15206,"showCount":15207,"zanCount":2368,"manualWeight":48,"mainColor":2504},290287,"ke-si-he-hua-zhou-yi-ming-290287","缂丝荷花轴",[24,226,1329,83,136,137,28,7,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5496eee4f3b0cb9dd3c8db2a7491703.jpg",[],90,{"id":15209,"slug":15210,"title":15211,"dynasty":76,"author":257,"museum":316,"description":15212,"tags":15213,"thumbUrl":15216,"material":139,"size":139,"collection":5515,"collections":15217,"showCount":15207,"zanCount":1003,"manualWeight":48,"mainColor":94},241744,"cui-shi-ba-zi-shou-chuan-yi-ming-241744","翠十八子手串","这串手串以浓绿翠珠为主体，莹润饱满的圆珠色泽匀净鲜亮，尽显翠玉清灵质地。搭配粉碧玺隔珠，冷艳绿意与柔糯粉调相映，撞色雅致和谐。\n\n背云以累丝点翠工艺打造，镶嵌珍珠碧玺，精巧富丽，仿若盛放的花间星芒。下悬粉碧玺坠饰，随形雕琢莹润粉嫩，腕间轻摇时，佩饰轻晃流光，将玉石天生之美与清宫匠心工艺相融，静静诉说旧时贵族闺阁的温婉意趣，尽显雅致华贵的旧日风华。",[64,5512,5513,229,15214,15215,7,320],"珠子","坠饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F324beefe59528592cd90256cdc4966ec.jpg",[5515],{"id":15219,"slug":15220,"title":15221,"dynasty":76,"author":2837,"museum":316,"description":15222,"tags":15223,"thumbUrl":15224,"material":139,"size":139,"collection":139,"collections":15225,"showCount":15207,"zanCount":1379,"manualWeight":48,"mainColor":94},238999,"fu-gui-bai-tou-tu-zhou-ju-lian-238999","富贵白头图轴","此作用湖石撑起画面骨架，瘦漏透皱，空灵奇崛。牡丹攒簇于石畔，粉娇黄雅、紫柔朱艳，花瓣晕染柔润饱满，枝叶疏密错落，尽显盛放之态。\n\n两只白头翁静立石巅，亲昵相依，另有蛱蝶逐花蹁跹，满幅皆是融融春意。设色明丽却不甜俗，没骨技法将花叶的娇柔鲜活尽致展现，湖石以勾勒皴擦带出嶙峋质感，工写相宜。\n\n祥瑞意趣藏在鲜活景致中，将春日生机与美好祈愿揉合，笔底含情，把灵秀雅致凝于尺幅间。",[24,194,226,28,7,83,292,209,484,263,380],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc5e8dafcd23c0f7abfb2e6f9f962f77.jpg",[],{"id":15227,"slug":15228,"title":15229,"dynasty":18,"author":1033,"museum":20,"description":15230,"tags":15231,"thumbUrl":15232,"material":40,"size":15233,"collection":139,"collections":15234,"showCount":15207,"zanCount":1379,"manualWeight":48,"mainColor":49},233002,"pi-pa-shan-niao-tu-ye-lin-chun-233002","枇杷山鸟图页","图绘江南五月，成熟的枇杷果在夏日的光照下分外诱人。一只绣眼翘尾引颈栖于枇杷枝上正欲啄食果实，却发现其上有一只蚂蚁，便回喙定睛端详，神情十分生动有趣。枇杷枝仿佛随着绣眼的动作重心失衡而上下颤动，画面静中有动，妙趣横生。绣眼的羽毛先以色、墨晕染，随后以工细而不板滞的小笔触根根刻画，表现出鸟儿背羽坚密光滑、腹毛蓬松柔软的不同质感。枇杷果以土黄色线勾轮廓，继而填入金黄色，最后以赭色绘脐，三种不同的暖色水乳交融，从而展现出枇杷果成熟期的丰满甜美。枇杷叶用笔致工整细腻的重彩法表现，不仅如实地刻画出叶面反转向背的各种自然形貌，且将叶面被虫儿叮咬的残损痕迹亦勾描晕染得一丝不苟，充分反映了宋代花鸟画在写实方面所达到的艺术水平。",[24,25,194,28,7,83,1036,209,554,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7aa06bf3aa4e5e7e1763e4645676c6e.jpg","纵26.9厘米，横27.2厘米",[],{"id":15236,"slug":15237,"title":15238,"dynasty":76,"author":2467,"museum":316,"description":15239,"tags":15240,"thumbUrl":15241,"material":139,"size":139,"collection":139,"collections":15242,"showCount":15207,"zanCount":1379,"manualWeight":48,"mainColor":49},228927,"bai-tou-rong-gui-tu-li-zhou-ma-quan-228927","白头荣贵图立轴","此作绘就清秋雅景，桂树虬枝斜出，繁花缀于叶间，两只白头翁栖于枝头，羽色晕染细腻，灵动悠然，似在细嗅甜香。苔石苍古朴拙，旁侧芙蓉柔花绽蕊，粉白相衬，妍丽温婉。\n\n笔触工秀兼具，禽鸟绒毛蓬松鲜活，花叶勾勒柔婉，设色明丽雅致却艳而不俗。以白头翁谐“白头”，丹桂、芙蓉寄寓荣华，将秋日生机与吉庆祈愿相融，笔底尽是温婉意趣，静赏间漫溢清和雅致的古典韵味。",[23,194,24,25,226,28,7,83,292,3053,176,211,554,320],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa823023cfbac82a24300a34fb689b2f2.jpg",[],{"id":15244,"slug":15245,"title":15246,"dynasty":18,"author":1588,"museum":316,"description":15247,"tags":15248,"thumbUrl":15249,"material":139,"size":139,"collection":139,"collections":15250,"showCount":15207,"zanCount":48,"manualWeight":48,"mainColor":94},227633,"zuo-kan-yun-qi-tu-wang-wei-shi-yi-ma-lin-227633","坐看云起图-王维诗意","行到水穷处，坐看云起时。",[23,24,194,25,173,7,29,177,176,34,2235,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36fc5a4c30410523ad6dec74afa8db56.jpg",[],{"id":15252,"slug":15253,"title":15254,"dynasty":18,"author":2509,"museum":316,"description":15255,"tags":15256,"thumbUrl":15258,"material":139,"size":139,"collection":139,"collections":15259,"showCount":15207,"zanCount":1379,"manualWeight":48,"mainColor":49},227509,"zhuang-jing-shi-nv-tu-su-han-chen-227509","妆靓仕女图","《妆靓仕女图》是宋代画家苏汉臣创作的一幅绢本扇面画。",[23,194,24,25,1260,7,28,106,59,614,579,280,15257,3701],"妆饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54e31d25805d2c3d737c9b6538502ea6.jpg",[],{"id":15261,"slug":15262,"title":15263,"dynasty":76,"author":1892,"museum":56,"description":1893,"tags":15264,"thumbUrl":15267,"material":1901,"size":1902,"collection":139,"collections":15268,"showCount":15207,"zanCount":2368,"manualWeight":48,"mainColor":49},222817,"gu-su-fan-hua-tu-di-yi-duan-xu-yang-222817","姑苏繁华图第一段",[23,194,24,26,7,28,29,244,15265,6928,12755,107,108,109,15266,110,106,120,34,176,117],"村镇","船舶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a01f4224a44f2fb29505d1c3e5f9e1a.jpg",[],{"id":15270,"slug":15271,"title":15272,"dynasty":99,"author":1196,"museum":419,"description":15273,"tags":15274,"thumbUrl":15275,"material":40,"size":15276,"collection":139,"collections":15277,"showCount":15207,"zanCount":1379,"manualWeight":48,"mainColor":49},222344,"song-lin-yang-bian-tu-tang-yin-222344","松林扬鞭图","图绘春雪消融，鲜花盛开的季节，文人逸士策马扬鞭结伴郊游的美好景致。画心左上角有画家自题七言诗一首：“女几山前春雪消，路傍仙杏发柔条。心期此日同游赏，载酒扬鞭过野桥。”署款“唐寅”。钤“南京解元”、“六如居士”二印。",[23,24,173,7,177,226,1273,106,150,176,808,34,1049,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb41ce84768985f365b4a778ba934bd0d.jpg","145.3cm 横：72.5cm。",[],{"id":15279,"slug":15280,"title":15281,"dynasty":18,"author":7833,"museum":20,"description":15282,"tags":15283,"thumbUrl":15284,"material":40,"size":15285,"collection":42,"collections":15286,"showCount":15207,"zanCount":2368,"manualWeight":48,"mainColor":49},221455,"si-yang-tu-chen-ju-zhong-221455","四羊图","这是南宋画家陈居中创作的一幅极为生动的动物画。在很小的尺幅上，画家选取了一个日常的景象，在村郊野外的小土坡上，牧羊人正在小憩，两只白色的小山羊打闹嬉戏，一只似是占到了便宜，惹得另一只发火地低头撞来，另一只毛色略重的老羊似欲走来制止，又一只则立于土坡之上，沉静地俯视着下面所发生的一切。四只羊的组合仿佛是一个家庭，母亲正在看管着孩子，父亲则高高在上，保持着一家之主的威严，画家将动物之间的情爱描写得十分真实，又富有人世的生活意趣。在置景上力求简单明快，土坡只以墨笔勾出轮廓，略加擦染，几株小草与荆棘也安排得很疏阔，画面左上角画一株老干，侧生一棵新枝。画家亦注重细节的刻画，如立于树干上的两只小山雀，俯首观看，形态生动。全图无论是写物、写景，皆突出了一个“动”字，生活气息极为浓厚。\n图中山羊的形态描绘准确，体现了画家深厚的写生功底，如小山羊跳跃、抵撞的姿态，老山羊前蹄收缩、双耳上竖的细部动作，甚至翻转的双角，均表现得一丝不苟，体现了宋代院体绘画精工细致、刻划入微的风格特征。全图毫无板滞之气，画家抓住表现对象的主要特征，舍弃琐碎的细节，运用不多的笔墨和写意的手法追求言简意赅的艺术效果。\n此画在构图上受时代流风的影响，采用南宋院体山水的边角式布局法。画面以斜对角式区分，左下部分为全部景物，右上部分则全部留白，将所要表现的物体加以集中，使狭小的尺幅产生一定的空间感，虚实对比更加鲜明，以此增强画面的吸引力。\n在中国古代文字中，“羊”字与“祥”、“阳”相通，“吉祥”在古文中就写作“吉羊”；又《易经》中谓每年正月卦象为三阳在下，三阴在上，故古人称每年正月为三阳开泰之时，此成语也就成了常用的吉祥语。这幅画表现的四羊即寓意三阳在下，一阳在上，反映了祈盼吉祥如意的美好愿望。\n陈居中最擅长人马画，但对动物写生一类题材也很热衷，并刻画得细致生动，这幅带有吉祥寓意的《四羊图》页即代表了他在这一方面的艺术水平。",[23,24,194,28,7,6162,746,795,230,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F231d6d11c8c4a722dd36f131bc7896c2.jpg","纵22.5厘米，横24厘米",[42,90,45],{"id":15288,"slug":15289,"title":15290,"dynasty":76,"author":77,"museum":20,"description":15291,"tags":15292,"thumbUrl":15293,"material":770,"size":15294,"collection":181,"collections":15295,"showCount":15207,"zanCount":48,"manualWeight":48,"mainColor":94},220976,"shan-shui-hua-niao-tu-ce-ye-yu-chu-ji-yun-shou-ping-220976","山水花鸟图册-夜雨初霁","每图各有恽寿平题识，分别钤“寿平”白朱文印、“正叔”朱文印、“寿平”白文印、“恽正叔”白文印、“寿平印”白文印等。每图各有乾隆皇帝题诗一首。鉴藏印有：“乾隆御赏之宝”、“淳化轩”、“石渠宝笈”、“臣庞元济恭藏”、“虚斋至精之品”等二十余方。\n本图册第三开、第十开分别署年款“乙卯秋”、“乙卯十月”。“乙卯”为清康熙十四年（1675年），此作应为恽寿平43岁时作品。\n此山水花卉图册分别描绘鹅群、荷花、山水、古木寒鸦、牡丹、乔柯急涧、夜雨初霁、菊花、兰花蝴蝶花、溪山行旅等。全册为作者临仿宋、元、明诸家。山水以宗董源、巨然、米芾、赵孟頫诸家为主，秀骨清幽，富有文人书卷之气。花鸟以宗徐崇嗣、赵昌、沈周诸家为主，重视写生，力求形似，如第五开的牡丹，技法灵活，宗法徐崇嗣的没骨法，同时又强调“与花传神”，力去华靡，追求“澹雅”，不刻意求工，唯求自然天趣，揭示出恽寿平一向所追求的平淡超逸的审美意趣。",[23,24,25,81,173,7,29,107,108,174,245,34,176,37,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4caaee7acd02f00b671f99fe717cb6e3.jpg","纵27.5cm，横35.2cm",[181,163],{"id":15297,"slug":15298,"title":15299,"dynasty":302,"author":2603,"museum":191,"description":15300,"tags":15301,"thumbUrl":15302,"material":88,"size":15303,"collection":181,"collections":15304,"showCount":15207,"zanCount":2368,"manualWeight":48,"mainColor":49},220819,"ju-qu-lin-wu-tu-wang-meng-220819","具区林屋图","此幅画面的右上角有王蒙以隶书题的“具曲林屋”四个字，底下署“叔明为日章画”，具区是古时太湖的旧称。\n王蒙截取太湖山中极小的一块区域，提炼加工，组织而成这幅极富生活情趣的画面：右下方一坡角，数株大树并列生於其间，林下有高士临水而坐，好像正欣赏著眼前的美景。水波荡漾，一人悠闲的划着小船；对岸山脚下，草亭临水而建，一人独坐其间看书；山间小路迂回，曲径通幽，数栋屋宇参差错落於山谷之中，有妇女活动其间。\n图中山石用“牛毛皴”与“解索皴”干笔皴擦而成，多曲折旋转之笔，以突显出太湖一带山石特有的质感；树叶则用墨与色直接点染而成，丹崖碧树，一派秋日山水景象。\n该画作描写江苏太湖林屋洞之景色。玲珑的洞壑、层叠的山石、繁密的树林、错落的村舍和粼粼水波填满了整幅画面，大胆地摆脱了自然景象的拘囿。全作的构图几乎密不透风，但因画家有虚实相济的观念，故在画幅的左上角营造出「透」的部分，使得全作毫无迫塞的感觉。王蒙用牛毛皴皴擦山石，长披麻皴画树干，又杂以繁密的苔点，笔法变化多端，细腻丰富。墨色层层点染，浓淡分明，同时又用了赭石、藤黄、朱砂和朱标点染，使得全作秋意满幅。\n全图除了溪流之外，几乎被山石、树木、林间茅舍填充的没有空隙，这种饱满的构图方式在中国古代绘画作品中极为罕见，开辟出国画构图之奇境。",[23,194,24,3559,7610,7,177,29,686,34,1754,35,107,809],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ecaeed00379af6afdfac3af833b2d69.jpg","68.7 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42.5cm",[181,45],{"id":15306,"slug":15307,"title":15308,"dynasty":18,"author":1588,"museum":15309,"description":15310,"tags":15311,"thumbUrl":15312,"material":1319,"size":15313,"collection":42,"collections":15314,"showCount":15207,"zanCount":48,"manualWeight":48,"mainColor":49},220312,"xi-yang-qiu-se-tu-ma-lin-220312","夕阳秋色图","根津美术馆","《夕阳秋色图》画面上的淡云浅山已经褪色，水流处一片苍茫。这种岁月的沧桑，在画墨的点线之中且隐且行，既刻录了时间的优雅，又释放出历史的气味。\n宋理宗赵昀在欣赏《夕阳秋色图》时忘乎所以，把一切朝中繁杂置之脑后，流连画中苍茫山水、江南秋色。在几只燕子嬉戏的场景里，忽然想起活泼可爱的周汉公主。在膝下无子的岁月里，这位掌上明珠得到理宗的万般宠爱。",[24,29,7,177,3466,1169,34,245,3519,5218],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcd624d868e1bf9f63b27d62406ca745.jpg","51.3X26.6厘米",[42,163],{"id":15316,"slug":15317,"title":15318,"dynasty":18,"author":15319,"museum":132,"description":15320,"tags":15321,"thumbUrl":15322,"material":123,"size":15323,"collection":90,"collections":15324,"showCount":15207,"zanCount":1379,"manualWeight":48,"mainColor":49},218929,"hong-ye-xiao-niao-tu-wu-yuan-yu-218929","红叶小鸟图","吴元瑜","此幅《红叶小鸟图》是现今所知的唯一署款之作，“元瑜”二字书写古拙，笔法柔中带刚。画的设色极高古，小鸟羽毛描绘精细，指爪紧握树枝，眼神灵活，舌尖颤动如发清音，状物写情生动传神，定为宋画应无疑问。而且画幅上藏印累累，包括黔宁王沐昂，著名的收藏家宋荦，近代鉴藏家吴湖帆、钱镜塘、王季迁等。虽暂时仍未查有著录，但正如杨仁恺在裱绫中所题，“画心钤明清诸家钤印，当有所据也”。",[194,24,25,83,28,7,209,1754,836,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91e95be5e4206dc53f32e2bb88825d63.jpg","42x25cm",[90],{"id":15326,"slug":15327,"title":15328,"dynasty":18,"author":15329,"museum":191,"description":15330,"tags":15331,"thumbUrl":15332,"material":123,"size":139,"collection":181,"collections":15333,"showCount":15207,"zanCount":1379,"manualWeight":48,"mainColor":94},218677,"xi-hu-shi-jing-tu-lei-feng-xi-zhao-ye-xiao-yan-218677","西湖十景图-雷峰夕照","叶肖岩","山峦晕染着暮色的暖调，古塔静立在层岩之上，夕照的金辉轻覆于林梢与塔檐，晕开朦胧的暖意。近处松枝虬劲，山石皴擦细腻；远处峰峦隐入淡墨，虚实间藏着江南的温婉。左侧墨笔题跋的线条与山水肌理相映，文辞与画意交织，将西湖黄昏的悠然意趣凝于尺幅。苍劲与柔婉并存，写实与写意相融，尽显雷峰夕照的静谧深远——仿佛晚风掠过塔铃轻响，时光沉淀的诗意在笔墨间缓缓流淌，让观者窥见千年西湖黄昏的温婉与悠长。",[23,24,25,81,7,29,3466,107,86,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e6bfc3fb9153780220775dfbeb9338f.jpg",[181],{"id":15335,"slug":15336,"title":15337,"dynasty":18,"author":1474,"museum":316,"description":15338,"tags":15339,"thumbUrl":15340,"material":123,"size":15341,"collection":45,"collections":15342,"showCount":15207,"zanCount":2368,"manualWeight":48,"mainColor":49},218594,"lan-you-shang-tu-li-song-218594","阑游赏图","三个女人坐在一座偏远的山边的亭子里，在高大的树荫下，从栅栏上欣赏风景，而亭子外面的两个女仆则身材修长，姿态优美。该技术的特点是岩石上的小笔触，树木和远处的山丘都是农场画的特点。",[24,25,28,7,104,29,106,175,34,107,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd89ca87b97de7d9898441c2291b095a.jpg","22x20.6",[45],{"id":15344,"slug":15345,"title":15346,"dynasty":99,"author":14232,"museum":191,"description":15347,"tags":15348,"thumbUrl":15349,"material":2365,"size":15350,"collection":2065,"collections":15351,"showCount":15207,"zanCount":48,"manualWeight":48,"mainColor":94},214227,"shang-lin-dong-nuan-shi-zhu-zhan-ji-214227","上林冬暖诗","上林冬暖是一首中国古代诗歌，作者是朱瞻基。这首诗描述了冬季的上林园林，表达了作者对自然美景的喜爱。\n\n上林冬暖是一首七言绝句，共有七句话，每句话都有四个字。这首诗的内容很简单，但是通过精巧的排列和组合，表达了作者对冬季上林园林的深深的喜爱。\n\n上林冬暖诗的具体内容如下：\n上林冬暖，玉树乱花。\n池边莲叶，夜来香。\n山间小道，草色浅浅。\n山间鸟鸣，绿荫苍苍。\n\n这首诗通过描述上林冬季的美景来表达作者对自然的热爱。在这首诗中，朱瞻基描述了上林园林在冬季里的温暖和美丽，并表达了对自然的感悟和体会。",[23,99,25,86,178,7,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed13e6102b654ac4127e0fce5854a6b3.jpg","47.3x23.9",[2065],{"id":15353,"slug":15354,"title":15355,"dynasty":189,"author":3536,"museum":316,"description":15356,"tags":15357,"thumbUrl":15359,"material":599,"size":600,"collection":139,"collections":15360,"showCount":15361,"zanCount":48,"manualWeight":48,"mainColor":49},288974,"ping-po-shan-niao-tu-huang-quan-288974","苹婆山鸟图","竹石花雀学刁光胤与滕昌佑、山水松石学李升、人物龙水学孙位、画鹤学薛稷，皆能脱去古人格律，自创新意。而且，黄筌一家具擅绘画，其弟唯亮，子居宝、居实、居寀，其中尤以黄居寀的成就最大，黄氏父子的花鸟画，在当时人们普遍认为其风格特点是“黄家富贵”。宋人沈括在《梦溪笔谈》中明确指出：“诸黄(指黄氏一家)画花妙在傅色，用笔极新细，殆不见墨迹，但以轻色染成，谓之写生”。\n入秋的山林，一颗颗绯红了脸颊的苹果，悬挂在枝叶间。芬芳的气味、鲜艳的色彩，招来了不少「小过客」们在此停留，留下了许多的斑点与啮痕。一只娇小的粉红鹦嘴，也忍不住好奇地飞了上来。它轻巧地停落在弯细的枝桠上，仰着圆小的脸蛋，摇着细长的尾巴，淘气地又蹦又跳的，好不开心！\n粉红鹦嘴旧名黄头，是种可爱、善斗的小鸟。而吸引粉红鹦嘴的苹果树，传统名为「林檎（禽）」或「来禽」。名称的由来，据说是因为它的果实（即苹果）味道甘醇、甜美，因此常常能吸引许多鸟禽来此聚集的缘故。至于画名以「苹婆」（即柰，又名凤眼珠）相称，应是古人误题了，两者事实上并不相同。\n这幅精巧的「苹婆山鸟」，旧传为五代画家黄筌（活动于903-965）所作。黄筌是中国花鸟画史里，开创工笔细致风格的大师，对五代到北宋初期的画坛影响深远。这幅画作虽非大师亲笔，可是无论是特写式的取景方式或是精辟入理的写实趣味，都明显受到黄筌的影响，是一幅宋代杰出的花鸟画小品。",[24,1260,28,7,83,245,15358],"苹婆果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74ea7a4296d2a431f72d4200daacb413.jpg",[],89,{"id":15363,"slug":15364,"title":15365,"dynasty":76,"author":257,"museum":316,"description":15366,"tags":15367,"thumbUrl":15372,"material":599,"size":600,"collection":44,"collections":15373,"showCount":15361,"zanCount":2368,"manualWeight":48,"mainColor":94},234453,"bu-kong-juan-suo-guan-shi-yin-pu-sa-tang-ka-yi-ming-234453","不空羂索观世音菩萨唐卡","唐卡（Thang-ga）也叫唐嘎，唐喀，系藏文音译，指用彩缎装裱后悬挂供奉的宗教卷轴画。唐卡是藏族文化中一种独具特色的绘画艺术形式，题材内容涉及藏族的历史、政治、文化和社会生活等诸多领域，传世唐卡大都是藏传佛教和本教作品。\n唐卡是藏族文化中一种独具特色的绘画艺术形式。具有鲜明的民族特点、浓郁的宗教色彩和独特的艺术风格，用明亮的色彩描绘出神圣的佛的世界；颜料传统上是全部采用金、银、珍珠、玛瑙、珊瑚、松石、孔雀石、朱砂等珍贵的矿物宝石和藏红花、大黄、蓝靛等植物为颜料以示其神圣。这些天然原料保证了所绘制的唐卡色泽鲜艳，璀璨夺目，虽经几百年的岁月，仍是色泽艳丽明亮。因此被誉为中国民族绘画艺术的珍品，被称为藏族的”百科全书”也是中华民族民间艺术中弥足珍贵的非物质文化遗产。\n传统唐卡的绘制要求严苛、程序极为复杂，必须按照经书中的仪轨及上师的要求进行，包括绘前仪式、制作画布、构图起稿、着色染色、勾线定型、铺金描银、开眼、缝裱开光等一整套工艺程序。制作一幅唐卡用时较长，短则半年完成，长则需要十余年。",[15368,6768,15369,7,15370,6170,15371,6422,84],"唐卡","宗教绘画","铺金描银","不空羂索观世音菩萨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33646f9b1c0dd82929dab59dbb9202dd.jpg",[44],{"id":15375,"slug":15376,"title":15377,"dynasty":99,"author":170,"museum":316,"description":15378,"tags":15379,"thumbUrl":15380,"material":599,"size":600,"collection":139,"collections":15381,"showCount":15361,"zanCount":2368,"manualWeight":48,"mainColor":94},228828,"wo-you-tu-ce-shen-zhou-228828","卧游图册","此套图册分别绘仿倪山水、杏花、秋葵、秋柳鸣蝉、平坡散牧、栀子花、秋景山水、芙蓉、枇杷、秋山读书、石榴、雏鸡、秋江钓艇、菜花、江山坐话、仿米山水、雪江渔夫等山水、花鸟小景。\n根据末开画家自题，可知该册页的“卧游”之名源自南朝宋宗炳在居室四壁挂山水以当卧游的典故。然而不同于挂轴的是，该图册还可于卧床时仰面翻阅。 由此可见画家的绘制初衷和生活情趣。",[23,24,25,81,173,7,29,83,227,379,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba6888d1d28a0071d48ff437e6713a55.jpg",[],{"id":15383,"slug":15384,"title":15385,"dynasty":256,"author":15386,"museum":316,"description":15387,"tags":15388,"thumbUrl":15393,"material":599,"size":600,"collection":139,"collections":15394,"showCount":15361,"zanCount":2368,"manualWeight":48,"mainColor":49},226649,"wei-na-si-de-dan-sheng-sang-de-luo-bo-ti-qie-li-226649","维纳斯的诞生","桑德罗·波提切利","画面所表现的是西西里岛的一个美丽的传说：一片漂亮的大贝壳漂浮在碧波荡漾的海面上，上面站着纯洁而美丽的维纳斯，翱翔于天上的风神轻轻地将贝壳吹到岸边，等候在岸边的春之女神正张开红色绣花斗篷，准备为维纳斯换上新装。维纳斯身材修长，容貌秀美，双眼凝视着远方，眼神充满着幻想、迷惘与哀伤。体现了在佛罗伦萨流行一种新柏拉图主义的哲学思潮：美是不可能逐步完善或从非美中产生，美只能是自我完成，它是无可比拟的，美是不生不灭的永恒。",[15389,7,2459,15390,59,15391,3041,1187,34,15392,65],"蛋彩画","裸体人物","贝壳","翅膀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faca3edf2229ab9dd3bdba346df792dbd.jpg",[],{"id":15396,"slug":15397,"title":15398,"dynasty":76,"author":329,"museum":191,"description":1518,"tags":15399,"thumbUrl":15400,"material":7,"size":1521,"collection":139,"collections":15401,"showCount":15361,"zanCount":1003,"manualWeight":48,"mainColor":94},222747,"xian-e-chang-chun-tu-05a-lang-shi-ning-222747","仙萼长春图-05a",[23,24,28,7,83,84,723,3074],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feed7da96ce0c7b5d28a9d61f8f6ce6aa.jpg",[],{"id":15403,"slug":15404,"title":3773,"dynasty":76,"author":15405,"museum":495,"description":15406,"tags":15407,"thumbUrl":15408,"material":40,"size":15409,"collection":90,"collections":15410,"showCount":15361,"zanCount":2368,"manualWeight":48,"mainColor":49},222687,"mu-dan-tu-zhou-chen-zhuo-222687","陈卓","绘盛开牡丹数朵，姹紫嫣红，花瓣层层叠叠，绿叶繁茂；湖石立于花中，灰黑的颜色让花儿更加娇艳。图中的牡丹为典型的没骨画法。陈卓，字中立，清代画家，擅绘青绿山水，喜作青绿设色，兼工花鸟、人物。",[23,24,25,226,28,7,292,176,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe3a743980de113f98a6c8a0a9babb69.jpg","149x68cm",[90,45],{"id":15412,"slug":15413,"title":15414,"dynasty":76,"author":3071,"museum":539,"description":3072,"tags":15415,"thumbUrl":15416,"material":67,"size":3076,"collection":139,"collections":15417,"showCount":15361,"zanCount":1003,"manualWeight":48,"mainColor":94},222681,"si-ji-hua-niao-tu-ping-4-chen-mei-222681","四季花鸟图屏4",[23,28,7,83,209,7260,3074,5713,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F215e604db490f4a6381ab7f2e744c172.jpg",[],{"id":15419,"slug":15420,"title":15421,"dynasty":99,"author":170,"museum":20,"description":15422,"tags":15423,"thumbUrl":15424,"material":770,"size":15425,"collection":181,"collections":15426,"showCount":15361,"zanCount":1379,"manualWeight":48,"mainColor":94},222116,"tao-hua-shu-wu-shen-zhou-222116","桃花书屋","这幅《桃花书屋图》的用笔与晚年粗率的用笔截然不同，是为沈周中年“细文”之作。早年的沈周绘画深受元代云林和同时代有人刘珏的影响，故而在早期的作品中可以看到非常浓厚的两家影子。而山石的绘法则取法五代董源、居然和元代的大痴，这写在沈周的《策杖图》中皆有体现。而在这幅作品中，面貌已经不同于早期的风格。《桃花书屋图》的画面形式已经有所松动，不再是《策杖图》中所表现的那般的紧迫。但是有些基本的沈周的程式已经存在，这便是仿古的山石。",[23,24,173,177,7,29,34,3712,243,3518,109,686,106,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45ec07e216d6f6ba02a5d0deaeaae9e6.jpg","纵74cm，横31cm",[181,163],{"id":15428,"slug":15429,"title":15430,"dynasty":54,"author":257,"museum":316,"description":15431,"tags":15432,"thumbUrl":15433,"material":139,"size":139,"collection":44,"collections":15434,"showCount":15361,"zanCount":1379,"manualWeight":48,"mainColor":94},221132,"duan-jian-bi-mu-bi-hua-lin-ben-yi-ming-221132","“段简壁”墓壁画临本","此作人物排布错落有致，仕女丰腴端雅，挽高髻、着交领襦裙，披帛垂曳间尽显柔婉雍容。两位侍从装束干练，神态恭谨肃穆。全作用铁线描勾勒，劲挺流畅，精准刻画出人物体态与衣物褶皱起伏。设色古雅清隽，红褐、石紫配色沉稳厚重，岁月浸蚀留下斑驳痕迹，却更衬出盛唐的独特审美意韵。画作写实细腻，还原了彼时的妆束仪制，将墓主人出行仪卫的从容气度凝于壁间，尽显大唐的雍容风华。",[23,24,25,194,511,105,352,7,28,106,59,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c7bdf5ea3b57dfd093ec32a74891c16.jpg",[44,45],{"id":15436,"slug":15437,"title":15438,"dynasty":302,"author":1977,"museum":101,"description":15439,"tags":15440,"thumbUrl":15441,"material":638,"size":15442,"collection":44,"collections":15443,"showCount":15361,"zanCount":2368,"manualWeight":48,"mainColor":49},220834,"lan-ting-xiu-xi-zhao-meng-fu-220834","蘭亭修禊","兰亭修禊：修禊（xiūxì），源于周代的一种古老习俗，即农历三月上旬“巳日”这一天，（魏以后始固定为三月三日），到水边嬉游，以消除不祥，叫做“修褉”。人们相约到水边沐浴、洗濯，借以除灾去邪，古俗称之为：“祓禊”。后文人饮酒赋诗的集会，也称为修禊。春日踏青有“春禊”，秋日秋高气爽，文人怎能辜负这大好时光，自然会有“秋禊”，时间一般是在农历七月十四。历史上最为有名的修禊当数兰亭修禊和红桥修禊。王羲之《兰亭集序》：“暮春之初，会于会稽山阴之兰亭，修褉事也。”",[23,24,25,26,7,28,86,178,106,34,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9d11be852e9ee5dd0f93e513e3b855e.jpg","纵:32.2cm 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八哥、山鸟停憩、飞翔于其间。溪中游鱼成群，隔岸两对鸳鸯，景致富丽而怡人。画中并无作者款印，布局与笔意，饶有吕纪之精神面貌，研判应出自传承吕氏风格的宫廷画家之手。",[23,24,194,28,7,83,3442,84,2014,836,1187,3519,263,245,1241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1048483f5027abb6034036a7b9aeaaa.jpg","193.2x116cm",[90],{"id":15511,"slug":15512,"title":15513,"dynasty":18,"author":1350,"museum":191,"description":1743,"tags":15514,"thumbUrl":15516,"material":123,"size":1746,"collection":139,"collections":15517,"showCount":15361,"zanCount":1379,"manualWeight":48,"mainColor":94},218575,"hua-niao-shan-shui-xiao-pin-ce-tao-shi-ma-yuan-218575","花鸟山水小品册-桃实",[23,24,25,81,7,28,83,15515,210,212],"桃实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faadbefdeadf6a41201afc56e25773c67.jpg",[],{"id":15519,"slug":15520,"title":15521,"dynasty":76,"author":6776,"museum":191,"description":15522,"tags":15523,"thumbUrl":15526,"material":2365,"size":139,"collection":44,"collections":15527,"showCount":15361,"zanCount":2368,"manualWeight":48,"mainColor":94},217923,"tang-ming-huang-ji-ju-tu-ding-guan-peng-217923","唐明皇击鞠图","丁观鹏是清朝时期的画家，他最著名的作品之一是《唐明皇击鞠图》。这幅画描绘了唐朝第一位皇帝唐太宗（又称唐明皇）打鞠的场景。\n\n唐太宗是唐朝的建立者，他在位时实行了许多改革措施，使唐朝成为中国历史上最繁荣的朝代之一。他非常喜欢鞠球运动，常常在宫中练习打鞠。丁观鹏的这幅画中，唐明皇正在向前跑步，身体做出打鞠的姿势，表现出他对这项运动的热爱。\n\n丁观鹏的《唐明皇击鞠图》是一幅工笔画，他细致地描绘了唐明皇的衣服和鞠球的细节，并使用了深浅不一的色彩来表现光线的变化。这幅画被认为是丁观鹏作品中最出色的一幅，也是清朝时期最著名的画作之一。它现在被收藏在北京故宫博物院的藏品之中。",[194,24,25,28,352,7,104,106,150,114,212,63,15524,15525],"古代人物","马球场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde3def1caee6bc241053a237d8871f10.jpg",[44],{"id":15529,"slug":15530,"title":15531,"dynasty":302,"author":303,"museum":5488,"description":15532,"tags":15533,"thumbUrl":15535,"material":123,"size":15536,"collection":90,"collections":15537,"showCount":15361,"zanCount":1233,"manualWeight":48,"mainColor":49},216098,"sun-tu-qian-xuan-216098","笋图","钱选（1213年－1275年），字善彦，元朝时期的书画家。他是著名的书法家和画家，也是著名的丹青家。他的著名作品有《笋图》。\n\n《笋图》是钱选的代表作之一，它是一幅花卉画，描绘了一棵竹子长出的笋竹。画中笋竹细腻而精巧，表现了钱选对竹子的生长过程的细致观察和深刻理解。画中的竹叶细腻，竹子的轮廓线清晰，构图简单而优美。整幅画浑然一体，极富艺术魅力。钱选的《笋图》被誉为元朝花卉画的代表作之一。",[24,25,7,28,15534],"笋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcaa36c699fa827e03d1122c5524ea426.jpg","21x31.5cm",[90],{"id":15539,"slug":15540,"title":15541,"dynasty":76,"author":563,"museum":608,"description":1497,"tags":15542,"thumbUrl":15543,"material":638,"size":1500,"collection":139,"collections":15544,"showCount":15361,"zanCount":2368,"manualWeight":48,"mainColor":49},214353,"san-jue-shan-shui-ce-11-hua-yan-214353","三绝山水册-11",[23,24,25,81,173,7,29,3176,34,2235,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F062aa97e82de940580bf8cfb91b7d3f7.jpg",[],{"id":15546,"slug":15547,"title":1473,"dynasty":302,"author":303,"museum":316,"description":15548,"tags":15549,"thumbUrl":15550,"material":599,"size":600,"collection":139,"collections":15551,"showCount":15552,"zanCount":2368,"manualWeight":48,"mainColor":49},290093,"lan-hua-tu-qian-xuan-290093","虽然精细工整,但绝不是镜子似的照搬现实,藤篮的复杂图案、花卉的舒卷姿态和排列位置,无不经过巧妙经营和提炼,来自于心与物碰撞熔铸的艺术之意象,这是应该加以明确的。",[24,83,28,7,292,229,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10cab7b8f6574051eeaabfa10382fa55.jpg",[],88,{"id":15554,"slug":15555,"title":4939,"dynasty":76,"author":742,"museum":316,"description":1373,"tags":15556,"thumbUrl":15557,"material":599,"size":600,"collection":139,"collections":15558,"showCount":15552,"zanCount":1379,"manualWeight":48,"mainColor":94},288138,"hua-niao-tu-ye-ren-yi-288138",[23,24,1260,28,7,83,245,629,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb60e23a255768ce7e9fd81450f398093.jpg",[],{"id":15560,"slug":15561,"title":15562,"dynasty":76,"author":15563,"museum":316,"description":15564,"tags":15565,"thumbUrl":15567,"material":599,"size":600,"collection":139,"collections":15568,"showCount":15552,"zanCount":1379,"manualWeight":48,"mainColor":94},239215,"qian-yan-hong-tao-tu-zhou-qian-yu-ling-239215","千岩红桃图轴","钱与龄","清代女画家钱与龄（1763—1827年），字九英。其曾祖母陈书（字南楼）是太学生陈尧勋的长女，她的作品被乾隆帝赏识，很多作品有乾隆帝题诗。乾隆帝评她的作品是：“结构总无巾帼气”。钱与龄从小受曾祖母的影响，耳濡目染，笔墨技法上继承家风，蔚为大观。",[24,226,7,28,83,567,10269,15566],"桃叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75505da78daeef02e6ba57b4bf4ac929.jpg",[],{"id":15570,"slug":15571,"title":15572,"dynasty":99,"author":257,"museum":20,"description":11492,"tags":15573,"thumbUrl":15574,"material":529,"size":139,"collection":44,"collections":15575,"showCount":15552,"zanCount":2368,"manualWeight":48,"mainColor":94},236159,"zhang-liang-xiang-zhou-yi-ming-236159","张良像轴",[24,25,226,7,28,106,63,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3ea3055380793c01b2c8b24c4717441.jpg",[44,45],{"id":15577,"slug":15578,"title":15579,"dynasty":302,"author":257,"museum":316,"description":9820,"tags":15580,"thumbUrl":15582,"material":139,"size":139,"collection":139,"collections":15583,"showCount":15552,"zanCount":1379,"manualWeight":48,"mainColor":49},232906,"ke-si-qing-niao-hu-die-tu-juan-yi-ming-232906","缂丝青鸟蝴蝶图卷",[23,1329,7,28,83,26,15581,484,292,176,631],"青鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb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即爱新觉罗， 。\n清朝皇帝。\n满族。\n圣祖第四子。\n年号雍正。\n1722—175年在位。\n康熙三十五年（1696年），从帝征喝尔丹。\n三十七年，封贝勒。\n四十八年，进封雍亲王。\n康熙末参与部分政务。\n得隆科多、年羹尧之助夺得帝位后,即用高压手段对付参与争位的诸弟；胤德被长期幽禁；胤视、胤塘被削籍，不得其死。\n康察的亲信多遭贬斥。\n隆科多、年羹尧亦被借故禁铜并杀。\n对汉族知识分子，改变康照时以笼络为主的策略，屡兴文字狱。\n曾用藩邸亲信鄂尔泰、田文镜、李卫等为重要省区的总督。\n雍正七年（1729年），建立军机房（后改军机处），取代内阁和大臣会议，成为承旨经办军政事务的国家中枢机构；又取消诸王为下五旗（正红、镶红、镶白、正蓝、镶蓝）管主的制度，以加强君主集权。\n实行摊丁人亩，以保证赋税收人。\n在西南少数民族地区推行“改土归流”，废除土司制度，设立府、州、县。\n始设置驻藏大臣,加强对西藏的管辖。\n曾出兵平定 贵族的叛乱，并镇压准噶尔部贵族的骚扰。\n对外曾与沙俄订立《 》和《中俄恰克图界约》，划定中俄中段边界。\n精通满、汉文，娴熟书法，熟悉儒家经典。\n有《世宗完皇帝有制文集》等。",[194,24,25,81,7,28,320,106,151,13428,34,109,15610,244,4009],"农耕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6ed5980469ac69b2e0f1c93414f87c1.jpg","34.7cm×27.7cm",[181,44,45],{"id":15615,"slug":15616,"title":15617,"dynasty":76,"author":1892,"museum":56,"description":1893,"tags":15618,"thumbUrl":15620,"material":1901,"size":1902,"collection":139,"collections":15621,"showCount":15552,"zanCount":1379,"manualWeight":48,"mainColor":49},222819,"gu-su-fan-hua-tu-di-san-duan-xu-yang-222819","姑苏繁华图第三段",[23,194,24,26,28,7,106,107,108,109,111,110,6928,244,29,120,1896,15619,155,117],"古街","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb17ce7b45c379e1c3d731de80836559d.jpg",[],{"id":15623,"slug":15624,"title":15625,"dynasty":76,"author":329,"museum":191,"description":10188,"tags":15626,"thumbUrl":15628,"material":529,"size":10192,"collection":181,"collections":15629,"showCount":15552,"zanCount":2368,"manualWeight":48,"mainColor":49},222769,"shi-er-yue-ling-tu-zheng-yue-lang-shi-ning-222769","十二月令图（正月）",[23,24,7,28,104,106,107,115,176,34,114,15627],"活动场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7578701c0511c7e8d219ace0c798cee0.jpg",[181,45],{"id":15631,"slug":15632,"title":15633,"dynasty":99,"author":1196,"museum":191,"description":15634,"tags":15635,"thumbUrl":15636,"material":1307,"size":15637,"collection":139,"collections":15638,"showCount":15552,"zanCount":1379,"manualWeight":48,"mainColor":49},222338,"shan-lu-song-sheng-tu-tang-yin-222338","山路松声图","此图绘层岩邃壑，飞瀑流泉。山腰苍松葱郁，虬枝老干，掩映画面。山下平湖一湾，清澈见底。一条崎岖不平的野路，蜿蜒通向山间，以增加画面的幽深感。一隐者凭眺倚栏，静听松风，侍者囊琴随后。该图用笔清润、缜密而有韵味。",[23,24,3559,7,177,685,262,1273,1426,109,108,686,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd48db7aab0e53558f48e3527907dacf3.jpg","纵194.5厘米，横102.8厘米",[],{"id":15640,"slug":15641,"title":15642,"dynasty":99,"author":100,"museum":20,"description":1661,"tags":15643,"thumbUrl":15647,"material":40,"size":1665,"collection":139,"collections":15648,"showCount":15552,"zanCount":48,"manualWeight":48,"mainColor":94},222192,"ren-wu-gu-shi-tu-xun-yang-pi-pa-chou-ying-222192","人物故事图-浔阳琵琶",[23,24,13705,7,6083,106,1654,29,34,8628,15644,15645,15646],"音乐","历史故事","文人轶事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc35abb769ff5e9054e9cf450da226925.jpg",[],{"id":15650,"slug":15651,"title":15652,"dynasty":18,"author":1599,"museum":191,"description":15653,"tags":15654,"thumbUrl":15655,"material":15656,"size":15657,"collection":42,"collections":15658,"showCount":15552,"zanCount":2368,"manualWeight":48,"mainColor":49},221545,"yao-chi-xian-shou-tu-liu-song-nian-221545","瑶池献寿图","《瑶池献寿图》是南宋画家刘松年所创作，此图描绘了仙山楼阁的神仙世界，是当时上层社会的做寿喜庆场面。\n人物的用笔细劲畅利，神态生动。画山石以刚硬的线条勾写形体，加斧劈皴，用淡墨横抹，显得浓厚的线条突出。图中的松树也较为突出，松针先以墨笔疏疏画出，再以草绿色间点、复勾。全画构图饱满而丰富，人物与树石穿插自然，充满着幽静雅趣。而且此图在艺术处理上有一个特点：动与静的对比。瑶池仙女们飘逸潇洒的舞姿与幽美的山林的静谧形成一种对比和互补。",[23,24,28,7,177,104,29,106,107,1273,176,34,37,986],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20358360b91c23dd09f3758afe3d4ad8.jpg","立轴 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(1577-1654) 與德川幕府建立的關係，成為後繼者狩野孝信取得德川家支持參與名古屋城本丸御殿製作的基礎。",[23,24,279,83,28,7,1133,292,634,60,3300,277,245,29,686,380],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F066d6aadc5c3af2e9023ff46f3b095ba.jpg",[],{"id":15763,"slug":15764,"title":5449,"dynasty":76,"author":2200,"museum":316,"description":2962,"tags":15765,"thumbUrl":15766,"material":599,"size":600,"collection":139,"collections":15767,"showCount":15752,"zanCount":1003,"manualWeight":48,"mainColor":94},239525,"ju-hua-zhou-wu-chang-shuo-239525",[24,226,83,173,7,897,292,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ebcc6f54b50ae6c545c98be3383c48f.jpg",[],{"id":15769,"slug":15770,"title":131,"dynasty":99,"author":1057,"museum":56,"description":15771,"tags":15772,"thumbUrl":15773,"material":1342,"size":15774,"collection":90,"collections":15775,"showCount":15752,"zanCount":48,"manualWeight":48,"mainColor":94},237438,"hua-hui-ce-xiang-sheng-mo-237438","项圣谟五十六岁创作的《花卉十开》是其花鸟画册页精品之一。十幅画皆纸本设色、淡彩没骨，依次画千叶桃花、石榴、白色桃花、白色梅花、海棠、兰花、野菊、秋菊、荷花荷叶、莲蓬莲藕，第一、三、四、五、八开画家题诗，第二、六、七、九、十开画家仅题名号，每一幅都有清代画家汪家珍题写诗文。",[24,25,81,7,83,661,86,212,860,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F482745d7ab05be19737eae85edd0cf06.jpg","31 X 23 CM X 10",[90,45],{"id":15777,"slug":15778,"title":15779,"dynasty":76,"author":997,"museum":20,"description":15780,"tags":15781,"thumbUrl":15783,"material":770,"size":15784,"collection":90,"collections":15785,"showCount":15752,"zanCount":48,"manualWeight":48,"mainColor":94},233771,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233771","原济陶渊明诗意册","本图册是作者根据东晋著名诗人陶渊明诗句而创作。陶渊明是中国田园诗的创始者，他的诗不仅反映出田园生活的美好与自然，更流露出他徘徊于出仕与归隐之间的矛盾。绘画者显然非常赞赏这种避身独处、与世无争、乐天安命的人生哲学，通过描绘回归自然、淡于荣禄、不与统治者合作的隐士陶渊明来表现自己美好的理想。\n这里择两开赏析。\n第二开《悠然见南山》：陶渊明的许多诗篇中都有关于菊花的诗句：“采菊东篱下，悠然见南山”、“秋菊有佳色，裛露掇其英”均写出了他远离世俗的心境和陶醉于自然的乐趣。他常以菊自喻，借菊花凌秋傲霜的品质表达自己清高的节操和情怀。石涛仰慕陶渊明的高尚情操，故此图借陶渊明爱菊寄寓了画家自己的思想感情。画中篱笆院中菊花盛开，一高士手持菊花观赏，悠然之态可见。此图结构精巧，人物用笔细密。远山以墨笔烘染，山腰云雾密布，不见山脚，以此表现烟云飘渺的动态和气势。这种中锋、细勾、渍染相结合的画法使画面有动有静，虚实结合，意趣无穷。\n第六开《遥遥望白云 怀古一何深》：描绘一位着布衣宽袍的老者临溪而立。老者远望青山，脚下溪水流淌。面对满目凄凉、空无一人的山水，主人公似思绪万千，发思古之幽情。画家借此图深刻而恰当地表达了自己零丁孤苦、怀才不遇之情。构图采用一水两岸的自然分疆法。画面上只见弥漫的云山、层山断处的房舍和半露的松林而不见山脚，山顶则似露非露地隐现。树木用水墨渍出，以衬托山腰白云的动感。",[194,24,25,6083,320,173,7,29,86,178,177,1273,989,808,1982,15782,106,176,35,1171],"烟树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa60253ab4b37909a1fca2e563c4ae780.jpg","纵27厘米，横21.3厘米",[90,181,45],{"id":15787,"slug":15788,"title":15789,"dynasty":1939,"author":1940,"museum":20,"description":15790,"tags":15791,"thumbUrl":15792,"material":15793,"size":15794,"collection":139,"collections":15795,"showCount":15752,"zanCount":48,"manualWeight":48,"mainColor":94},232939,"you-chun-tu-juan-zhan-zi-qian-232939","游春图卷","《游春图》是隋朝画家展子虔创作的绘画作品，绢本、青绿设色，画上有宋徽宗题写的“展子虔游春图”六个字，现存北京故宫博物院绘画馆。\n图中展现了水天相接的情形，上有青山叠翠，湖水融融，也有士人策马山径或驻足湖边，还有美丽的仕女泛舟水上，熏风和煦，水面上微波粼粼，岸上桃杏绽开，绿草如茵。\n画家用青绿重着山水，用泥金描绘山脚，用赭石填染树干，遥摄全景，人物布局得当，开唐代金碧山水之先河，在早期的山水画中非常具有代表性。 该画是展子虔传世的唯一作品，也是迄今为止存世最古的画卷。\n画卷首段近处露出倚山俯水一条斜径，路随山传，自到妇人立于竹篱门前才显得宽展。山此向上，山限岸侧，树木掩映，通过小桥，又是平坡，布篷游艇，容于其中。下端一角，便是坡陀花树，围绕山庄。描绘出明媚春光和游人在山水中纵情游乐的神态。各种花树点满山野，桃红柳绿，相映成趣。\n中国古代山水画的发展，到了隋代出现了较大的变化，它不再作为人物故事画背景的一部分，而是从前者中分离出来，成为一门独立的画科。在此之前，依附于人物故事画的山水画在表现方法上有很大的局限性，按照古人的说法就叫做“人大于山”“水不容泛”，说明在表现自然景物与人物或其他物件的关系上，以及远近、层次等方面部存在着明显的不足，画家还没有找到适宜的艺术表现手法，来描绘壮阔秀丽的山川形貌。《游春图》即反映了山水画处于变化发展阶段特点。\n历史上对这幅作品是否出于展子虔之手，仍持有争议。有唐中叶说、有疑北宋摹本，张伯驹则保留其为展子虔原作的观点。\n对《游春图》的作者及创作年代提出疑问的代表人物是文学家沈从文。早在1947年,他就撰写了《读展子虔》的文章，虽然标题中肯认了《游春图》的作者是展子虔,但文章通篇都是在质疑这一作者归属。在文中，他称“半年中有机会前后看过这画八次”，认定展子虔作此画缺乏证据。他在文中交待，因为前代关于绘画作品的著录,包括《贞观公私画史》《宣和画谱》等都没有提到展子虔作此作品的事情。另外，画中男子的衣着、女人的坐式，都与隋代人的习俗不太相符，还有装裱等种种迹象也与当时情形不合。历史资料证实，人们是在元、明朝时才开始认定展子虔作《游春图》的。所以，沈从文认为，此画可能不是展子虔所作,也不是隋代作品。另外，也有人根据画中人物头上戴的幞头、建筑部件形制等，论证它并非隋代原作，而是北宋摹本。\n该图以全景方式描绘了广阔的山水场景，图中除描绘了山水树石外，还描绘了白云出岫，杂以楼阁、院落、桥梁、舟揖，并点缀着踏春赏玩的人物车马，展示出一幅杏桃绽开、绿草如茵、水波粼粼，春风荡漾的春日融融之景象。\n早期的山水画通常会呈现出“人大于山和水不容泛、树木若伸臂布指”的状态，这说明了早期山水画的不成熟，在构图方面体现了较为幼稚的特点。《游春图》的章法布置则突破了以往的画风束缚，形成了十分有特色的构图方式，结构层次颇有特点。它的画面的右上部主要是山峦的表现，绘有大量的崇山峻岭，展现了一副山峦起伏、峰回百转的形态。若在之前，这个画面可能就算是完成了整个景观背景的塑造。但是展子虔并没有到此为止，在画面的右下方，他在画面中画上了山间小径，小径则是由低矮的树木、草丛组成，曲径通幽，旖旎风光、透逛山路，成为了右上方巍峨高山的延伸部分。这样，高山便成为了山路的背景，山路又成为了高山的细节铺垫和展现。这就使得整个画面比前期山水画更显全面、沉稳、丰富。而在画面的左侧，观者可以看到展子虔在此绘有一处低矮的小山丘。这一小山丘能够与右侧上方的崇山峻岭遥遥相对，形成鲜明的对比。在画面的中问，则有大片江河，形成一道波光粼粼的天堑，并与湖水、天空融会在一起，使得整个画面形成湖天一色、山河并举的形象。值得一提的是，画面并未只以山川与河流为主，而是在细节之处加以点缀：江河之中有小船点缀其中，船中有三四位神态各异、姿态不同的人物，将人声、山河画面融合在一起，并通过山川、河流、船舶、人物等形象构造出整个画面的图片比例。\n深究整个《游春图》，可以发现该画以山川、水系为主体，将人物、古刹、船舶、阁楼等融于山水，成为画面中的重要景观。这些景观相互配合，运用其形象的客观物象来表达画面事物之间的大小、高低、远近等的关系。合理地处理画面关系，使得展子虔对画面的比例、深度等都能有十分准确的把握，并根据其特点，进行处理和变化。也正是由于这种十分合理的处理和变化，才能够使得山水画的构造变得更加符合现实，使得该画变化成了“超然物外”的穿插构图，形成隋代山水画的新格局，使得中国山水人物画的表现形式和审美取向变得更加成熟。\n运笔成熟，表现独特。展子虔在绘画创作上十分敢于并善于创新，尤其善于在细节处用笔。在观者欣赏《游春图》的时候，不难发现它无处不是点缀着代表盎然生气的绿色。例如，画面就有很多还没有完全长满枝芽的树木，这些枝芽就是展子虔运用独特的勾画技巧形成的，即青绿勾填技法。这种技法不仅仅使得他的创作变得“细密精致而臻丽”，更让他的这种创作方法成为了中国山水画的重要技法之一。\n在绘画山川石木的时候，展子虔善于运用细节，运用细笔勾勒它们的轮廓。以青绿色以及其他明丽的色彩来展现画面。例如，他在刻画《游春图》的山石树木之时，善于将山石树木的线条不用刻意有粗细、明暗的变化，它们不用刻意地添加皱祈，也照样能体现出古朴苍劲、俊朗豪迈的形象。而在描绘人物的时候，展子虔也习惯运用细节来展现人物的形态、神态等，虽然画面中的人物形象没有过大改变，但是人物神情却可以是各有特色，每个人的衣着外观都十分飘逸流畅，也使得观者有“观人于微，，的感受。另外，他还善于运用“点花”的方法，勾勒细节，例如对枝芽的处理，他也会运用粉点点上，形成芽苞初放的形象。而在绘画人物上，作者也是用了这种点染的方法，让细小如豆的人马等都形态毕现。\n青绿重彩，工细巧整。在隋代之前，魏晋时期的山水画不仅仅在构图、形状、用笔等方面都比较单一，而且在整个画面的用色方面也都十分单一。而在隋代展子虔的《游春图》中，其形状不仅仅充满变化，而且在用色上也更加丰富和大胆。展子虔为了改变以往单调而简单的填色方式，将自己大胆的想象和细致的技法运用到画面中。《游春图》以青绿色为主色调，并在此基础上，形成细工精琢的用色方法。例如，在画面右上部分，作者开始运用青绿着色，展现了初春山林间盎然的生机。而在右下部分，表现山间小路时，作者却用泥金来表现，展现了山林中春寒未退的山色。这样两类用色，使整个画面的表现力更加丰富。同时，在绘画树木之时，展子虔更加注重细节的刻画。在对树叶设色时，它不仅仅运用色填或者色染，而且还运用点彩的形式，来展现含苞初放的春日娇态。\n《游春图》除了对画面中的不同物象进行了十分具有特点的用色之外，在敷色上增加各种晕染等方法，使不同对象在色彩表达上显得更加统一而完善。在描绘松树时，画家并没有以松针来展现，而是用深绿色运笔，在表现其他花木时，画家则运用桃红色、白粉色等来展现，形成单纯而丰富、古朴而艳丽的形象特点。因而，纵观整个《游春图》，其画面展现的是新绿成荫、繁花盛开、水天一色、深浅莫辨的特点。而在对人物的描绘过程中，展子虔运用山后白云来展现人物所处的背景，并能够以此来衬托人物游春时的心境。而对于人物本身的形象来说，展子虔则也善于用粉色和白色进行点染，使得整个画面更显风格细腻、轻松生动。\n唐代僧彦悰《后画录》：“触物为情，备皆妙绝”，“远近山川，咫尺千里。”\n唐代张彦远：“动笔形似，画外有情。”\n宋代《宣和画谱》：“写江山远近之势尤工，故咫尺有千里之势。”\n明代董其昌：（《游春图》）是“世所罕见”的墨宝。\n当代作家沈从文：“这画卷的重要,实在是对于中国山水画史的桥梁意义……没有它，历史即少了一个重要环节。”\n现存于故宫博物院的《游春图》是展子虔唯一传世的代表作，也是世界上存在最早的画卷，它的存在，对中国乃至世界的绘画史、艺术史都具有极为重要的作用。\n在《游春图》出现之前，中国早期的山水画通常是“人大于山、水不容泛”。也就是说，绘画中人物形象的塑造比山还要大，而对于水的绘画，却永远不会有波光粼粼的形态，而是犹如一潭死水般地停留在画布上。可见，在展子虔之前的，尤其是南北朝时期的山水画仍然存在很多不足，这些画家们通常无法把握好山水、人物的比例关系，也不能完美、生动地展现山水的飘逸之感。而《游春图》出现之后则打破了这种限制，全图无处不展现着一种空间之美，人物、山水疏密安排十分得宜，展现着自然界的交替、交换与重叠。\n游春图之所以能够成为中国山水画承上启下的代表作品，不仅仅在于画面呈现的内容，更在于它异于前人的创作手法和审美取向，展现出了于方寸之地尽显千里之姿的艺术特点。\n《游春图》构图壮阔沉静，设色古艳，富有典丽的装饰意味，体现出承上启下的风格，也标志着山水画即将进入成熟期，他在山水画上所达到的成就及其绘画方法，直接开启了唐代画家李思训、李昭道父子金碧山水的先河。\n1980年5月27日华国锋到日本进行正式访问时，赠给日本天皇的礼品中，就有一幅中国现代女画家临摹的隋朝画家展子虔的《游春图》。",[194,24,25,26,27,7,29,106,107,108,109,243,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bd3613327ff7d09b2f5cbe51fadde61.jpg","绢本绘画","高43厘米，宽80.5厘米",[],{"id":15797,"slug":15798,"title":15799,"dynasty":99,"author":100,"museum":316,"description":15800,"tags":15801,"thumbUrl":15802,"material":139,"size":139,"collection":139,"collections":15803,"showCount":15752,"zanCount":48,"manualWeight":48,"mainColor":49},228443,"ting-qin-tu-ye-chou-ying-228443","听琴图页","青绿晕染的崖谷间，飞瀑漱石，古松虬曲横斜。松下石台之上，抚琴人信手拨弦，对面听者垂眸凝神，将身心都浸在松风声与琴音里。侧旁童子正俯身溪畔汲水，浑然不觉周遭雅韵。\n画面以静取景，以动点染，明丽的设色衬出林涧清寂，人物神态宛然生动，将山林雅集、知音相和的悠然意趣，尽藏于尺幅之间，把文人寄情丘壑的雅致心境铺陈得淋漓尽致。",[23,24,25,81,28,7,27,29,106,195,109,34,176,1426],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa31aa149186a2d0e6c5d0c2565807183.jpg",[],{"id":15805,"slug":15806,"title":15807,"dynasty":18,"author":1350,"museum":316,"description":15808,"tags":15809,"thumbUrl":15810,"material":139,"size":139,"collection":139,"collections":15811,"showCount":15752,"zanCount":2368,"manualWeight":48,"mainColor":49},227819,"yue-ye-tu-ma-yuan-227819","月夜图","虬松盘崖而上，枝干屈铁盘旋，松针劲挺如攒，垂挂的松萝更添古寂幽邃。右侧高台层楼凭山而建，飞檐半隐于松荫，似浸在溶溶月色里。远景山峦晕作淡黛，隐没在昏褐夜色中，空濛虚灵，将天地拉得辽远空阔。\n\n全画以边角取景，淡墨轻皴营造月夜朦胧氛围，不见月华，却处处浸着凉润夜色，似可闻松涛伴着凉风掠过廊檐。尺幅之间以少胜多，留白造境，将秋夜清寂雅致藏在一隅，尽显空灵简远的意境，把江南月夜的幽柔静谧铺陈在绢素之上，余韵悠长。",[23,194,24,25,29,173,7,8883,1273,107,1169,265,176,34,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06766d95c6eacad089745833c8a26ebb.jpg",[],{"id":15813,"slug":15814,"title":15815,"dynasty":189,"author":1642,"museum":316,"description":15816,"tags":15817,"thumbUrl":15818,"material":139,"size":139,"collection":139,"collections":15819,"showCount":15752,"zanCount":2368,"manualWeight":48,"mainColor":49},226708,"wen-yuan-tu-juan-zhou-wen-ju-226708","文苑图卷","《文苑图》卷，五代，周文矩作，绢本，设色，纵37.4厘米，横58.5厘米。\n本幅无作者款印，根据图左宋徽宗“瘦金体”题字：“韓滉文苑圖，丁亥御劄”，下书“天下一人”押，遂定为唐代韩滉作。然从时代风格看，少唐画气息，最明显的是衣纹线条颤动曲折，极似五代周文矩所创的“战笔描”。另外人物头戴的“工脚上翘”的幞头形式，亦至五代才出现。同时，美国大都会博物馆藏有一本周文矩的《琉璃堂人物图》卷，后半段画面与此图完全一样，故可肯定《文苑图》作者是周文矩，所画内容为琉璃堂人物故事。至于两图孰为原本？抑或均属摹本？据考，美国的《琉璃堂人物图》卷水平较差，人物面相稍欠神采，衣纹用笔颇见柔弱，且图首宋徽宗题“周文矩琉璃堂人物圖，神品上妙也”和下钤“ 內府圖書之印”均伪，故此图当为宋以后摹本。而《文苑图》人物神采奕奕，笔墨功力深厚，本幅右下角又有南唐墨钤“集賢院御畫印”，证明此图不会晚于五代，极可能即周文矩原迹，惟前半段已佚，也许周文矩又重临了后半段，亦不排除为同时高手临仿本。总之《文苑图》属五代真迹名品，殊无疑义。\n作品所绘琉璃堂人物故事，据考即唐玄宗时著名诗人王昌龄任江宁县丞期间，在县衙旁琉璃堂与朋友宴集的故事，与会者可能有其诗友岑参兄弟、刘眘虚等人。《文苑图》绘四位文士围绕松树思索诗句，有倚壘石持笔觅句者，有靠松干构思者，有两人并坐展卷推敲改诗者，情态各异，形神俱备。所缺前半段从《琉璃堂人物图》中可以看到，是画四人围坐议论，其中有一位僧人，还有侍奉的童仆。从全卷场面可领略当时宴集之盛况。\n此图画法与《琉璃堂人物图》及周文矩另一幅《重屏会棋圈》卷(宋摹本)相比较，风格相似，都呈周氏典型面貌，但水平却有高下之分。本图人物衣纹所运“战笔描”细劲有力，曲折中见流畅，圆润中具轻重，树石勾染细致，富层次和立面感，人物情态尤富神采，个性各异。作为五代一幅真迹，确反映了该时代所达到的水平。\n此图见于《石渠宝笈·初编》和明·詹景凤《玄览编》著录，可能曾入南唐后主李煜《阁中集》，后又入北宋徽宗《宣和睿览集》。",[23,194,24,25,26,28,7,106,1273,612,280,212,615,11626,1145],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dcc12af75f41000fa86d14d7b6bf9fe.jpg",[],{"id":15821,"slug":15822,"title":15823,"dynasty":99,"author":257,"museum":20,"description":15824,"tags":15825,"thumbUrl":15826,"material":67,"size":15827,"collection":139,"collections":15828,"showCount":15752,"zanCount":48,"manualWeight":48,"mainColor":49},223339,"er-lang-shen-sou-shan-tu-juan-yi-ming-223339","二郎神搜山图卷","《搜山图》卷表现的是民间传说二郎神搜山降魔的故事，所以也称为《二郎神搜山图》。二郎神的故事在民间广泛流传，在许多文艺作品中也有反映。元代有《二郎神醉射锁魔镜》的杂剧，描写二郎神与九首牛魔王、哪吒及金睛百眼鬼比试高低，最后拿住二洞妖魔的故事。据记载，最早有北宋画家高益画的《鬼神搜山图》，受到皇帝的重视。以后明、清两代，不断有传本出现。\n此卷《搜山图》是南宋末或元初人的手迹。人物用工笔重彩，衣纹用铁线描，刚劲有力，形象刻画生动传神，非凡手可及。山林树木皴法豪纵，近乎南宋刘松年的风格。与同一题材的各种不同本子比较，此卷是个残本，其中缺少主神即二郎神部分，但是其绘画技巧却高出其它各本。图中描绘神兵神将们耀武扬威地搜索山林中各种魔怪。魔怪们均是各种野兽变的，有虎、熊、豕、猴、狐狸、山羊、獐、兔、蜥蜴、蛇及树精木魅等。这些妖怪，或是原形，或化为女子，他们都在神将们追逐下，仓惶逃命，或藏匿山洞，或拒绝受擒。而那些神将们则手持刀枪剑戟、纵鹰放犬，前堵后截，使妖怪无处逃身。本来，二郎神是作为正面人物来歌颂的，然而看了此卷之后，却得到了一个相反的印象。那些神兵神将，一个个凶神恶煞，使人们憎恶，而那些妖怪们却面目和善，那种惊怖逃生的内心刻画，令人同情。不知作者是有意还是无意，使观者自然地就会联想到，当时社会那些官兵对老百姓的欺压情形。",[23,24,25,26,28,7,106,29,34,746],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66a66aa3c0dc8d8069db69e347e0a460.jpg","53×561cm",[],{"id":15830,"slug":15831,"title":15832,"dynasty":99,"author":3307,"museum":1372,"description":15833,"tags":15834,"thumbUrl":15836,"material":529,"size":15837,"collection":90,"collections":15838,"showCount":15752,"zanCount":2368,"manualWeight":48,"mainColor":49},222399,"mei-cha-zhi-que-tu-lv-ji-222399","梅茶雉雀图","此图描绘的是着色雪景，寒意茫茫，坡石上，有白梅老干欹曲，双雉栖息干上，一正一反，侧首相互呼应，形态生动。树根处，隐隐露出兰叶丛草，梅枝虬曲凌 空，花朵疏密散聚，气势飞动，更添无限寒意。数雀聚集栖于上部梅枝之上，山茶红映其间，正如《无声诗史》所评设色鲜丽，生气奕弈。远处岗阜覆雪，涧水 曲流，冷壑荒寂。此画属于工笔重彩一体，色彩浓重妍丽，覆雪山石皴染结合，明暗对比强烈，造成雪景冷雪之意境。",[23,24,25,226,7,28,83,820,661,10574,15835,353,686],"鸟雀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34babdb1d62fbd1860bbd9300b314237.jpg","97.8X183.1",[90,45],{"id":15840,"slug":15841,"title":15842,"dynasty":54,"author":257,"museum":1577,"description":15843,"tags":15844,"thumbUrl":15846,"material":500,"size":15847,"collection":90,"collections":15848,"showCount":15752,"zanCount":2368,"manualWeight":48,"mainColor":49},221144,"ci-shan-dian-xin-tu-yi-ming-221144","此山点心图","唐绘手鉴笔耕园",[23,24,7,28,15845],"点心","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8dd463580216147b46561ba8406a7b22.jpg","24.6×24.2",[90,45],{"id":15850,"slug":15851,"title":15852,"dynasty":18,"author":9555,"museum":442,"description":15853,"tags":15854,"thumbUrl":15855,"material":1319,"size":139,"collection":42,"collections":15856,"showCount":15752,"zanCount":48,"manualWeight":48,"mainColor":49},219789,"zhou-yue-tu-zhao-ling-rang-219789","舟月图","画面以大片空寂底色铺就，将月夜江天的辽远清寒尽数晕开。扁舟横卧水面，舟中二人意态悠然，一人凭舷凝望悬垂的冷月，一人垂竿静候，寥寥数笔便勾勒出闲逸松弛的林下幽情。淡墨轻皴出水波微漾，朦胧月色漫过空阔江面，将天地晕成浑然一色的清寂。边角的古印题字晕染出古雅厚重，整幅画作以极简之笔写尽淡远萧疏的意趣，把文人寄情烟波、物我两忘的幽淡心境藏在空寂月色里，尽显水墨山水以少胜多的诗意禅味。",[194,24,25,173,352,7,106,174,265,212,226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4b922f084156fdab8779361947ae5c3.jpg",[42],{"id":15858,"slug":15859,"title":13016,"dynasty":18,"author":15860,"museum":539,"description":15861,"tags":15862,"thumbUrl":15863,"material":123,"size":15864,"collection":44,"collections":15865,"showCount":15752,"zanCount":1379,"manualWeight":48,"mainColor":49},219754,"zhong-xing-rui-ying-tu-xiao-zhao-219754","萧照","该画作类似连环画的故事画，颇具观赏性和趣味性。 该画以赵构历史故事为题材，反映了北宋和南宋之间的政治形势，是一幅重要的历史画卷。",[23,194,24,25,26,28,7,104,177,106,107,29,34,150,175,115,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe462eee45712440c8a8a1224a37bcfa0.jpg","纵26.7厘米，横397.3厘米",[44],{"id":15867,"slug":15868,"title":15869,"dynasty":99,"author":100,"museum":608,"description":15870,"tags":15871,"thumbUrl":15872,"material":123,"size":139,"collection":181,"collections":15873,"showCount":15752,"zanCount":2368,"manualWeight":48,"mainColor":49},219714,"qian-tang-sheng-jing-tu-chou-ying-219714","钱塘胜景图","青绿晕染出崖岫苍润松荫，界画精工勾勒楼阁错落，文人凭栏闲坐，静览浩渺江天。江上帆影轻移，舟楫往来错落，晕开江畔的烟火生机。坡岸处牵马候人，暗合旅途意趣。\n\n整幅设色明丽妍雅，工细间晕开写意悠然，将江南山水的秀润与人文雅趣相融，繁简相宜，把钱塘清旷盛景凝于绢素。观之如临春日江岸，漫赏山光水色里藏着的悠然意韵，尽显雅致隽永的江南情致。",[24,25,226,28,7,29,104,106,107,150,175,34,176,109,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c7b60edc4be7aa1336ee69855f36ec5.jpg",[181],{"id":15875,"slug":15876,"title":15877,"dynasty":54,"author":2060,"museum":316,"description":15878,"tags":15879,"thumbUrl":15880,"material":123,"size":15881,"collection":44,"collections":15882,"showCount":15752,"zanCount":1379,"manualWeight":48,"mainColor":49},219580,"nong-qian-tu-han-huang-219580","农迁图","此图是少有的描绘唐代农民生活的写实画作。左侧男子一手持竹杖，一手拿干粮而食，头戴斗笠，腰挂麻鞋，小腿上还系有绑带，可见行路之辛苦。其后一妇人手抱婴儿，骑驴而行，脸上似有疲倦之色。",[24,25,26,28,7,106,151,6927,61,6162,15610],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99f0ca4e6c67a7e352a230c6af67845a.jpg","25.1x91.1厘米",[44],{"id":15884,"slug":15885,"title":15886,"dynasty":18,"author":1599,"museum":191,"description":15887,"tags":15888,"thumbUrl":15891,"material":123,"size":15892,"collection":181,"collections":15893,"showCount":15752,"zanCount":48,"manualWeight":48,"mainColor":94},219388,"ma-gu-cai-zhi-xian-tu-liu-song-nian-219388","麻姑采芝仙图","画中一众仙姑，结伴山间采药，正在林间休息。不知何故，仙姑们的发际线严重退后，仅剩一光溜的脸蛋，状貌甚异，身板瘦削，可能是日夜忙碌劳累所致。画中人物用线与山石、松树一般呆硬，人物形象、树、石套路严重，或为明末或清代早期的画作。",[24,7,106,29,176,34,59,15889,15890,2459],"麻姑","采芝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faca18f2756764adf26aa0982d7262715.jpg","116.4x82.1厘米",[181,44],{"id":15895,"slug":15896,"title":15897,"dynasty":99,"author":257,"museum":2754,"description":15898,"tags":15899,"thumbUrl":15900,"material":123,"size":15901,"collection":90,"collections":15902,"showCount":15752,"zanCount":2368,"manualWeight":48,"mainColor":49},219080,"luo-hua-you-yu-tu-yi-ming-219080","落花游鱼图","画面下部描绘了一条张着嘴的鸳鸯鱼，鱼身上有绚丽的背鳍和斑点，周围有荷叶和花朵，还有一条更低调的鲤鱼，鳞片整齐，鱼鳍挥舞，似乎正在向鸳鸯鱼游去。",[24,25,28,7,83,722,136,12360,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadfa03c687a78c5002929fc39069b598.jpg","49.3x33.5cm",[90],{"id":15904,"slug":15905,"title":15906,"dynasty":189,"author":1460,"museum":191,"description":15907,"tags":15908,"thumbUrl":15909,"material":123,"size":15910,"collection":44,"collections":15911,"showCount":15752,"zanCount":1379,"manualWeight":48,"mainColor":49},218923,"ba-da-chun-you-tu-zhao-nie-218923","八达春游图","画中有八位骑马的贵族，园中的草木都呈现出新绿，马儿轻盈地踏着，显示出春日郊游的愉快气氛。马匹、树木和岩石的笔触细腻精致，超越了唐朝和五代，与北宋的风格相似。",[23,194,24,25,28,7,106,150,34,912,1463],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07199252c59d7bfa0a3af33b99ab6823.jpg","161.9x102",[44],{"id":15913,"slug":15914,"title":15915,"dynasty":18,"author":1474,"museum":191,"description":15916,"tags":15917,"thumbUrl":15918,"material":123,"size":15919,"collection":42,"collections":15920,"showCount":15752,"zanCount":48,"manualWeight":48,"mainColor":49},218896,"song-wu-yan-bin-tu-li-song-218896","松坞延宾图","这幅画描绘了山中溪边的一个村庄，一个贵族把自己隐居起来，在家里建起了一些区域，当客人到来时，他们会用菜肴招待。这幅画是艺术家笔下的杰作，虽然它很饱满，但有一股清晰的水流在其中流淌。",[23,24,25,1260,104,7,28,106,107,1133,378,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69af25e2e2d0263c374707240ac706ee.jpg","24.5x24.4",[42],{"id":15922,"slug":15923,"title":15924,"dynasty":18,"author":257,"museum":191,"description":15925,"tags":15926,"thumbUrl":15927,"material":123,"size":15928,"collection":90,"collections":15929,"showCount":15752,"zanCount":1379,"manualWeight":48,"mainColor":94},218861,"die-fen-hua-cong-tu-yi-ming-218861","蝶粉花丛图","画面上画着五枝月季花，枝头上的花有的开得灿烂，有的含苞待放，花瓣是红色的，花尖是粉红色的，枝头上的叶子是深绿色的，花和叶子色彩斑斓，清新漂亮，两只蝴蝶在花丛中盘旋，伴着花香翩翩起舞。这幅画的笔触和色彩与卫昇，林椿的相似，应该说是南宋画派的代表作。",[23,24,194,28,7,83,81,484,292,837],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa59d14f0dd44d2a05a8c854eb299aff6.jpg","23.6x25.2",[90],{"id":15931,"slug":15932,"title":15933,"dynasty":99,"author":3307,"museum":191,"description":15934,"tags":15935,"thumbUrl":15936,"material":123,"size":15937,"collection":90,"collections":15938,"showCount":15752,"zanCount":48,"manualWeight":48,"mainColor":49},218789,"chun-xi-tu-lv-ji-218789","春喜图","疏梅横斜，数羽雏鸟栖于枝间，啾鸣似唤春声。老干虬曲，山鹧羽色斑斓，立于石畔枝上，姿态雍容闲雅。靛蓝山石衬暖褐禽羽，白梅与粉花点染其间，清妍与厚重相映。笔墨工致细腻，禽鸟神态鲜活，花木情态毕肖。全图春意氤氲，生机流转，于工笔间见灵动韵致，尽显春日雅趣与自然生机。",[24,25,226,28,7,83,820,209,176,5371],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6167804c0c9e5cfe350a337b21ab551e.jpg","137.4x42cm",[90],{"id":15940,"slug":15941,"title":5970,"dynasty":99,"author":3248,"museum":20,"description":15942,"tags":15943,"thumbUrl":15944,"material":123,"size":15945,"collection":9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197.4厘米",[],{"id":16038,"slug":16039,"title":16040,"dynasty":99,"author":257,"museum":316,"description":6765,"tags":16041,"thumbUrl":16042,"material":599,"size":600,"collection":139,"collections":16043,"showCount":15989,"zanCount":48,"manualWeight":48,"mainColor":49},228405,"da-pu-xian-pu-sa-zuo-xiang-yi-ming-228405","大普贤菩萨坐像",[24,260,106,28,7,64,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F879769e52d7eb2be5f8935ae85a068a2.jpg",[],{"id":16045,"slug":16046,"title":16047,"dynasty":189,"author":3894,"museum":316,"description":16048,"tags":16049,"thumbUrl":16051,"material":139,"size":139,"collection":139,"collections":16052,"showCount":15989,"zanCount":1003,"manualWeight":48,"mainColor":49},227262,"xue-jing-ba-jiao-han-que-tu-huang-ju-cai-227262","雪景芭蕉寒雀图","麻雀是我们生活中常见的鸟类，身形娇小，机敏灵活，却也憨态可掬，更因为打不倒的顽强生命力，在画家们的笔下，散发出了生机勃勃的魅力，一幅花鸟画中，因为麻雀的构成，顿时“活”了起来，因此国画麻雀也相当受画家和收藏者们喜爱",[23,194,24,25,226,7,83,28,2562,611,16050,820,634],"寒雀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F267d2fc6d76d34d83a59c288d428c4e8.jpg",[],{"id":16054,"slug":16055,"title":16056,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":16057,"thumbUrl":16058,"material":599,"size":600,"collection":139,"collections":16059,"showCount":15989,"zanCount":2368,"manualWeight":48,"mainColor":49},226317,"ku-zhu-shi-nan-pi-yi-ming-226317","窟主室南披",[7230,511,7,260,106,4027,746,2479,150,29,808,245,406,2136,408],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23cd3130d2f67f6a5e8f63d64a3488bc.jpg",[],{"id":16061,"slug":16062,"title":14984,"dynasty":76,"author":4055,"museum":191,"description":16063,"tags":16064,"thumbUrl":16070,"material":139,"size":16071,"collection":44,"collections":16072,"showCount":15989,"zanCount":48,"manualWeight":48,"mainColor":49},222834,"yuan-ben-qing-ming-shang-he-tu-sun-hu-222834","此画由清宫画院的五位画家协作画成，是参照了各朝仿本、集各家所长的作品。同时增加了明清时代的特殊风俗，如踏青、表演等等娱乐活动，亦增添了许多丰富的情节，如戏剧、猴戏、特技、擂台等等，使画中人物增加到超过4,000人，而且受到西洋画风的影响，街道房舍均以透视原理作画，并有西式建筑行置其中。此卷用色鲜丽明亮，用笔达圆熟细致，所画之桥梁、屋宇、人物皆细腻严谨，是院画中的精品之作。",[23,24,26,7,28,106,107,36,15195,4060,10516,16065,16066,16067,9841,16068,1567,16069],"戏剧","特技","擂台","踏青","院画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98aa9c3aaaf37a0138ff09866aaaffc7.jpg","长1152.8公分及宽35.6公分",[44,45],{"id":16074,"slug":16075,"title":16076,"dynasty":18,"author":1350,"museum":191,"description":16077,"tags":16078,"thumbUrl":16079,"material":40,"size":16080,"collection":42,"collections":16081,"showCount":15989,"zanCount":48,"manualWeight":48,"mainColor":49},221527,"ban-qiao-ta-xue-tu-ma-yuan-221527","板桥踏雪图","为第六次南巡携行的作品，御题诗纪年“甲辰”，应作于闰三月间回銮途经的扬州一带。题诗末两句的“题者能画复能诗，蒙古岂无人中玉”，所指即为右方题诗者伯颜不花。他正是约十日前乾隆皇帝品题《古壑云松》一图的作者，故有“题者能画复能诗”之句。\n此画左下角“河中马远”出于后添，观察画中岩块造型、人物轮廓、衣褶勾勒习惯、树木出枝角度等部分，应出自明代马轼（活动于十五世纪前、中期）手笔。此作也确实表现出马远绘画的风格特色，难怪乾隆皇帝视之为马远佳作。",[23,24,25,3559,226,173,177,7,685,379,378,108,106,150,1049,2086],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff64c80c128d68b8d7648d74f28226a8.jpg","纵99cm，横59.1cm",[42,181,163],{"id":16083,"slug":16084,"title":16085,"dynasty":18,"author":13457,"museum":20,"description":16086,"tags":16087,"thumbUrl":16088,"material":7,"size":16089,"collection":42,"collections":16090,"showCount":15989,"zanCount":48,"manualWeight":48,"mainColor":49},221439,"han-shan-fei-pu-yang-shi-xian-221439","寒山飞瀑","山水林木，劲挺可取。惟峰石水口，雄伟之笔则远不逮熙。",[23,24,25,194,29,177,173,7,176,1426,34,35,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26b0e832e12e265a435eb981c78c1e42.jpg","50X56",[42,181,163],{"id":16092,"slug":16093,"title":16094,"dynasty":99,"author":2425,"museum":539,"description":16095,"tags":16096,"thumbUrl":16097,"material":16098,"size":16099,"collection":181,"collections":16100,"showCount":15989,"zanCount":2368,"manualWeight":48,"mainColor":801},220896,"jiu-feng-han-cui-tu-dong-qi-chang-220896","九峰寒翠图","董其昌书法上有“邢张米董”之称，即把他与临邑邢侗、晋江张瑞图、须天米钟并列；绘画上有南董北米之说。莫是龙、陈继儒提倡“南北宗”之说，即把“院体”山水画与“文人画”分为南北两派。董其昌一生创作的书画作品不可胜数，临仿古人的绘画和诗帖是其中的一个重要部分。他在《画禅室随笔》中所说的“读万卷书”正是指一个人要想成为艺术家，必须学习传统，学习古人。他17岁开始学习书法时临写颜真卿的《多宝塔》，22岁学习绘画时师法黄公望，以后又遍学诸家，这种以古人为师的作法八十而不辍，伴其终生。他广泛吸取对唐宋元诸家优长，抉精探微，使其书画取得了超越古人的艺术成就。\n在研习经史之余，董其昌与同僚诸友切磋书画技艺，纵论古今，品评高下。又从韩世能那里借阅晋、唐、宋、元法帖宝绘，心摹手追，有时废寝忘餐，因而学问大进，开始在京中有些名气。在家乡，董其昌筑“来仲楼”、“宝鼎斋”、“戏鸿堂”、“画禅室”、“香光室”等，牙签玉轴，左图右史，置身其中，著书立说，探究古今书画艺术。他不遗余力地搜集王羲之、王献之、谢安、桓温、赵佶、米芾诸名家法书，于万历三十一年（1603年）刊刻《戏鸿堂法帖》行世。病休松江时期，他正值四十余岁的盛年，广闻博识，采集众长，悠居林泉，心闲手熟，创作了《葑泾访古图》《鹤林春社图》《浮岚暖翠图》《神楼图》《西湖八景图》《溪回路转图》等许多描绘江南风光的著名山水画。\n董其昌强调以古人为师，但反对单纯机械地模拟蹈袭。随着阅历的增加、思想的成熟，他在继承前人技法时不倚傍他人庑下“作重台”，而是有选择地取舍，融入自己的创意。他认为如果离开了自己的创意，古人的精神也难以表达，故应以自己独创的形式再现古人的“风神”。凭借自己对古人书画技法得失的深刻体会，他摄取众家之法，按己意运笔挥洒，融合变化，达到了自成家法的化境。\n董其昌的山水画大体有两种面貌，一种是水墨或兼用浅绛法，这种面貌的作品比较常见；另一种则是青绿设色，时有出以没骨，比较少见。他十分注重师法古人的传统技法，题材变化较少，但在笔和墨的运用上，有独特的造诣。他的绘画作品，经常是临仿宋元名家的画法，并在题识中加以标榜，虽然处处讲摹古，并不是泥古不化，而是能够脱窠臼，自成风格，其画法特点，在师承古代名家的基础上，以书法的笔墨修养，融会于绘画的皴、擦、点划之中，因而他所作山川树石、烟云流润，柔中有骨力，转折灵变，墨色层次分明，拙中带秀，清隽雅逸，他在天启二年，67岁时临摹北宋范宽的《溪山行旅图》采取青绿设色、水墨兼并浅绛的综合绘画技艺手法，充分表现出他的人物工笔精湛、山水风格独特画坛艺术自然传承的巨匠魅力。他的画风在当时声望显著，成为“华亭派”的首领。\n董其昌特别讲求用墨的技巧，水墨画兼擅泼墨、惜墨的手法，浓淡、干湿自然合拍，着墨不多，却意境深邃，韵味无穷；无须炫异矜奇，而真气横溢，充塞纸间。董其昌的设色山水，或用杨升没骨法，从彩笔代替墨笔，完成线条、轮廓、钩、勒、皴、擦，尽态极妍，不为刻画；或仿黄公望的浅绛法，参以赵大年、赵孟頫的青绿法，别树一格，层次分明，淡雅清新，生机盎然。\n董其昌作画强调写意，使绮丽多姿的山水显得有些捉襟见肘的色彩。但是他兼长书法、诗文，每每绘完山水，题以诗文，行楷簇簇如行蚕，闪闪如迅霆飞电，全图诗、书，画相映成趣，和谐一致，更富有抒情意境。董氏的创作，因而成为文人画追求意境的典范。",[23,194,24,25,226,173,7,177,29,795,176,1169,688,34,211,1024],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00897204c426cfaa8bef08fe4ba772cf.jpg","绢本 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柳树周围画有五只猫。 母猫的皮毛颜色很好。 它看起来天真无邪，喜欢在草坡上玩耍。",[24,194,7,28,746,745,353,1241,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd568342453b18257f81c6e57ff45b4c5.jpg","纵121横73厘米",[90],{"id":16176,"slug":16177,"title":16178,"dynasty":302,"author":303,"museum":191,"description":16179,"tags":16180,"thumbUrl":16181,"material":88,"size":16182,"collection":90,"collections":16183,"showCount":15989,"zanCount":2368,"manualWeight":48,"mainColor":94},219110,"tao-zhi-song-shu-tu-qian-xuan-219110","桃枝松鼠图","画中一株桃枝，枝上桃叶披盖，桃果结实鲜嫩。一只松鼠攀附在桃枝上，桃枝似乎随之颤动。松鼠长尾蓬松，高高翘起，四肢紧紧抓住树枝，正小心翼翼向桃子行进。该画不设背景，用没骨法画出松鼠和桃枝，设色清丽，颇有情趣。",[23,24,194,28,7,83,5778,10269,567,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ee543dd71f018935820f6ac096a19bf.jpg","纵26.3公分，横44.3公分",[90],{"id":16185,"slug":16186,"title":16187,"dynasty":99,"author":257,"museum":608,"description":16188,"tags":16189,"thumbUrl":16190,"material":123,"size":16191,"collection":44,"collections":16192,"showCount":15989,"zanCount":2368,"manualWeight":48,"mainColor":49},218275,"ji-le-tu-yi-ming-218275","伎乐图","衣袂相偎处，古调似欲漫出绢素。一人执杖而立，衣纹沉郁如暮云垂落；一人抱阮斜倚，弦上仿佛栖着未散的余音。线条简淡却藏韵致，服饰褶皱如流水舒展，古雅色调晕染出时光的温润。两人姿态亲昵，似共守一段静谧辰光，又或在乐声里彼此慰藉。无繁复布景，仅以人物相依与乐器呼应，便勾勒出伎乐生涯中的一抹温情——让千年后的观者，仍能触到那份含蓄暖意与悠然古意，于绢素间听见岁月的轻吟。",[24,226,7,28,106,59,195],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb577d3e5073e741217357fcfbccf10a8.jpg","83.4x38.2",[44],{"id":16194,"slug":16195,"title":6700,"dynasty":302,"author":5007,"museum":132,"description":16196,"tags":16197,"thumbUrl":16199,"material":123,"size":16200,"collection":181,"collections":16201,"showCount":15989,"zanCount":48,"manualWeight":48,"mainColor":49},217866,"chun-shan-you-qi-tu-sheng-mao-217866","画中青山起伏，岗岭逶迤，近处乔松茂树间花木正盛，有士人策骡过桥，后有童子肩桃花一枝随行。山路尽处，一庄园隐现于崇岩密林之间。岩下大江空阔，渔歌迭起。远处青山如眉，春色淡荡，令人心醉。画中林木深秀，姿态生动；石用细笔长披麻，勾皴缜密而轻松秀逸；淡青绿设色，明净淹润，了无俗韵；人物、界画都精严有法，点缀有度。",[24,29,7,177,106,150,108,107,175,34,176,1785,1169,3561,114,16198,1220,809],"游骑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb16d8ae293a59b3b2d5af0c4cf25d10a.jpg","155.5×88cm",[181],{"id":16203,"slug":16204,"title":16205,"dynasty":302,"author":257,"museum":132,"description":16206,"tags":16207,"thumbUrl":16208,"material":123,"size":139,"collection":90,"collections":16209,"showCount":15989,"zanCount":48,"manualWeight":48,"mainColor":49},216668,"you-yu-tu-yi-ming-216668","游鱼图","游鱼图是由元朝（1271-1368年）的佚名画家创作的一幅著名的中国画作。这幅画描绘了一条鱼游动在清澈的池塘中，周围是葱郁的树木和山峦。画中的鱼看起来栩栩如生，似乎可以随时从画面中跳出来。这幅画被认为是元朝画坛上最杰出的代表作之一，因其精细的绘画技巧和生动的写意风格而备受赞赏。",[24,25,173,7,28,722,319],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6c4249a76f6272444c798a69ae2976f.jpg",[90],{"id":16211,"slug":16212,"title":16213,"dynasty":76,"author":563,"museum":191,"description":564,"tags":16214,"thumbUrl":16215,"material":88,"size":139,"collection":139,"collections":16216,"showCount":15989,"zanCount":48,"manualWeight":48,"mainColor":94},214841,"xie-sheng-ce-20-hua-yan-214841","写生册-20",[24,7,28,722,319,212,566,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ce710137779d736844fb703d7a06705.jpg",[],{"id":16218,"slug":16219,"title":16220,"dynasty":99,"author":857,"museum":316,"description":5856,"tags":16221,"thumbUrl":16222,"material":599,"size":600,"collection":139,"collections":16223,"showCount":16224,"zanCount":48,"manualWeight":48,"mainColor":49},290354,"hua-he-hua-zhou-chen-hong-shou-290354","画荷花轴",[194,24,25,226,7,83,136,230,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8daddd5c38e884b7ee705d40059080ce.jpg",[],85,{"id":16226,"slug":16227,"title":16228,"dynasty":18,"author":3752,"museum":191,"description":16229,"tags":16230,"thumbUrl":16231,"material":282,"size":16232,"collection":42,"collections":16233,"showCount":16224,"zanCount":2368,"manualWeight":48,"mainColor":49},288266,"pi-pa-kong-que-tu-cui-bai-288266","枇杷孔雀图","不同于崔白其他传世作品，画面富丽堂皇，显示出了崔白对黄筌父子画风的传承，应是其尚未变法以前的作品。画中的主体是一对雄雌孔雀，一只栖立在枇杷树上，一只游憩于花丛之间。两只小鸟立于枇杷树枝头，与画面左侧展翅的绶带鸟相望。背景处一块湖石，中间有细竹、杂花相互掩映。 整幅作品为全景式构图，丰满繁复。禽鸟造型体态雍容，逼真生动，惟妙惟肖。在绘画技法上，禽鸟使用的是典型的勾线设色法，用线遒劲，设色上层层渲染，富丽华美。而对画面背景处的山石、枇杷树干的表达，画家则使用了稍微写意性的笔法进行勾勒，并在此基础上使用了皴染技法表现凹凸质感和阴阳向背。这种对树干与景石的描绘方法，我们似乎可以从中感受到崔白在 《双喜图》中，描绘树干所使用的灵活悠游又不失法度的水墨工写结合技法。",[23,24,25,28,7,83,1036,277,245,1633,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f51404c96f2c60be675e39c78ae54fd.jpg","183.1x109.8",[42],{"id":16235,"slug":16236,"title":16237,"dynasty":76,"author":742,"museum":20,"description":16238,"tags":16239,"thumbUrl":16240,"material":770,"size":16241,"collection":44,"collections":16242,"showCount":16224,"zanCount":48,"manualWeight":48,"mainColor":94},237136,"ren-yi-feng-chen-san-xia-tu-zhou-ren-yi-237136","任颐风尘三侠图轴","该图的大致内容是：隋末司徒杨素的侍妾红拂女与才子李靖相爱后私定终生，后在剑侠虬髯客的帮助下为唐王李世民建立了功勋。所画的情景是红拂女和李靖在月老虬髯客的相助下策马相会，红拂女明眸送秋波，虬髯客暗中欢笑。\n风尘三侠指隋末唐初三位豪杰：虬髯客、李靖和红拂女。出自唐传奇《虬髯客传》。李靖于隋末在长安谒见司空杨素，为杨素家妓红拂所倾慕，随之出奔，途中结识豪侠张虬髯，后同至太原，通过刘文静会见李世民。虬髯客本有争夺天下之志，见李世民神气不凡，知不能匹敌，遂倾其家财资助李靖，使辅佐李世民成就功业。后虬髯客入扶馀国自立为王。李靖、红拂、虬髯三人，后人亦称“风尘三侠”。\n任颐《风尘三侠图》所画的情景是红拂女和李靖在月老虬髯客的相助下策马相会，红拂女明眸送秋波，虬髯客暗中欢笑。画家用钉头鼠尾描组成火焰般的衣纹，表现出自己内心按捺不住的激情。任颐曾多次以风尘三侠为题作画，反映了画家对描绘反封建题材的人物画怀有炽热的创作热情。\n马匹作白描法，颇有装饰趣味，黑驴用没骨法，但肌肤的表现效果欠佳。",[194,24,25,226,7,28,106,150,6927],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe11f741247a6bb0597dc560a48dfb84f.jpg","纵148.5cm、横66cm",[44],{"id":16244,"slug":16245,"title":16246,"dynasty":76,"author":2200,"museum":20,"description":16247,"tags":16248,"thumbUrl":16249,"material":638,"size":139,"collection":90,"collections":16250,"showCount":16224,"zanCount":2368,"manualWeight":48,"mainColor":94},236981,"qiu-se-zhou-wu-chang-shuo-236981","秋色轴","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。” 吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。",[24,25,226,7,173,178,212,230,7428,264,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dc0e8896205933dd0727840cc37da2b.jpg",[90,163],{"id":16252,"slug":16253,"title":16254,"dynasty":76,"author":563,"museum":20,"description":16255,"tags":16256,"thumbUrl":16258,"material":770,"size":16259,"collection":90,"collections":16260,"showCount":16224,"zanCount":48,"manualWeight":48,"mainColor":94},233941,"hua-yan-qiang-wei-shan-niao-zhou-hua-yan-233941","华嵒蔷薇山鸟轴","华嵒作为活跃于扬州卖画的职业画家，其花鸟画创作善于捕捉自然界中最生动的天趣。图绘春光明媚的时节，一只山鸟栖于蔷薇枝头，引吭高鸣，其清脆的鸣声不仅令无声的画面声情并茂，且生动地图解了“花气晴熏日，鸟声娇战春”之诗意。此图笔墨松秀，设色清丽淡雅，造型自然传神，构图简约空灵，显示了画家在小写意花鸟画方面的非凡造诣和俊逸清新的独特画风。",[24,194,226,7,173,498,83,5075,16257,230],"山鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52c4ffd5974bd96e38b7cc4bca6e60ff.jpg","纵127.1厘米，横55.5厘米",[90],{"id":16262,"slug":16263,"title":16264,"dynasty":54,"author":456,"museum":316,"description":16265,"tags":16266,"thumbUrl":16267,"material":139,"size":139,"collection":139,"collections":16268,"showCount":16224,"zanCount":2368,"manualWeight":48,"mainColor":49},231005,"shi-nv-xiao-xiang-li-zhou-yan-li-ben-231005","仕女肖像立轴","此作工致写实，仕女端然危坐，神态恬然沉静，尽显闺秀端凝气度。豆绿团衫温婉雅致，衣缘绣纹清丽柔润，发丝轻挽簪花素净，衣纹线条匀细凝练，晕染柔和自然，将仕女娴静温婉的风姿尽数铺展。身侧条案陈置清供法器，古雅沉静，暗合文人雅致意趣。整体设色柔澹沉稳，古绢晕开旧时光晕，笔意朴拙不失精细，将东方古典仕女内敛静穆的风华凝于绢素之上，静谧耐看，带着醇厚古雅的质感。",[23,194,24,226,7,28,106,59,63,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11b73f886d81289c69433793116e980d.jpg",[],{"id":16270,"slug":16271,"title":12225,"dynasty":76,"author":257,"museum":316,"description":16272,"tags":16273,"thumbUrl":16274,"material":599,"size":600,"collection":139,"collections":16275,"showCount":16224,"zanCount":2368,"manualWeight":48,"mainColor":49},230303,"fang-chou-ying-wang-chuan-tu-yi-ming-230303","此作为青绿山水，取法仇英笔意，设色妍丽清润。峰峦层叠以石青石绿晕染，间以赭石提点，秀雅而不失苍劲。云气在山间水畔缓缓舒卷，将错落村居、葱郁林木掩映其中，烟波浩渺的湖水铺陈远阔，衬出群山灵秀。\n\n勾勒皴擦兼具工细与写意，既保有青绿山水的华美质感，又晕染出辋川别业的幽寂禅意，仿若将王维笔下的林下雅趣，化作眼前清旷空灵的桃源胜境，尽显山居林泉的静穆悠远之美。",[23,24,25,26,27,7,29,105,28,177,808,34,37,31,35,986,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1eda3b72ba96b87a804972ade459581.jpg",[],{"id":16277,"slug":16278,"title":16279,"dynasty":302,"author":303,"museum":316,"description":16280,"tags":16281,"thumbUrl":16282,"material":139,"size":139,"collection":139,"collections":16283,"showCount":16224,"zanCount":48,"manualWeight":48,"mainColor":94},228018,"lai-qin-zhi-zi-tu-qian-xuan-228018","来禽栀子图","宋末元初杰出的画家、书法家、诗人， 、 、 、 、肖子中、陈天逸、 、姚式并称“吴兴八俊”，钱选为“吴兴八俊”之首。\n“不管六朝兴废事，一樽且向画图开。\n”宋末元初，特殊的时代环境使得大多数汉文人从仕途中退却，隐逸文化成为当时汉文人生活方式的主流。\n同时，老庄隐逸思想中“平”“淡”的审美特质影响了画家的诗画品格。\n元初画家钱选的花鸟绘画作品所蕴含的诗画意蕴，充分体现了这种影响。\n《东山存稿》卷二中言及钱选作诗：“而钱公跌宕真率，格力优暇，无怨愤不平之意，要为不可及云。\n”以“淡”而归“真率”，绘画与诗文的统一格调，是钱选人格心理的真实写照。\n绘画主流由宫廷而转入民间的过程中，画家的自我意志得到了畅意与释放。\n宋末元初这一时期，钱选、赵孟、龚开、郑思肖等画家的作品中明显可见题画或题画诗的出现，实质是画家的文人意识与自我认知意识的一种抒发。\n钱选传世可考的一些 作品中常见其题诗，《秋瓜图》中道：“写向小窗醒醉目，东陵闲说故秦侯。\n”《梨花图》卷中题：“寂寞阑干泪满枝，洗妆犹带旧风姿。\n闭门夜雨空愁思，不似金波欲暗时。\n”从绘画题材看，画中的秋瓜、梨花等并非有太多奇巧之处，但画家入木三分的刻画赋与其丰富的情感内涵，再结合题画诗将意蕴内涵表现更为明确。\n“写向小窗醒醉目”是不谙世事的放纵，“东陵闲说故秦侯”却是满腔无奈的追忆与感喟，此秋瓜已非彼秋瓜也。\n而画中的梨花更已幻化为一风华绝代的美人，哀怨忧愁，褪尽铅华，悱恻百转却欲说还休。\n诗句是朴素平实的，而画中的对象在诗意中展开了延伸，从平常无奇的花鸟草木亦能体会出其情意所至。\n诗意中所表达的心绪在绘画的审美中与画家的情感相交融，画作意境由此而得以延伸。\n如果说南宋精美工细的花鸟画小品中能看出画家对具体物象细腻的揣度与恭谨的表现，在钱选的花鸟画中，画家所赋予物象的情感则通过诗作不露痕迹地带出，“洗妆犹带旧风姿”，一个“洗”字将观者对一树梨花的清新冷韵形象地再现出来，伤感、追忆的情绪已在枝头花间弥漫，而作者的情感似乎是中性的、平淡的。\n画境与诗境的相通并非是简单直接的描述或说明，而是在另一个较高层次上意趣的通融。\n钱选位居“吴兴八俊”并非完全以其绘画，而是“以诗擅名”，画为文之极，深厚的文学修养必然影响到其对绘画的理解与表现。\n清代陆心源所撰《仪顾堂集》《钱选传》中道：“尤善作折枝，其得意者赋诗其上。\n”钱选流传至今的画作上，无论有无题诗，皆有款识印章的出现。\n款识的出现与变化可能还有另外的原因，当绘画作品突破皇家欣赏的专属，在民间也广为流传时，作品的真伪问题就突显了出来。\n钱选在吴兴当地的画誉较高，时人以“吴兴三绝”分别指钱选的画、赵孟的字以及冯应科的笔。\n钱选作品在具备较高绘画造诣的同时，也有较强的课徒之资。\n其作品《来禽栀子图》现藏于美国弗利尔美术馆，图上绘有两株栀子花并未见禽鸟，一说可能是原图的残简，有一说“来禽栀子”本为花名。\n画中两株花枝势态怡然，摇曳生姿。\n花、叶穿插掩映有致，色调淡雅和谐。\n其画后隔水有赵孟跋：“来禽栀子，生意俱足。\n舜举丹青之妙于斯见之。\n其他琐者必其徒所为也。\n孟”足见，钱选的绘画在当时已为众多后学所追摹本。\n赵孟在钱选《八花图》卷后题跋：“右吴兴钱舜举所画八花真迹，虽风格似近体，而傅色姿媚殊不可得。\n尔来此公日酣于酒，手指颤掉，难复作此。\n而乡里后生多仿效之，有东家捧心之弊，则此卷诚可珍也。\n”山东省出土的钱选《白莲图》卷上也有作者的自跋：“余改号溪翁者，盖赝本甚多，因出新意，使作伪之人知所愧焉。\n钱选舜举。\n”显然，款识与画家身份的辨别在元初得到了进一步的发展，至元中后期画家在画面题款已蔚然成风，同时对画家书法品质的要求也起到了推动的作用。\n从作品来看，钱选书法明显承袭钟繇一路风格，含蓄内敛、平淡天真，法度严谨却又以拙胜巧。\n在钱选的绘画作品中，诗文、书法、绘画、款印相得益彰，书法的审美意蕴与题画诗意均呈现出某种同一的美学特质。\n再经由赵孟等人对“书画同源”观念的推动，发展为大多数文人画家所接受，奠定了后来整个文人画作样式上的基本面貌。\n明代沈颢在《画》中言：“元以前多不用款，款或隐之石隙，恐书不精，有伤画局。\n后来书绘并工，附丽成观。\n”显然，元初是书画款识的一个分界点，沈颢还从画面的结构关系上指出：“一幅中有天然候款处，失之则伤局。\n” 在花鸟画史研究中，论及钱选都认为其承南宋的画风。\n从画面效果来看，现藏于 的《牡丹图》卷是钱选花鸟画中风格较为接近南宋院体的一幅。\n也可能是由于牡丹本身繁茂明丽、雍容华贵的特质，拉近了作品与宫廷审美风格的关联。\n在钱选的画笔之下，花团锦簇，枝叶丰茂，写出牡丹的繁盛之妆容。\n明丽丰满的花头似乎随风摇曳，令人在体会到灼目芳华时却又顿生转瞬既逝的感喟。\n画面空疏有致，题款：“万卉何能继后尘，蜂喧蝶驻亦钟情。\n莫嫌开处春还暮，长向西都见太平。\n”七绝一首在画面左侧，画面形式上来看，题款与牡丹位置相距甚远，中有留白。\n显然作者在画面经营上是匠心独运的，以留白与牡丹花枝紧簇形成对比，增添了繁与简、荣与空之间的对比，从而增添了对牡丹内在审美意蕴的理解。\n题画诗所形成的纵向线条感疏朗有致，增添了画面的形式构成。\n从画面的整体来看，小楷的书写效果，朴实无华，独特一帜。\n同时，又能以诗意提升画意，作者在传承传统技法的同时，以自我的文化修养为作品的创新发展注入了新的因素。\n与同时代的画家相比，钱选花鸟画作品的独特性体现出两方面的辩证联系：一方面是显性的，时人评价钱选之诗：“而钱公跌宕真率，格力优暇，无怨愤不平之意，要为不可及云。\n”此论形容其绘画含蓄凝练，以平淡为格。\n在传承古典绘画技法的同时，将传统 的审美范畴拓展到更富于文人气质的表现上。\n其绘画命意高古，造型赋色独具意趣，以题画诗延伸画意，并在形式上以题跋款识介入画面，形成诗文书画合一的画面风格，为后世文人画家所效仿。\n另一方面，也是更为本质的一方面，他始终坚持在绘画本体的层面进行创作，文学因素的影响始终建立在其对绘画本身的追求与坚持之上。\n即使在钱选晚期的代表作《白莲图》卷中，色彩的渲染简约到了极致，几乎近于白描，但用线造型无不流畅细腻，富于表现力，可谓“精工之极”的典范。\n在宋元相交之际，绘画向主观写意转变的时代潮流中，钱选始终坚持对客观物象的尊重，坚持“状物”之美的表现，将富于文人意味的审美理想内化于其作品之中，这使他与当时的主流绘画样式拉开了距离，从而树立了自我的价值，形成独特的自我风格。",[23,194,24,25,26,7,28,83,1806,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a2c8b9c667d1fd5c374bd1445018bdf.jpg",[],{"id":16285,"slug":16286,"title":16287,"dynasty":76,"author":2837,"museum":316,"description":16288,"tags":16289,"thumbUrl":16290,"material":139,"size":139,"collection":139,"collections":16291,"showCount":16224,"zanCount":2368,"manualWeight":48,"mainColor":94},224378,"hua-hui-qi-shi-ce-shi-er-kai-8-ju-lian-224378","花卉奇石册-十二开-8","此作用笔秀润工致，湖石嶙峋朴拙，留白孔洞衬出通透雅姿，旁侧幽竹叶叶分明，清隽舒展。石畔野花柔婉娇妍，细草萦地，将小景衬得生机悠然。\n\n附石螳螂昂首凝神，振翅小虫翩跹于空，草虫刻画毫厘毕现，将灵动野趣藏于静雅景致中。设色轻浅柔和，晕染细腻自然，工笔精致却不板滞，将幽寂庭隅的清趣鲜活定格，于尺幅绢素间，糅合草木的静雅与草虫的生机，尽显闲淡悠然的逸致，勾勒出夏日庭间的鲜活幽谧。",[23,24,25,81,7,28,83,227,1633,84,568,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa288770c4e7a26717f5dbb64eb7856ee.jpg",[],{"id":16293,"slug":16294,"title":16295,"dynasty":76,"author":538,"museum":20,"description":16296,"tags":16297,"thumbUrl":16298,"material":40,"size":16299,"collection":44,"collections":16300,"showCount":16224,"zanCount":2368,"manualWeight":48,"mainColor":49},222862,"shi-gong-ci-tu-ce-leng-mei-222862","十宫词图册","此套图册共10开，描绘历代贤德后妃或贵族女子的故事，和《养正图》册具有同样鲜明的教育意义。对题有梁诗正书写的弘历承继帝位前于雍正十三年（1735年）所作的诗句，与图画互为辉映。\n由于图册以历代宫廷生活为题，故每幅画面均有对宫廷建筑的描绘，但因为作者只是宫廷画工，并不具备对前代建筑的了解与认知，同时历史人物画“成教化，助人伦”的政治功用也淡化了这些作为人物故事背景的历代宫廷建筑，使其更多地带有装饰性与程式化色彩，并没有呈现出不同时代的建筑风貌。值得注意的是，册中建筑的描绘均采用“海西画法”，冷枚作品中体现的这种画风特性，是在中国传统界画的基础上运用透视法增强画面的空间深度感并以明暗关系区分阴阳向背，说明曾为康熙皇帝所赏识的“海西法”在雍正、乾隆朝的宫廷建筑绘画中已被日渐欣赏和接受。",[23,24,28,7,104,178,212,106,107,406,2234,262,1241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F608e2972b1c52918200e2cb77c491e77.jpg","纵33.1厘米，横29.3厘米",[44],{"id":16302,"slug":16303,"title":16304,"dynasty":99,"author":2189,"museum":240,"description":4265,"tags":16305,"thumbUrl":16306,"material":500,"size":4269,"collection":139,"collections":16307,"showCount":16224,"zanCount":48,"manualWeight":48,"mainColor":94},222568,"hua-hui-tu-7-chen-chun-222568","花卉图7",[23,194,24,25,860,498,173,7,83,84,210,211,1187,14426],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42c3b1556563313a1660bdbd2d2b3b30.jpg",[],{"id":16309,"slug":16310,"title":16311,"dynasty":99,"author":15959,"museum":20,"description":16312,"tags":16313,"thumbUrl":16315,"material":40,"size":16316,"collection":44,"collections":16317,"showCount":16224,"zanCount":48,"manualWeight":48,"mainColor":49},222404,"shu-xia-du-shu-tu-zhou-hui-wu-wei-222404","树下读书图轴绘","画面内容表现的是传统的隐逸耕读题材，一位中年文士耕牧之余在树下休憩，展卷读书，自得其乐。明中期以后政治日益腐败，科举仕途之路充满了不确定性，因此不少文人产生了遁世思想，选择远离官场的闲适生活。吴伟一生两度出入宫廷，对官场和民间都有着深刻的体会，此类题材多次出现在他的笔下。此作用笔潇洒劲健，多以侧锋运笔，锋芒毕露。",[24,194,25,226,173,7,106,29,378,379,245,3519,16314,177,227],"读书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55d957810554b12e18958dc85525c172.jpg","纵168厘米，横105厘米",[44,163],{"id":16319,"slug":16320,"title":16321,"dynasty":99,"author":3307,"museum":1577,"description":3737,"tags":16322,"thumbUrl":16324,"material":529,"size":3745,"collection":139,"collections":16325,"showCount":16224,"zanCount":2368,"manualWeight":48,"mainColor":49},222393,"si-ji-hua-niao-tu-chun-lv-ji-222393","四季花鸟图-春",[23,24,194,28,7,83,820,209,2014,176,836,226,16323],"开花树枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2342faa17d4f14661d3abe4bf10e5735.jpg",[],{"id":16327,"slug":16328,"title":16329,"dynasty":302,"author":16330,"museum":191,"description":16331,"tags":16332,"thumbUrl":16334,"material":16335,"size":16336,"collection":181,"collections":16337,"showCount":16224,"zanCount":2368,"manualWeight":48,"mainColor":49},221689,"yun-heng-xiu-ling-zhou-gao-ke-gong-221689","云横秀岭轴","高克恭","画面上高岭秀拔，烟树云横，清涧流泉，木桥孤亭。笔法厚重，设色浓郁，气韵流润。山顶部分树头作青绿横点，山下坡角多用“披麻”皴法间施赭色，吸收了董源、米芾二家法，别开生面，自成家数，是高氏山水画代表作。本幅无作者款印，上方元邓文原、李衎二题称此图为高氏所画，当可信。李衎题云：“予谓彦敬画山水，秀润有余而颇乏笔力，常欲以此告之，宦游南北不得会面者今十年矣。此图树老石苍，明丽洒落，古所谓有笔有墨者，使人心降气下，绝无可议者”。该题时在至大己酉(19)六月，是高氏去世前一年。高氏创作此图的时间应在此前不久。本幅尚有清乾隆皇帝弘历题诗一首，并钤乾隆诸玺。《石渠宝笈》等书著录。",[23,24,3559,226,173,7,177,2235,685,16333,34,809,176,37,9289],"岭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57a3b151c29770cbb6ae78260a23de70.jpg","绢本，重设色","纵182.2厘米，横16.7厘米",[181,163],{"id":16339,"slug":16340,"title":16341,"dynasty":18,"author":1350,"museum":608,"description":16342,"tags":16343,"thumbUrl":16344,"material":2365,"size":16345,"collection":181,"collections":16346,"showCount":16224,"zanCount":2368,"manualWeight":48,"mainColor":49},220355,"ge-jiang-yu-di-tu-ma-yuan-220355","隔江渔笛图","虬曲古松斜探向江心，水榭之上，对坐雅士凝神侧耳。江渚渔舟隐约，悠悠笛声似随烟波漫过江心，牵住了右下角策杖白衣人的脚步，他正循声缓行。\n\n空濛烟霭晕染开远近山水，以虚实相生之笔，将无形笛音化为可见的诗意。取景删繁就简，把咫尺画幅铺展出阔远意境，淡墨轻岚间，揉合山水闲趣与知音灵犀，静里含声，淡中藏情，尽揽清雅韵致。",[24,25,29,226,7,177,174,175,106,109,353,796,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8d364841d70827b047f24fae7b80225.jpg","156.1 x 86.3 cm",[181],{"id":16348,"slug":16349,"title":16350,"dynasty":76,"author":257,"museum":20,"description":16351,"tags":16352,"thumbUrl":16356,"material":123,"size":16357,"collection":44,"collections":16358,"showCount":16224,"zanCount":1379,"manualWeight":48,"mainColor":49},220348,"yong-zheng-di-ji-xian-nong-tan-tu-yi-ming-220348","雍正帝祭先农坛图","先农坛位于北京外城永定门内，始建于明永乐十八年（1420年），嘉靖年间扩建，是明清两代皇帝祭祀农神、祈求丰收的地方。根据史料记载，雍正皇帝在位期间十分重视农业生产，曾多次前往先农坛参加祭祀典礼。《雍正帝祭先农坛图》卷就是这样一件描绘他在先农坛祭祀农神活动的纪实性绘画作品。 　　画卷起始为一片松林，一条御道由右向左延伸。画幅上端有一处殿宇，只画出了台基和部分门窗、墙面，此处应是具服殿。画面再向左出现了众多身着朝服的官员，几十名侍卫围成半圆形，簇拥着缓缓前行的雍正皇帝。乐队队员 身穿红袍静候着皇帝的到来，钟罄鼓瑟齐备。御道拐弯通向一处高台，台上安置桌案、香炉，黄色帐篷里设供案，上置祭器。据《清史稿》记载，祭先农坛“祭品礼数，如社稷礼”，即“羊一，豕一，帛一，豆四，铏、簠、簋各二。”画卷结尾是一片茂密的松柏林和一座坛门。整幅作品构图严谨精确，人物描绘细致生动，敷色明快华丽，堪称清代宫廷绘画的上乘之作。画卷的作者不详。 　　《雍正帝祭先农坛图》卷分上、下两卷，此为上卷，下卷现藏法国巴黎吉美博物馆。上、下两卷分别表现皇帝祭农神和扶犁耕耤田，由此构成皇帝祭祀农神活动的全部内容。",[23,28,7,104,26,106,968,2952,16353,34,912,1364,14200,16354,16355,3982,119],"祭祀","队伍","仪式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a092cf9f7664e9f3ae86d57249b632e.jpg","纵61.8厘米，横467.8厘米",[44,45],{"id":16360,"slug":16361,"title":16362,"dynasty":76,"author":329,"museum":191,"description":16363,"tags":16364,"thumbUrl":16365,"material":123,"size":16366,"collection":45,"collections":16367,"showCount":16224,"zanCount":1379,"manualWeight":48,"mainColor":94},219302,"shi-jun-tu-zhi-ru-yi-cong-zhou-lang-shi-ning-219302","十骏图之如意骢轴","银鬃如瀑覆颈垂尾，肌理间星斑错落似落雪沾霜。骏马昂首而立，筋肉起伏藏于柔毫之下——西洋写实技法精准勾勒骨相，东方水墨晕染鬃毛显柔韵。绢本素净如宣纸，衬得如意骢神骏挺拔，姿态灵动若将嘶鸣。旁侧墨笔题跋与朱印相映，添文人雅趣。中西技法相融，既存西域良驹的雄健风骨，又含中式审美的含蓄意境，成鞍马画作中跨文化对话的传世妙品。",[24,25,226,28,7,150,746,8377,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38449328316c44de09d076a3ad08c00d.jpg","231.2x278.1",[45],{"id":16369,"slug":16370,"title":16371,"dynasty":76,"author":563,"museum":608,"description":1497,"tags":16372,"thumbUrl":16373,"material":638,"size":1500,"collection":139,"collections":16374,"showCount":16224,"zanCount":2368,"manualWeight":48,"mainColor":49},214356,"san-jue-shan-shui-ce-4-hua-yan-214356","三绝山水册-4",[23,24,25,81,7,173,177,29,176,34,109,3176,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F472b6ddb8c19b4a43c8b7bba13cd7d00.jpg",[],{"id":16376,"slug":16377,"title":5855,"dynasty":99,"author":16378,"museum":316,"description":16379,"tags":16380,"thumbUrl":16381,"material":599,"size":600,"collection":139,"collections":16382,"showCount":16383,"zanCount":2368,"manualWeight":48,"mainColor":49},290312,"sui-chao-tu-zhou-tao-cheng-290312","陶成","陶成（生卒年未详），字孟学，号雪湖仙人，宝应（今江苏宝应）人。成化七年（1471年）举人。生性疏狂，多才艺，诗文古朴。书善四体，善画花鸟人物，山水多用青绿，浓丽蔚拔，喜作勾勒，竹兔与鹤鹿均妙，随意画山水、花鸟、人物，都非常接近南宋人。芙蓉称为神品，为世人所珍藏。\n陶成的绘画、书法造诣极高，与沈周、文徼明、唐寅、仇英“明四家”并称于世，有人甚至把他列于唐伯虎之上。明代文学家，书画鉴赏家李开先对陶成推崇备至、评价甚高。他的《中麓画晶》分明代画家为五等，陶成就雄冠其首。明韩昂《图绘宝鉴续编》云，陶成”书工篆隶直草，诗人奇古，画山川多用青绿，尤喜作钩勒，竹、兔与鸹、鹿，皆妙。 由其胸中洒然也”。明十才子之一李梦阳在其《观序上人所藏陶成画菊石歌》中，称赞陶成的菊花、岩石画远远超出了当时的菊石专家计汝和、徐霖。诗中说： “陶生画菊石，潦草笔有力…近时名手计汝和，此生笔力方之过。江柬徐霖学画石，效颦差胜王与何。”故而有这样的说法： “得黄金百不如云湖画一幅。”",[24,25,226,194,7,83,1133,820,11374,212,86,178,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf77270b17ed20c031bfe4c49651301a.jpg",[],84,{"id":16385,"slug":16386,"title":16387,"dynasty":302,"author":303,"museum":316,"description":16388,"tags":16389,"thumbUrl":16390,"material":599,"size":600,"collection":139,"collections":16391,"showCount":16383,"zanCount":48,"manualWeight":48,"mainColor":49},290099,"fu-yu-shan-ju-tu-qian-xuan-290099","浮玉山居图","《浮玉山居图》是钱选为山居霅川浮玉山的写景。图中山峦分三组，山势峻峭。湖上烟雾蒙蒙，山坳白云缭绕，更有用简笔点缀的茅舍、渡舟、小桥、老翁，一派江南水乡清润秀妍景色。全卷笔意冲淡，画意静穆，用笔工整而不板。",[23,194,24,25,26,7,29,176,981,4706,109,86,212,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c05f9c52d56eb6131b8f94b511ff173.jpg",[],{"id":16393,"slug":16394,"title":16395,"dynasty":189,"author":3536,"museum":316,"description":16396,"tags":16397,"thumbUrl":16398,"material":599,"size":600,"collection":139,"collections":16399,"showCount":16383,"zanCount":2368,"manualWeight":48,"mainColor":49},287374,"mu-dan-tu-ye-huang-quan-287374","牡丹图页","五代时期的黄荃擅长工笔牡丹，钩花填色，富丽工巧。北宋郭若虚在《图画见闻志》中称其为“黄家富贵”。他笔下的牡丹不仅着意表现牡丹的姿态，更重视表现牡丹富贵吉祥的寓意。",[194,24,25,83,28,7,292,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc068ad0be98f133efd214bda7be63318.jpg",[],{"id":16401,"slug":16402,"title":16403,"dynasty":256,"author":257,"museum":316,"description":16404,"tags":16405,"thumbUrl":16407,"material":599,"size":600,"collection":139,"collections":16408,"showCount":16383,"zanCount":48,"manualWeight":48,"mainColor":49},230794,"cai-hui-zuo-fo-xiang-yi-ming-230794","彩绘坐佛像","主尊结跏趺坐莲台，三重背光环环相衬，外缘焰纹灵动炽热，内层晕染青绿暖棕，柔和过渡明暗，衬得法相端严沉静。佛陀身披朱红袈裟，袒胸结印，面容圆润温婉，眉目垂敛含慈，平和安然的气韵扑面而来。\n\n八角莲台基座纹饰繁丽，朱红、石青、米白撞色鲜明，尽显精致庄严。右下侍仆捧香跪坐，身形恭谨小巧，反衬出佛尊的宏大慈悲。\n\n整幅设色古朴厚重，线条稚拙凝练，带着民间画工的朴拙意趣。虽纸面因年深日久泛黄残破，却依旧传递出静谧祥和的宗教感染力，尽显民间佛教绘画的独特韵味。",[23,6767,7,260,106,16406,7689,212],"坐佛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1627ef9b0f7bbe1ed3c2a99a88c04916.jpg",[],{"id":16410,"slug":16411,"title":16412,"dynasty":76,"author":16413,"museum":316,"description":16414,"tags":16415,"thumbUrl":16416,"material":139,"size":139,"collection":139,"collections":16417,"showCount":16383,"zanCount":48,"manualWeight":48,"mainColor":49},230220,"zhu-lin-qi-xian-tu-yu-ling-230220","竹林七贤图","俞龄","茂林修竹围出一方幽隐天地，清溪穿林而过，山石错落间，贤士们各寻幽趣：或凭栏低语，或临流浣漱，或围坐弈棋，或卧于松石间静听竹涛。淡墨写竹虚实相生，将林下清寂晕染开来，人物衣袂飘然，神态闲散疏朗，尽显放旷超脱的魏晋风神。\n\n整幅画面疏密相宜，把林泉高致与雅集之乐相融，笔墨简淡却意韵悠长，将先贤寄身丘壑、不逐尘俗的襟怀凝于绢素，让千年前的林下风流历历在目。",[23,24,25,7,28,106,29,227,379,1551],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00aacaf067d0373a0657f73de52f1401.jpg",[],{"id":16419,"slug":16420,"title":16421,"dynasty":99,"author":257,"museum":316,"description":16422,"tags":16423,"thumbUrl":16424,"material":599,"size":600,"collection":139,"collections":16425,"showCount":16383,"zanCount":48,"manualWeight":48,"mainColor":2504},228411,"wen-shu-xiang-yi-ming-228411","文殊像","文殊菩萨，佛教菩萨名，梵文Maňjuśrī的音译，略称“文殊”，意为“妙德”“妙吉祥”等，新译“曼殊室利”。文殊师利菩萨是中国佛教四大菩萨之一，以论述“般若性空”和“般若方便”的理论著称。\n作为释迦牟尼佛的左胁侍，专司智慧，与司“理”的右胁侍普贤菩萨并称。此外，毗卢遮那如来、文殊菩萨、普贤菩萨被尊称为“华严三圣”。相传文殊菩萨的说法道场在山西五台山。\n文殊菩萨顶结五髻，以代表大日五智，手中持剑，表示以智慧为利剑，驾狮子以表示智慧之威猛。另外，文殊为相应众生的不同因缘，还会有不同形象的“示现”，如一字文殊、五字文殊、六字文殊、八字文殊、一髻文殊、五髻文殊、八髻文殊、儿文殊等。其中以五字五髻文殊最为常见。",[194,24,25,511,260,28,7,106,29,34,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79d6a64a1e16572aa440c8f1e0300caf.jpg",[],{"id":16427,"slug":16428,"title":16429,"dynasty":256,"author":6236,"museum":316,"description":6237,"tags":16430,"thumbUrl":16442,"material":599,"size":600,"collection":3195,"collections":16443,"showCount":16383,"zanCount":48,"manualWeight":48,"mainColor":49},225728,"cafe-terrace-at-night-fan-gao-225728","Cafe Terrace at Night",[194,3187,16431,7,16432,16433,3453,1552,116,114,16434,16435,16436,34,16437,16438,16439,106,16440,16441,4060],"后印象派","夜晚","咖啡馆","星空","鹅卵石街道","灯光","遮阳篷","窗户","门","天空","星星","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc99b9b8fa41b5faffd98b459fbff668a.jpg",[3195],{"id":16445,"slug":16446,"title":16447,"dynasty":18,"author":257,"museum":78,"description":16448,"tags":16449,"thumbUrl":16450,"material":529,"size":16451,"collection":42,"collections":16452,"showCount":16383,"zanCount":2368,"manualWeight":48,"mainColor":49},223660,"zha-kou-pan-che-tu-yi-ming-223660","闸口盘车图","是宋代界画精品之一，为典型的“宣和装”，留有“宣和七玺”中的四枚。该卷屋宇楼榭，向背分明，斗拱铺作，不失绳墨。虽然台门有制、界画有度，但画家却用高超的技法突破题材的限制，生动呈现了一幅官营水磨作坊的日常情景。清代成亲王跋云：“雏凤楼中宝绘，须以此为第一，与汉瓦唐琴辉映千古。”",[23,194,24,25,26,104,28,7,106,107,109,154,149,34,36,7220],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F550c385948591bb6e2aac1ff29f0ea9f.jpg","纵55.4厘米横124.1厘米",[42,45],{"id":16454,"slug":16455,"title":16456,"dynasty":76,"author":257,"museum":20,"description":16457,"tags":16458,"thumbUrl":16459,"material":529,"size":16460,"collection":139,"collections":16461,"showCount":16383,"zanCount":1379,"manualWeight":48,"mainColor":49},223473,"zhi-ping-shi-nv-tu-yi-ming-223473","执瓶仕女图","画中少女立于画中，长袍长裙飘扬，高举丝绸高瓶，丝绒修长，露出的右手指甲细长，这姑娘应为高官达人家眷或宫廷内女子",[24,25,226,7,28,106,59,229,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10c7df1b022f11cc8235ca9a2a3f80c2.jpg","92x56厘米",[],{"id":16463,"slug":16464,"title":16465,"dynasty":76,"author":7596,"museum":56,"description":10111,"tags":16466,"thumbUrl":16469,"material":1342,"size":10497,"collection":139,"collections":16470,"showCount":16383,"zanCount":48,"manualWeight":48,"mainColor":49},222814,"fang-gu-si-ji-shan-shui-tu-fang-li-ying-qiu-ping-lin-san-mu-wang-hui-222814","仿古四季山水图-仿李营丘平林散牧",[23,24,2428,7,177,29,795,16467,16468,151,174,35,1169,109,1171],"平林","牧人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28673520e3afdb6b01f941c6478c7144.jpg",[],{"id":16472,"slug":16473,"title":16474,"dynasty":99,"author":100,"museum":20,"description":1661,"tags":16475,"thumbUrl":16476,"material":40,"size":1665,"collection":139,"collections":16477,"showCount":16383,"zanCount":48,"manualWeight":48,"mainColor":94},222190,"ren-wu-gu-shi-tu-ming-fei-chu-sai-chou-ying-222190","人物故事图-明妃出塞",[23,24,194,25,81,28,7,106,150,154,1049,59,745],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7ba20774bb9e29add1a777c3c73b95e.jpg",[],{"id":16479,"slug":16480,"title":1383,"dynasty":18,"author":16481,"museum":12886,"description":16482,"tags":16483,"thumbUrl":16484,"material":173,"size":16485,"collection":42,"collections":16486,"showCount":16383,"zanCount":48,"manualWeight":48,"mainColor":49},221505,"shan-shui-tu-yan-ci-yu-221505","阎次于","阎次平，南宋画家。隆兴初（约1163年）任画院祗候，授将仕郎。父仲，曾任宣和及绍兴画院待诏。继承家学，而画艺超过其父。擅绘山水，法荆浩、关仝，风格接近王诜、李唐；亦善人物，尤工画牛。存世作品有《牧牛图》等。\n弟次于，南宋孝宗隆兴初被补为承务郎，后亦为画院祗候。次于亦传家学，画山水人物，工于画牛。然水平尚逊于次平。",[23,24,194,25,7,177,29,176,34,37,686,108,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F184450a2d438fd377bdc81ab7f969dee.jpg","24.6×26.0",[42,181,163],{"id":16488,"slug":16489,"title":16490,"dynasty":54,"author":16491,"museum":191,"description":16492,"tags":16493,"thumbUrl":16494,"material":40,"size":16495,"collection":44,"collections":16496,"showCount":16383,"zanCount":2368,"manualWeight":48,"mainColor":49},221134,"da-bei-guan-yin-xiang-zhou-fan-qiong-221134","大悲观音像轴","范琼","头戴宝冠，宝冠中画阿弥陀佛，在青色莲台上结跏趺坐。\n他有三只眼睛、四十二只手，每只手掌中间还画一只眼睛，是密教中千手千眼观音（又称大悲观音）的一种类型。\n此幅右下方有范琼（活动于八四六－八七九年）的题款，虽然清代的查士标和张丑都认为这是一幅范琼的真迹，可是这幅观音女相的造形与唐代的 不同，反而和明代的观音较为接近，所以推测它可能是一件明代的画作。\n范琼，唐文宗时人。86至84（开成年）与陈皓、彭坚同时同艺寓居蜀城（今成都）。三人善画人物、佛像、天王、罗汉、鬼神。三人同手于诸寺图画佛像。自大中至乾符，笔无暂释，图画二百余间墙壁。如圣寿寺大殿释伽像，行道北方天王像、西方变相、殿上小壁水月观音等，与圣兴寺大殿东北二方天王、药师十二神、释迦十弟子、弥勒像、大悲变相等；名目虽同，形状一无同者。\n尝作刍瑟磨像两堵，设色未半，笔踪俨然，后之妙手终莫能继。\n大中年（八四七至八五九）所绘大悲观音像躯不盈尺而三十六臂皆端重安稳，所执诸物各尽其妙。\n笔迹如缕而精劲温润，妙穷毫厘。\n其卢楞伽、曹仲宣之徒欤。\n《德隅斋画品、米芾画史、图画见闻志》",[194,24,25,226,260,106,7,28,212,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67cbcfa8a4804974fb3a4d454c07fde3.jpg","该幅 67.3x39.9公分；右上边题签 23.8x2公分；左下方题 26.7x8.7公分",[44,45],{"id":16498,"slug":16499,"title":16500,"dynasty":348,"author":16501,"museum":191,"description":16502,"tags":16503,"thumbUrl":16504,"material":638,"size":16505,"collection":181,"collections":16506,"showCount":16383,"zanCount":48,"manualWeight":48,"mainColor":49},221014,"shan-shan-tu-juan-dai-kui-221014","剡山图卷","戴逵","戴逵（326－396年），字安道，谯郡铚县（今安徽省濉溪县临涣镇）人。东晋时期隐士、美术家、雕塑家，金城太守戴绥之子。\n\n早年师从名儒范宣，博学多才，善于鼓琴，工于绘画人物和山水。终身不仕，坚拒太宰武陵王（司马晞）召命和王徽之雪夜拜访。\n\n孝武帝司马曜即位，累次征辟，全部不就。太元二十一年，去世。著有《戴逵集》9卷，今已散佚。",[23,194,24,25,26,7,177,29,808,34,176,989,1024,212,1171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b825446ccfc90b423b206be2232fcac.jpg","38.4x615",[181,45],{"id":16508,"slug":16509,"title":16510,"dynasty":99,"author":1196,"museum":191,"description":16511,"tags":16512,"thumbUrl":16513,"material":2365,"size":16514,"collection":44,"collections":16515,"showCount":16383,"zanCount":1379,"manualWeight":48,"mainColor":94},220377,"ban-ji-tuan-shan-tu-tang-yin-220377","班姬团扇图","画中，班姬手拈纨扇，独自在棕榈树下悄然而立。尽管画的是明眸粉颊、姿容秀丽，神情却怅然若有所思。庭前，点缀着一株花蕊绽放的蜀葵，画家应是想藉此来暗示时序已属夏末秋凉的季节。\n唐寅原是恋恋红尘里的有情种子，素来就擅长图写女性形象。本幅援引文学作品入画，透过人物与景境的巧妙配搭，具体呈现了画中人的感情和际遇。这份深刻、动人的描写力，无疑已让观者超迈了时空的隔阻，共感于汉代美人的沧桑与情痴！",[23,24,25,226,7,28,106,59,378,263,115,5300,212,1558],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7c91421866b019a6fe5f56d55012294.jpg","150.4×63.6公分",[44,45],{"id":16517,"slug":16518,"title":16519,"dynasty":99,"author":257,"museum":5488,"description":16520,"tags":16521,"thumbUrl":16523,"material":1884,"size":139,"collection":45,"collections":16524,"showCount":16383,"zanCount":2368,"manualWeight":48,"mainColor":2504},220336,"kong-que-ming-wang-yi-ming-220336","孔雀明王","主尊身色莹白慈悲，六臂分持莲华、鲜果、摩尼宝珠与孔雀翎，怀捧宝瓶，璎珞衣饰以金彩勾勒，尽显华贵庄严。乘骑孔雀羽翼丰美晕染细腻，翎羽层次分明，神姿昂然。背景以深褐为底，孔雀开屏式圆光环伺主尊，眼纹环饰精巧神秘。整体设色沉厚古雅，工笔细密入微，衣袂织物的柔润光泽与造像的神圣感融为一体，在静谧肃穆的氛围里，传递出密宗造像护国息灾的神圣力量，是极具代表性的佛绘精品。",[23,24,28,7,226,260,106,277,209,1488,16522,7692,5884,7696,3766,84],"多臂人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe61e91b9aaf3f5abd9e79c97669b37e.jpg",[45],{"id":16526,"slug":16527,"title":16528,"dynasty":18,"author":16529,"museum":191,"description":16530,"tags":16531,"thumbUrl":16532,"material":123,"size":16533,"collection":42,"collections":16534,"showCount":16383,"zanCount":48,"manualWeight":48,"mainColor":2504},220218,"jiang-shan-xue-ji-tu-lou-guan-220218","江山雪霁图","楼观","楼观（公元13世纪）南宋钱塘（今浙江杭州）人，生卒年不详。\n南宋理宗赵昀朝（1225—1264）为画院祗候，《画史会要》谓其为度宗赵樭朝咸淳（1265—1274）时画院祗候，与马远齐名。\n工画花鸟、人物、山水，师马远，又得夏圭笔法，遂为马夏派。\n善画小品，咫尺千里意趣盎然，尝画《霁雪行旅图》，用小斧劈皴法画崖石，树枝草上俱用粉作雪。\n所作《映月梅花图》，方绢本，设色，梅花如雪，明月悬枝，清光一轮，恍如特照，该画款书臣楼观三字于右角梅枝隙处，上朋理宗赵昀对题：芳意饶呈瑞，寒光助照人。著录于《珊瑚网》。\n传世作品有《江头泊舟图》纨扇，录于《浙江古代画家作品集》《石勒问道图》轴今流入美国。",[23,194,24,3559,913,7,177,685,2086,5903,35,34,3883,176,107,118,2562],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fa81f7cf0473656e7949a9c3ffe65af.jpg","纵153.4公分，横91公分",[42,181],{"id":16536,"slug":16537,"title":16538,"dynasty":99,"author":1196,"museum":16539,"description":16540,"tags":16541,"thumbUrl":7177,"material":123,"size":139,"collection":44,"collections":16542,"showCount":16383,"zanCount":1379,"manualWeight":48,"mainColor":49},219588,"wang-xian-zhi-xiu-xi-dao-mao-xu-qu-xin-an-gong-zhu-tu-tang-yin-219588","王献之休郗道茂续娶新安公主图","沃尔特斯艺术博物馆","画面以枯荣交织的柳树起笔，萧寂山水铺陈出沉郁底色。右侧男子抬臂欲语，眉宇间漫着化不开的怅然，满腔无奈终究凝在抬手之间。左侧郗道茂依偎侍女，垂首敛肩将悲戚藏在背影里，被弃的凄楚默然漫溢。\n\n淡墨晕染山石空远幽寂，衬得这场诀别更添孤凉。工细衣纹勾勒出人物仪态，将情爱里身不由己的遗憾揉进绢本，把旧年憾事定格成含蓄深沉的无声诗篇，失意与伤情铺展在山水之间，余韵悠长。",[24,28,7,177,106,59,29,1241,176,353],[44],{"id":16544,"slug":16545,"title":8337,"dynasty":99,"author":16546,"museum":101,"description":16547,"tags":16548,"thumbUrl":16549,"material":123,"size":16550,"collection":90,"collections":16551,"showCount":16383,"zanCount":48,"manualWeight":48,"mainColor":49},219312,"hua-die-tu-lv-jing-fu-219312","吕敬甫","棕褐底色如古笺轻展，鲜妍花卉自其间漾开生机。粉白花瓣晕染淡红边缘，似沾晨露般娇嫩；翠叶柔茎交错，脉络清晰如织。彩蝶翩跹，或振翅掠花，或停瓣小憩；草虫隐于叶底，细足微蜷，灵动毕现。笔墨细腻见工致，设色淡雅含明艳，晕染自然天成。画面简而丰沛，动静相宜，将田园闲逸凝于尺幅。观之如沐清风，心随蝶影轻飏，仿佛能闻花叶簌簌、虫翅微振，尽得自然野趣与雅致情味。",[24,28,7,83,484,568,84,860,264,6068],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F487bfc2f1c455b3d2ec1c663f8992c9a.jpg","101.6x53cm",[90],{"id":16553,"slug":16554,"title":16555,"dynasty":302,"author":2603,"museum":608,"description":16556,"tags":16557,"thumbUrl":16558,"material":638,"size":16559,"collection":181,"collections":16560,"showCount":16383,"zanCount":48,"manualWeight":48,"mainColor":94},219230,"yi-qin-tang-tu-wang-meng-219230","怡亲堂图","山林葱郁间，堂舍隐现，溪流绕阶而过，一派清幽雅致的园林景致跃然纸上。王蒙以繁密灵动的笔墨，用解索皴层层皴染山石，线条如行云流水，墨色浓淡相宜，尽显草木山川的生机与质感。堂前人物悠然自得，或坐或行，与自然景致相融，传递出文人雅士超然物外的心境。整幅画作技法精湛，意境深远，将江南园林的雅致与文人的精神追求完美契合，尽显元代山水画的独特韵味与艺术高度，是兼具观赏性与思想性的佳作。",[23,24,25,26,173,7,29,175,107,108,109,34,353,177,178,1070,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc55e64ae5c00bb62b83a6c00152b33f4.jpg","24.5x97.2厘米",[181],{"id":16562,"slug":16563,"title":16564,"dynasty":99,"author":14476,"museum":20,"description":16565,"tags":16566,"thumbUrl":16568,"material":123,"size":16569,"collection":181,"collections":16570,"showCount":16383,"zanCount":1379,"manualWeight":48,"mainColor":49},219127,"yan-jiang-yuan-tiao-tu-zhu-duan-219127","烟江远眺图","此图作全景山水，取景开阔，山高水远。前景画坡岸高树，雅士临江远眺；中景巨峰突起，陡然屹立；远景舟船重峦置于迷蒙的烟霭之间，随山势渐远。作品承传李成、郭熙派系的意韵与气魄，笔法简劲，墨色秀润，树石勾染精细，设色淡雅。",[23,24,173,7,226,29,177,174,34,686,1169,111,106,16567,212],"烟江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c1843cff6121583b9f2e9339e3c4eeb.jpg","纵168.2厘米，横107厘米",[181],{"id":16572,"slug":16573,"title":16574,"dynasty":18,"author":257,"museum":191,"description":16575,"tags":16576,"thumbUrl":16578,"material":123,"size":16579,"collection":90,"collections":16580,"showCount":16383,"zanCount":2368,"manualWeight":48,"mainColor":94},218714,"yang-liu-ru-que-tu-yi-ming-218714","杨柳乳雀图","这幅画描绘了一只鸟在喂养它的孩子。这只鸟被描绘得简单而微妙，它的翅膀用浓墨勾勒，用淡墨上色，小鸟的身高、腹部和背部，俯视、仰视和俯视的姿势都非常精致。柳树稀疏的、交叉的、交错的、下垂的枝条也画得很好。",[23,194,24,25,28,7,83,16577,6817,210,245],"杨柳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bf6bfbc2c1c72fbc541eff9d6f5e0b7.jpg","24.8x24.8",[90],{"id":16582,"slug":16583,"title":16584,"dynasty":99,"author":257,"museum":101,"description":16585,"tags":16586,"thumbUrl":16587,"material":123,"size":16588,"collection":44,"collections":16589,"showCount":16383,"zanCount":2368,"manualWeight":48,"mainColor":49},218510,"wang-yuan-shuai-tu-yi-ming-218510","王元帅图","这是一幅道教的水陆画，出自明朝的一位宫廷画家之手。它原本是晚清皇帝翁同龢的收藏品，但后来传到了国外。",[24,25,860,260,28,7,106,406,2235],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9f92abe7d417f37cf2f5565f9557e76.jpg","98.4x62.5",[44],{"id":16591,"slug":16592,"title":1142,"dynasty":99,"author":2189,"museum":191,"description":16593,"tags":16594,"thumbUrl":16595,"material":88,"size":16596,"collection":90,"collections":16597,"showCount":16383,"zanCount":48,"manualWeight":48,"mainColor":94},214727,"mu-dan-tu-chen-chun-214727","这幅画是用牡丹树枝作画，用的是没骨法，笔触很活泼，又很沉稳，不过很可惜，随着时间的推移，颜料已经褪色，让人感觉略显淡薄。这些铭文质量很高，是白杨对毛笔的熟练掌握的结果。碑文写于1544年，在他的最后一年。铭文和绘画各占面板的一半，诗句通过歌唱花朵来传达 「人生行乐当及时」的意趣。",[24,25,226,498,173,7,178,86,83,292,211,554,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf5bd451f1f135ae69ce5a8dd712153b.jpg","122x33.3",[90],{"id":16599,"slug":16600,"title":16601,"dynasty":189,"author":3894,"museum":316,"description":11706,"tags":16602,"thumbUrl":16603,"material":599,"size":600,"collection":139,"collections":16604,"showCount":16605,"zanCount":48,"manualWeight":48,"mainColor":49},290142,"hui-qin-tu-huang-ju-cai-290142","会禽图",[194,24,25,226,28,7,83,245,820,661,1633,1530,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5f43a7cf6d1c9220be37682f0c14340.jpg",[],83,{"id":16607,"slug":16608,"title":16609,"dynasty":18,"author":2244,"museum":316,"description":16610,"tags":16611,"thumbUrl":16612,"material":599,"size":600,"collection":139,"collections":16613,"showCount":16605,"zanCount":1003,"manualWeight":48,"mainColor":49},288332,"hong-bai-fu-rong-tu-ye-yi-li-di-288332","红白芙蓉图页一","该图画红、白芙蓉各一幅，线描有黄筌画风的精神。该画的描写写实，用笔纤细且色彩层次微妙，因而富于情趣。善用余白的画面空间也显得自然而静谧。",[23,194,24,25,28,7,83,634,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd98b04c253b7294f848e933790d49cf.jpg",[],{"id":16615,"slug":16616,"title":2892,"dynasty":18,"author":647,"museum":316,"description":16617,"tags":16618,"thumbUrl":16619,"material":599,"size":600,"collection":139,"collections":16620,"showCount":16605,"zanCount":2368,"manualWeight":48,"mainColor":49},288270,"hua-lan-tu-zhao-chang-288270","赵昌，生于970-1040年，字昌之，北宋画家，广汉剑南（今四川剑阁之南）人。工书法、绘画，擅画花果，多作折枝花，兼工草虫。初师滕昌祐，后来发展出自身画风，没骨花鸟自成一派，有徐熙、黄荃遗风。在北宋时期与宋徽宗赵佶齐名，是宋代花鸟画坛的杰出画家。",[23,194,24,25,83,28,7,292,897,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2085ee9a72b9b6a9215540541abb702a.jpg",[],{"id":16622,"slug":16623,"title":16624,"dynasty":76,"author":7863,"museum":20,"description":16625,"tags":16626,"thumbUrl":16627,"material":16628,"size":16629,"collection":181,"collections":16630,"showCount":16605,"zanCount":2368,"manualWeight":48,"mainColor":94},233390,"shan-shui-ren-wu-ce-jin-nong-233390","山水人物册","册共十二开，分别绘佛像、山水、人物故事等。\u2028　　第一开：墨笔白描佛像、菩提树，画左自题两行，款“己卯八月”。钤“金吉金印”。\n第二开：画礼佛图，右方自题六行，款“心出家盫僧画记”。钤“金吉金印”。\n第三开：画秋林共话，左方自题八行，款“稽留山民记”。钤“莲峰居士”等二印。\n第四开：画湖山采菱，右下自题七言诗一首，下题记六行，款“冬心先生笔记”。钤“冬心先生印”。\n第五开：画青山薄汀，上方自题词一首，款“乾隆二十四年八月十一日七十三翁金农画记”。钤“金氏寿门”印。\n第六开：水墨画鬼趣图，左上自题七行，款“龙梭仙客记”。钤“金农”、“莲峰居士”二印。\n第七开：画玉川煮茶图，自题两行，款“昔耶居士”。钤“寿”一印。\n第八开：画板桥流水，桃林策杖。左方自题七绝一首，款“金二十六郎画诗书”。\n第九开：画柳塘间舟，右上自题七言诗一首，款“曲江外史画诗书”。钤“冬心先生”印。\n第十开：画花塘长亭，上方自书词曲，款“金牛湖山诗老小笔并自度一曲”。钤“寿”、“朋”二印。\n第十一开：画抱膝长思，右上自题“昔年曾见，金老丁晚年自号也”。钤“金老丁”印。\n第十二开：画山僧叩门图，左下自题七言诗，款“昔耶居士并题”。钤“国泉”一印。裱边、附页有健庵、吴湖帆题记。\n此图用笔灵活古拙，山石用意笔写之，淡墨轻染，岸柳、杂树、芭蕉用勾点夹叶法，钱荷用臥笔横点，佛像、人物、山鬼用笔滞涩朴拙，富有韵味。全画笔法生拙奇奥，设色清秀淡雅，意境幽深，为金农山水人物画代表作品。\u2028　　鉴藏印：“曾藏潘健盦处”、“铭心绝品”、“贞甫审定”等六十二方。\u2028　　庞莱臣《虚斋名画录》著录。",[24,25,81,7,352,173,106,611,109,278,229,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F196382a9fa13f1fdd21f5ad09cb12d1a.jpg","纸本，墨笔或设色","纵24.3厘米，横31.2厘米",[181,44,45],{"id":16632,"slug":16633,"title":16634,"dynasty":76,"author":5359,"museum":20,"description":5818,"tags":16635,"thumbUrl":16636,"material":40,"size":5821,"collection":139,"collections":16637,"showCount":16605,"zanCount":48,"manualWeight":48,"mainColor":49},233116,"peng-lai-xian-jing-tu-zhou-yuan-yao-233116","蓬莱仙境图轴",[24,25,226,104,7,28,29,107,986,37,34,176,108,1785,407],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4f9402250dd3a38046d645019ceaddd.jpg",[],{"id":16639,"slug":16640,"title":16641,"dynasty":189,"author":3894,"museum":12886,"description":16642,"tags":16643,"thumbUrl":16644,"material":638,"size":16645,"collection":139,"collections":16646,"showCount":16605,"zanCount":2368,"manualWeight":48,"mainColor":94},231849,"he-hua-ya-zi-tu-huang-ju-cai-231849","荷花鸭子图","这是一幅以渲染为主的没骨法作品。画上两朵白色莲花，一片荷叶，一只机灵的鸭子，构图不可谓不简洁。鸭子的画法极尽写实之能事，以极工细的手法细心渲染出每一个细节。虽然荷叶和荷花的画法是没骨法，但近景的坡石和小草却是写意画法，或许正是这微小的细节，把这幅画扔到了元代。不过构图的仰视和几乎无延伸的局部感觉，也是和宋代画家拉开距离的显著特点。",[24,194,28,7,83,228,835],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5e9d5a6b846c9f5cabd99ac03c39dab.jpg","87x55.7cm",[],{"id":16648,"slug":16649,"title":3070,"dynasty":76,"author":3071,"museum":316,"description":16650,"tags":16651,"thumbUrl":16652,"material":139,"size":139,"collection":139,"collections":16653,"showCount":16605,"zanCount":2368,"manualWeight":48,"mainColor":94},229033,"si-ji-hua-niao-tu-ping-chen-mei-229033","此作用没骨法晕染牡丹，朱红、莹白、粉胭、鎏金的花瓣层叠柔润，将花王雍容之态尽展笔底。苍古顽石虬枝旁逸，墨色叶片浓淡相宜，衬得群芳愈发妍丽。\n\n两只春燕翩跹于空，一黑一白相映成趣，振翅姿态灵动鲜活，似携春风穿掠花间，让静雅画幅漾起融融生气。整体设色明妍雅致，工细中带着写意的松弛，将春日芳华揉入绢素，典雅娴静里满溢春日花鸟的鲜活意趣。",[23,194,24,28,7,83,292,7714,210,176,9591],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93c30e140c85d897bb067b888cfe4136.jpg",[],{"id":16655,"slug":16656,"title":16657,"dynasty":18,"author":146,"museum":316,"description":16658,"tags":16659,"thumbUrl":16660,"material":139,"size":139,"collection":139,"collections":16661,"showCount":16605,"zanCount":48,"manualWeight":48,"mainColor":49},227396,"jin-ming-chi-zheng-biao-tu-zhang-ze-duan-227396","金明池争标图","金明池坐落在北宋东京汴梁顺天门外（今河南开封城西），是当时著名的御苑之一。每年三月由皇帝赐令开放，并与士庶于此共观龙舟争标，郊游赏玩，成为京城一大盛事。靖康之变后，赵宋王朝南渡，“争标赐宴”则成为历史的陈迹，不复存在。因此传世近千年的北宋著名画家张择端所作《金明池争标图》成为我们领略当日繁华胜境的最直观方法。\n张择端，字正道，东武（今山东诸城）人，宋徽宗时画院待诏。工于界画，尤其擅长作舟船、市桥、城郭，所绘《清明上河图》可谓中国最著名的绘画作品，家喻户晓。此幅《金明池争标图》是其另一传世佳作。北宋张择端《金明池争标图》页，收藏于天津博物馆，纵28.5厘米、横28.6厘米，工笔设色绘于绢本之上。\n本图作者在不足一尺见方的绢本上将周围约九里三十步的金明池及岸边的景物、人物悉数生动摹画下来，且画面呈现出开阔、疏朗的布局。由画面下部“池门”入园，以界画手法分别细致描绘了“临水殿”、“宝津楼”、“棂星门”、“仙桥”、“五殿”、“奥屋”等主要建筑物。表现主题的龙舟竞标场景以一艘大型龙舟为中心，其两侧各有五艘小龙舟，每船头各立军校一名，舞旗招引，舟中桨手则奋力划棹，向前方标杆冲去。画面中各龙舟左突右进的空间安排，营造出争标的激烈、刺激与紧张气氛。“仙桥”右下方的“水傀儡”、“水秋千”、“乐船”的描绘则将宋代的水上百戏表演呈现在观者面前。“临水殿”中皇帝赐宴群臣，共赏争标；池岸上百姓或观龙舟，或春游赏玩，或买卖交易……众多人物汇聚图上，虽微小如蚁，但仔细观察，人物比例恰当，姿态各异，神情生动，颇具艺术魅力。",[23,194,24,25,104,28,7,107,36,111,106,3519,34,114,968,9559],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4b0e98ebb1fc83d5e69e50a542eff25.jpg",[],{"id":16663,"slug":16664,"title":4024,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":16665,"thumbUrl":16666,"material":599,"size":600,"collection":139,"collections":16667,"showCount":16605,"zanCount":48,"manualWeight":48,"mainColor":49},226248,"ku-zhu-shi-zao-jing-yi-ming-226248",[511,260,7,4028,1488,7230,5889],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdff11543814879add73dc01d236489c0.jpg",[],{"id":16669,"slug":16670,"title":16671,"dynasty":302,"author":257,"museum":316,"description":16672,"tags":16673,"thumbUrl":16676,"material":139,"size":139,"collection":139,"collections":16677,"showCount":16605,"zanCount":1379,"manualWeight":48,"mainColor":49},223616,"shi-di-pu-sa-yi-ming-223616","十地菩萨","此作图绘天界胜境，祥云翻卷如绵，晕染出缥缈禅意。六位菩萨仪容温婉慈悲，宝冠璎珞层层叠叠，錾刻入微，尽显华贵庄严。衣袂敷色厚重雅致，朱砂暖艳撞映石青沉邃，晕染柔和自然，将织物肌理与垂坠感尽数展现。\n\n菩萨排布错落有致，或合掌凝思，或垂目禅定，法相自带沉静祥和的气韵。线条婉转流畅，勾勒出体态舒展柔和，细节处纹饰精巧细腻，将工笔重彩的精妙匠艺展露无遗，神性之美与世俗工巧相融，满溢静谧的宗教感染力。",[23,16671,24,28,7,260,106,3661,13705,16674,16675],"华贵庄严","沉静祥和","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e8e98cf3a4bed512db310fe30d0f538.jpg",[],{"id":16679,"slug":16680,"title":16681,"dynasty":18,"author":257,"museum":191,"description":16682,"tags":16683,"thumbUrl":16685,"material":67,"size":16686,"collection":42,"collections":16687,"showCount":16605,"zanCount":48,"manualWeight":48,"mainColor":49},223565,"xi-shan-mu-xue-tu-zhou-yi-ming-223565","溪山暮雪图轴","从构景来看，此幅仍具“主山立于画面中央”的遗风，但已脱去山石充实的北宋风格，全幅虚空处几占有二分之一，显露出南宋山水的风味。在表现树石上，继承李唐之影响，但画树与斧劈皴的技法趋于精巧细致，与马远、夏圭 （活动于十二、三世纪之间 ）派倾向粗犷简逸相异其趣。此幅描绘景物，细致生动而且写实，若将之分割数个方块来看，正如南宋之山水册页。可惜无画家名款，目前尚难断定是那位画院名家之作。临溪两岸，竹树茏，於平坦处江村置焉。对岸林麓中烘染云烟如带，群鸦飞噪于其间，弥增雪意，其上则白山皑皑，冰壑峨峨。于林蒨密处，更著一区精舍。本幅造意之精，构景之妙，可称独至。而笔墨细腻，烘染妥帖，尤足以称其意云。",[23,24,25,226,7,29,177,685,2086,16684,245,34,175,35,686,109],"溪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00042d59364ebed0c21eb560489aef52.jpg","56x102",[42,181,163],{"id":16689,"slug":16690,"title":16691,"dynasty":76,"author":742,"museum":316,"description":16692,"tags":16693,"thumbUrl":16695,"material":40,"size":16696,"collection":44,"collections":16697,"showCount":16605,"zanCount":2368,"manualWeight":48,"mainColor":94},223328,"qun-xian-zhu-shou-shou-juan-ren-yi-223328","群仙祝寿手卷","《群仙祝寿图》作于金笺之上，由十二条通景画构成。表现46个神仙人物共赴王母的寿筵祝寿的仙灵境界，场面宏大，内容祥瑞。对于这幅巨制，唐云先生曾写文章谈到，“‘群仙祝寿图’，尽管是在描写民间传说中的神仙故事，但一举一动都反映出人的性格和情感。把行动诡异的仙人和举止窈窕的仙女种种神态，对照起来看，分外有趣。仙女和仙人，有从空中来，有从海上来，来的地方不同，画面似将各地不同的习惯和性情都表达出来了。一只白鹤，忙着跨上白玉阑干，展翅起舞，回头迎生，竟似一个仙女在拍手热烈欢迎仙宾的情感一样。一对孔雀，也有不同性情:一只爱凑热闹，凝神看着一个举袖轻舞的仙女，另一只似乎嫌太烦乱了，飞到荷香深处，安踞石上，静听着仙女们演奏的美妙音乐，景态十分生动。十二幅通景屏，幅幅风光旖旎，融洽愉快，充分表达了祝寿场面的气氛。”",[23,24,25,26,7,28,6170,29,926,3661,107,136,34,176,264,12846,409,16694,3052],"祝寿元素","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0d7fbafaea1f350faf3fa62a1bc3481.jpg","全图尺幅高206.8厘米，横宽720厘米（每幅条屏宽59.5厘米）",[44,45],{"id":16699,"slug":16700,"title":16701,"dynasty":76,"author":329,"museum":191,"description":1518,"tags":16702,"thumbUrl":16705,"material":7,"size":1521,"collection":139,"collections":16706,"showCount":16605,"zanCount":2368,"manualWeight":48,"mainColor":94},222743,"xian-e-chang-chun-tu-03a-lang-shi-ning-222743","仙萼长春图-03a",[23,194,24,25,81,7,28,1022,8377,83,84,230,1090,1187,689,264,16703,16704,210,176,380],"色彩","造型逼真","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83860a3be34dc8440f2f86b13d28b9f5.jpg",[],{"id":16708,"slug":16709,"title":16710,"dynasty":18,"author":11500,"museum":1577,"description":16711,"tags":16712,"thumbUrl":16714,"material":529,"size":16715,"collection":42,"collections":16716,"showCount":16605,"zanCount":48,"manualWeight":48,"mainColor":49},221602,"chu-shan-shi-jia-tu-zhou-liang-kai-221602","出山释迦图轴","释迦着单衣跣足站于枯树旁，手举胸前，双眸微微下视，面容清瘦，须发密长。尽管已值冬季，衣带在寒风中飘举，但释迦似乎并未感受到寒冷，丝毫没有瑟瑟呵冻之态，而是神情专注，愈显入山苦修悟道后，意志弥坚。画家以劲利的线条画排叠的衣纹，用笔谨严，于人物神情刻画尤见功力；苍幹枯枝，用笔劲硬，很好地烘托了环境。背景的坡石略加勾皴，树石的画法还可看出受到李唐的影响，此图与其传世减笔人物画相比，属较为工致的画作。画幅左侧的石壁上署有“御前图画梁楷”六字款。",[23,24,25,226,7,260,106,230,795,16713],"减笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9823f2524319f6cbdc884ddb4cd9087a.jpg","纵119厘米，横52厘米",[42,181],{"id":16718,"slug":16719,"title":16720,"dynasty":18,"author":2244,"museum":20,"description":16721,"tags":16722,"thumbUrl":16723,"material":40,"size":16724,"collection":42,"collections":16725,"showCount":16605,"zanCount":2368,"manualWeight":48,"mainColor":49},221592,"feng-ying-zhi-ji-tu-zhou-li-di-221592","枫鹰雉鸡图轴","此图又称《鹰雉图》或《鹰窥雉图》，是传世宋画中罕见的巨幅，由南宋宫廷画家李迪创作。据左上方署款“慶元丙辰歲李迪畫”，知作于宋宁宗庆元二年（1196年）。\n画面作对角线构图，主体禽鸟雄鹰置于左上角枯枝巅，俯首下视，紧盯着右下角的锦雉。锦鸡张口鸣叫，正向草丛中窜逃。斜线的呼应关系和锦鸡奔向画外的动态，营造出强烈的紧张气氛，扣人心弦。画家着意刻画苍鹰的眼、喙、爪三个关键部位，目光圆瞪，钢喙如钩，爪尖扣进树皮，既突出了鹰的凶猛矫健秉性，又强调出捕捉猎物时的力之凝聚和意念之专注，可谓真实传神。雉的形象也逼真如生，仓惶奔逃的姿态，惊惧的目光，乍开的羽毛，尤其是蹬出后腿又收缩脚爪的动作，准确地刻画出急于逃命又难脱厄运的情状，可见作者体察生物及其捕捉瞬间之动态的敏锐洞察力和写生传神的高超表现力。\n作品的笔墨敷彩技巧也十分成熟。禽鸟工整精细，设色轻淡，承北宋崔白以来的院体花鸟传统画更增动感和生意。树干粗勾细染，斑纹点点，呈苍劲之质。枫叶、兰草、丛竹则细笔双勾，淡墨渲染，形体富有弹性，又疏密有致，画法遵循“宣和体”的写生法则。山石运斧劈皴，兼作笔实墨重的擦染，近李唐又存北宋之法。此图堪称宋代院体花鸟画的巨构杰作。",[23,24,25,226,28,7,83,746,3300,10574,353,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4268072dfb8e29fae047930d5a892391.jpg","纵189厘米，横209.5厘米",[42,90,45],{"id":16727,"slug":16728,"title":16729,"dynasty":18,"author":2244,"museum":191,"description":16730,"tags":16731,"thumbUrl":16733,"material":16734,"size":16735,"collection":42,"collections":16736,"showCount":16605,"zanCount":2368,"manualWeight":48,"mainColor":49},221591,"jiu-ci-tu-juan-li-di-221591","九鹚图卷","李迪“画多艺精，颇负盛名。工花鸟竹石、鹰鹘犬猫、耕牛山鸡，长于写生，超亦能作山水小景。构思精妙，功力深湛，雄伟处动人心魄。”所作《枫鹰雉鸡图》温柔娇嫩可爱，《鸡雏图》形象生动，刻画细致，各具神态。山水师法李唐，也多又佳作。论者谓其画鸠“作寒冷状，精俊如生”；画鹡鸰“翘翘欲起”",[23,194,24,25,26,7,28,83,1241,380,230,16732],"鹚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba83bf3091278e25daedea126febf6f5.jpg","设色,浅设色","本幅34.7x226.6 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是仇英的《宫蚕图卷》。",[194,24,81,7,28,106,13428,17028,34,108,17029],"插秧","耕织","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0148083e2c4e0f19cb9c03018b50477.jpg","35.4x35.9",[44],{"id":17034,"slug":17035,"title":17036,"dynasty":76,"author":3061,"museum":191,"description":17037,"tags":17038,"thumbUrl":17039,"material":88,"size":17040,"collection":44,"collections":17041,"showCount":16859,"zanCount":1379,"manualWeight":48,"mainColor":94},216978,"yi-tao-tu-jin-ting-biao-216978","移桃图","这幅画展示了一个有绿色树木的村庄。一个男人和一个瘸子站在窗外，教一个孩子种桃花。惟不免作家气重些。",[24,25,28,7,29,106,34,176,109,243,35,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7567eb36e902b6cd0d71a3b920a0b4d.jpg","187.3x63.2",[44,181],{"id":17043,"slug":17044,"title":8040,"dynasty":189,"author":7237,"museum":316,"description":8041,"tags":17045,"thumbUrl":17047,"material":599,"size":600,"collection":139,"collections":17048,"showCount":17049,"zanCount":48,"manualWeight":48,"mainColor":2504},289356,"qiu-shan-wan-cui-tu-guan-tong-289356",[194,24,25,226,173,7,29,5411,795,1426,17046,177],"孤峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ececd0d022d954f2d70d8ead2688868.jpg",[],81,{"id":17051,"slug":17052,"title":17053,"dynasty":99,"author":100,"museum":316,"description":17054,"tags":17055,"thumbUrl":17056,"material":599,"size":600,"collection":139,"collections":17057,"showCount":17049,"zanCount":2368,"manualWeight":48,"mainColor":49},287561,"fang-li-tang-shan-shui-tu-chou-ying-287561","仿李唐山水图","此图卷画法山石分面后用大斧劈皴法，是李唐家数，极明暗变化之能事。浙派学南宋，都和墨皴染，石面无‘钉头’，乏老硬笔意，仇实父实得李唐画石之三味。",[23,194,24,25,26,29,7,177,105,808,34,35,1654,108,109,178,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0bece0ca5a5d1ae85f5b79d72f19d2f.jpg",[],{"id":17059,"slug":17060,"title":2882,"dynasty":76,"author":17061,"museum":316,"description":17062,"tags":17063,"thumbUrl":17064,"material":599,"size":600,"collection":139,"collections":17065,"showCount":17049,"zanCount":48,"manualWeight":48,"mainColor":94},283786,"mu-dan-yu-lan-tu-liu-de-liu-283786","刘德六","画面取春日小景，老干虬劲舒展，满枝玉兰冰姿清雅，与下方秾艳牡丹相映成趣。湖石造型奇崛，勾勒皴擦尽显嶙峋质感，成为花木间的视觉支点。两只禽鸟一动一静，振翅的春鸟掠过花枝，另一只探于花下，为画面添就鲜活生机。\n\n此作用笔兼工带写，玉兰以淡墨写意枝干，白花轻勾淡染，尽显清逸；牡丹设色妍丽却不俗艳，花叶层次饱满鲜活。整体设色明快和谐，将春日芳菲的富贵雅致，与江南暮春的悠然意趣相融，在写实写生中晕染出文人画的娴静意韵，尽揽春日生机雅致。",[24,25,83,226,7,292,365,245,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F839a7a0acc34077c380f4ae54ab45aab.jpg",[],{"id":17067,"slug":17068,"title":17069,"dynasty":76,"author":257,"museum":20,"description":17070,"tags":17071,"thumbUrl":17073,"material":139,"size":139,"collection":44,"collections":17074,"showCount":17049,"zanCount":1379,"manualWeight":48,"mainColor":49},238431,"fu-gui-sui-chao-tu-zhou-yi-ming-238431","福贵岁朝图轴","孩童们有的手举鱼、龙等各种形象的彩灯；有的胆大的孩子点燃炮竹，周围孩子掩耳观望；有的孩子登高折梅枝，树下的孩子将花枝插入瓶中，寓意岁岁平安；湖面已结冰，孩子们在冰面滑动冰车，打打闹闹，不小心滑倒还哈哈大笑；还有孩子吹拉弹唱，奏响乐器，妙趣横生。欢度佳节的喜气跃然纸上，仿佛能听到孩子们嬉闹的笑声。",[24,7,28,106,107,175,820,2385,10982,17072,195,406,722,13520,13191],"炮竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60d8b1d3424982278598217ea629c0f2.jpg",[44,45],{"id":17076,"slug":17077,"title":17078,"dynasty":18,"author":257,"museum":20,"description":17079,"tags":17080,"thumbUrl":17081,"material":40,"size":3108,"collection":139,"collections":17082,"showCount":17049,"zanCount":1379,"manualWeight":48,"mainColor":49},233457,"hai-tang-jia-die-tu-ye-yi-ming-233457","海棠蛱蝶图页","图绘阳春三月，蛱蝶翩翩起舞于海棠花枝间。画家着重表现海棠在乍起的春风中花枝招展的动感瞬间，花朵偃仰向背，叶片翻卷辗转，枝干呈“S”形的曲张之态，通过描绘有形的花叶，成功地渲染出了无形的醉人春风和隽永的春意。图中花瓣先以墨笔双勾轮廓线，中锋行笔，线条圆润流畅。然后在花瓣外侧上部略点胭脂红，旋即以清水将色彩晕染开，最后罩上一层白粉，为海棠花亮丽的色调增添了几多妩媚的意韵。叶片用工整的双勾填色笔法表现，作者根据叶片受光照程度的不同而填染以石绿、墨赭等颜色，从而充分表露出叶片“清如水碧，洁如霜露”的美感，显示出画家细致的观察力和深厚的写实功底。",[24,194,28,7,83,1261,484,84,568,81,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd95887671acb5a0c68bda59dc14b1a0.jpg",[],{"id":17084,"slug":17085,"title":17086,"dynasty":76,"author":997,"museum":316,"description":17087,"tags":17088,"thumbUrl":17089,"material":139,"size":139,"collection":139,"collections":17090,"showCount":17049,"zanCount":2368,"manualWeight":48,"mainColor":49},228987,"you-zhang-gong-dong-tu-shi-tao-228987","游张公洞图","此作以全景铺展丘壑，溪谷盘绕于层叠峰峦间，村居错落掩映林泉。清润的皖南山水底色间，揉进雄健恣肆的皴擦点染，丹红林木轻点秋意，实景生趣与写意空灵相融。\n书画合璧，长题以文释意，将探幽快意寄于尺幅，林泉高致与文人雅兴浑然一体。笔底带着恣肆性灵，以山水写心，将搜尽奇峰的丘丘磊磊，化作澄怀观道的林泉佳处，尽显文人画借景抒怀的精髓。",[23,24,25,26,7,29,177,86,178,212,685,262,108,107,34,686,1785,11848,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6aef0f36d2f6bb2fa1e6e2e83d6241bf.jpg",[],{"id":17092,"slug":17093,"title":17094,"dynasty":18,"author":257,"museum":316,"description":17095,"tags":17096,"thumbUrl":17097,"material":139,"size":139,"collection":139,"collections":17098,"showCount":17049,"zanCount":48,"manualWeight":48,"mainColor":94},227377,"qiu-lan-zhan-rui-tu-yi-ming-227377","秋兰绽蕊图","图绘秋兰数茎，兰叶修长劲挺，兰花吐蕊，清丽雅逸。对开有清乾隆御题诗一首：“写兰反楚辞，亦足终古矣。底识其为秋，疏叶濩冷蕊。意出常人表，或远代其子。”钤“八征耄念之宝”、“自强不息”、“太上皇帝之宝”等玺印。",[23,24,25,1260,7,83,579,178,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F656591bb10af68e7bd8abcd88003f28a.jpg",[],{"id":17100,"slug":17101,"title":17102,"dynasty":76,"author":257,"museum":316,"description":17103,"tags":17104,"thumbUrl":17105,"material":139,"size":139,"collection":139,"collections":17106,"showCount":17049,"zanCount":1379,"manualWeight":48,"mainColor":49},224248,"qing-hua-yuan-hua-shi-er-yue-yue-ling-tu-si-yue-zhou-yi-ming-224248","清画院画十二月月令图四月轴","水乡四月晴柔漫溢，临水屋舍凭木桥勾连，酒肆里宾客围坐闲话，檐下有人往来劳作，仕女撑伞缓行廊桥，鲜活市井烟火扑面而来。岸畔花树缀满嫩白繁花，阶下牡丹灼灼盛放，晕开融融暖意。水湾烟波澹澹，远景沙洲逶迤，田埂上农人俯身忙碌，动静交织间，将江南初夏的清丽生机尽数铺展。\n\n整幅工笔设色雅致柔和，以细腻笔触定格日常闲趣，将时节风物与俗世温情相融，晕开一卷温婉的江南闲居图景，藏着旧时水乡的太平意趣。",[23,194,24,25,226,28,7,104,106,107,108,109,29,34,84,175,9231,278,3959,114,115,15627],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e134da517cb38720810301008a61a01.jpg",[],{"id":17108,"slug":17109,"title":17110,"dynasty":76,"author":6776,"museum":20,"description":17111,"tags":17112,"thumbUrl":17113,"material":67,"size":17114,"collection":139,"collections":17115,"showCount":17049,"zanCount":1379,"manualWeight":48,"mainColor":94},223245,"bao-xiang-guan-yin-tu-ding-guan-peng-223245","宝相观音图","观音为佛教大乘菩萨之一，佛经上说此菩萨能“救苦难众生”，示现种种形象，名为“普门示众”，一般形态多作女相。此图绘千手宝相观音一尊，各手分别持小斧、莲花、宝剑、弓箭等各种法宝；头上祥云朵朵飘荡，云中托出小佛十尊，花朵飞扬。观音面容和手臂作多层烘托，有较强的立体质感。说明作者在继承传统技法的同时，也吸收了西洋画的明暗、透视等特点，形成了自己的风格。",[23,24,25,28,7,260,106,245,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe37e22633a51a0e53a44d585e1614e45.jpg","122.7x58.65",[],{"id":17117,"slug":17118,"title":17119,"dynasty":18,"author":1315,"museum":20,"description":17120,"tags":17121,"thumbUrl":17122,"material":67,"size":17123,"collection":42,"collections":17124,"showCount":17049,"zanCount":48,"manualWeight":48,"mainColor":49},221580,"mu-niu-tu-ye-li-tang-221580","牧牛图页","宋代所谓“花鸟画”的范围比较狭窄，仅限于花和鸟。畜兽、竹石、鱼虫皆另立科目(山水中，树石、木屋也是各自立科的)。在当代，我们把中国画分为山水、人物、花鸟三大科，则树石、村落、楼观等多半归于山水。兽畜、竹石、蝶虫之类多归于花鸟。花鸟画实则是动、植物画，以花代表植物，以鸟代表动物。\n李唐的花鸟画在当时尤为突出。吴其贞《书画记》中记有李唐《梅竹禽雀图》，并云“甚剥落”，然“精彩尚在”。《严氏书画记》中还记有李唐的《古木寒鸦图》，他自己也说：“早知不入时人眼，多买胭脂画牡丹。”这一类作品虽很精彩，可惜，今天已不可见，记载亦不详。据历来的叙说，李唐“尤工画牛”(《图绘宝鉴》)，“善作山水人物，最工画牛”(《画继补遗》)。他当时的花鸟画成就可能大于山水和人物。本来，北宋画院的花鸟画成就是高于山水画的\n在记载中，李唐的画牛之作也确实多，如《桃林纵牧图》、《放牧图》、《春牧图》、《秋牧图》、《烟林春牧》、《风雨归牛图》、《三生图》等等。《清河书画舫》所记李唐的《桃林纵牧图》：“不知者谓为戴嵩。”戴嵩乃唐代画牛名家，当时及后代，皆称“韩马戴牛”，即韩干的马、戴嵩的牛。李唐的牛被人误认为是戴嵩所画，可见其精彩之至。还记“李唐尤工画牛，得戴嵩遗法”。",[23,194,24,25,81,1260,7,151,795,245,212,746],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa528be30dbb6d13761b480f04ecd894e.jpg","61X63cm",[42,44,45],{"id":17126,"slug":17127,"title":17128,"dynasty":869,"author":870,"museum":8765,"description":17129,"tags":17130,"thumbUrl":17131,"material":11118,"size":139,"collection":139,"collections":17132,"showCount":17049,"zanCount":48,"manualWeight":48,"mainColor":94},220599,"gong-chong-ce-ye-qing-e-qi-bai-shi-220599","工虫册页·青蛾","此作兼工带写，工笔绘就的青蛾形神兼备，翅翼薄透似可察纹理脉络，细足纤毫毕现，振翅欲飞的灵动跃然纸上，将小虫的鲜活生趣定格。\n\n散落的粉红花瓣以写意晕染而成，柔润朦胧，浅淡底色晕出水雾般的空濛氛围感，与工笔小虫形成虚实对照，繁简相宜。大片留白铺就清寂的意境，将晚春残花轻坠、小虫流连的闲静之景娓娓道来，写实的精致与文人写意的禅意相融，寥寥笔墨间藏着冲淡天真的闲情逸趣，尽显悠然雅致的东方意韵。",[24,25,81,28,7,636,5058,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca3b02997a36403c257cbc7867068a62.jpg",[],{"id":17134,"slug":17135,"title":17136,"dynasty":76,"author":11822,"museum":442,"description":17137,"tags":17138,"thumbUrl":17139,"material":123,"size":17140,"collection":181,"collections":17141,"showCount":17049,"zanCount":48,"manualWeight":48,"mainColor":49},220076,"peng-lai-xian-jing-tu-yuan-jiang-220076","篷莱仙境图","图中所作楼阁大都建于高山之上，隐于丛林之中，古木、苍松、梅、杏等，或生于岩石之间、或生于夹缝之中，蓬勃繁茂，掩映成趣、生机盎然，洋溢着顽强的生命力。屈曲的枝干应当是受宋人影响，点叶之法比起其前期更为轻松自然、繁而不乱。图中人物，三五成群，神态自若，气质高雅，或论道、或茗茶、或泛舟湖上，本为点景之用，却起到了点睛之妙。衣冠、须发用笔劲细流畅。“雪压青松松更青，霜打红梅梅更红。”松柏、梅花在古代有寓意高洁之意，象征了文人士大夫的傲岸情操。",[23,24,25,194,104,7,28,107,29,108,34,176,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03f3523312862b3ddc21d4b421d43aaa.jpg","186.8x102.6",[181],{"id":17143,"slug":17144,"title":17145,"dynasty":99,"author":170,"museum":1830,"description":14925,"tags":17146,"thumbUrl":17147,"material":88,"size":14929,"collection":139,"collections":17148,"showCount":17049,"zanCount":2368,"manualWeight":48,"mainColor":94},220016,"dong-zhuang-tu-ce-zhi-zhi-lao-ting-shen-zhou-220016","东庄图册之知乐亭",[23,24,25,81,173,7,29,175,353,1353,109,106,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31227e877f62e0718e4ec5caba521bf3.jpg",[],{"id":17150,"slug":17151,"title":11746,"dynasty":76,"author":17152,"museum":608,"description":17153,"tags":17154,"thumbUrl":17155,"material":88,"size":139,"collection":45,"collections":17156,"showCount":17049,"zanCount":1379,"manualWeight":48,"mainColor":49},219257,"cao-chong-tu-shang-rui-219257","上睿","画面以古雅绢色铺底，苍劲岩石兀立其间，其上百合舒展素瓣，清雅动人；旁侧藤蔓牵绕，细碎小花点缀，更添自然生趣。一只雀鸟振翅而来，羽翼纤毫毕现，姿态灵动似欲停驻花间。笔墨细腻处见功夫：花卉勾勒精致，叶片脉络分明；岩石皴擦有致，尽显朴拙质感。设色淡雅温润，白百合与暖棕背景相映成趣，整体氛围静谧中藏生机，仿佛能闻得隐于画间的花香鸟语，尽显清代花鸟画作的雅致意韵。",[23,24,25,28,7,83,230,245,896,686,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86c78ce61f7fcee14a5c12b26c976e97.jpg",[45],{"id":17158,"slug":17159,"title":17160,"dynasty":1939,"author":257,"museum":78,"description":17161,"tags":17162,"thumbUrl":17163,"material":123,"size":17164,"collection":90,"collections":17165,"showCount":17049,"zanCount":48,"manualWeight":48,"mainCol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从 尝过僧寺，覩十八应真像，即以纸墨画为描摹而归。后晤 旋客吴幕，得游三湘，所历既广，笔意益苍劲遒丽，古拙幽深。画山水、人物、花鸟、果品，无一不能，书工 尝作衡山记游图八幅，认为生平杰作，谓可媲美\n光绪 图中衣冠、中年归苏州，潜心绘事，考订 为清末民初江南老画师，从游者数十人。卒年七十。黄宾虹",[24,25,226,7,83,292,230,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb19c6ad9cdb51e1097c313f45d064bf4.jpg",[90,45],{"id":17202,"slug":17203,"title":17204,"dynasty":76,"author":2200,"museum":316,"description":2962,"tags":17205,"thumbUrl":17206,"material":599,"size":600,"collection":139,"collections":17207,"showCount":17193,"zanCount":1379,"manualWeight":48,"mainColor":94},235463,"hong-mei-tu-zhou-wu-chang-shuo-235463","红梅图轴",[24,498,7,212,86,820,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ee665f6d35f02aab575c4b2632afd6a.jpg",[],{"id":17209,"slug":17210,"title":17211,"dynasty":99,"author":756,"museum":20,"description":17212,"tags":17213,"thumbUrl":17214,"material":139,"size":139,"collection":139,"collections":17215,"showCount":17193,"zanCount":48,"manualWeight":48,"mainColor":94},234327,"wen-zheng-ming-shu-qian-chi-bi-fu-wen-cong-jian-bu-tu-juan-wen-zheng-ming-234327","文徵明书前赤壁赋文从简补图卷","文征明极为喜爱《赤壁赋》，一生之中曾以不同笔法多次书写，据戴立强《明文徵明行书前赤壁赋册记》中统计，仅传世之作就有16件，而周道振先生《文徵明年谱》中记载，更不止此数。“赤壁赋”题材作品无论是存世作品还是《年谱》中提及的作品，创作年代都在文徵明六十岁之后，即为其短暂的赴京任职之后的作品。文徵明在八十九岁高龄之时，更以苏轼笔意，为其《前赤壁赋》卷(台北故宫博物院藏)补写所缺36字，结字欹侧，肉盛于骨，形神兼备，直可乱真。\n文征明原名壁，字征明。后来改以征明为名，更字为征仲。成化六年（1470年）生于长洲（今苏州市），逝于嘉靖三十八年（1559年）享年90岁。祖籍湖南衡山，因号衡山。他不事权贵，尤不肯为藩王、中官作画，任官不久便辞官归乡，留有《甫田集》。\n文征明的书画造诣极为全面，诗、文、书、画无一不精，人称是“四绝”的全才，诗宗白居易、苏轼，文受业于吴宽，学书于李应祯，学画于沈周。其与沈周共创“吴派”。在画史上与沈周、唐伯虎、仇英合称“明四家”（“吴门四家”）。在诗文上，与祝允明、唐寅、徐祯卿 并称“吴中四才子”。\n明代中叶以后，文征明以诗文驰名江南，而书法和绘画的声誉更高。后来一直被认为是明代少数几个有代表性的书画家之一。就书法来说，大字端劲蕴藉，小楷精工温纯，于真、行、草、隶各体，都有一定的造诣。他早年从苏轼入手，后来参合了米芾、黄庭坚和王羲之书法的笔意，淳和圆熟而不失清劲。\n这一本文征明所写的苏轼《赤壁赋》，末尾连署名残失十九字。幸在清代陈焯《湘管斋寓赏编》卷三有这样一段记录：“顷于姚江杨君绪思家见待诏行书此赋，跋云：‘嘉靖戊午冬十一月廿日，夜寒不寐，篝灯漫书。纸墨欠佳，笔尤不精，殊不成字。聊遣一时之兴耳，观者其毋哂焉。征明年八十九。’为最晚年书，而绝无衰飒之状，可宝也。壬寅秋九月附记。”壬寅是乾隆47年（公元1782），那时“聊遣一时之兴耳”等末十九字还未缺。光绪23年（公元1897）陈豪为恽氏题跋时，已经恽氏改装为册。这十九字怎样失去，已无从查考。\n据题记年月，是文征明八十九岁时所书，距他逝世只有四个月。虽然他自己以为“笔尤不精，殊不成字”其实比之现在所见其他各种印本的《赤壁赋》，（一本，嘉靖二十一年壬寅七月十日作，点石斋印；一本，嘉靖二十九年庚戌七月作，有正书局印；一本，嘉靖三十七年戊午二月既望作，原故宫印本，艺苑真赏社复印；一本，嘉靖三十年辛亥四月十六作，日本博文堂印本）都为精到。“潇洒流落，翰逸神飞”可谓已至“人书俱老”的境地。",[23,194,24,25,26,178,173,7,177,29,174,106,176,34,109,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc97afb95360b41d612a230c70e6c22d0.jpg",[],{"id":17217,"slug":17218,"title":17219,"dynasty":256,"author":257,"museum":316,"description":17220,"tags":17221,"thumbUrl":17222,"material":599,"size":600,"collection":139,"collections":17223,"showCount":17193,"zanCount":48,"manualWeight":48,"mainColor":94},231689,"shan-cha-hua-xiao-qin-tu-zhou-yi-ming-231689","山茶花小禽图轴","此作兼用工笔与写意，老干虬曲苍劲，山茶厚叶凝翠，丹花灼灼绽放，枝上小禽侧目伫立，灵动娇憨的神态跃然纸上。设色雅致沉稳，花叶晕染细腻柔和，禽鸟绒羽的质感描摹入微，既有院体花鸟的精工之态，又饱含文人画的清逸格调。\n\n题诗与画作相映成趣，将探春报春之意藏于景中，把早春山茶盛放、幽禽暂驻的清寂生机铺陈开来，一花一禽皆含雅意，尽显传统花鸟的悠然禅意。",[23,24,25,226,7,28,83,10465,245,210,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05a1618f40479b25ced4925a880d9b34.jpg",[],{"id":17225,"slug":17226,"title":17227,"dynasty":99,"author":257,"museum":12886,"description":17228,"tags":17229,"thumbUrl":17232,"material":500,"size":17233,"collection":139,"collections":17234,"showCount":17193,"zanCount":2368,"manualWeight":48,"mainColor":49},231541,"shan-hai-bai-ling-tu-yi-ming-231541","山海百灵图","此《山海百灵》图卷（签题：唐胡瓌《蕃兽图》真迹神品上上，卷前题：山海百灵）。画卷描绘诸多怪奇神兽，这些动物形象灵感应该来自《山海经》，卷后有一段跋描述此卷的传递情况。此卷大致绘于明代（待考），现藏于赛克勒美术馆。\n胡瓌(瓌，读作guī。汉字基本字义古同“瑰”。五代·后唐〕，山后契丹乌索固部落人。随李克用(856-908)入中原，定居范阳（治今河北涿县），生卒年不详。擅写北方游牧民族牧马、驰猎等生活，穹庐什器、射猎部属，纤悉形容备尽。所作用笔清劲，构图巧密，人物气质犷悍，形象各异。尤工画马，骨骼体状生动有神。",[23,24,26,7,28,177,29,746,5443,150,10505,2479,17230,11893,10516,34,686,809,3712,17231],"山羊","动物群像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb78ddfae72c871b93075fd0f391901d5.jpg","34.5x744厘米",[],{"id":17236,"slug":17237,"title":17238,"dynasty":54,"author":456,"museum":316,"description":17239,"tags":17240,"thumbUrl":17241,"material":139,"size":139,"collection":139,"collections":17242,"showCount":17193,"zanCount":2368,"manualWeight":48,"mainColor":49},231021,"gu-di-wang-tu-juan-li-dai-di-wang-tu-juan-yan-li-ben-231021","古帝王图卷.历代帝王图卷","《国宝在线历代帝王》是2年 出版的图书。\n第1版 (2年12月1日) ISBN: 786726519 条形码: 978786726518 尺寸: 29.8 22.4 1 cm 重量: 259 g 历代帝王，是中国人物画历史上一个重要的题材。\n古代没有照片，千古一帝的仪容，全仗绘画来保存。\n最早的帝王画，可以追溯到种种遥远而缺乏实证的文字记载，如《孔子家语·观周》中，记载孔子参观周朝的明堂，见四周的墙壁上画有圣主尧、舜和暴君夏桀、商纣的肖像。\n他认为这些帝王图『各有善恶之状，兴废之诫焉』。\n孔子的这番评价， 一语道明了古代帝王画的功能，乃是出于礼教的宣传目的。\n当孔子把『兴废之诫』作为绘画艺术的基本任务时，他或许没想到，这样的思想在很长一段时期竟主宰了中国人物画的创作功能，甚至建国后盛行一时的伟人像、英雄像，与这一见解其实也异曲同工。\n唐代张彦远在《历代名画记》中引用了三国时曹植与孔子相类似的见解：『观画者，见三皇五帝，莫不仰戴；见三季暴主，莫不悲惋……是知存乎鉴戒者，图画也。\n』早期的帝王画大都是以屏画、壁画的形式出现，通过形象上的『善恶对比』，达到『成教化，助人伦』的目的，正所谓『见善足以戒恶，见恶足以思贤』。\n自汉代以后，宫廷壁画及卷轴画中的帝王图已成为委婉地向统治者进谏的政治性作品，不但臣僚们利用它来推行政见，而且帝王也用它来美化自己，表现能接受历史的经验，是趋贤去恶的明主。\n然而，『不见五陵豪杰墓，无花无酒锄作田』，随着大量绘有大批壁画的建筑物的损毁，后人却只能通过文字记载来想像这些作品的风采了。\n千秋功过画帝王 流传至今的帝王卷丑画中，以传为唐代阎立本所绘的《历代帝王图》和《步辇图》最早。\n尤其是《历代帝王图》，是一件典型的礼教绘画作品。\n画中共刻画了汉魏以来十三个帝王的形象。\n帝王的服饰、仪仗、起居、侍从等都表现着统治者共同的特征和气势，而一画家又通过入微地表现不同帝王的不同个性，象征并反映了这些帝王的千秋功过。\n相传同是阎立本所画反映唐太宗接见吐蕃使者的《步辇图》，则向我们传达了另一个信息——帝王的肖像常常同时也是一种记录重要事件的方法，很有些像今天的记录影片。\n这样的情况在西方甚至更为普遍，比如我们对大卫的《拿破伦加冕》和《马拉之死》大概不会陌生。\n正是通过这些作品，使我们对久远的历史场景在头脑中产生了一定的直观印象。\n依靠类似于《步辇图》这样的作品，使今人仍能较确切地了解盛唐帝王的威仪和处理重大事件的方式。\n在中国，类似的作品还有不少，如传宋徽宗所作的《听琴图》和清郎世宁所作的《 》等。\n古代，大多数的帝王肖像出于宫廷画家的手笔，特别是当朝帝王的画往往由专职的宫廷画家完成。\n不过民间也流传着一些以帝王为题材的绘画作品，且主要以远古的传说故事为内容。\n尽管同样具有礼教的功能，但正所谓[生后是非谁管得，满村争说蔡中郎]，这些作品，其实不过是人们凭想像的[演义]，而并不具备真实可靠的史料价值了。\n唐 阎立本 历代帝王图 唐 阎立本 历代帝王图 卷 之一 唐 阎立本 历代帝王图 卷 之二 唐 阎立本 历代帝王图 卷 之三 唐 阎立本 历代帝王图 卷 之四 唐 阎立本 历代帝王图 卷 之五 唐 阎立本 历代帝王图 卷 之六 唐 阎立本 历代帝王图 卷 之七 唐 阎立本 历代帝王图 卷 局部 唐 阎立本 步辇图 卷 绢本",[23,194,24,25,26,28,7,106,11229,3429,63,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc99416fb53247fd7f686c65bbf85a9c.jpg",[],{"id":17244,"slug":17245,"title":17246,"dynasty":76,"author":2162,"museum":419,"description":2163,"tags":17247,"thumbUrl":17250,"material":67,"size":2173,"collection":139,"collections":17251,"showCount":17193,"zanCount":48,"manualWeight":48,"mainColor":801},230110,"hong-lou-meng-280-sun-wen-230110","红楼梦280",[24,28,7,17248,17249,614,107,115,34,84,106,26],"红楼梦","大观园","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b546e3871ae691d9c459756f0333ad1.jpg",[],{"id":17253,"slug":17254,"title":17255,"dynasty":76,"author":17256,"museum":316,"description":17257,"tags":17258,"thumbUrl":17259,"material":139,"size":139,"collection":139,"collections":17260,"showCount":17193,"zanCount":48,"manualWeight":48,"mainColor":801},224343,"she-se-mu-dan-zhou-fan-qi-224343","设色牡丹轴","樊圻","这幅作品以湖石为骨，牡丹为魂，湖石以浓墨勾勒皴擦，嶙峋苍古，朴拙沉厚，稳稳托举花株。牡丹以没骨晕染，粉瓣柔润层叠，白蕊轻透蓬松，自带雍容妍态；绿叶以汁绿晕染出阴阳向背，鲜活舒展。\n笔墨兼容工致与写意，设色秀雅沉静，将牡丹华贵与湖石清奇相融，柔刚相济。整幅画面静穆中藏生机，雅致脱俗，尽显花石相映的清幽意趣。",[23,320,24,226,7,28,83,292,230,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9dfde28aebea23e14127821d8f6868d.jpg",[],{"id":17262,"slug":17263,"title":17264,"dynasty":18,"author":257,"museum":20,"description":15824,"tags":17265,"thumbUrl":17267,"material":40,"size":17268,"collection":139,"collections":17269,"showCount":17193,"zanCount":2368,"manualWeight":48,"mainColor":49},223478,"sou-shan-tu-juan-yi-ming-223478","搜山图卷",[23,24,194,25,26,28,7,106,29,746,5443,4398,3300,15979,2181,34,176,245,13491,17266],"鬼怪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d5ad08cdb1d23179ccbc0394feeea8b.jpg","纵53.3厘米，横533厘米",[],{"id":17271,"slug":17272,"title":17273,"dynasty":76,"author":257,"museum":316,"description":17274,"tags":17275,"thumbUrl":17276,"material":139,"size":139,"collection":139,"collections":17277,"showCount":17193,"zanCount":48,"manualWeight":48,"mainColor":94},223459,"shan-shui-xiao-pin-yi-ming-223459","山水小品","小品画一般以小立轴、镜片、册页、扇面等形式为主，广泛应用于社会，凡宾馆、小会议室、小客厅、以及各种娱乐场所的室内装饰布置，都常用小品画。 可以说中国画能进入寻常百姓家的主要是小品画，所以小品画是人民群众喜闻乐见的形式。 其四，小品画的表现手法比较自由随意也是它的一个特点。",[23,24,25,173,7,177,81,29,230,174,3519,1558,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F614164daf8e9e4af388f9ada7fdd61ea.jpg",[],{"id":17279,"slug":17280,"title":17281,"dynasty":99,"author":100,"museum":78,"description":17282,"tags":17283,"thumbUrl":17285,"material":638,"size":17286,"collection":181,"collections":17287,"showCount":17193,"zanCount":2368,"manualWeight":48,"mainColor":94},222210,"wu-zhu-shu-tang-tu-chou-ying-222210","梧竹书堂图","该图画一精舍，宽敞的书桌置于窗前，上置文具书籍，一士人半作半卧于躺椅上，神态安详。房舍四周修竹、梧桐摇曳生姿。坡石勾皴用拖泥带水法间乾笔皴擦，再以水墨淡淡晕染，颇见浑厚。上缀以萱花、丛菊，显示出隐居的悠雅情调。",[23,194,24,25,226,7,28,17284,227,175,106,29,109,176,34,245,174],"梧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77d7f6ee52d40f0e62de09e6cdce8cbc.jpg","纵148.8厘米，横57.2厘米",[181,45],{"id":17289,"slug":17290,"title":17291,"dynasty":99,"author":857,"museum":78,"description":17292,"tags":17293,"thumbUrl":17294,"material":67,"size":17295,"collection":90,"collections":17296,"showCount":17193,"zanCount":2368,"manualWeight":48,"mainColor":94},221895,"mei-hua-xiao-niao-chen-hong-shou-221895","梅花小鸟","此图虽为花鸟，却有山水格局。勾皴之石较为丰富，与梅树虬劲的老干浑然一体；红树有虫啮之痕，与树后精整的双钩之竹相映成趣；梅枝与小鸟，在大片空白的衬托下，成为鲜明的画眼。由此而营造了一种静中有动，清寒澄爽的意境。画梅颇有蓝瑛意趣，而气息雅于其师。藏上海博物馆。\n陈洪绶（1598-1652)，字章侯，号老莲，诸砰枫桥（今属浙江）人。出生干没落官宦之家的陈洪绶能诗，擅书画，尤长于绘画。人物、山水、花鸟、走兽无所不精，是明末淸初最著名的画家之一。初学蓝瑛，师法唐人，兼有李公麟、赵孟频之妙。运笔旋转，一气呵成，具有鲜明独特的风格。花鸟画渊源两宋，颇有奇趣。",[24,25,83,7,28,820,245,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8b5794e3e57e740d6a66c2ddcd1a652.jpg","22.2x21cm",[90,45],{"id":17298,"slug":17299,"title":17300,"dynasty":99,"author":15959,"museum":78,"description":17301,"tags":17302,"thumbUrl":17304,"material":123,"size":17305,"collection":44,"collections":17306,"showCount":17193,"zanCount":48,"manualWeight":48,"mainColor":49},219748,"qiu-jiang-gui-yu-tu-zhou-wu-wei-219748","秋江归渔图轴","吴伟(1459—1508年)，字士英，号次翁、小仙，江夏(今湖北武昌)人。成化朝(1465-1487)人宫廷任仁智殿待诏，弘治(1488-1505)中授以锦衣卫百户职。擅画山水、人物。为“江夏派”的创始人。",[24,194,25,226,173,498,7,29,106,174,245,109,1353,353,10725,6582,230,1980,553,686,17303],"秋江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F614f91aeebc5220d0825408f30e0a128.jpg","164x106.2厘米",[44],{"id":17308,"slug":17309,"title":17310,"dynasty":18,"author":11500,"museum":78,"description":17311,"tags":17312,"thumbUrl":17313,"material":123,"size":17314,"collection":44,"collections":17315,"showCount":17193,"zanCount":2368,"manualWeight":48,"mainColor":49},219429,"ba-gao-seng-tu-liang-kai-219429","八高僧图","《南宋梁楷八高僧故事图卷》分别描绘南北朝至唐代佛教禅宗八个高僧的故事。各个人物的神态、举止和服饰刻画入微、传神；山石多为斧劈皴，笔法简洁洗练，动静相映以烘托出人物的情绪。是梁楷作品中较为工整的一路。每幅之后，均附有明初人用行书撰写的文字说明，内容简明扼要。",[23,352,7,28,106,29,1273,3712,174,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1587fabe100285596e73694b143eae99.jpg","纵 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厘米",[44],{"id":17317,"slug":17318,"title":17319,"dynasty":99,"author":1782,"museum":191,"description":17320,"tags":17321,"thumbUrl":17322,"material":173,"size":139,"collection":163,"collections":17323,"showCount":17193,"zanCount":2368,"manualWeight":48,"mainColor":49},219339,"fu-song-guan-pu-tu-dai-jin-219339","抚松观瀑图","虬松横斜如探身老者，枝桠间松针攒簇，墨色浓淡相济，尽显苍劲古拙之姿。飞瀑自崖壁垂落，线条如练，与朦胧山雾相融，添几分空濛悠远。松下二人或立或俯，似低语，又或凝听瀑声，神态悠然，将文人雅士闲适心境藏于山水间。左侧亭台半隐松荫，木质结构线条简洁，与自然景致浑然一体。山石皴擦刚健，草木点染灵动，笔墨兼具挺劲与秀逸。整幅画山水相映，人物点睛，传递出远离尘嚣、寄情林泉的淡泊之韵，仿佛能闻松涛与瀑声交织，引人沉醉于这份林泉雅趣中。",[24,25,226,29,177,7,1273,1426,175,106,176,109,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff224b7dc4b4561098e04194164c63257.jpg",[163],{"id":17325,"slug":17326,"title":17327,"dynasty":302,"author":257,"museum":191,"description":17328,"tags":17329,"thumbUrl":17330,"material":123,"size":139,"collection":45,"collections":17331,"showCount":17193,"zanCount":48,"manualWeight":48,"mainColor":49},218757,"ma-hu-dou-tu-yi-ming-218757","马虎斗图","荒野坡地间，虎躯如弓骤起，斑纹随扑跃之势流转，利爪前探、利齿微张，将猛兽的悍勇凝于一瞬。对面的马似遭突袭，后腿猛蹬沙砾，前蹄腾空欲踹，鬃尾怒扬如帚，肌肉紧绷的线条里满是求生的倔强。周遭荒草疏疏，枯木隐现，浅褐底色更衬出这场对峙的凛冽——没有多余渲染，却让观者仿佛听见虎啸马嘶，触到风里的紧张气息。笔法精准却不刻板，虎的威猛与马的刚烈形成强烈张力，寥寥数笔的环境勾勒，便将荒野争斗的野性拉满，尽显笔墨间蓬勃的生命力。",[23,24,28,7,5443,150,746,176,689],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb750130b6ddf73afbbc1100e84494f1.jpg",[45],{"id":17333,"slug":17334,"title":17335,"dynasty":54,"author":17336,"museum":316,"description":17337,"tags":17338,"thumbUrl":17339,"material":123,"size":17340,"collection":44,"collections":17341,"showCount":17193,"zanCount":2368,"manualWeight":48,"mainColor":49},218434,"jie-bo-tu-juan-zhao-gong-you-218434","掲钵图卷","赵公佑","残卷斑驳，却凝萃着盛唐绘画的磅礴气象。画面中神祇与魔众的对峙张力十足，线条流转如行云流水，虽历经岁月褪色，朱红与墨色的交织仍显古雅厚重。人物动态鲜活，或持械交锋，或肃立说法，神态各异间铺展叙事脉络。构图疏密有致，虚实相生，既见个体形象的精谨刻画，亦有整体场景的宏阔铺陈。笔墨间藏着唐代画坛的雄浑笔力与细腻情思，即便残损处也似时光留痕，诉说着千年之前的艺术风华，堪称研究唐代宗教绘画与叙事艺术的珍贵遗存。其笔墨间的雄浑与细腻，既显宗教题材的庄严神圣，又含世俗绘画的生动意趣，是盛唐艺术兼容并蓄精神的鲜活注脚。",[23,24,25,26,7,260,106,150,2439],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F076f4968eb11391f30728e56d3fad1d8.jpg","27.4x109.4",[44],{"id":17343,"slug":17344,"title":4872,"dynasty":99,"author":257,"museum":3038,"description":17345,"tags":17346,"thumbUrl":17347,"material":123,"size":17348,"collection":44,"collections":17349,"showCount":17193,"zanCount":2368,"manualWeight":48,"mainColor":49},218410,"ying-xi-tu-yi-ming-218410","花木扶疏的庭院里，石影横斜，稚童们的身影灵动鲜活。围坐小几的孩童或俯身凝眸，或执物细玩，憨态可掬；旁侧的孩子相互追逐，衣袂轻扬间满是天真烂漫。案上器物精巧，阶前小凳古朴，衬得画中世界雅致又充满烟火气。设色古雅温润，线条婉转细腻，将孩童的无忧时光定格成帧，仿佛能听见稚子的嬉闹声穿过岁月，漫溢着恬淡的生活意趣与对童真的脉脉咏叹。画面以细腻笔触勾勒出童真百态，古雅的色调与婉转的线条交织，将无忧岁月凝练成帧，让观者在古朴的氛围里，触摸到那份穿越时空的天真暖意。",[23,24,7,28,226,106,2385,230,245,292,229,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F875a332dd57d21a2a5dbe31d190af59f.jpg","182.2x98.1",[44],{"id":17351,"slug":17352,"title":17353,"dynasty":18,"author":257,"museum":191,"description":17354,"tags":17355,"thumbUrl":17357,"material":123,"size":17358,"collection":181,"collections":17359,"showCount":17193,"zanCount":1379,"manualWeight":48,"mainColor":49},215137,"yuan-shui-yang-fan-tu-yi-ming-215137","远水扬帆图","这幅画描绘了远处漂浮的几座青山。烟雾弥漫的河面上一阵强风将河边岩石上枝繁叶茂的树木吹弯，并将三艘客船直推到河中央。河岸上一位白袍隐士，带着他的钢琴手，正准备漫步到岩石阴凉处的茅草亭。明亮的风景透露出几分悠然自得的动感。",[23,24,25,7,29,177,34,686,106,174,3517,17356,175],"远水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7ba8f66e5fe5ffdbb57aa8db2c36a45.jpg","21.6x52.4cm",[181],{"id":17361,"slug":17362,"title":17363,"dynasty":302,"author":257,"museum":132,"description":17364,"tags":17365,"thumbUrl":17366,"material":123,"size":17367,"collection":181,"collections":17368,"showCount":17193,"zanCount":2368,"manualWeight":48,"mainColor":49},214828,"jiang-zhong-chui-diao-tu-yi-ming-214828","江中垂钓图","江中垂钓图是一幅元代的山水画作品，作者是佚名。这幅画中描绘了一个人在江边垂钓的场景。画中展现了绚丽多彩的山水风光，以及人物自然舒展的姿态。整幅画的画风细腻，笔墨流畅，色彩鲜艳，构图巧妙，充分展示了元代山水画的魅力。\n\n元代是中国历史上一个重要的朝代，也是中国绘画史上的一个重要时期。元代绘画追求自然、真实，注重写意，在画面上展现自然界的种种变化。山水画是元代绘画中的一大特色，江中垂钓图就是其中的一例。这幅画描绘了一幅宁静而又热闹的山水风光，充分展现了元代绘画的自然精神。",[24,173,7,29,109,174,6582,353,230,796,212,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f084d61f9b4775b72a81ef13a90b677.jpg","22.5x25cm",[181],{"id":17370,"slug":17371,"title":17372,"dynasty":76,"author":563,"museum":608,"description":1497,"tags":17373,"thumbUrl":17374,"material":638,"size":1500,"collection":139,"collections":17375,"showCount":17193,"zanCount":2368,"manualWeight":48,"mainColor":49},214357,"san-jue-shan-shui-ce-3-hua-yan-214357","三绝山水册-3",[23,24,25,81,173,7,29,114,119,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dbbe74ad51b2f834a84bc920cbd5367.jpg",[],{"id":17377,"slug":17378,"title":17379,"dynasty":18,"author":17380,"museum":191,"description":17381,"tags":17382,"thumbUrl":17384,"material":599,"size":17385,"collection":42,"collections":17386,"showCount":17387,"zanCount":2368,"manualWeight":48,"mainColor":49},287652,"wei-lu-bo-gu-tu-zhang-xun-li-287652","围炉博古图","张训礼","庭中松树挺立，梅花盛开。屏风前三文士围束腰长桌而坐，其中二文士坐於榻上，榻下壶门开光，一观画，一盥手回首；靠背扶手椅上文士手作研磨状，似为点茶备茶。一文士园中踱步吟诗。",[194,24,226,7,106,28,10361,107,229,17383],"博古","https:\u002F\u002Foss.chuangqi.store\u002F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横47.9厘米",[90,45],{"id":17420,"slug":17421,"title":17422,"dynasty":99,"author":17423,"museum":191,"description":17424,"tags":17425,"thumbUrl":17427,"material":500,"size":17428,"collection":181,"collections":17429,"showCount":17387,"zanCount":48,"manualWeight":48,"mainColor":94},222372,"song-quan-shi-si-zhou-zhou-chen-222372","松泉诗思轴","周臣","周臣（1460–1535），字舜卿，号东村，中国明代著名画家。吴（今江苏苏州）人。擅画。\n中国明代中期的著名职业画家。他生活在成化至嘉靖年间。字舜卿，号东村，吴（今江苏苏州）人，生年不详，卒于明世宗嘉靖十四年（即1535年）。擅长画人物和山水，画法严整工细。他有两个学生特别著名，一个唐寅，另一个仇英。唐寅、仇英青出于蓝，风格上极为接近，但当时名气已超过老师。\n周臣山水师承陈暹。曾刻苦临摹李成、郭熙、李唐、马远等作品，其主要取法于李唐派系。画山石坚凝，章法严谨，用笔纯熟。曾与戴进并驱，则互有所长。人物画也非常出色，古貌奇姿，绵密萧散，各极意态。南京博物院收藏的周臣代表作《柴门送别图》 ，描绘一文人携琴访友后，主客分别时依依不舍的情景，明月早已挂在高空，船工也已在船头熟睡，直至客人快要上船了，他还未酲来，说明主客送别时间之长，友谊之深，这其中也融含周臣画体的“院体画”与“文人画”的相融之处。周臣被人们称为非院派的“院派”画家。",[23,24,25,226,173,7,29,1273,176,17426,106,177,212],"泉水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9ced993c13860c65afb437b92e109b6.jpg","114.6x53.1",[181,45],{"id":17431,"slug":17432,"title":17433,"dynasty":302,"author":17434,"museum":191,"description":17435,"tags":17436,"thumbUrl":17437,"material":123,"size":17438,"collection":139,"collections":17439,"showCount":17387,"zanCount":1379,"manualWeight":48,"mainColor":49},221801,"fang-guo-xi-qiu-shan-xing-lv-zhou-tang-di-221801","仿郭熙秋山行旅轴","唐棣","元文宗天历二年(1329)应诏在南京龙翔寺绘制画壁，至顺四年(1333)第二次北上大都，奉诏在宫廷作画。\n在郴州、处州、江阴、嘉兴、休宁、兰溪州、吴江等地均做过官，有政绩。工山水，近学赵孟頫，远师李成、郭熙，亦工诗文，晚年返乡埋头读书作画，生活较凄苦。\n传世作品有元统二年(1334)作《林荫聚饮图》轴、至元四年(1338)作《霜浦归渔图》轴，图录于《中国绘画史图录》上册；《携琴远眺图》轴现藏四川省博物馆；《雪港捕渔图》轴藏上海博物馆；《云浦驾舟图》册页、《仿郭熙秋山行旅图》轴藏台北故宫博物院。",[23,194,24,25,226,173,7,29,176,34,3960,177,5218],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8381f79ff9423e46f2961c5ae4ff6f0.jpg","151.9x103.7",[],{"id":17441,"slug":17442,"title":17443,"dynasty":18,"author":11500,"museum":14486,"description":17444,"tags":17445,"thumbUrl":17448,"material":67,"size":17449,"collection":42,"collections":17450,"showCount":17387,"zanCount":48,"manualWeight":48,"mainColor":49},221612,"can-zhi-tu-juan-liang-kai-221612","蚕织图卷","图描绘江浙一带的蚕织户自“腊月浴蚕”到“下机入箱”为止的养蚕、织帛的整个生产过程。该卷由二十四个场面组成，用长房贯穿，每个场面下有楷书小字，注明内容。全卷场面宏大，共绘七十四人，翁媪长幼，皆服宋装。图中人物的神态举止，惟妙惟肖，桑树、户牖、几席、蚕具、织具等，富有写真写实之风。",[23,24,26,28,7,104,106,17446,17447,115,35,34,7220,173,8792,65],"织机","蚕桑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5708c7869732c0eddc83d2007b004137.jpg","27.5x513",[42,44,45],{"id":17452,"slug":17453,"title":17454,"dynasty":18,"author":647,"museum":316,"description":17455,"tags":17456,"thumbUrl":17458,"material":529,"size":17459,"collection":42,"collections":17460,"showCount":17387,"zanCount":2368,"manualWeight":48,"mainColor":49},221372,"xie-sheng-an-chun-tu-juan-zhao-chang-221372","写生鹌鹑图卷","这是一幅描写夏天野外风景和动植物的写生画，图绘数隻鹌鹑游息于河畔翠竹丛中，或鸣叫、或张望、或憩息、或觅食，神态各异，生动多姿。河边还有三隻野鸭，树上有两隻小鸟。所绘花鸟形象逼真，画面雅致，饶有野趣。画家还特意在鹌鹑旁边画了菊花和落叶",[23,24,194,26,28,7,83,7956,227,228,209,809,380,553,1024,5841,10277,17457],"禽类","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d0965f0ce9d418c9ffe6493a6f69f39.jpg","横301.5cm纵32.5cm",[42,90,45],{"id":17462,"slug":17463,"title":17464,"dynasty":18,"author":257,"museum":191,"description":17465,"tags":17466,"thumbUrl":17468,"material":123,"size":17469,"collection":42,"collections":17470,"showCount":17387,"zanCount":1379,"manualWeight":48,"mainColor":94},220363,"sang-zhi-huang-niao-tu-yi-ming-220363","桑枝黄鸟图","北宋绘画讲求写生，当时的画家必需要能同时掌握大自然中瞬息万变的面貌，以及具备精湛的绘画技巧。因此这件作品所体现画家这份力图师法自然、再现自然的匠心，令人弥足珍惜。",[23,24,194,25,81,28,7,83,245,17467,210],"桑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa84d0d6b4547248df308176a7ee1cb94.jpg","25.4 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（详见《中国书画家印鉴款识》第444页。）",[24,25,81,7,28,83,84,135,212,194],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9ad03ae2e1d9e12b784846270fbb25e.jpg",[90],{"id":17616,"slug":17617,"title":7030,"dynasty":18,"author":257,"museum":20,"description":17618,"tags":17619,"thumbUrl":17620,"material":40,"size":17621,"collection":139,"collections":17622,"showCount":17599,"zanCount":2368,"manualWeight":48,"mainColor":49},233017,"ye-he-hua-tu-ye-yi-ming-233017","图中夜合花一根两枝，右枝花朵含苞未放，左枝花朵半开半合，洁白如玉，清雅绝尘。花朵轻勾淡染，用白粉点画花蕊，花叶先以细笔勾勒轮廓和筋脉，后用汁绿与花青染之。绿叶穿插向背，层次安排巧妙，画面简约而不单薄。",[194,24,25,81,28,7,83,7033,554,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cf71474db059bf26e08b661dea46f53.jpg","纵24.5cm，横25.4cm",[],{"id":17624,"slug":17625,"title":17626,"dynasty":18,"author":1588,"museum":191,"description":17627,"tags":17628,"thumbUrl":17630,"material":123,"size":17631,"collection":42,"collections":17632,"showCount":17599,"zanCount":2368,"manualWeight":48,"mainColor":49},231052,"san-guan-chu-xun-tu-ma-lin-231052","三官出巡图","云气浩荡漫卷寰宇，巡行仪仗铺陈开三界威仪。尊神安坐牛舆，仙官神将扈从环伺，或腾云跨兽，或执旄持戟，旌旗翻卷如龙，神性肃穆融于缥缈云雾之间。\n\n笔墨苍劲古雅，设色沉敛厚重，以铁线描勾勒衣袂甲胄，须发纹路纤毫毕现。云雾晕染层层叠叠，虚实相生，将天界出行的宏阔盛景缓缓铺展。画面疏密有致，云间仙众、浪里神异错落排布，既恪守仪仗森严规制，又尽显仙道空灵意境，将神话中的巡游盛景定格于绢素之上，尽显工笔精致入微的意趣与神性之美。",[23,24,194,28,7,260,106,151,406,746,2459,37,2952,17629],"神性","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F318baad11558966bff3e3445d454be2c.jpg","174.2x122.9",[42],{"id":17634,"slug":17635,"title":17636,"dynasty":76,"author":7933,"museum":316,"description":17637,"tags":17638,"thumbUrl":17639,"material":599,"size":600,"collection":139,"collections":17640,"showCount":17599,"zanCount":2368,"manualWeight":48,"mainColor":94},230976,"tan-mei-shi-nv-tu-fei-dan-xu-230976","探梅仕女图","本图以采梅仕女为主景，她立于溪石上，左手抱着梅干，右手举起正欲攀花，姿态自然生动，十分传神。仕女用细笔勾成，笔墨细柔，设色淡雅，面容俊俏，身材婀娜，充分体现出费丹旭仕女图的美学特征。",[23,24,7,28,59,106,820,230,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ebadd248a4abef29f28af2255c5ade4.jpg",[],{"id":17642,"slug":17643,"title":4872,"dynasty":99,"author":17644,"museum":316,"description":17645,"tags":17646,"thumbUrl":17651,"material":139,"size":139,"collection":139,"collections":17652,"showCount":17599,"zanCount":1379,"manualWeight":48,"mainColor":49},228359,"ying-xi-tu-xia-kui-228359","夏葵","画面疏密有致，左侧稚童踩桌扮作伶人，挥旗扬袖，玩伴们敲锣击鼓，将市井戏台搬作儿戏，喧闹活泼；右侧孩童或围缸逗弄游鱼，或持杖拨弄摆件，还有小大人模样的稚童踮脚照看木栏里的同伴，各得其乐。\n衣纹勾勒清劲细腻，设色古雅柔和，把幼童的憨态天真尽数铺陈，嬉闹的神态鲜活灵动，将稚子日常的嬉玩刻画入微，满卷皆是烟火融融的童真暖意，尽显世俗童趣的治愈生机。",[24,25,7,28,106,2385,722,17647,17648,17649,17650],"童趣","童真","市井生活","治愈","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22977837d9b61111f00b8de004be2c7d.jpg",[],{"id":17654,"slug":17655,"title":17656,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":17657,"thumbUrl":17658,"material":599,"size":600,"collection":139,"collections":17659,"showCount":17599,"zanCount":48,"manualWeight":48,"mainColor":49},226169,"ku-zhu-shi-xi-bi-yi-ming-226169","窟主室西壁",[511,260,7,106,5513],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F221f3dcbbfbd09c8fec964f467975396.jpg",[],{"id":17661,"slug":17662,"title":17663,"dynasty":76,"author":5359,"museum":20,"description":17664,"tags":17665,"thumbUrl":17666,"material":40,"size":17667,"collection":181,"collections":17668,"showCount":17599,"zanCount":48,"manualWeight":48,"mainColor":49},223285,"shan-shui-si-tiao-ping-yang-zhou-si-jing-wan-song-die-cui-yuan-yao-223285","山水四条屏-扬州四景-万松叠翠","四条屏分别自题：“春台明月”、“平流涌瀑”、“万松叠翠”、“平岗艳雪”，款署“戊戌仲夏邗上袁耀画。”钤“袁耀”、“昭道”印2方。\n这组画屏是袁耀晚年的作品，所绘为扬州北郊的四处名胜景点，均为写生之作。 “春台明月”绘一派怡人春色，湖岸枝头新绿，垂柳依依，用笔细润秀媚，设色淡雅。“平流涌瀑”画夏日高树浓荫，茂茂森森，以浓厚的墨色点染，华滋苍润。“万松叠翠”写秋时萧瑟之意，构图平远、空明，远景山石以简笔勾勒，林木萧疏，只有常青的松树依然叠翠。“平岗艳雪” 绘冬季大地覆雪，老梅独立，神态潇洒，枝干用笔老练苍劲，再以胭脂、白粉点染敷色。画家将瘦西湖两岸的亭台楼阁、名园胜景置于春夏秋冬四季的大自然中，以传统界画的精湛技法把扬州当时“两堤花柳全依水，一路楼台直到山”的繁荣景象真切形象地展现在观者面前。",[23,24,7,104,28,29,1273,107,175,111,176,37,3519,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38be0bee0f8a26f4537528925c9e91e0.jpg","纵57cm，横66.1cm",[181,45],{"id":17670,"slug":17671,"title":17672,"dynasty":99,"author":2189,"museum":20,"description":14424,"tags":17673,"thumbUrl":17674,"material":529,"size":17675,"collection":90,"collections":17676,"showCount":17599,"zanCount":2368,"manualWeight":48,"mainColor":49},222554,"zhuo-se-hua-hui-tu-zhou-chen-chun-222554","着色花卉图轴",[23,24,194,25,226,7,498,83,84,227,230,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b64f49771959cb9dc4b2d40a00c7aad.jpg","59cmx113.4cm",[90,45],{"id":17678,"slug":17679,"title":17680,"dynasty":99,"author":9227,"museum":191,"description":17681,"tags":17682,"thumbUrl":17683,"material":7,"size":17684,"collection":44,"collections":17685,"showCount":17599,"zanCount":48,"manualWeight":48,"mainColor":49},222156,"fu-lu-shou-zhou-shang-xi-222156","福禄寿轴","商喜，字惟吉（一说恒吉），明朝人，生卒年月不详，宣德年间宫廷画家，善画人物、山水、花卉等。其作品有《关羽擒将图》、《岁朝图》、《明宣宗行乐图》及《四仙拱寿图》等。",[24,25,226,28,7,106,2479,746],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc109f3513539842e3b9b3db723a0ee5.jpg","259.6x85",[44,163],{"id":17687,"slug":17688,"title":17689,"dynasty":99,"author":170,"museum":78,"description":17690,"tags":17691,"thumbUrl":17693,"material":529,"size":17694,"collection":181,"collections":17695,"showCount":17599,"zanCount":48,"manualWeight":48,"mainColor":94},222092,"liang-jiang-ming-sheng-tu-ce-shen-zhou-222092","两江名胜图册","此图册描绘长江、准河两岸的山水景致和名胜古迹，表现的是江南水乡那种湿润清丽，明媚幽雅的风光。该图墨色富有变化，集中体现了沈周山水画风格。\n构图:纵观画册，画面剪裁简明、选取富有鲜明特点的景物，可以这样概括为图写真景，赋诗纪游，这与他一生与山林为伍，即有着他自己的生活的基础，才能描写出这些耐人寻味的景致。同时，又必须指出，其中不少构图为使人产生更多的联想、增加一些画外的意境，以此作背景来更加鲜明地衬托出每一画幅中的主题，构成诗意盎然的境界。\n技法:笔法上，只要细察，不难发现，在这十幅作品中，有的工密，有的疏简，布置或繁密谨严，或平凡简洁。用笔力、韵兼胜、不刻露，显得厚重凝炼。山石的繁笔勾皴和屋宇台阁的简笔勾勒，形成疏密对比。人物比例虽小，但那安然自得神态，极为生动，与整个自然融为一体。至于各画的墨色深浅、浓淡、干湿、轻重富有变化，使画面产生强烈的装饰美感。",[23,194,24,25,81,3559,7,173,177,104,28,498,107,34,106,17692],"诗意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddae55cb9acf046e83c10499f6b45c6d.jpg","42.2×23.8厘米",[181],{"id":17697,"slug":17698,"title":17699,"dynasty":99,"author":17700,"museum":191,"description":17701,"tags":17702,"thumbUrl":17703,"material":123,"size":17704,"collection":90,"collections":17705,"showCount":17599,"zanCount":48,"manualWeight":48,"mainColor":94},221942,"hua-hua-die-zhou-zhao-wen-chu-221942","画花蝶轴","赵文俶","赵文俶，长洲（今苏州）人。文从简的女儿，适赵宦光子赵灵筠，故文俶常在画上落“天水赵氏文俶”款，钤“赵文俶印”。文俶生性聪慧，善绘画，见物既能摹写，年四十便去世。她的画擅长花卉，传说她平日居家偶然看见奇花异草、小虫怪蝶，都随手画下，共收集千种，合成一册，题名「寒山草木昆虫状」，可说写生功力极深，因此对捕捉花木草虫的性情特徵，有独到之处。赵文俶此卷迭经恭亲王奕砢、觯斋郭世五收藏，明女史画家作品妍雅若此，甚属难得。",[23,24,226,7,28,83,230,62,873,838],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c039a1b9f0137adce7892838c9292e0.jpg","149.3x47",[90,45],{"id":17707,"slug":17708,"title":17709,"dynasty":99,"author":17710,"museum":101,"description":17711,"tags":17712,"thumbUrl":17713,"material":500,"size":17714,"collection":181,"collections":17715,"showCount":17599,"zanCount":2368,"manualWeight":48,"mainColor":49},221922,"lan-ting-xiu-xi-tu-qian-gu-221922","兰亭修禊图","钱毂","《兰亭修禊图》卷为明代画家钱榖绘。画作题材取自东晋王羲之《兰亭序》，描绘东晋永和九年，王羲之、谢安等人在浙江山阴的兰亭溪上修禊，作曲水流觞之会的故事，卷前有王榖祥题「蘭亭修禊」，卷后有钱榖书《兰亭序》及集诗。",[23,24,25,26,28,7,29,106,378,3712,263,109,175,86,178,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2db27d84328228253e4fe5c410dbf47f.jpg","24.1×435.6cm",[181,45],{"id":17717,"slug":17718,"title":17719,"dynasty":18,"author":1474,"museum":1337,"description":17720,"tags":17721,"thumbUrl":17722,"material":40,"size":17723,"collection":42,"collections":17724,"showCount":17599,"zanCount":48,"manualWeight":48,"mainColor":94},221488,"ming-huang-dou-ji-tu-li-song-221488","明皇斗鸡图","李嵩（1166—1243），中国南宋画家，钱塘（今浙江杭州）人。少年时曾为木工，后成为画院画家李从训的养子，绘画上得其亲授，擅长人物、道释，尤精于界画，为光宗、宁宗、理宗（1190一1264）时期画院待诏。\n李嵩画过许多表现下层社会生活的风俗画，及表现农民劳动生活的《春溪渡牛图》、《春社图》和组画《服田图》等。传至今日的《货郎图》是李嵩传世的重要作品。他以货郎为题材，创作过多幅货郎图。除故宫博物院藏的一幅横卷外，余皆为小幅，分别藏于台北故宫博物院、美国堪萨斯州阿肯博物馆的尼尔逊美术馆及美国纽约大都会美术馆。\n李嵩具有多方面才能，尤其善于通过绘画，表达自己对生活的感受和态度，他的《夜湖图》《水殿招凉图》《观潮图》《西湖图》《仙山瑶涛图》《骷髅幻戏图》《观灯图》《柳塘聚禽图》《花篮图》等，都显示出他卓越的绘画技巧。其中《骷髅幻戏图》则以其不易被人理解的深刻的寓意，为美术史留下了一个画谜。",[23,24,25,194,28,7,106,150,107,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89089138511bc1aca4f7a0f4bc671a45.jpg","纵25.6厘米，横26.4厘米",[42,44,45],{"id":17726,"slug":17727,"title":17728,"dynasty":18,"author":7833,"museum":191,"description":17729,"tags":17730,"thumbUrl":17731,"material":123,"size":17732,"collection":42,"collections":17733,"showCount":17599,"zanCount":2368,"manualWeight":48,"mainColor":49},220234,"chen-ju-zhong-ping-yuan-she-lu-tu-chen-ju-zhong-220234","陈居中平原射鹿图","平野寥廓萧瑟，将塞外猎场的辽远铺展开来。骑手俯身引弓，满弦待发，衣摆随奔马带起的劲风翻涌，骏马四蹄腾空，肌理紧绷绷迸发出奔逐的力量。前方野鹿弓腰疾逃，肢体满是惊惶，奔逃的仓促与骑手的沉凝形成鲜明对冲，将狩猎瞬间的张力拉至顶峰。\n\n画作以极简布景衬出旷野苍茫，线条劲挺爽利，晕染精细熨帖，把人马的剽悍雄健与野鹿的仓皇奔逃刻画得鲜活逼真，将草原射猎的快意与北国的雄放意趣，凝在这奔逐的一瞬之间。",[23,194,24,25,7,28,106,150,2479,1982],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd68da4e95aefa9939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布局得当，于静谧中藏生机，尽显花鸟写生的细腻与意趣。",[194,24,25,7,28,83,7956,62,554,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5cdc4849f24e6562ead882abb23c70e.jpg",[90],{"id":17805,"slug":17806,"title":17807,"dynasty":18,"author":1033,"museum":3038,"description":17808,"tags":17809,"thumbUrl":17810,"material":123,"size":17811,"collection":42,"collections":17812,"showCount":17599,"zanCount":48,"manualWeight":48,"mainColor":49},219083,"shan-qin-mi-shi-tu-lin-chun-219083","山禽觅食图","描绘了两枝树支。 下部枝叶有阔叶，叶片黄色，多孔。 最左边的叶子上有一只黑色的昆虫，似乎已经吃掉了叶子。 高大的枯树的叶子已经枯萎。 而右边的树枝上，却长出了新的叶芽，站在树枝上的鸟儿正盯着那只黑色的虫子。",[23,194,24,25,28,7,83,10744,836,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b4ff92e043a2bee2158780d7469100a.jpg","26.5x25.7cm",[42,90],{"id":17814,"slug":17815,"title":17816,"dynasty":76,"author":17817,"museum":442,"description":17818,"tags":17819,"thumbUrl":17820,"material":123,"size":17821,"collection":90,"collections":17822,"showCount":17599,"zanCount":1379,"manualWeight":48,"mainColor":49},219035,"yan-shang-ying-tu-zhang-yu-sen-219035","岩上鹰图","张雨森","苍岩之巅，雄鹰敛翅伫立。羽翮黑白相间，斑纹细密如织，蓬松处似含风露，利爪紧扣石隙，筋骨隐现沉凝力道。山石以枯笔皴擦，纹理嶙峋若斧劈，与鹰羽的细腻勾勒相映成趣。旁侧虬枝横斜，红叶点缀其间，添几分秋意清寂。背景绢色沉郁，更衬出鹰的孤高与山石的冷峻。画面于写实中融写意之韵，雄鹰沉静姿态下藏蓄势待发的张力，笔墨间尽展自然生机与生命的苍劲力量，观之令人感佩造物之奇与绘者匠心。",[23,194,24,25,226,28,7,3300,686,34,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7adea9a4d59fe57c41686f184054adc1.jpg","纵163.5横88.1厘米",[90],{"id":17824,"slug":17825,"title":17826,"dynasty":18,"author":17827,"museum":608,"description":17828,"tags":17829,"thumbUrl":17831,"material":123,"size":17832,"collection":44,"collections":17833,"showCount":17599,"zanCount":1379,"manualWeight":48,"mainColor":49},218306,"jian-nv-lian-dan-tu-xu-chong-ju-218306","僭女练丹图","徐崇矩","乘玄驹腾跃，袂带飘举间执器引丹。黑马鬃毛劲挺，四蹄踏空似凌虚，与素衣白冠的人物相映，清逸中藏英气。坡岸嶙峋，墨色皴擦见苍劲，几株细竹点染生机。丹烟袅袅升于褐绢之上，暗合仙道清虚之境。\n\n绢色沉褐如浸岁月，工笔勾勒与写意皴染相融：衣纹流畅如行云，马身肌理写实见骨，山石皴法古拙含韵。神情专注处，丹火隐现，方寸间藏天地玄机——既显宋画格物致知的精微，又透仙道氤氲的缥缈，古雅深邃，引人探入画中秘境。",[194,24,913,28,7,106,150,230,17830],"炼丹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2534c674db225970dc309e9344f4111c.jpg","74.2x45.3",[44],{"id":17835,"slug":17836,"title":17837,"dynasty":99,"author":206,"museum":191,"description":17838,"tags":17839,"thumbUrl":17840,"material":88,"size":17841,"collection":45,"collections":17842,"showCount":17599,"zanCount":1379,"manualWeight":48,"mainColor":94},216393,"xiao-xian-qing-ke-tu-sun-ke-hong-216393","销闲清课图","孙克弘（1532—1611） 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e":17982,"collection":42,"collections":17983,"showCount":17874,"zanCount":48,"manualWeight":48,"mainColor":49},219200,"lu-ting-bai-lu-tu-yi-ming-219200","芦汀白鹭图","图绘白鹭两对栖于芦苇丛生的洲渚岸边，一饮啄、一飞降、一静息，一仰首迎接。全画用墨层次丰富，掌握住秋天的景致气氛。在题材、构图、设色上保留南宋汀渚水鸟小景画的意趣，但通幅笔力较为薄弱。",[23,24,7,28,6083,83,1980,1111,17979,245,17980,173],"汀渚","水泽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77827917d9c35594679d81fabbd6da53.jpg","25x25.5cm",[42,90],{"id":17985,"slug":17986,"title":17987,"dynasty":99,"author":257,"museum":442,"description":17988,"tags":17989,"thumbUrl":17990,"material":123,"size":17991,"collection":90,"collections":17992,"showCount":17874,"zanCount":48,"manualWeight":48,"mainColor":49},219003,"gua-shu-tu-yi-ming-219003","瓜鼠图","这幅画描绘了一只老鼠啃食甜瓜的情景，象征着甜瓜的长寿和后人的祝福。由于没有背景，瓜子很逼真，老鼠很灵动，使这个民俗吉祥的题材变得清新雅致，不是一般的普通手笔，可能是出自训练有素的宫廷画师之手。",[23,194,24,25,28,7,83,5779,11407,62,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F786880bde7884db33cdeb9b80987b151.jpg","24.6x25.6cm",[90],{"id":17994,"slug":17995,"title":17996,"dynasty":76,"author":17997,"museum":78,"description":17998,"tags":17999,"thumbUrl":18001,"material":123,"size":18002,"collection":181,"collections":18003,"showCount":17874,"zanCount":2368,"manualWeight":48,"mainColor":49},218264,"du-fu-shi-yi-tu-wang-yuan-qi-218264","杜甫诗意图","王原祁","层峦叠嶂间，干笔皴擦的远山如黛，云雾缭绕中透出苍劲之姿。山腰亭台隐于松竹深处，林木葱茏间藏文人栖居的意趣。近景山石以浓墨勾勒，皴染结合尽显厚重质感；虬松枝干盘曲，松针如簇，笔力遒劲。整幅画笔墨苍润，构图深远，将山水之清幽与诗意之境相融，尽显沉雄古逸的娄东派山水韵味，仿佛可闻林泉间的文人雅韵，观之如入静谧悠远的诗意山水世界。",[23,24,25,7,177,29,175,176,37,34,114,18000],"山间路径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55e15a2b69c75609ee0d8554e5cc662c.jpg","321x92cm",[181],{"id":18005,"slug":18006,"title":18007,"dynasty":18,"author":1350,"museum":191,"description":18008,"tags":18009,"thumbUrl":18011,"material":123,"size":18012,"collection":181,"collections":18013,"showCount":17874,"zanCount":2368,"manualWeight":48,"mainColor":94},218163,"xue-tan-shuang-lu-tu-ma-yuan-218163","雪滩双鹭图","画面以雪景为背景，从左侧伸出的带有积雪的树枝，向下弯曲后转向右上伸长，横斜曲折极富变化。左侧及下部的山石，以带水的墨笔作大斧劈皴画出方硬有棱角的“一角”。值得注意的是，整个画面表现出大雪天的寒气逼人、一片宁静，而枝头上两只跳动鸣叫的小鸟，则使之显得静中有动，增添了生机。前景的树枝、山石均以焦墨勾勒，山石后露出的竹叶施以浅色，其余均施以淡淡的水墨，笔墨技法的运用与描写对象的特征及作品意境相适应。",[23,194,24,25,226,173,7,29,795,176,2086,18010,4039,230],"滩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa70fa992caf6ec5e7624ac5e868a7e17.jpg","纵60厘米，横38厘米",[181],{"id":18015,"slug":18016,"title":18017,"dynasty":76,"author":257,"museum":316,"description":18018,"tags":18019,"thumbUrl":18021,"material":123,"size":139,"collection":44,"collections":18022,"showCount":17874,"zanCount":2368,"manualWeight":48,"mainColor":2504},218125,"fu-hua-luo-han-jiu-zhang-lao-xiang-yi-ming-218125","佛画·罗汉九长老像","佚名的佛画 "罗汉九长老像" 是一幅清朝时期的佛教画作，描绘了九位罗汉，这些罗汉是佛教中的超凡脱俗的人物，他们拥有超凡的智慧和慈悲之心，并且被视为佛教中的榜样。\n\n在这幅画中，佚名以精细的笔触描绘了九位罗汉的形象，每一位罗汉都面带慈祥的微笑，身着精致的法衣，体现出他们超凡的品德和修行的成果。画面中还有许多佛教的装饰元素，如佛像、佛经、菩提树等，为整幅画作增添了浓厚的佛教气息。\n\n总的来说，佚名的 "罗汉九长老像" 是一幅非常精美的佛教画作，其中所传达出的超凡慈悲和修行成果，对于追求佛道的人来说是一种极大的启发和鼓励。",[23,260,7,28,27,106,378,176,18020,2235],"瑞兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a09e08d048331cf689d6066907fd6fc.jpg",[44],{"id":18024,"slug":18025,"title":18026,"dynasty":302,"author":18027,"museum":191,"description":18028,"tags":18029,"thumbUrl":18030,"material":123,"size":18031,"collection":44,"collections":18032,"showCount":17874,"zanCount":48,"manualWeight":48,"mainColor":49},216971,"da-shi-xiang-zhou-zhao-yi-216971","大士像轴","赵奕","观音大士像轴是赵奕在元朝时期创作的一幅绘画，描绘了观音大士的形象。观音是佛教中的一位菩萨，被认为是慈悲和智慧的化身。在这幅画中，观音大士身着传统的中国服装，手持佛珠，脸上带着慈祥的微笑。观音大士像轴通常用来装饰寺庙或供奉在佛教场所。",[24,25,226,7,28,260,106,227,230,245,262,63,212,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca16ca2a1f4f371f973d05319d870cd9.jpg","108x54.8",[44],{"id":18034,"slug":18035,"title":18036,"dynasty":302,"author":257,"museum":191,"description":18037,"tags":18038,"thumbUrl":18039,"material":123,"size":18040,"collection":90,"collections":18041,"showCount":17874,"zanCount":48,"manualWeight":48,"mainColor":49},216210,"san-yang-kai-tai-tu-yi-ming-216210","三阳开泰图","三阳开泰图 中有三只羊的图像。这三只羊代表着三阳的出现，是象征和平、繁荣的象征。根据传统，三只羊通常被描绘成站立在一起、头朝上的形态，表示他们正在向天空中的女娲献上膜拜。\n\n这三只羊可能会有不同的造型，但通常都是描绘成充满活力、生机勃勃的样子。他们的毛发通常是乌黑色或棕色，身体健硕，眼神炯炯有神。在三阳开泰图 中，这三只羊是象征着繁荣的重要元素，也是艺术家用来传达历史意义和文化价值的重要工具。",[24,194,7610,28,7,6162,820,227,379,746],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F102a2a7077a6eff7a42cc886854ac759.jpg","163.5x100cm",[90],{"id":18043,"slug":18044,"title":18045,"dynasty":99,"author":2425,"museum":191,"description":18046,"tags":18047,"thumbUrl":18048,"material":2365,"size":139,"collection":181,"collections":18049,"showCount":17874,"zanCount":48,"manualWeight":48,"mainColor":94},214614,"fang-song-yuan-ren-suo-ben-hua-ji-ba-ce-fang-gao-ke-gong-shan-shui-dong-qi-chang-214614","仿宋元人缩本画及跋册-仿高克恭山水","董其昌是中国明清时期的画家、书法家，出生于浙江省杭州市。他的作品有许多著名的山水画，其中包括《虞山图》。此外，董其昌还有许多仿宋元人缩本画和跋册，其中包括《仿高克恭山水》。\n\n《仿高克恭山水》是董其昌的一幅仿宋元人缩本画，其中描绘了秀美的山水风光。在这幅画中，董其昌运用了仿宋元人风格的画法，使得画面充满了古朴的气氛。他通过笔触的流畅和墨色的变化，表现出了山水的秀美和自然的灵动。整幅画浑然一体，充满了生机和活力。\n\n《仿高克恭山水》是董其昌的杰作之一，它被广泛收藏和展览，并被认为是中国仿宋元人风格山水画的代表作之一。董其昌的作品对中国书画史上的发展起到了重要的作用，并且被认为是中国书画史上的经典之作。",[24,25,81,173,7,29,30,34,37,176,809,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1523aa0b726e258ba37810ef1a4d3eeb.jpg",[181],{"id":18051,"slug":18052,"title":18053,"dynasty":189,"author":362,"museum":316,"description":1960,"tags":18054,"thumbUrl":18055,"material":599,"size":600,"collection":139,"collections":18056,"showCount":18057,"zanCount":48,"manualWeight":48,"mainColor":49},290555,"wu-dai-nan-tang-hua-hui-cao-chong-juan-xu-xi-290555","五代南唐花卉草虫卷",[194,24,25,26,28,7,83,897,483,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae6d9fb677d356b11b5aa6b55f88bca7.jpg",[],76,{"id":18059,"slug":18060,"title":18061,"dynasty":54,"author":12732,"museum":316,"description":18062,"tags":18063,"thumbUrl":18064,"material":599,"size":600,"collection":139,"collections":18065,"showCount":18057,"zanCount":48,"manualWeight":48,"mainColor":49},290511,"bao-ji-bin-ga-luo-fo-xiang-wu-dao-zi-290511","宝积宾伽罗佛像","吴道子（约680年—759年），又名道玄，唐代著名画家，画史尊称画圣。汉族，阳翟（今河南禹州）人。约生于公元680年（永隆元年） ，卒于公元758年（乾元元年）前后。少孤贫，年轻时即有画名。曾任兖州瑕丘（今山东滋阳）县尉，不久即辞职。后流落洛阳，从事壁画创作。开元年间以善画被召入宫廷，历任供奉、内教博士、宁王友。曾随张旭、贺知章学习书法，通过观赏公孙大娘舞剑，体会用笔之道。擅佛道、神鬼、人物、山水、鸟兽、草木、楼阁等，尤精于佛道、人物，长于壁画创作。",[24,194,25,226,260,7,106,6768,5883,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff024de3f0cf5457299698b68bc41684e.jpg",[],{"id":18067,"slug":18068,"title":18069,"dynasty":302,"author":257,"museum":316,"description":18070,"tags":18071,"thumbUrl":18072,"material":599,"size":600,"collection":139,"collections":18073,"showCount":18057,"zanCount":2368,"manualWeight":48,"mainColor":49},290067,"you-yuan-shi-nv-tu-yi-ming-290067","游园仕女图","湖石清奇嶙峋，梅枝缀着初绽的花苞，棕榈幽立，朱栏回环圈住一院春柔。主仆二人缓步游赏，仕女罗裙曳地，执扇抬首凝睇花枝，静嗅春信，侍女垂目紧随，姿态恭谨低柔。\n\n整作设色调古雅沉静，笔触细秀温婉，以淡墨轻彩晕染出深闺庭院的幽寂，将深闺女子探春的闲静情态藏在无言的游园片段里。没有喧嚷盛景，只借极简园景烘托出娴静疏离的闺中春日氛围，将仕女含蓄的春思融在无言的抬首凝望中，尽显元代工笔雅致内敛的特质，晕开古典闺苑的幽柔诗意。",[24,1260,7,28,106,59,820,3584,115,9432],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3619554a1b63843503db4e649a80a6f3.jpg",[],{"id":18075,"slug":18076,"title":17407,"dynasty":76,"author":2200,"museum":316,"description":2962,"tags":18077,"thumbUrl":18078,"material":599,"size":600,"collection":139,"collections":18079,"showCount":18057,"zanCount":2368,"manualWeight":48,"mainColor":94},239513,"mu-dan-shui-xian-zhou-wu-chang-shuo-239513",[24,226,7,83,498,292,898],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F608e8a39a2d5b5e7b4c77db06de234c4.jpg",[],{"id":18081,"slug":18082,"title":205,"dynasty":76,"author":77,"museum":316,"description":596,"tags":18083,"thumbUrl":18084,"material":599,"size":600,"collection":139,"collections":18085,"showCount":18057,"zanCount":48,"manualWeight":48,"mainColor":94},239433,"hua-niao-ce-yun-shou-ping-239433",[24,25,81,82,7,173,83,212,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F142b6495fb6062dbc404fdab2aa71537.jpg",[],{"id":18087,"slug":18088,"title":18089,"dynasty":76,"author":2200,"museum":20,"description":16247,"tags":18090,"thumbUrl":18091,"material":139,"size":139,"collection":90,"collections":18092,"showCount":18057,"zanCount":2368,"manualWeight":48,"mainColor":94},236914,"ping-hua-chang-pu-tu-zhou-wu-chang-shuo-236914","瓶花菖蒲图轴",[24,25,226,7,83,266,4288,173,86,178,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe31a2e8d71982568c3110d604c9844d9.jpg",[90,45],{"id":18094,"slug":18095,"title":131,"dynasty":76,"author":2200,"museum":20,"description":18096,"tags":18097,"thumbUrl":18098,"material":770,"size":139,"collection":139,"collections":18099,"showCount":18057,"zanCount":48,"manualWeight":48,"mainColor":94},234303,"hua-hui-ce-wu-chang-shuo-234303","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。”吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。",[24,25,81,7,498,83,569,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73b8f51f1b3a31f1c9e208eec84c89a4.jpg",[],{"id":18101,"slug":18102,"title":18103,"dynasty":76,"author":18104,"museum":316,"description":18105,"tags":18106,"thumbUrl":18107,"material":139,"size":139,"collection":139,"collections":18108,"showCount":18057,"zanCount":48,"manualWeight":48,"mainColor":94},230198,"xi-hu-quan-jing-tu-ping-zhou-shang-wen-230198","西湖全景图屏","周尚文","此作用大青绿设色晕染山峦，石青石绿敷色明丽雅致，兼以勾勒皴擦表现山体肌理，糅合浅绛晕染的柔和质感。山峦层叠排布，以留白烘衬云气，虚实相生间烘托出空濛悠远的江南湖山意境。山间苍松虬劲古雅，林木错落点缀，将温润灵秀的山水气质尽显。构图错落递进，层层铺展出悠远舒展的山水格局，尽显工丽秀雅的格调，把江南湖山的清润诗意融于笔底，兼具可观可游之趣。",[23,24,25,27,7,177,29,1273,30,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c1d10b61a0a4df84f3479e4933db94a.jpg",[],{"id":18110,"slug":18111,"title":18112,"dynasty":99,"author":170,"museum":316,"description":18113,"tags":18114,"thumbUrl":18115,"material":139,"size":139,"collection":139,"collections":18116,"showCount":18057,"zanCount":48,"manualWeight":48,"mainColor":94},228837,"zi-sang-yin-ru-tu-juan-shen-zhou-228837","紫桑隐如图卷","此作用笔温厚苍润，取景江南水村一隅。近岸篱舍环于木栅，垂柳初舒柔条，丹枫点染暖艳，柴门边家犬迎客，三两屋舍透出融融闲趣。湖面轻舟漾波，渔者撑篙送访客登岸，一动一静，鲜活勾勒乡居日常。\n山石以淡赭晕染，墨色层次雅致，屋舍人物简括生动，将林泉高致的隐逸之趣，揉入江南水乡的温润景致里，淡远冲和，尽显归园田居的恬然意韵。",[23,24,25,26,7,177,29,34,174,106,989,109,176,796,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1dd651f9864f373fed8f9382256e76e.jpg",[],{"id":18118,"slug":18119,"title":18120,"dynasty":302,"author":257,"museum":316,"description":18121,"tags":18122,"thumbUrl":18124,"material":599,"size":600,"collection":139,"collections":18125,"showCount":18057,"zanCount":2368,"manualWeight":48,"mainColor":49},228240,"yu-lan-guan-yin-zhou-yi-ming-228240","鱼篮观音轴","此尊观音菩萨即为鱼篮观音，像高束发，垂发挽结，自然舒卷，搭在双肩，富有写实感。观音菩萨面相丰满，头微颔，双眼作俯视状，双眉正中嵌珍珠白毫。五官刻画柔和，轮廓端正，表情和悦，深沉内省，充分表现出观音菩萨大慈大悲、慈悯众生的佛性。观音菩萨袒露前胸，佩戴牡丹花饰缨络项链，内束裙，裙边饰花纹，折迭自然起伏，裙带扎束小结，线条流畅细腻，富有动感。外罩双领下垂大衣，衣领雕饰牡丹花草，翻卷自由活泼，富有写实性和立体感。",[23,24,226,7,28,260,106,722,136,2235,18123],"篮","https:\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( 赵令穰、赵伯驹、赵孟頫），绘画兼具其平生倾慕的赵孟頫、王蒙、董其昌三家之长。王鉴所谓的“仿”并非简单地模仿笔墨技巧、构图布局，而是重在表明自己的审美理想和创作思想，然后施之于画幅上，令其画独存灵逸之趣。",[23,24,25,226,2428,27,7,177,29,176,34,108,109,986,106,1785],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F228e8ef62ddaeaa716374da839e86119.jpg","110×60cm",[],{"id":18147,"slug":18148,"title":18149,"dynasty":18,"author":257,"museum":316,"description":18150,"tags":18151,"thumbUrl":18152,"material":139,"size":139,"collection":139,"collections":18153,"showCount":18057,"zanCount":2368,"manualWeight":48,"mainColor":49},223653,"chi-bi-tu-ce-ye-yi-ming-223653","赤壁图册页","《宋无款赤壁图》是宋代佚名创作的一幅画。\n本幅是一叶扁舟为主景的局部山水，画面中置石壁于右上角，仅画出赤壁之山脚与山石部分，可以说是把赤壁予以浓缩成近景特写。\n扁舟上回身仰望的苏东坡，暗示出他看到的赤壁在画外的高耸着，赤壁的特色，并不因其只画山角而失去，反因取材精简，景致更能突出。\n波浪起伏回转，表现一叶扁舟之摇摇荡荡，飘飘乎遗世而独立，可说极为生动地将〈 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横115.9厘米",[181,45],{"id":18209,"slug":18210,"title":18211,"dynasty":869,"author":870,"museum":8765,"description":18212,"tags":18213,"thumbUrl":18214,"material":11118,"size":139,"collection":139,"collections":18215,"showCount":18057,"zanCount":48,"manualWeight":48,"mainColor":94},220601,"gong-chong-ce-ye-mo-e-qi-bai-shi-220601","工虫册页·墨蛾","此作工写相映成趣。几片贝叶以写意出之，赭色晕染叶片，红笔勾勒叶脉，寥寥数笔便带着舒展松弛的野趣，似将秋光揉进纸间。右侧墨蛾则以工细笔法刻画，翅脉纹理纤毫毕现，躯体斑纹层次分明，黑褐晕染厚重通透，将飞蛾朴拙鲜活的姿态精准定格，仿佛振翅欲飞。\n\n简淡写意与精细工笔相互衬映，把乡野日常小景绘得意韵悠长，藏着对檐下秋虫的脉脉温情，以小品之态尽显雅致鲜活的生机，笔底皆是烟火气里的自然意趣。",[24,25,81,28,173,7,11116,554,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbd4614bf0ace25e61b5220a30eff0cc.jpg",[],{"id":18217,"slug":18218,"title":18219,"dynasty":869,"author":18220,"museum":8765,"description":18221,"tags":18222,"thumbUrl":18223,"material":500,"size":139,"collection":139,"collections":18224,"showCount":18057,"zanCount":48,"manualWeight":48,"mainColor":94},220476,"wan-shan-hong-bian-li-ke-ran-220476","万山红遍","李可染","以大面积朱砂晕染层林，丹红似燃，浓烈却不失厚重意蕴，将秋山烂漫尽数铺展。焦墨勾勒山石轮廓，苍劲雄浑的墨色与艳烈丹红碰撞，生出极强视觉张力。垂落的飞瀑如素练破山而下，为沉郁秋景注入灵动生机。山坳间错落的白墙黛瓦民居，晕开一抹烟火暖意，让宏阔秋景多了几分温婉烟火气。笔力苍拙厚重，色彩对比强烈却和谐相融，将秋日山林的绚烂大气与静谧雅致合而为一，尽显秋山盛景的磅礴诗意。",[23,24,7,177,498,29,1426,809,35,1754,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8cecc510a934210856686c503976ce7a.jpg",[],{"id":18226,"slug":18227,"title":18228,"dynasty":18,"author":18229,"museum":191,"description":18230,"tags":18231,"thumbUrl":18234,"material":1319,"size":18235,"collection":42,"collections":18236,"showCount":18057,"zanCount":48,"manualWeight":48,"mainColor":49},220191,"hui-chong-qiu-ye-pan-diao-hui-chong-220191","惠崇秋野盘雕","惠崇","惠崇（965- 1017），福建建阳人，北宋僧人，擅诗、画。作为诗人，他专精五律，多写自然小景，忌用典、尚白描，力求精工莹洁，颇为欧阳修等大家称道；作为画家，他“工画鹅雁鹭鸶，尤工小景，善为寒汀远渚、潇洒虚旷之象，人所难到也”（北宋郭若虚语）。苏轼为惠崇画作《春江晚景》的题诗：“竹外桃花三两枝，春江水暖鸭先知”，名传千古。",[23,194,24,25,7,28,245,230,353,83,18232,18233],"秋野","小景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56df0b08b27fc595e4372d9f087822ef.jpg","23.7x24.9",[42,90],{"id":18238,"slug":18239,"title":18240,"dynasty":99,"author":257,"museum":56,"description":18241,"tags":18242,"thumbUrl":18244,"material":123,"size":18245,"collection":44,"collections":18246,"showCount":18057,"zanCount":2368,"manualWeight":48,"mainColor":49},219537,"qi-ying-sheng-hui-tu-yi-ming-219537","耆英胜会图","《耆英胜会图》为辽宁省博物馆首次对外展出，画作反映了北宋年间，“耆英会”的成员们日常闲聚的场景。整幅画作人物栩栩如生，将那一时期士大夫们不问政事、优哉游哉的画面描绘了出来。画作上，在几个主要人物旁边都写有姓名，这为辨识“耆英会”成员提供了方便。辽宁省博物馆工作人员分析认为，这些姓名可能是作者在画完之后特意写上的。\n在《耆英胜会图》的左半部，画有一个案几，司马光静坐在案几后，右手持笔，摆出了想要落笔书写的样子。案几上，纸张铺开，砚中有墨。在司马光的右手边，富弼端坐着，双手互揣衣袖，慈祥地静观着他。\n因为二人在这幅画里有距离感，按照常规视觉，司马光在画里的形象应该大于富弼，但实际上却恰恰相反。“中国古代绘画与西方绘画不同，在人物构图上，更强调尊卑观念。也就是说，在一幅画里，要凸显尊者、主人公的形象。”《民国辽沈金石书画史》作者、沈阳故宫博物馆副研究员沈广杰对画作进行了解读。他说，就《耆英胜会图》来看，从年龄上，富弼要长于司马光，而如果从官职上，前者也要高于后者，所以富弼的形象大于司马光就在情理之中了。",[23,24,26,7,6170,28,4352,1273,8803,8804,86,18243,5742],"士大夫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32aec312de9de2887e7eb87c9352fd6c.jpg","纵47横344厘米",[44,45,2065],{"id":18248,"slug":18249,"title":18250,"dynasty":256,"author":257,"museum":191,"description":18251,"tags":18252,"thumbUrl":18253,"material":123,"size":18254,"collection":44,"collections":18255,"showCount":18057,"zanCount":2368,"manualWeight":48,"mainColor":49},219410,"huo-lang-tu-zhou-yi-ming-219410","货郎图轴","货郎挑担来到牡丹花下敲锣叫卖，孩童们争相前来，有拿铜钱的、拖玩具小车、打陀螺，还有手上把玩风车，脸上洋溢着欢喜与兴奋。货郎扁担为高肩形式，装饰着一对华丽的蟠龙，这是明代流行的样式。伞盖下悬挂灯笼、葫芦。置物架上内嵌木格，装满了瓶罐、玩具，及福禄寿样貌的泥塑偶人。背景牡丹盛开，桃实累累，充满吉祥意味。",[24,25,226,28,7,106,2385,9249,280,2309],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5c2e1b92d7b7e924913d4aafee674fb.jpg","183.5x116.3",[44],{"id":18257,"slug":18258,"title":9322,"dynasty":18,"author":257,"museum":132,"description":18259,"tags":18260,"thumbUrl":18261,"material":123,"size":18262,"collection":90,"collections":18263,"showCount":18057,"zanCount":2368,"manualWeight":48,"mainColor":49},218949,"hua-zhu-an-chun-tu-yi-ming-218949","绢本之上，墨彩交织出温润古意。数只鹌鹑或低头啄食，或侧耳呼应，羽毛纹理细腻如绒，神态憨态可掬；竹枝挺拔，叶片婆娑，藤蔓缠绕间缀着娇艳花朵，石畔幽草含露，一派生机盎然。画家以精湛写生功底，捕捉自然瞬间的灵动：鹌鹑的互动、花叶的摇曳，皆形神毕肖。整体氛围静谧雅致，似能闻见草木清香，窥见田园一隅的闲适安然，尽显宋画“格物致知”的审美意趣——于细微处见天地，于平淡中藏深情，将寻常景致绘就成耐人寻味的诗意画卷。",[24,25,26,28,7,227,7956,62,209,553,263,380],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72f14da85deeb768a04b8571e1787dcc.jpg","33x179cm",[90],{"id":18265,"slug":18266,"title":18267,"dynasty":302,"author":257,"museum":18268,"description":18269,"tags":18270,"thumbUrl":18271,"material":123,"size":18272,"collection":181,"collections":18273,"showCount":18057,"zanCount":1233,"manualWeight":48,"mainColor":49},218225,"qing-shan-hua-ge-tu-yi-ming-218225","青山画阁图","朵云轩","此图绘重峦之中的楼阁，游人漫步其中，凭栏远眺，两 只小舟荡于溪水之上。山石的画法受郭熙影响，界画楼阁手法工谨，当属职业画家所创作的山水楼阁画。",[24,25,3559,7,27,177,6662,107,108,109,34,176,2234],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F460d65a40c463c3ffa5784432d4acd69.jpg","170x103cm",[181],{"id":18275,"slug":18276,"title":18277,"dynasty":99,"author":257,"museum":2754,"description":18278,"tags":18279,"thumbUrl":18280,"material":123,"size":18281,"collection":181,"collections":18282,"showCount":18057,"zanCount":48,"manualWeight":48,"mainColor":49},217911,"shan-zhuang-guan-he-tu-yi-ming-217911","山庄观鹤图","山庄观鹤图是明朝时期的一幅名画，作者是佚名画家。这幅画描绘了一座山庄，山庄周围群山环抱，绿树成荫，空气清新。在山庄的前院，有一只鹤正在观赏花草，显得十分和善。这幅画浓烈的山水意境，深刻地表现出了古人对自然界的敬畏和虔诚，同时也展现了明朝画家独特的画风和技巧。",[24,226,7,29,177,106,175,108,109,107,34,176,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2fad8a02e60f7dc3edd0d39a2250f75.jpg","195.5x99cm",[181],{"id":18284,"slug":18285,"title":18286,"dynasty":302,"author":257,"museum":191,"description":18287,"tags":18288,"thumbUrl":18289,"material":123,"size":18290,"collection":44,"collections":18291,"showCount":18292,"zanCount":1003,"manualWeight":48,"mainColor":49},290745,"mei-hua-shi-nv-zhou-yi-ming-290745","梅花仕女轴","此幅画作，梅花树下，一名身形窈窕的美人，正手持铜镜，专注地妆扮着自己。身侧，并点缀了奇石和水仙花。全画的情境，被塑造得无比恬静而优雅。\n美人额间所装饰的梅花形“花钿”，似乎是整张画中最引人注目的焦点。唐代徐坚的《初学记》曾记载，南朝宋武帝（420－422在位）的女儿寿阳公主，某一日，在含章殿屋檐下休息假寐时，刚好有朵梅花掉落到她的额头上。当公主醒来起身，这朵梅花居然还停留在额间。此情此景，被宫中的女眷们看见，均大表赞赏，甚至纷纷起而仿效，掀起一股“梅花妆”的流行风潮。",[24,226,7,28,106,59,614,820,898,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfc4a265b52f01bd880e3e8c0aac9848.jpg","131.4x63",[44],75,{"id":18294,"slug":18295,"title":12459,"dynasty":302,"author":303,"museum":316,"description":18296,"tags":18297,"thumbUrl":18298,"material":599,"size":600,"collection":139,"collections":18299,"showCount":18292,"zanCount":2368,"manualWeight":48,"mainColor":49},290085,"zhao-liang-shi-nv-tu-qian-xuan-290085","这幅“宋钱选招凉仕女图”以美人为主题。画中两位美人，举止娴雅，体态轻盈纤弱，削肩瓜子脸，正是宋人欣赏的美女典型。再看看她们的穿着：内穿低胸衣、窄长裙、外着对襟褙子，也是宋代妇女所常穿的时装。至于她们手中的圆扇，又名为团扇或纨扇。它们除了能够避暑、招凉之外，因为形式、材质、扇面巧富变化，所以也是仕女手中不可或缺的重要饰品。\n庭园里，两位纤细窈窕的美人，手持着圆扇，相偕漫步而来。园中植立着传统庭园中常见剔透嶙峋的太湖石，石后还有一株花树，绽放着好似月季的花朵。美人头上，戴着不同款式的高帽，尤其是那层层高起的花形冠，样子相当别致新颖，或许是当时最新流行的款式吧\n这幅传为钱选（1235-1303左右）所作的“招凉仕女”，由于仕女面容、衣服的白粉及花上的朱砂多已脱落，因此颜色显得相当素雅简淡。钱选是南宋末一位相当具有文才与气节的画家，画风以细腻见长。这幅作品画风与存世钱选作品风格不尽相同，但仍不失无一幅南宋典雅的仕女画佳作",[24,6170,28,7,59,614,230,84,5300,12465],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81f42f52ef48908dcf2b212818ad4433.jpg",[],{"id":18301,"slug":18302,"title":18303,"dynasty":189,"author":18304,"museum":316,"description":18305,"tags":18306,"thumbUrl":18307,"material":599,"size":600,"collection":139,"collections":18308,"showCount":18292,"zanCount":48,"manualWeight":48,"mainColor":49},289777,"lian-chi-shui-qin-tu-zhou-er-gu-de-qian-289777","莲池水禽图轴二","顾德谦","顾德谦，五代南唐画家。建康(江苏)人，专喜好画道教神像画，又善画动植物。深受李后主厚爱。他画的人物，神韵清劲，笔力雄健。传世作品有《太上像》、《太上度关图》、《太上图》、《太上采芝像》、《四子太上像》、《采芝图》、《仙迹图》、《洞庭灵烟图》等20余件，见《宣和画谱》。",[23,24,226,2746,7,28,136,834,2340,228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1eb96d9cd6b47e7470bafecaed08c207.jpg",[],{"id":18310,"slug":18311,"title":18312,"dynasty":189,"author":3894,"museum":316,"description":11706,"tags":18313,"thumbUrl":18314,"material":599,"size":600,"collection":139,"collections":18315,"showCount":18292,"zanCount":48,"manualWeight":48,"mainColor":49},289453,"shi-liu-tu-huang-ju-cai-289453","石榴图",[194,24,25,83,7,28,1060,210,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcfa0285b330e25a9c43ac0ab66d7224.jpg",[],{"id":18317,"slug":18318,"title":18319,"dynasty":18,"author":1033,"museum":316,"description":18320,"tags":18321,"thumbUrl":18322,"material":599,"size":600,"collection":139,"collections":18323,"showCount":18292,"zanCount":2368,"manualWeight":48,"mainColor":49},288492,"guo-shu-lai-qin-tu-lin-chun-288492","果熟来禽图","《果熟来禽图》绘有林檎果一枝，枝上硕果累累。系挂着沉甸甸果实的枝丫，仿佛在轻轻地颤动。果叶正反面刻画细致，连虫蚀的痕迹都颇为清晰。果树上有一小鸟，它转颈回眸，振翅欲飞。画面虽不繁复，却充满生气盎然的意趣，表现出作者蕴藉空灵的审美追求",[23,24,194,2746,28,7,245,569,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ae85ba9562268d73b08485dbcf58808.jpg",[],{"id":18325,"slug":18326,"title":18327,"dynasty":99,"author":857,"museum":316,"description":18328,"tags":18329,"thumbUrl":18330,"material":638,"size":139,"collection":44,"collections":18331,"showCount":18292,"zanCount":48,"manualWeight":48,"mainColor":49},237222,"chen-hong-shou-jin-jue-tu-juan-chen-hong-shou-237222","陈洪绶晋爵图卷","陈洪绶（1599年—1652年），字章侯，幼名莲子，一名胥岸，号老莲，别号小净名，晚号老迟、悔迟，汉族，浙江绍兴府诸暨县枫桥陈家村（今 明代著名书画家、诗人。\n年少师事 明亡入 一生以画见长，尤工 所画人物躯干伟岸，衣纹 花鸟等描绘精细，设色清丽，富有装饰味。亦能画 还长于为文学作品创作 其画手法简练，色彩沉着含蓄，其人物画成就，人谓“力量气局，超拔磊落，在仇（英）、唐（寅）之上，盖明三百年无此笔墨”；当代国际学者推尊他为“代表十七世纪出现许多有彻底的个人独特风格艺术家之中的第一人”。",[24,25,26,28,7,106,59,195,176,34,109,986],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcddd38d94f0d83cb4ba3169e2191ffee.jpg",[44],{"id":18333,"slug":18334,"title":205,"dynasty":76,"author":4891,"museum":316,"description":4892,"tags":18335,"thumbUrl":18336,"material":139,"size":20,"collection":90,"collections":18337,"showCount":18292,"zanCount":2368,"manualWeight":48,"mainColor":94},236606,"hua-niao-ce-ma-yuan-yu-236606",[24,25,81,7,173,83,209,836,783],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e74d9e1c5842148c80d29f7995d049e.jpg",[90,45],{"id":18339,"slug":18340,"title":18341,"dynasty":18,"author":12243,"museum":316,"description":18342,"tags":18343,"thumbUrl":18344,"material":139,"size":139,"collection":139,"collections":18345,"showCount":18292,"zanCount":2368,"manualWeight":48,"mainColor":49},232781,"qing-lv-shan-shui-tu-juan-zhao-bo-su-232781","青绿山水图卷","赵伯骕(1124--1182年)，字希远，宋宗室，赵伯驹弟，官至和州防御史，曾以副使身份出使过金国。他擅长青绿山水，出自唐代李思训的传派并自成一体。",[23,194,24,25,26,27,7,28,29,685,262,34,107,175,108,174,10383,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaa254d25dcb7192aa77a3c1e2f7ab64.jpg",[],{"id":18347,"slug":18348,"title":7377,"dynasty":76,"author":257,"museum":316,"description":18349,"tags":18350,"thumbUrl":18351,"material":599,"size":600,"collection":139,"collections":18352,"showCount":18292,"zanCount":48,"manualWeight":48,"mainColor":94},230348,"yong-zheng-shi-er-yue-xing-le-tu-zhou-yi-ming-230348","水岸楼台层叠错落，奇石流泉蜿蜒在庭院间。近舍里宾朋凭栏谈笑，空场间人群簇立，围观高架旁的杂艺演出。远景烟波轻笼水乡，屋舍连片沿水岸铺展，拱桥上行人摩肩接踵，新梅缀枝，漫染融融春意。\n\n整作工笔细腻温婉，以淡彩晕染出雅致底色，将苑囿闲情与江南市井的喧闹烟火相融，疏密有致的构图里，铺陈出春日佳节松弛鲜活的盛景，尽揽雅致祥和的岁时意趣。",[24,7,28,104,106,107,175,108,109,34,820,115,1703],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2627069d8464d638cd4130d2f3b07cf.jpg",[],{"id":18354,"slug":18355,"title":18356,"dynasty":76,"author":2162,"museum":419,"description":2163,"tags":18357,"thumbUrl":18358,"material":67,"size":2173,"collection":139,"collections":18359,"showCount":18292,"zanCount":48,"manualWeight":48,"mainColor":94},230109,"hong-lou-meng-190-sun-wen-230109","红楼梦190",[24,28,7,320,106,150,6866,107,795,115,104,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F371fd944c59868ac77daf0417c1ff2a6.jpg",[],{"id":18361,"slug":18362,"title":493,"dynasty":99,"author":17710,"museum":316,"description":18363,"tags":18364,"thumbUrl":18365,"material":139,"size":139,"collection":139,"collections":18366,"showCount":18292,"zanCount":1003,"manualWeight":48,"mainColor":94},228912,"tao-hua-yuan-tu-qian-gu-228912","此作以长卷铺展江南水村，开篇烟波澹荡，远渚含烟，水鸟凌虚翔集，渔舟泛于微波之上，渔人或垂纶独钓，或呼友聚谈，野趣盎然。\n\n沿岸柳丝拂水，桃林绽艳，村舍隐于茂林间，处处是武陵桃源般的恬然烟火。笔墨清润秀雅，淡设色浅淡明净，汀渚草木以写意出之，简括生动，人物虽寸豆之姿却形神宛然。将陶潜笔下的避世幽境，化作可观可感的江南闲居图卷，淡墨轻岚间，漾开文人心底的出世幽怀，尽显吴门画派的温婉逸致。",[23,24,25,26,173,7,177,28,29,106,243,109,174,796,245,108,175,722],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44fb6b1339fc9b39427ac5cbdcb7f124.jpg",[],{"id":18368,"slug":18369,"title":18370,"dynasty":99,"author":100,"museum":316,"description":18371,"tags":18372,"thumbUrl":18373,"material":139,"size":139,"collection":139,"collections":18374,"showCount":18292,"zanCount":48,"manualWeight":48,"mainColor":49},228439,"er-shi-si-xiao-tu-ye-chou-ying-228439","二十四孝图页","此作工致清雅，以细腻笔触绘就林间饲象图景。白象以淡墨皴擦晕染皮肤褶皱，肌理温润厚实，鼻卷白润之物，神态温驯静和。童子倚树而立，衣纹爽利简练，安然望向白象，神态松弛自若。古柳垂枝如幄，树身疤结刻画入微，惊掠的飞鸟打破林间静谧，动静相生，晕染出悠然古意。整幅设色调和雅致，无浓艳堆砌，将寻常伴象日常晕染出静穆恬然的古典氛围，尽显工笔画的精工雅致，于细节处可见精妙观察力，把畜兽憨态、人物安然与林间清景融为一体，平和之中藏着隽永的东方意趣。",[24,25,81,28,7,106,746,245,353],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff505fe06d0930a18151ddd26d291ddce.jpg",[],{"id":18376,"slug":18377,"title":17656,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":18378,"thumbUrl":18379,"material":599,"size":600,"collection":139,"collections":18380,"showCount":18292,"zanCount":2368,"manualWeight":48,"mainColor":49},226216,"ku-zhu-shi-xi-bi-yi-ming-226216",[194,511,260,104,7,106,107,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc239266b541c9c02b59870053dd1a161.jpg",[],{"id":18382,"slug":18383,"title":18384,"dynasty":76,"author":7209,"museum":495,"description":18385,"tags":18386,"thumbUrl":18388,"material":638,"size":18389,"collection":181,"collections":18390,"showCount":18292,"zanCount":48,"manualWeight":48,"mainColor":94},222634,"fu-gui-qing-gao-tu-gao-feng-han-222634","富贵清高图","高凤翰 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，右臂不仁，用左手作画，笔益苍辣，故号尚左生，归云老人，博学精艺，尤豪于诗，早为王士祯所赏识。性嗜砚，所藏至千余，大半手琢，自为铭词。因刻“丁巳残人”“尚左生”二印，官徽州绩溪县令，有政声，康熙五十九年（1720）客安邱张卯居家，张为作《南村草堂图》，西园为作《杞城别墅图》以报之，乾隆十二年（1747）为其孙攀鳞作《寒香图》卷，有《砚史》、《南阜诗抄》。卒年六十六岁。（按高凤翰生卒年，王伯敏《中国绘画史》作（16338-1719），享年八十二岁；秦岭云《杨州八家丛话》作（1863-1749）六十七岁。其说不一，待考。\n雍正十一年官泰州巡盐分司。去职后流寓扬州。工于山水，花卉，山水师法宋人，近赵令穰、郭熙一路，中年以后，到了江南，与扬州画派画家如金农、郑燮、高翔、李方膺、边寿民等相往还，画风相互影响，多作花卉树石，笔法奔放，纵逸不拘成法。亦能画人物，造型准确，神态潇洒秀逸。晚年则趋于奔放纵逸。乾隆二年丁巳右臂病发，坚持用左臂，自号后尚左先、丁巳残人，艰苦力学，书、画为之一变，生拗苍劲，更富奇趣，为时所称。传世画迹有南京博物院藏《层雪炉香图》轴、中央美术学院藏《秋山读书图》轴等。\n工书法，善篆刻，喜收藏，精鉴赏，曾收藏秦汉印章及明清名家制印至万余方，各制有谱录，又收藏砚石至千百方，并制有铭词，手书后大半自行刻凿，著有《砚史》等行世。\n亦被列为扬州八怪之一。有《南阜山人全集》等著作传于世。",[23,194,24,25,26,7,173,83,178,18387,212,228,292],"草书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2e34057c86c9d6e4d85db7601af0f57.jpg","567.8x21.1",[181,163],{"id":18392,"slug":18393,"title":18394,"dynasty":76,"author":18395,"museum":539,"description":18396,"tags":18397,"thumbUrl":18398,"material":282,"size":18399,"collection":44,"collections":18400,"showCount":18292,"zanCount":48,"manualWeight":48,"mainColor":49},222523,"zhu-shou-tu-zhou-wang-wen-wei-222523","祝寿图轴","王文炜","寿星和梅花鹿是这一题材必备的图像，婴戏图表示多子，也代表了吉祥的寓意，除此之外本图中还描绘了对坐书案的两位文仕，为本图平添了高雅的情趣。画面设色妍雅，笔墨生动。",[23,24,25,194,226,7,28,106,2385,8383,2479,1273,176,109,3827],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca9cf9fe0adff55e94e42726ea4c7077.jpg","80X160",[44,45],{"id":18402,"slug":18403,"title":18404,"dynasty":99,"author":846,"museum":191,"description":18405,"tags":18406,"thumbUrl":18408,"material":18409,"size":18410,"collection":90,"collections":18411,"showCount":18292,"zanCount":2368,"manualWeight":48,"mainColor":49},222173,"jia-he-cao-chong-tu-wu-bing-222173","嘉禾草虫图","本幅选自「名绘集珍」册。画水稻两株，在田间婷婷伫立，成串的稻穗，已经俯首低垂。蝴蝶、花虻和蜻蜓，有的兀自在空中飞舞，有的则栖息在叶梢。由于右上方的叶子，和上方的稻穗，均溢出了画幅的边界，推测可能是表面曾经遭到污损，才由大裁小，改装成现在所看到的形式。",[23,860,24,194,28,7,83,18407,483,484,635,721,264],"嘉禾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c3e40e787e59113179f539e535e2cfe.jpg","册页，设色","27.3 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诣坛）","手卷中钜细靡遗地绘出迤逦的随员行列、声势壮盛的仪仗、采桑的命妇、盛装端坐观礼的皇后，画风精细工整，设色明丽。皇后的形象虽小，但一丝不茍，宛如肖像画般具有个人特性，与郎世宁所绘〈高宗帝后像〉中的皇后像十分接近，当为有所凭据而作，而且很可能是出自郎世宁之手。本院同时也收藏有孝贤皇后亲手为乾隆绣作的荷包，表示连位尊权贵的皇后都不能免於女红的训练。",[23,24,25,26,28,7,104,106,107,34,108,115,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa035dbde6b9f77803cb1de96015f22ca.jpg","51x762.8",[44],{"id":18517,"slug":18518,"title":18519,"dynasty":76,"author":563,"museum":608,"description":1497,"tags":18520,"thumbUrl":18521,"material":638,"size":1500,"collection":139,"collections":18522,"showCount":18292,"zanCount":48,"manualWeight":48,"mainColor":49},214348,"san-jue-shan-shui-ce-14-hua-yan-214348","三绝山水册-14",[23,194,24,25,81,173,7,29,230,109,10361,175,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19d67cc398c207896647efc1727e533f.jpg",[],{"id":18524,"slug":18525,"title":18526,"dynasty":18,"author":18527,"museum":191,"description":18528,"tags":18529,"thumbUrl":18530,"material":282,"size":18531,"collection":139,"collections":18532,"showCount":18533,"zanCount":48,"manualWeight":48,"mainColor":94},289352,"pi-pa-shou-dai-tu-xu-chong-si-289352","枇杷绶带图","徐崇嗣","徐崇嗣，北宋画家。徐熙孙。擅画草虫、禽鱼、蔬果、花木及蚕茧等。其画初承家学，因不合当时图画院程式和风尚，遂改学黄筌、黄居寀父子。后自创新体，所作不用墨笔钩勒，而直接以彩色晕染，世称“没骨图”，也称“没骨花”。兄徐崇勋、弟徐崇矩，均擅画花鸟，崇矩并工士女。",[194,24,25,1260,83,7,82,1036,245,178,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3638daf283762690d69128dce425c2f8.jpg","25.7x27.8",[],74,{"id":18535,"slug":18536,"title":18537,"dynasty":76,"author":2200,"museum":316,"description":2962,"tags":18538,"thumbUrl":18539,"material":599,"size":600,"collection":139,"collections":18540,"showCount":18533,"zanCount":2368,"manualWeight":48,"mainColor":94},288474,"cun-bian-xing-hua-bai-jing-xin-wu-chang-shuo-288474","村边杏花白镜心",[23,24,25,83,7,2328,34,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F061ca737f5bff74392f446ad17f4d8e5.jpg",[],{"id":18542,"slug":18543,"title":18544,"dynasty":76,"author":257,"museum":316,"description":9820,"tags":18545,"thumbUrl":18546,"material":599,"size":600,"collection":139,"collections":18547,"showCount":18533,"zanCount":2368,"manualWeight":48,"mainColor":94},263655,"ke-si-yu-zhi-shi-hua-hui-tu-ce-tao-hua-yi-ming-263655","缂丝御制诗花卉图册-桃花",[194,24,81,1329,28,7,83,243,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6aa17ec3a0050f40eac53095f1b343d5.jpg",[],{"id":18549,"slug":18550,"title":18551,"dynasty":76,"author":5049,"museum":316,"description":18552,"tags":18553,"thumbUrl":18554,"material":139,"size":139,"collection":181,"collections":18555,"showCount":18533,"zanCount":48,"manualWeight":48,"mainColor":94},237876,"yang-jin-fang-gu-shan-shui-ce-yang-jin-237876","杨晋仿古山水册","杨晋 （1644－1728），字子和，一字子鹤，号西亭，自号谷林樵客、鹤道人，又署野鹤，江苏常熟人。山水为王翚入室弟子，尝与绘圣祖南巡图颇精。晚年每多率笔，未免苍而不润，神气便少。然农村景物则颇工，尤长画牛，多写意，夕阳芳草，郊牧之风宛然在目，兼及人物写真，花鸟草虫。每侍翚出游，翚作图凡有人物、舆轿、驼、马、牛、羊等皆命补之。又尝摹内府所藏名迹，作副本进御。卒年八十五。\n杨晋是清代宫廷画家，以画界画见长，他能恰到好处地发挥传统工笔界画的特长，把人工建筑的楼阁台榭及人物举止和天然山水景色紧密结合起来，在结构上作了极好的剪裁，满而不闷，画风细致明秀、娟丽清新，层次过渡非常自然。《石谷骑牛图》绘石谷悠然骑于牛背之上，神态安详平和，状写简逸传神。石谷即清代大画家王翚，也是杨晋的老师。",[24,25,81,7,29,177,105,108,109,353,685,245,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77e76ccbd855cb58e9845ece47e79c5f.jpg",[181,45],{"id":18557,"slug":18558,"title":18559,"dynasty":99,"author":100,"museum":316,"description":18560,"tags":18561,"thumbUrl":18562,"material":139,"size":139,"collection":139,"collections":18563,"showCount":18533,"zanCount":2368,"manualWeight":48,"mainColor":49},228449,"tao-cun-cao-tang-chou-ying-228449","桃村草堂","《桃村草堂图》明代 创作的绢本设色画，现收藏于北京故宫博物院。\n该图画一老者襟带飘然，风度高雅。\n栖居环境十分优美雅适，高山流水，小桥人家，苍松翠柏，桃花盛开，白云缭绕，草堂幽雅，凉亭洁静，宛如人间仙境。\n整幅画意境如诗入仙，画法精细工瑾，细致入微。\n通幅大青绿着色，色彩艳丽深重。\n这幅画是把滴翠的石绿、秀雅的淡赭、温润的墨色，自然和谐地统一在一起，具有一种不媚不俗的艺术效果。\n图中信步在浓郁的树荫下者即项元淇，他侧身而立，身穿宽服大衫，面目清秀，襟带飘然，风度翩翩，显得十分儒雅，为此图中的主人公：此画以山水为背景，景物十分繁复，远处，高山叠幛，山峰林立，山巅屹立，高峰两侧山势相应较矮小，形成“山”字形，山峦间白云缭绕，更远处的山头隐约可见山涧飞瀑高悬，奔腾直泻，叠泉涌流，水花四溅，汇集下部溪水中，溪水湍流，潺潺流淌：中部为山石嶙峋，有的竖立，有的横卧，错落有致，山石间松柏挺拔，与杂树并茂，山腰、山坳处桃花绽开，几乎染红半山腰，呈现出一派浓浓的春意。\n在苍松翠柏丛中，在半山腰的平坡处，座落草堂屋宇数间，半掩于山坡奇石之间，在桃林中筑孤亭，亭中几席书籍清晰可见，草堂四周环境十分优美，凉亭洁净，正是读书吟诗的好场所，宛如人间仙境。\n小溪从亭旁缓缓流过，溪流小桥上有一童子捧着书卷而来，一人从林荫深处向溪边缓步前来，此人正是主人翁项元淇。\n另有二童子，一在溪边洗砚，一携包屋前。\n清代昆度在边题中称“此图在十父图中亦足称第一。\n” 董其昌题跋：“仇实甫临宋画无不乱真，就中学赵伯驹者，更有出蓝之能，虽文太史让费及矣，此图是也。\n” 款识：“仇实父为少岳先生制。\n”画幅左方有明项元汴题“季弟元汴敬藏”。\n裱边左、右有子固、董其昌二跋。\n下裱徐石雪长跋。\n又有项元汴、耿信公、清高宗等鉴藏印二十方。\n此图是仇英为项元淇所绘。\n项元淇，宁子瞻，丁诗文草书。\n这所桃村草堂是项元淇的居处所，仇英在4岁左右被大鉴赏家、收藏家项元汴请至家中，在项家住了十年之久，为项氏绘画和临摹了大量作品，此《桃村草堂图》便是其中之一幅。\n据徐石雪题跋考证，画中老者即为项元淇。\n由于作者为主人绘制，所以落墨、设色十分认真。\n章法采用传统的“高远”构图法。\n画幅中虽景物繁多，尤其崇山峻岭，山峦叠嶂，可是在画家笔下山峰脉络清晰，山石用传统的勾勒手法，兼用细密的皴法和墨色的烘染，使山石富于质感和立体感：全画设色艳丽浓重，又不失淡雅的韵味。\n此画成功之处，还于突出桃村草堂的主人公项元淇的形象。\n主人公项元淇虽在整个画面中占的比例很小，但画家巧妙地将主人公安置于画面下方正中，身穿白色宽服长衫，特别醒目。\n同时，又注意到人物之间的比例关系，使主人公很自然地融汇到大自然之中。\n同时，画家十分巧妙地在亭子中陈设书籍，及溪边童子洗砚和一童子捧书过桥的情节，以此来说明主人公是一个文人雅士。\n北京故宫博物院研究员单国强：《桃村草堂图》藏于北京故宫博物院，学“二赵”青绿法，精细鲜丽，呈晚年本色画风。\n该图经清内府收藏，后为徐石雪所得。\n未见著录。\n现藏于北京故宫博物院。\n仇英（约1498—1552），字实父，号十洲，江苏太仓人，明代杰出画家。\n仇英早年曾是个油漆工，后改学画，师周臣。\n仇英善于摹古，不拘一家一派。\n人物、鸟兽、山水、楼观、舟车之类，都是他常描绘的对象。\n他的画题材广泛，风格工整秀丽，深受当时地主富商的喜爱。\n仇英的人物画最为精妙，尤其是仕女图，既工设色，又善水墨、白描，能运用多种笔法表现不同对象，或婉转舒畅，或劲丽艳爽，创历史风俗的新格，画风流丽纤巧，在当时反响很大，与沈周、文征明、唐寅并称为“明四家”。\n代表作有《松溪论画图》《汉宫春晓图》《桃园仙境图》《玉洞仙源图》《春夜宴桃李园图》等。",[23,24,25,226,7,28,27,29,106,175,34,109,176,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74d7c8993b1840527a365334fa6a6479.jpg",[],{"id":18565,"slug":18566,"title":18567,"dynasty":18,"author":12243,"museum":316,"description":18568,"tags":18569,"thumbUrl":18570,"material":139,"size":139,"collection":139,"collections":18571,"showCount":18533,"zanCount":2368,"manualWeight":48,"mainColor":49},227748,"wu-yun-lou-ge-tu-juan-zhao-bo-su-227748","五云楼阁图卷","卷 绢本设色 纵：31.8厘米 横：297.2厘米 美国克利夫兰博物馆藏 赵伯骕的作品精工细密，色彩虽然金碧辉煌但不失清润活泼，山石皴染，树叶枝干适当运用水墨山水画法，并掺以文人画的“气韵”，其风格既有青绿山水的明丽，又有文人水墨画的雅逸。",[23,194,24,26,27,7,28,177,29,107,108,109,174,34,106,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47e6fc2b4dea5f5640fcca98811420e0.jpg",[],{"id":18573,"slug":18574,"title":18575,"dynasty":76,"author":2837,"museum":316,"description":18576,"tags":18577,"thumbUrl":18578,"material":139,"size":139,"collection":139,"collections":18579,"showCount":18533,"zanCount":1379,"manualWeight":48,"mainColor":94},224366,"hua-hui-si-ping-zhi-er-ju-lian-224366","花卉四屏之二","此作用笔秀雅工丽，素白牡丹以淡墨勾瓣，浅红晕染花心，柔润饱满如凝脂，尽展雍容柔媚之态。墨色叶片浓淡参差，苍润交错，衬出花之洁雅清贵。\n嶙峋湖石以水墨皴擦勾勒，孔洞玲珑古朴，刚硬质感与柔美花株相映，刚柔相济。飞蜂振翅穿行花间，灵动鲜活，为静谧花景添了盎然生机，动静之间尽显春日花下恬然意趣。\n设色明秀清雅，无艳俗之气，兼具写生之真与写意之韵，将花木情态勾勒入神，藏着悠然清逸的文人雅趣。",[23,194,24,25,226,28,7,83,292,721,176,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee9fa90dceefd3869dc23af99f9a1298.jpg",[],{"id":18581,"slug":18582,"title":18583,"dynasty":99,"author":2189,"museum":240,"description":4265,"tags":18584,"thumbUrl":18585,"material":500,"size":4269,"collection":139,"collections":18586,"showCount":18533,"zanCount":48,"manualWeight":48,"mainColor":94},222570,"hua-hui-tu-9-chen-chun-222570","花卉图9",[23,194,24,25,498,173,7,83,84,554,230,838],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0f0254a2eb9eb07ea7e50656f0f7475.jpg",[],{"id":18588,"slug":18589,"title":18590,"dynasty":99,"author":100,"museum":20,"description":1661,"tags":18591,"thumbUrl":18592,"material":40,"size":1665,"collection":139,"collections":18593,"showCount":18533,"zanCount":48,"manualWeight":48,"mainColor":94},222189,"ren-wu-gu-shi-tu-zhuo-liu-hua-tu-chou-ying-222189","人物故事图-捉柳花图",[23,24,25,28,7,81,106,1241,35,29,109,912,5264,115,3192],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00f4e6ab2a4ef0d6aec4e0ebef87e333.jpg",[],{"id":18595,"slug":18596,"title":18597,"dynasty":99,"author":100,"museum":20,"description":1661,"tags":18598,"thumbUrl":18599,"material":40,"size":1665,"collection":139,"collections":18600,"showCount":18533,"zanCount":48,"manualWeight":48,"mainColor":94},222186,"ren-wu-gu-shi-tu-nan-hua-qiu-shui-chou-ying-222186","人物故事图-南华秋水",[23,24,25,81,28,7,29,106,109,108,34,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa97b45609e2c083db0ccce468498ced4.jpg",[],{"id":18602,"slug":18603,"title":18604,"dynasty":18,"author":257,"museum":191,"description":18605,"tags":18606,"thumbUrl":18608,"material":123,"size":18609,"collection":42,"collections":18610,"showCount":18533,"zanCount":2368,"manualWeight":48,"mainColor":49},221238,"xue-lu-shuang-yan-zhou-yi-ming-221238","雪芦双雁轴","描绘的是寒冬汀岸一隅，四只雁栖息于芦苇丛下的岸边，有的仰天引颈而望，有的蹲伏理翎，另外二只掠空飞起。构图极其简洁，大致属于边角结构，芦苇、坡石、芦雁自左下角向内延伸，其余部分大片留白，形成清远空旷的意境",[23,194,24,25,226,28,7,83,18607,1980,245,2562,263],"双雁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1c1047960693bbada4ff966b1451860.jpg","174.6x99.5",[42,90,45],{"id":18612,"slug":18613,"title":18614,"dynasty":302,"author":2603,"museum":20,"description":18615,"tags":18616,"thumbUrl":18617,"material":638,"size":18618,"collection":181,"collections":18619,"showCount":18533,"zanCount":48,"manualWeight":48,"mainColor":94},220823,"xi-jiao-cao-tang-tu-zhou-wang-meng-220823","西郊草堂图轴","图中绘秋天平远景色。近岸草堂、竹篱掩映于树丛之中，岸边系舟，主人与妻子在屋中各行其是。院后湖面空阔，水波不兴，仅露一段岸角丛树，远山一带，渐远渐淡，没入天际。构图、用笔均较简洁，表现出了江南水乡秋季明净寥落的景色特征。\n深秋茂密的林阴下有茅舍数座，一老翁坐室内案旁读书，旁屋内二仕女侍读。门前清溪潺潺，小船停泊。屋后平湖汀渚，一叶轻舟载客行于湖心，打破了画面的沉寂。远方群山烟林，意境清幽。全图笔墨工细秀逸，构图新颖，为王蒙山水画优秀之作。",[24,173,7,177,29,353,106,174,245,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedd459330bfb44d64cef6e2da24450ad.jpg","纵97cm ，横27.2cm",[181,163],{"id":18621,"slug":18622,"title":18623,"dynasty":18,"author":18624,"museum":5827,"description":18625,"tags":18626,"thumbUrl":18627,"material":123,"size":18628,"collection":42,"collections":18629,"showCount":18533,"zanCount":2368,"manualWeight":48,"mainColor":94},219885,"ku-mu-xi-qin-tu-xu-dao-ning-219885","枯木溪禽图","许道宁","许道宁，北宋画家，生卒年不详，活跃于北宋初到北宋中期，长安（今陕西西安）人，又作河间 (今河北河间县)人。 许道宁擅长绘林木、平远、野水、秋江、雪景、寒林,并将这些自然景色和行旅、野渡、捕鱼等人文景观相结合,画风豪放，笔法简快潇洒,峰峦峻秀挺拔,山林强劲有力,幽林荒冷萧条。 传世作品有《渔父图》（又叫《秋江鱼艇图》）、《关山密雪图》、《秋山萧寺图》。",[24,173,7,29,795,1530,230,109,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a9597e31491ea2287ed2d24e604cb11.jpg","25.7x25.1",[42,90],{"id":18631,"slug":18632,"title":18633,"dynasty":99,"author":18634,"museum":191,"description":18635,"tags":18636,"thumbUrl":18637,"material":88,"size":18638,"collection":90,"collections":18639,"showCount":18533,"zanCount":1379,"manualWeight":48,"mainColor":94},219450,"xian-sui-xiang-ying-zhou-chen-gua-219450","献岁祥霙轴","陈栝","此幅绘水仙、腊梅、茶花、竹枝、文禽，山石雪景。用笔灵动，设色清雅。",[24,25,226,28,7,83,820,209,227,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccf87f356fe872769882685c6c3b9a98.jpg","161.6x43.1厘米",[90],{"id":18641,"slug":18642,"title":18643,"dynasty":76,"author":18644,"museum":78,"description":18645,"tags":18646,"thumbUrl":18647,"material":88,"size":18648,"collection":44,"collections":18649,"showCount":18533,"zanCount":48,"manualWeight":48,"mainColor":94},219425,"shui-hui-yuan-ya-ji-tu-zhou-dai-cang-219425","水绘园雅集图轴","戴苍","此画记录了冒辟疆等名士在其私家园林水绘园中的一次雅集。园中山水清远，松荣菊艳，一位僧人打坐石下。两位文人在树下品茶论茗，神态怡然。画面中心石桌前一位老者展卷沉吟，正要落笔作画，另一人据案闲坐，须发尽白，是座中年纪最长的，据画上题跋，已有八十三岁。而画面正中扶手竹椅上坐着的正是此时六十五岁的水绘园主人冒辟疆，他正慈祥看着自己的孙子若有所思。",[194,24,25,226,7,28,106,29,34,686,1273,1010,2307,4352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed7cdd29f797fe827316b5107f1946d5.jpg","纵146厘米，横72.9厘米",[44],{"id":18651,"slug":18652,"title":18653,"dynasty":302,"author":257,"museum":223,"description":18654,"tags":18655,"thumbUrl":18660,"material":7,"size":139,"collection":45,"collections":18661,"showCount":18533,"zanCount":2368,"manualWeight":48,"mainColor":49},219248,"shi-jia-san-zun-xiang-yi-ming-219248","释迦三尊像","三屏并置构局对称庄严，中央主尊端坐莲台，袈裟朱红如燃，衣纹流转似风拂涟漪；左普贤乘六牙白象，象踏祥云，彩饰环身；右文殊跨青狮，狮吼若闻，威凛自生。下方侍从或执杖肃立，或捧器躬身，衣袂飘举间线条劲健。设色虽历久斑驳，仍可见朱砂浓艳、石绿清润与泥金辉光相映，兼具宋画细腻工致与元人开阔气度，将佛国神圣与人间鲜活悄然融合，尽显元代佛画独特神韵——既承汉地传统笔墨之精，又融多元文化的开阔气象，是佛画艺术在时代交融中的生动遗存。",[23,24,260,226,28,7,106,6422,7701,11729,18656,18657,6768,5883,18658,18659,11728],"胁侍","坐骑","骑兽","胁侍菩萨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad0d370ff3dae005e118f1bc294f41e9.jpg",[45],{"id":18663,"slug":18664,"title":18665,"dynasty":18,"author":4912,"museum":191,"description":18666,"tags":18667,"thumbUrl":18668,"material":123,"size":18669,"collection":90,"collections":18670,"showCount":18533,"zanCount":2368,"manualWeight":48,"mainColor":2504},218928,"ying-tu-wang-shen-218928","鹰图","秃鹰和狗争夺野鸡的画作",[23,24,194,226,28,7,83,3300,1530,686],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3da43e23b75b5b5522d773dee5a0b8c2.jpg","136.7x69.7",[90],{"id":18672,"slug":18673,"title":18674,"dynasty":18,"author":257,"museum":191,"description":18675,"tags":18676,"thumbUrl":18677,"material":123,"size":18678,"collection":42,"collections":18679,"showCount":18533,"zanCount":48,"manualWeight":48,"mainColor":94},218809,"jie-hua-lou-ge-1-yi-ming-218809","界画楼阁1","这幅画描绘了一个山间别墅的庭院，有雕花栏杆和奇花异木，这应该是一个富裕家庭的家。这座建筑的风格与署名为马麟的亭子相似，这幅画可以追溯到南宋时期。",[23,24,25,81,104,7,107,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88f6e3d094caae67171695fac9a80a22.jpg","23.7x26.4",[42],{"id":18681,"slug":18682,"title":18683,"dynasty":302,"author":18684,"museum":191,"description":18685,"tags":18686,"thumbUrl":18688,"material":88,"size":18689,"collection":44,"collections":18690,"showCount":18533,"zanCount":48,"manualWeight":48,"mainColor":94},216952,"mi-tuo-fo-xiang-zhang-wo-216952","弥陀佛像","张渥","这幅弥勒佛烧香招蝠是竹园二年的张渥题写的，不是真迹，更接近明末人物画家的风格。",[24,25,7,28,260,106,795,611,379,3007,18687,212],"书籍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4241a4efd980f7cd16dde56a1e854820.jpg","87.5x30.4",[44],{"id":18692,"slug":18693,"title":18694,"dynasty":99,"author":18695,"museum":5488,"description":18696,"tags":18697,"thumbUrl":18698,"material":7,"size":139,"collection":44,"collections":18699,"showCount":18533,"zanCount":48,"manualWeight":48,"mainColor":94},216774,"ri-ben-xian-ren-gao-shi-tu-ping-feng-you-shou-ye-yong-de-216774","日本· 仙人高士图屏风（右）","狩野永德","虬松盘曲，枝叶垂荫，林间高士或立或行，衣袂轻扬。一人俯身似拾幽趣，几人对语如论玄言，神态闲适淡然，尽得超脱尘俗之致。背景山水晕染朦胧，草木疏朗，与人物清逸之姿相映成趣。笔墨简练传神，衣纹流转自然，树木皴法古雅，将林泉之幽、高士之韵融于尺幅，营造出空灵悠远的意境，尽显文人画的雅致情怀。",[23,279,173,352,7,106,34,176,912],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf2dc8a5fc99d7b36be27e50fc56ec0a.jpg",[44],{"id":18701,"slug":18702,"title":18703,"dynasty":18,"author":480,"museum":316,"description":18704,"tags":18705,"thumbUrl":18708,"material":599,"size":18709,"collection":139,"collections":18710,"showCount":18711,"zanCount":1379,"manualWeight":48,"mainColor":49},289554,"cao-chong-hua-die-tu-yan-yan-nv-shi-289554","草虫花蝶图","此卷描绘了一幅秋光明媚的花鸟长卷。画面中，在坡地、湖石之间，桂花、海棠、秋葵等花卉盛开、争奇斗艳，蝴蝶、蜜蜂、蜻蜓翻飞其间、形态各异，充满生机。此卷中花卉设色妍丽，虫蝶描绘栩栩如生而富于变化，与“勾勒纤细，敷色浓艳”的画院“院体”花鸟画风格十分相符，整体给人以写实细腻之感。此卷充分反映出艳艳女史作为一位女性画家出色的绘画技法，充满女性细致、淡雅之趣。",[23,24,194,26,83,28,7,84,483,484,18706,650,635,18707],"飞蛾","坡石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F378970eb9c0212617a3a0b5e28d792b0.jpg","绢本设色纵32.5厘米，横333.5厘米",[],73,{"id":18713,"slug":18714,"title":3126,"dynasty":189,"author":1730,"museum":316,"description":3127,"tags":18715,"thumbUrl":18716,"material":599,"size":600,"collection":139,"collections":18717,"showCount":18711,"zanCount":48,"manualWeight":48,"mainColor":49},289334,"long-su-jiao-min-tu-dong-yuan-289334",[23,194,24,3559,7,177,808,31,34,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed712e724d0c3b83b224acb00bda72a0.jpg",[],{"id":18719,"slug":18720,"title":18721,"dynasty":54,"author":456,"museum":316,"description":18722,"tags":18723,"thumbUrl":18724,"material":599,"size":600,"collection":139,"collections":18725,"showCount":18711,"zanCount":48,"manualWeight":48,"mainColor":2504},288966,"xiao-yi-zhuan-lan-ting-tu-yan-li-ben-288966","萧翼赚兰亭图","《萧翼赚兰亭图》是唐代画家阎立本创作的绘画，原本已佚。现存三本宋代摹本，北宋摹本藏于辽宁省博物馆，南宋摹本藏于台北故宫博物院，还有一本宋代摹本藏于北京故宫博物院。\n北宋摹本和南宋摹本大体相同，都是以辩才和尚与萧翼为中心，图左一老一少正在煮茶。不同之处在于，北宋本画一童仆手抱《兰亭记》从右方出来，而南宋本则是在辩才和尚与萧翼之间，画一侍立僧人。画面简单，若无画题提示会以为是高僧与文士的茶会雅集而已，但实际上描绘的是萧翼从辩才和尚手中骗取王羲之《兰亭序》的故事。北京故宫藏本相对较简略，左侧没有煮茶的人。",[194,24,25,7,106,260,212,2954,2307,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81c426edbd3947eb221f92714358728a.jpg",[],{"id":18727,"slug":18728,"title":18729,"dynasty":18,"author":257,"museum":316,"description":18730,"tags":18731,"thumbUrl":18732,"material":599,"size":600,"collection":139,"collections":18733,"showCount":18711,"zanCount":48,"manualWeight":48,"mainColor":49},288938,"yang-huang-hou-ti-tao-hua-tu-yi-ming-288938","杨皇后题桃花图","此作以极简构图托出幽淡春意，斜逸的桃枝自右下角探入，留白铺陈出空寂古雅的画境。花瓣以淡白晕染，勾勒出柔润轮廓，嫩萼新芽轻缀枝上，鲜活又沉静。题句与花木相映，将桃花经岁方开的清贵尽数铺展，朱红印鉴点缀留白处，晕染出古雅的文人情致。\n整幅笔致精细秀雅，不着浓艳，只以素净笔墨写尽桃花幽婉之姿，将静穆淡远的审美意趣藏于花枝间，淡而愈真，清而弥永，尽揽春日花木的娴静品格。",[24,25,83,243,28,7,86,937,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe700220cab28166479f4448ef8bcad84.jpg",[],{"id":18735,"slug":18736,"title":18737,"dynasty":76,"author":3071,"museum":191,"description":14985,"tags":18738,"thumbUrl":18739,"material":599,"size":600,"collection":139,"collections":18740,"showCount":18711,"zanCount":48,"manualWeight":48,"mainColor":49},287872,"qing-yuan-ben-qing-ming-shang-he-tu-juan-chen-mei-287872","清院本清明上河图卷",[23,194,24,26,28,7,106,107,112,36,113,34,1567,17649,110,116,150,6927,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd49ed9bc2260582398ec60fe7c2077bb.jpg",[],{"id":18742,"slug":18743,"title":18744,"dynasty":76,"author":257,"museum":316,"description":18745,"tags":18746,"thumbUrl":18747,"material":599,"size":600,"collection":139,"collections":18748,"showCount":18711,"zanCount":1003,"manualWeight":48,"mainColor":49},270170,"qian-lan-se-ke-si-mu-dan-hua-die-tu-mian-wu-mu-diao-hua-bing-tuan-shan-yi-ming-270170","浅蓝色缂丝牡丹花蝶图面乌木雕花柄团扇","木雕是雕塑的一种，在我们国家常常被称为“民间工艺”。木雕可以分为立体圆雕、根雕、浮雕三大类。木雕是从木工中分离出来的一个工种，在我们国家的工种分类中为“精细木工”。\n以雕刻材料分类的民间美术品种。一般选用质地细密坚韧，不易变形的树种如楠木、紫檀、樟木、柏木、银杏、沉香、红木、龙眼等。\n木雕是以各种木材及树根为材料进行雕刻，是以传统雕刻工艺中的重要门类。木雕的历史非常悠久，在浙江余姚河姆渡文化遗址就有木雕鱼出土，这是我国木雕史上最早的实物。河南信阳战国大墓出土的木雕镇木兽，湖北云梦汉墓出土的彩雕木佣均为我国早期木雕作品。由于保存的困难，现今很难看到超过千年的木雕作品。\n两宋时期木雕作品较为多见，这时的木雕已采用组织细密的木材为载体进行制作，这就有利于木雕作品的传世。我国的一些庙宇里还保存有宋代的木雕作品。\n元明时由于海外贸易的急速发展，木材种类有所增加，许多由海外进口的硬质木材，是木雕工艺得到长足发展。\n明清期间是木雕艺术的一个辉煌时期，涌现出大量有史可考的名家、艺人及其作品，是古代木雕艺术的一个高峰。\n清末至民国年间由于政府的腐败，国力的衰退，外强的侵略，民不潦生，木雕艺术从此衰落，艺人名家也只能沦为匠人糊口度日。新中国成立后在党和国家的关怀下，民间工艺得到了保护及挖掘，木雕也重新涣发出生命，涌现出一批国家级大师。他们的作品，工艺精湛，秉承传统，立意深远，讴歌时代，体现了大师们立足传统，锐意创新，直抒重获新生的胸怀和报效国家，知遇之恩的深情。\n国家改革开放，经济腾飞，国富民强，党和国家对民间工艺的大力扶持，唤起了民众对传统工艺美术的热爱与追求。逢此盛世，民间工艺美术有了新的飞跃，木雕艺术也不例外。面对实际情况，在全国工艺品展出中，优秀作品的作者年龄偏大，年轻作者寥寥无几。",[1260,1329,292,484,83,7,7135,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40ff59ddc8813b983e9b27b64bbb79a1.jpg",[],{"id":18750,"slug":18751,"title":18752,"dynasty":76,"author":658,"museum":316,"description":14703,"tags":18753,"thumbUrl":18754,"material":139,"size":139,"collection":2065,"collections":18755,"showCount":18711,"zanCount":48,"manualWeight":48,"mainColor":94},238316,"dong-gao-tang-hua-si-yong-zhou-dong-gao-238316","董诰唐花四咏轴",[24,25,226,28,7,83,292,629,898,579,229,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F265a9b103f69a3bf5301103660d3bc32.jpg",[2065],{"id":18757,"slug":18758,"title":18759,"dynasty":99,"author":257,"museum":191,"description":18760,"tags":18761,"thumbUrl":18762,"material":638,"size":18763,"collection":44,"collections":18764,"showCount":18711,"zanCount":1379,"manualWeight":48,"mainColor":49},237238,"ming-ren-chun-jing-huo-lang-tu-zhou-yi-ming-237238","明人春景货郎图轴","货郎图自宋代以降，常被画家引为表现主题。此幅无名款，画春日郊园中，桃花初绽，新柳泛绿，杂草野卉丛生於小溪石畔。柳荫下停放一货担，架上满置鸟笼，笼中鸟色品种殊异，四周并缀有各式童玩。",[24,25,226,7,28,106,8328,15460,292,84,3959,280],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5ca9ee63e0c5ff0337a9862fc0de7a0.jpg","196.8x104.3",[44],{"id":18766,"slug":18767,"title":18768,"dynasty":99,"author":857,"museum":316,"description":18769,"tags":18770,"thumbUrl":18771,"material":139,"size":139,"collection":44,"collections":18772,"showCount":18711,"zanCount":48,"manualWeight":48,"mainColor":49},237159,"guan-yin-zhou-chen-hong-shou-237159","观音轴","陈洪绶（1599～1652），字章侯，幼名莲子，一名胥岸，号老莲，别号小净名，晚号老迟、悔迟，汉族，浙江绍兴府诸暨县枫桥陈家村（今诸暨市枫桥镇陈家村）人。明末清初书画家、诗人。\n年少师事刘宗周，补生员，后乡试不中，崇祯年间召入内廷供奉。明亡入云门寺唻洎为僧，后頭樤还俗，以卖画为生。享誉明末画坛，与当时的顺天崔子忠齐名，号称“南陈北崔”。名作《九歌图》《屈子行吟图》《插图》《水浒叶子》《博古叶子》等，工诗善书，有《宝纶堂集》。\n1652年去世。",[24,25,226,260,106,28,7,136,261],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fc28aeb4164075d3d687abc7936a726.jpg",[44],{"id":18774,"slug":18775,"title":4264,"dynasty":76,"author":1610,"museum":316,"description":18776,"tags":18777,"thumbUrl":18778,"material":599,"size":600,"collection":90,"collections":18779,"showCount":18711,"zanCount":2368,"manualWeight":48,"mainColor":94},235697,"hua-hui-tu-ce-zou-yi-gui-235697","邹一桂（1688年－1772年）清代官员，画家。字原褒，号小山，又号让卿，晚号二知老人，江苏无锡人。雍正五年二甲第一名进士，授翰林院编修。历官云南道监察御史、贵州学政、太常寺少卿、大理寺卿、礼部侍郎，官至内阁学士。擅画花卉，学恽寿平画法，风格清秀。曾作《百花卷》，每种赋诗，一经进呈，皇上亦赐题绝句百篇，一桂复写一卷，恭录御制于每种之前，而书己作于后，藏于家。著有《小山画谱》、《大雅续稿》。",[24,25,81,28,7,83,62,783,86,178,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc8572a0ccd2626980bd110f0ac70b1c.jpg",[90,45],{"id":18781,"slug":18782,"title":18783,"dynasty":99,"author":18784,"museum":316,"description":18785,"tags":18786,"thumbUrl":18788,"material":599,"size":600,"collection":139,"collections":18789,"showCount":18711,"zanCount":48,"manualWeight":48,"mainColor":94},235582,"yu-chuan-zhu-cha-tu-zhou-ding-yun-peng-235582","玉川煮茶图轴","丁云鹏","图中描绘出唐代名士卢仝煮茶的情景，是丁云鹏晚年创作的工笔精细画作。卢仝（约796—835年），济源人，祖籍范阳（今河北涿州），早年隐居少室山，自号玉川子，后移居洛阳。诗文俱佳，曾作《月蚀诗》以刺时政，得到韩愈的称赞。性好饮茶，所作《茶歌》中句多奇警。画面上的卢仝身着便服，头戴襆巾，手持羽扇，单腿盘坐于芭蕉前的青石上，背后怪石嶙峋，修竹碧绿，两名仆人在旁侍候。卢仝目不转睛地注视着火上的茶炉，全神贯注的神情被刻划得细致入微。画面花、竹、芭蕉笔笔刻画工整，怪石的阴阳、纹理交代清晰，赋色清淡冷隽，葱翠欲滴，闲和严静的幽雅气氛直扑人面。人物衣纹则用飘洒不群的高古游丝描，或清圆细劲的铁线描，以区别不同质地的衣料，显示出画家别具匠心之处。全图的绘画技巧变化多样而风格基调统一，人物神情生动，树石生机勃勃，笔法如行云流水，超然出众",[194,24,25,226,7,28,106,227,6517,10342,109,84,2307,18787,115],"长袍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe1a43a9c64722e33546b4e6cdbb8bfa.jpg",[],{"id":18791,"slug":18792,"title":3220,"dynasty":76,"author":3221,"museum":316,"description":18793,"tags":18794,"thumbUrl":18795,"material":139,"size":139,"collection":139,"collections":18796,"showCount":18711,"zanCount":48,"manualWeight":48,"mainColor":94},235012,"pi-pa-tu-xu-gu-235012","有“晚清画苑第一家”之誉的虚谷，曾与吴昌硕、任伯年并称为“海派画坛三杰”。 虚谷一生萍踪浪迹，精通佛禅兼知老庄，在艺术创造上敢于破格创新，是位不同流俗的一代奇才。\n虚谷的画，轻快利索、明净空灵，将清冷飘逸的超脱精神与强烈的生命活力交织在一起，有着水彩画般的透明感。无论是色彩创意、造型语言、构成图式还是笔墨个性，虚谷都突破了传统规范，每一幅作品都会给人耳目一新和精神为之一振的感觉，在晚清画坛可谓独树一帜，吴昌硕盛赞他为“一拳打破去来今”。\n虚谷是位全才型的画家，花鸟、人物、山水皆精，而平凡的蔬菜瓜果一经他的生花妙笔，立刻化为秀雅鲜活的动人形象。由此可见，虚谷是在用蘸满感情的笔墨，抒发着自己热爱自然、憧憬人间美景的情志。作于1896年的《枇杷图》（如图），便是他的一幅笔墨精绝的传世名作。\n绘制这幅画时，虚谷已经是73岁的高龄，然而画面如此精气逼人，真仿佛如有神助。画中一丛长势壮盛的枇杷枝干直挺，一派峥嵘之气。构图顶天立地，布满全幅，用逆笔和枯笔粗细有致地画出了鲜明的节奏感。下方足足四分之一的画面以虚而淡的笔法和色调，衬托出上部鲜艳的果实无比鲜嫩可人、水灵欲滴，使观者的目光情不自禁地上移，也使枇杷树在无形之中有了蓬勃向上的生姿，顿生明媚而祥瑞的意境。\n虚谷在画中的行笔是十分快捷的，在信手挥洒中以精练的笔墨一气呵成，却并无急躁之感。他以含水量很大的湿笔从上到下舞动，而湿笔中又时不时地露出飞白，使人感到沐浴在阳光和雨露中的枇杷树是如此的滋润明洁。从最浓的树叶到最淡的树叶，竟然找不到两片完全相同的，也找不到两个完全相同的果实，真是按部就班、主次分明。虚谷在造型中参用了西洋油画的方法，以虚为主，虚实相生，虽然随手点染却又在漫不经意中显得统一而连贯，使整个画面宁静、安逸、祥和又明亮，反映出画家超凡的自信、深厚的修养和随心所欲的自由境界。\n名画家陈小蝶在《近代六十名画家传》评价道：“虚谷和尚用笔如风雨骤至，灵气透出纸背，无一笔滞相。”虚谷一生寄情于书画，安享着“一树梅花天地春”的恬适，这幅画中就透露出了画家看空名利、追求身心和悦的心境，令人悠然神往。",[24,25,83,7,173,212,1036],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F869b939dcfafda528edfa62e15da9aa6.jpg",[],{"id":18798,"slug":18799,"title":18800,"dynasty":99,"author":170,"museum":20,"description":18801,"tags":18802,"thumbUrl":18805,"material":139,"size":139,"collection":139,"collections":18806,"showCount":18711,"zanCount":2368,"manualWeight":48,"mainColor":94},233788,"gui-hua-shu-wu-zhou-shen-zhou-233788","桂花书屋轴","这类将屋舍置于山林中的作品，寓意“尘远六街身世别”;又在书屋旁环栽秋桂、梧桐等，桂树风姿绰绰，书屋内所藏甚丰，堆满书籍的书桌旁侧坐一老者，一童捧物趋亭而至，情志恰如乾隆所题：“幽人结屋桂花阴，叶叶绿琼穗穗金。彼自悠然无世念，小山动我白驹心。”为诗人所津津乐道的隐逸生活，作为一种文化现象，在我国古代社会可谓源远流长。《易经》有云：“不事王侯，高尚其事”，儒家有“天下有道则见，无道则隐”。“邦有道则仕，邦无道则可卷而怀之”的待时之隐，老庄哲学有“道隐无名”思想，可以说，儒道思想分别为我国的仕宦文化、隐逸文化提供了哲学上的依据。在两种文化思维的相互碰撞、交融之下，中国士人每每被整合成“内道外儒”的人格类型，表现在士人的生存方式上就是“隐逸”。",[24,18803,7,3560,177,226,29,378,885,18804,106,109,263,115,1169,1171],"水墨画","书屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4adb9b5e6ec91eec93c0bbe3a7175244.jpg",[],{"id":18808,"slug":18809,"title":18810,"dynasty":76,"author":10084,"museum":20,"description":18811,"tags":18812,"thumbUrl":18813,"material":770,"size":18814,"collection":90,"collections":18815,"showCount":18711,"zanCount":2368,"manualWeight":48,"mainColor":94},233442,"ren-wu-shan-shui-ce-luo-pin-233442","人物山水册","中国清代画家罗聘传世代表作。罗聘(1733～1799)，字遯夫，号两峰，又号花之寺僧，安徽歙县人。善画人物、佛像、花卉、山水。此图纸本，设色，纵24.2厘米，横30.7厘米。计12开：\n春柳行舟。一人站立船头。自书七言诗，并题:“冬心先生句并摹其用笔”。钤“两”“峰”印。\n春景山水。桃花盛开，一人站立桥头。自书七言诗，钤“罗聘私印”印。\n夜景山水。一人曳杖于池上行走。自书七言诗。钤“两”“峰”印。\n绿柳红桥。一人策杖立于树下。自书七言诗，钤“两”“峰”印。\n月波吹笛。自书冬心先生自度曲意。钤“遯夫”印。\n芦萍画舫。自题七言诗。印“罗两峰”印。土台流泉。二人松窗弈棋。自书七言诗。钤“遯夫”印。\n婡洎竹頭樤林僧人领鹤。自书七言诗。钤“遯夫”印。\n荷塘柳亭。自书冬心先生自度曲。钤“罗聘私印”。\n秋风落叶。一人独立空亭。自书七言诗。钤“罗聘私印”。\n晚风归舟。墨笔画。自书七言诗，钤“罗聘私印”。\n闭门赏梅。自书七言诗。款“广陵罗聘”,钤“两”“峰”印。\n无年款，似罗聘中年用心之作。\n后幅勒方锜题记。现藏故宫博物院。",[24,173,7,81,106,29,174,109,353,838,1241,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1a819271c2f702af1a4af64f0b7b134.jpg","纵24.2厘米，横30.7厘米",[90,181,45],{"id":18817,"slug":18818,"title":18819,"dynasty":99,"author":257,"museum":316,"description":18820,"tags":18821,"thumbUrl":18824,"material":139,"size":139,"collection":139,"collections":18825,"showCount":18711,"zanCount":2368,"manualWeight":48,"mainColor":49},232909,"fang-xu-xi-hua-niao-tu-juan-yi-ming-232909","仿徐熙花鸟图卷","徐熙，鍾陵（今進賢西北）人，生卒年不詳，出身世家，「世為江南顯族」。但一生沒有出仕做官，因此後世稱他為「江南布衣」或「南唐處士」。他的藝術成就，集中體現在不同凡響的落墨花鳥畫創作方面。在當時，這種畫的畫法不同於一般傳統的技法，而是大膽創新。它的出現，曾引發了一些遵從傳統技法的畫家的震驚和敵視。\n中國花鳥畫成為獨立的藝術，比人物畫、山水畫稍晚，唐代雖然出現了不少名家，但直到五代南唐徐熙和西蜀黃荃兩家的出現，花鳥畫壇才放出了異彩。\n徐熙、黃荃都是中國繪畫史上影響深遠的大畫家，但繪畫風格不同，宋代流行一句話：「黃荃富貴，徐熙野逸」。王安石盛讚徐熙的畫名滿江南，成就卓著。劉道醇的《聖朝名畫評》將徐熙的作品列為「花竹翎毛門」的神品第一名，認為他「與造化之功不甚遠，宜乎為天下冠也」。\n眼光獨特的北宋書畫大家米芾認為徐熙的畫法富於變化，不為常規所有，用普通的追求形色相似的臨摹方法無法描摹、激賞其藝術上的獨創價值。\n徐熙是一位多產的畫家，宋《宣和畫譜》所載藏於御府的畫目中，徐熙的畫有249種。流傳於世間的重要作品有《寒蘆野鴨》《花竹雜禽》《魚蟹草蟲》《雪竹圖》《百鳥圖卷》等，因其開創了中國寫意花鳥畫的先河，時稱「江南花鳥，始於徐家」。",[23,24,25,26,7,28,105,86,83,245,277,60,34,176,380,18822,136,18823],"日","鸟类","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90011eff47e64f1294d5d515d140a732.jpg",[],{"id":18827,"slug":18828,"title":18829,"dynasty":18,"author":257,"museum":316,"description":18830,"tags":18831,"thumbUrl":18833,"material":139,"size":139,"collection":139,"collections":18834,"showCount":18711,"zanCount":2368,"manualWeight":48,"mainColor":94},227372,"yu-ying-shi-nv-tu-yi-ming-227372","浴婴仕女图","《浴婴图》南宋，佚名，绢本设色，纵35.8厘米，横35.9厘米，美国弗瑞尔美术馆藏。\n\n画面中共三个妇人，四个小孩，当中摆一长形浴盆。画面设色淡雅明快，气氛温馨和谐，妇人的神情慈祥、婴儿的天真无邪，无不充满了浓郁的人情和现实意义。",[23,194,24,25,28,7,106,59,18832,212,63],"婴儿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a808fa71ca6fd850c6dafb4642ee508.jpg",[],{"id":18836,"slug":18837,"title":18838,"dynasty":54,"author":6017,"museum":316,"description":18839,"tags":18840,"thumbUrl":18841,"material":139,"size":139,"collection":139,"collections":18842,"showCount":18711,"zanCount":48,"manualWeight":48,"mainColor":49},227243,"gong-dian-tu-ye-li-zhao-dao-227243","宫殿图页","大小李将军：李思训、李昭道\n\n李思训 (653一718)唐代书画家。成纪(今甘肃天水)人。唐宗室,高宗时为江都令。武则天当政，弃官潜匿。神龙元年(705)出为宗正卿。玄宗开元初官左武卫大将军。李邕碑称「云麾将军」。工书法，尤擅画山水树石，笔力犹劲。格调细密。好写湍獭潺湲，云霞缥缈之景，鸟兽草木，皆穷其态。朱景玄说他「国朝山水第一，列神品」。这种青绿为质、金碧为纹的山水画，富有装饰性，源出于隋代展子虔，继承并发展了六朝以来以色彩为主的表现形式。明代董其昌推之为「北宗上之祖。唐代张彦远说「山水之变，始于吴(道子)，成于二李(思训、昭道)」。世称「二李」为「大、小李将军」。画迹有《山居四皓图》、《江山渔乐图》、《群峰茂林图》等十七件，著录于《宣和书谱》。存世作品有《江帆楼阁图》轴，绢本，设色，长松秀岭，翠竹掩映，山径层迭，碧殿朱廊，江天阔渺，风帆溯流，具唐衣冠者四人，山右青绿，有简单斫笔，安岐评谓「傅色古豔，笔墨超轶。」现藏台北故宫博物院。",[23,24,25,27,7,104,29,107,176,34,1654,106,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba0c482941c845fe70d4fbfffeaffeec.jpg",[],{"id":18844,"slug":18845,"title":18846,"dynasty":256,"author":257,"museum":1846,"description":18847,"tags":18848,"thumbUrl":18851,"material":599,"size":600,"collection":139,"collections":18852,"showCount":18711,"zanCount":48,"manualWeight":48,"mainColor":49},226516,"cai-hui-liu-bi-shi-yi-tou-guan-yin-xiang-yi-ming-226516","彩绘六臂十一头观音像","敦煌壁画特指中国敦煌石窟内壁的绘画艺术作品，属于世界文化遗产。\n敦煌壁画总面积5万多平方米，包括敦煌莫高窟、西千佛洞、安西榆林窟等522个石窟历代壁画，规模巨大，技艺精湛，内容丰富，题材广泛。\n敦煌壁画描绘了神的形象、神的活动、神与神的关系、神与人的关系，寄托良愿，安抚心灵。\n敦煌壁画具有与世俗绘画不同的审美特征和艺术风格，源于生活，美赏生活；源于艺术，集成艺术；源于世界，分享世界。",[260,106,7,6767,511,18849,18850,1487,28],"多臂","多头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9706df4d6bc0bbc3def6af9410f119ed.jpg",[],{"id":18854,"slug":18855,"title":18856,"dynasty":76,"author":257,"museum":316,"description":18857,"tags":18858,"thumbUrl":18860,"material":139,"size":139,"collection":139,"collections":18861,"showCount":18711,"zanCount":48,"manualWeight":48,"mainColor":49},224247,"qing-hua-yuan-hua-shi-er-yue-yue-ling-tu-shi-er-yue-zhou-yi-ming-224247","清画院画十二月月令图十二月轴","画卷取景分野墅与深宅两重天地。上半幅里远山素裹，寒林枝桠凝霜，冰封湖面化作天然冰场，乡野村人驰骋滑行，雪色间漫着冬日野趣。\n下半处宅邸雅致规整，廊下仆从往来奔走，庭院里孩童们攒雪团、掷雪球，闹作一团，将深宅岁末的暖意烘起。\n全画工笔精细，设色清柔，将冬日的清寂与岁末烟火揉为一处，既有山野萧寒的静谧，也有家宅团圆的温煦，尽绘冬闲时分的太平意趣。",[23,24,194,226,28,7,104,29,107,106,2562,115,34,151,35,18859],"冬季","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42f59e4bc38c1e3653cd281477159710.jpg",[],{"id":18863,"slug":18864,"title":18865,"dynasty":18,"author":257,"museum":316,"description":18866,"tags":18867,"thumbUrl":18868,"material":139,"size":139,"collection":139,"collections":18869,"showCount":18711,"zanCount":48,"manualWeight":48,"mainColor":49},223614,"zhu-que-shuang-tu-tu-yi-ming-223614","竹雀双兔图","《竹雀双兔图》是辽代佚名画家创作的绢本设色画，现藏于辽宁省博物馆。\n图绘双钩墨竹一丛，其中有长竹三竿，耸立其间，又有三只麻雀，分踞竹上：有的寻觅食物，有的静立下观，有的自理羽毛，神态各殊；丛竹之下生长的三株野花，左为蒲公英，中为地黄，右为白头翁，显得鲜艳肥大，引人注意；花前的两只灰兔为此图的主题：一只在吃草，一只在探望，神态逼真、活泼清新。\n图上画三竿翠竹，竹上落有三雀，一雀静立枝头，一雀用喙整理毛羽，另一雀侧身瞰视，神情各异。\n丛竹下画有蒲公英、地黄和白头翁三株野花及许多野花小草。\n两只苍兔蹲踞地上，一只在吃草，一只敛耳抬头张望。\n契丹族，是中国北方一支古老的民族，契丹人逐水草而居，以狩猎游牧为生。\n契丹神册元年（916年），耶律阿保机统一了契丹各部，建立了强大的辽王朝，先后与五代和北宋并立。\n其绘画作品，继承唐及五代传统，却又独具特色。\n花卉鸟兽是辽画中常见的题材。\n1974年5月，在辽宁省法库县叶茂台发掘了一座辽代萧氏贵族砖墓，规模较大，出土遗物较多，《竹雀双兔图》就在其中出土。\n关于《竹雀双兔图》的年代，因画上既无作者名款，也没有题识和收藏印记，只能从绢画本身加以分析研究，以确定流派与时间。\n由于画幅出土于辽墓之中，从墓室结构和数百件随葬品综合来考察，可以断定是辽代早期的墓葬，且不晚于辽景宗耶律贤时期，即北宋太宗赵炅的太平兴国年间（976—98年）。\n也就是说，画的制作年代不晚于这个下限。\n至于它的上限早到何时、关于画的作者族属问题， 做过考证，对此图的看法是“侧重出自契丹族画家之手”，这是有道理的。\n由于辽代绘画受到唐、五代画风的深刻影响，与宋文化有着密切的关系，北宋初期的作品，一般都不署名。\n但从作品本身观察，其技法虽带装饰意味，却很难说是出自一般民间画师之笔。\n整幅画作设色清秀，意境明快，静中有动，生机勃勃。\n从中不难看出，画面的装饰气味比较浓厚，生活气息也相当强烈，从中可窥见花鸟画刚刚摆脱从属地位，开始形成独立画种的特点；同时，也不难了解到辽代的绘画艺术与中原的密切联系，又别具一格，值得珍视。\n这幅作品在构图上很讲究均衡对称，如竹与竹、雀与雀、兔与兔之间的位置距离，都保持一定的平行对称的关系，共至连竹叶的对生，花草的奇偶相对，都是经过作者审慎安排的。\n但它不是搞绝对平均的对称，而是在对称中又有一定的变化，并不使你感到单调死板，而是更富有民间艺术均衡饱满的装饰性风味，体现了当时人民群众对艺术的爱好和审美习惯。\n图中虽无作者款印，但因出土的墓葬为辽代早期，即北宋太宗时期，画作的时代下限可靠，为研究五代、北宋早期、辽代的山水画、花鸟画及中原绘画的发展与影响提供了极为可信的第一手资料。\n1974年5月在辽宁省法库县叶茂台辽代7号墓，出土了《竹雀双兔图》。\n该图现藏于辽宁省博物馆。\n218年8月14日，辽宁省博物馆举办“中国古代绘画展”，《竹雀双兔图》在其中展出。",[23,24,194,25,226,28,7,227,4323,2181,228,83,746,838,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01b9287a3d30581cccc1ff161cbfb278.jpg",[],{"id":18871,"slug":18872,"title":18873,"dynasty":18,"author":257,"museum":20,"description":18874,"tags":18875,"thumbUrl":18876,"material":822,"size":18877,"collection":42,"collections":18878,"showCount":18711,"zanCount":48,"manualWeight":48,"mainColor":49},223563,"xi-shan-chun-xiao-tu-yi-ming-223563","溪山春晓图","旧传僧人惠崇所作。惠崇「工画鹅雁鹭鸶，尤工小景，善为寒汀远渚、潇洒虚旷之象，人所难到也」（北宋郭若虚语）。",[23,194,24,25,26,7,29,34,108,109,174,35,177,28,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc9802966519f6b19d2e432610d96478.jpg","纵24.5厘米，横185.5厘米",[42,181,163],{"id":18880,"slug":18881,"title":18882,"dynasty":76,"author":6776,"museum":18883,"description":18884,"tags":18885,"thumbUrl":18888,"material":770,"size":18889,"collection":44,"collections":18890,"showCount":18711,"zanCount":2368,"manualWeight":48,"mainColor":94},223310,"fa-jie-yuan-liu-tu-juan-ding-guan-peng-223310","法界源流图卷","吉林省博物院","该作品的艺术价值堪与北宋名画《清明上河图》媲美，被誉为世界“佛文化、绘画”艺术颠峰之作，世界无价之宝。\n丁观鹏摹张胜温法界源流图卷，是中国艺术史上的一件瑰宝，规模宏伟，人物众多，用笔十分精细认真，如此长卷在世界的佛教绘画中是罕见的。面对这一人物众多，内容复杂，描绘精良的宏篇巨制，不能不令人信服地赞叹中国传统绘画刚健的生命力。由此引起世界上学术界和观赏者的深切关注，也就是非常自然的事情了。\n该卷中所描绘的形象非常繁多，既有佛界诸宗派的人物形象，也有各种动植物和各种佛具法器，均描绘精细，不仅比例准确，而且神态生动。这些形象的汇集与成功的描绘，不由地使人对该画的作者产生由衷敬佩。虽然他的生平事迹不见任何记载，他这件辉煌作品就足以使他在美术史乃至佛教史上永远放射着巨大的光芒。\n该作品用笔细致非凡，设色浓丽，端庄典雅，是清代画家丁观鹏精心创作杰作之一。",[24,26,28,7,15369,6768,5883,4428,18886,18020,18887,3661,6170],"佛界人物","佛具法器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd590947cd8119aa4c54bfeec57db03cf.jpg","纵33厘米、横1635厘米",[44],{"id":18892,"slug":18893,"title":18894,"dynasty":76,"author":329,"museum":191,"description":1518,"tags":18895,"thumbUrl":18896,"material":7,"size":1521,"collection":139,"collections":18897,"showCount":18711,"zanCount":48,"manualWeight":48,"mainColor":94},222742,"xian-e-chang-chun-tu-02b-lang-shi-ning-222742","仙萼长春图-02b",[23,194,24,25,81,28,7,83,209,365,84,211,3442],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44752a8e4622ebb38b8e513c4f4c435f.jpg",[],{"id":18899,"slug":18900,"title":18901,"dynasty":76,"author":329,"museum":191,"description":1518,"tags":18902,"thumbUrl":18903,"material":7,"size":1521,"collection":139,"collections":18904,"showCount":18711,"zanCount":48,"manualWeight":48,"mainColor":94},222740,"xian-e-chang-chun-tu-01b-lang-shi-ning-222740","仙萼长春图-01b",[23,24,25,81,7,83,28,243,245,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F672474ab59f90287bfe66517e17cf0b7.jpg",[],{"id":18906,"slug":18907,"title":18908,"dynasty":99,"author":14115,"museum":20,"description":18909,"tags":18910,"thumbUrl":18912,"material":770,"size":18913,"collection":181,"collections":18914,"showCount":18711,"zanCount":48,"manualWeight":48,"mainColor":94},222223,"nan-xi-cao-tang-tu-juan-wen-bo-ren-222223","南溪草堂图卷","在明代吴门地区的绘画中，以名人的室名、别号为题材或描绘文人、官宦所居庄园、别墅景观的作品为数众多，此图即属于后一种。根据卷后王穉登所撰《重建南溪草堂记》可知，此图描绘的是江南望族顾氏的庄园“南溪草堂”重修后的景致。\n图中水道蜿蜒纵横，竹林丛树、渔舟小桥、草堂庙宇等散布杂错，建筑与自然景物融为一体，自然和谐。虽有农田、药圃，但无农人艰辛劳作之状，表现的是江南文人泛舟读书的优雅闲适的生活。图中庄园较之一般江南园林的文雅精致，另有一种田园野趣，别具特色。\n全画构图密而不乱，平坡土石以干笔勾勒、皴染，树冠枝叶多以极富变化的墨点画成，点染兼用，间或出以双勾，皆富于层次感。全图笔墨清劲简洁，风格柔和明秀，代表了文伯仁晚年的典型艺术风貌。\n近人汪士元《麓云楼书画论略》著录。",[23,24,26,7,177,29,108,109,175,34,989,174,106,18911,176,1785],"田亩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F318c928a273f8a65e6b7ff89c010e31d.jpg","纵34.8厘米，横713.5厘米",[181,45],{"id":18916,"slug":18917,"title":18918,"dynasty":302,"author":8800,"museum":191,"description":18919,"tags":18920,"thumbUrl":18922,"material":7,"size":18923,"collection":44,"collections":18924,"showCount":18711,"zanCount":48,"manualWeight":48,"mainColor":49},221852,"hua-ke-jiu-si-xie-bin-feng-tu-juan-wang-zhen-peng-221852","画柯九思写豳风图卷","豳，在岐山北，为周先世立国之地。据说成王（？－西元前1021）幼年继位，周公（？－西元前1032）摄政，为令成王了解农桑为政教首务，并关心百姓的四季生活，作豳风晓谕周人祖先后稷、公刘稼穑重农的传统。此卷图绘〈豳风?七月〉，为孔子所辑《诗经》十五国风中最长的一首，由农事之始写至农事之终，先写衣食，次叙农耕蚕桑，最后论至打猎与秋收冬藏，共计八段，全卷青绿设色，每段旁书原文参照。旧题与跋均以为是元代王振鹏（活动于十四世纪前半），及柯九思（1290－1343）作品，然画中已见明代仇英（约1494－1552）影响，推测应为十六世纪后苏州托名之作。",[23,194,24,26,7,28,106,29,108,109,34,84,176,18921],"景物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cb935cec3f8c3cf1b21654d10eed78a.jpg","高53.8隔12本893隔12拖127厘米",[44,45],{"id":18926,"slug":18927,"title":18928,"dynasty":18,"author":1350,"museum":191,"description":15084,"tags":18929,"thumbUrl":18930,"material":18931,"size":18932,"collection":42,"collections":18933,"showCount":18711,"zanCount":48,"manualWeight":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祖师图","狩野元信","室町后期画家，称大炊助。受父亲正信水墨画风的影响，加入浓彩的技巧，从而集狩野派新风格之大成。后世称其为古法眼。",[23,6673,226,260,7,28,177,29,106,1426,353,176,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6889f3bb0ca60e1076055189342bb67.jpg","176.0x91.8",[181],{"id":18993,"slug":18994,"title":18995,"dynasty":99,"author":1782,"museum":191,"description":18996,"tags":18997,"thumbUrl":18998,"material":88,"size":18999,"collection":44,"collections":19000,"showCount":18711,"zanCount":2368,"manualWeight":48,"mainColor":94},216095,"tai-ping-le-shi-tu-ce-dai-jin-216095","太平乐事图册","此册共十开，分别绘「婴戏」、「骑牛」、「娱乐」、「戏耍」、「捕鱼」、「试射」、「耕罢」、「观戏」、「木马」、「牧归」等题材。其中数开以宋元名画为本：如第二开妇人哺乳之形象，可见于南宋李嵩〈市担婴戏〉（国立故宫博物院）；第九开「木马」则取自元任仁发〈果老见明皇〉（北京故宫博物院）；第十开则摹自宋人〈春社醉归〉。其余几开，皆透过人物之「观看」，将观者目光聚焦于画中场景，而营造某种叙事情节。绘人物之线条采「钉头鼠尾」（起笔钝重、收笔细）之笔法，与画史对戴进人物风格之描述吻合。然整体笔墨略显软弱、平直，或为晚期浙派画家根据戴进真迹加以临仿之作。",[24,7,81,106,2385,1552,280,2852,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69d6277ebff97c525e8c808b42e4ea48.jpg","22.8x22cm",[44],{"id":19002,"slug":19003,"title":19004,"dynasty":302,"author":257,"museum":316,"description":19005,"tags":19006,"thumbUrl":19007,"material":599,"size":600,"collection":139,"collections":19008,"showCount":19009,"zanCount":48,"manualWeight":48,"mainColor":49},290742,"guan-yin-da-shi-xiang-zhou-yi-ming-290742","观音大士像轴","此作观音面容圆和悲悯，身披华饰璎珞，衣纹舒展流动，配色沉穆古雅，带着岁月晕开的温润质感。座下青狮龇牙威勐，却被观音掌心轻按敛了戾气，尽显柔能制刚的禅意。右下角善财童子合十礼拜，神态稚拙恭谨。\n\n远景以淡彩晕染山林云海，修竹挺翠，彩云舒卷，飞鸟穿空，将佛国清寂祥瑞融于山水间。笔墨工细兼具写意，线条婉转凝练，既恪守佛教造像的庄肃仪轨，又以灵动景致烘托出出尘禅韵，尽显古佛画沉静厚重的审美意趣。",[24,226,260,7,106,28,1487,746,261,227,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12afaa29032eb7937f747f363c8b7f45.jpg",[],72,{"id":19011,"slug":19012,"title":19013,"dynasty":99,"author":100,"museum":316,"description":3427,"tags":19014,"thumbUrl":19015,"material":599,"size":600,"collection":139,"collections":19016,"showCount":19009,"zanCount":1233,"manualWeight":48,"mainColor":94},287415,"wu-xing-er-shi-ba-xiu-shen-xing-tu-juan-chou-ying-287415","五星二十八宿神形图卷",[23,194,24,25,26,28,7,106,2459,406,746,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4967584eda0c680dc86ba4f997b558d.jpg",[],{"id":19018,"slug":19019,"title":19020,"dynasty":76,"author":19021,"museum":316,"description":19022,"tags":19023,"thumbUrl":19024,"material":599,"size":600,"collection":139,"collections":19025,"showCount":19009,"zanCount":1233,"manualWeight":48,"mainColor":94},239078,"hua-niao-ping-liao-yun-jin-239078","花鸟屏","廖云锦","廖云锦，生卒年不详，约活动于清道光年间（1821－1850年）。字蕊珠，号织云、锦香居士，华亭（今属上海）人，袁枚女弟子。自幼从父廖古檀吟诗作画同，后归泗泾马氏。",[24,25,28,7,83,209,62,230,947,5713,210,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5a9039e5f16dbbf65a5783f0a67ae17.jpg",[],{"id":19027,"slug":19028,"title":19020,"dynasty":76,"author":742,"museum":316,"description":19029,"tags":19030,"thumbUrl":19031,"material":139,"size":139,"collection":139,"collections":19032,"showCount":19009,"zanCount":48,"manualWeight":48,"mainColor":94},233120,"hua-niao-ping-ren-yi-233120","任颐（1840年－1895年），中国近代画家。原名小属，初名润，字小楼，一作晓楼。后号次远，字伯年，常被称作任伯年。山阴（浙江省绍兴）人，故画面署款多写“山阴任颐”。",[24,226,7,83,2703,634,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd185d4da9d0d49d86d8f217625063508.jpg",[],{"id":19034,"slug":19035,"title":19036,"dynasty":302,"author":303,"museum":101,"description":19037,"tags":19038,"thumbUrl":19039,"material":67,"size":19040,"collection":139,"collections":19041,"showCount":19009,"zanCount":1379,"manualWeight":48,"mainColor":49},232771,"hua-hui-cao-chong-tu-juan-qian-xuan-232771","花卉草虫图卷","钱选是宋末元初著名画家，与赵孟頫、王子中、牟应龙、肖子中、陈天逸、陈仲信、姚式并称为“吴兴八俊”。\n钱选人品及画品皆称誉当时。他提倡绘画中的“士气”，在画上题写诗文或跋语，萌芽了诗、书、画紧密结合的文人画的鲜明特色。\n钱选的花鸟画成就最高，是元代继承宋代设色工笔花鸟画这一派中的代表人物。钱选特别善作折枝花木，是一位技法全面的画家。他的《花鸟图》所画花鸟用笔尽劲，细洁而光润，设色淡雅清丽，精巧传神。",[23,194,24,25,26,7,28,84,483,484,635,264,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9613502e8f0012e70f2245d5e7d000f1.jpg","纵26.8厘米，横120厘米",[],{"id":19043,"slug":19044,"title":15897,"dynasty":76,"author":4891,"museum":316,"description":19045,"tags":19046,"thumbUrl":19048,"material":139,"size":139,"collection":139,"collections":19049,"showCount":19009,"zanCount":48,"manualWeight":48,"mainColor":801},228968,"luo-hua-you-yu-tu-ma-yuan-yu-228968","柔条垂拂牵缀艳红繁花，将暮春清韵轻轻铺展。水面之上，荇藻参差漾着细波，睡荇悬根随水轻摆，漾开空濛水色。数尾游鱼穿弋其间，摆尾逐着飘零落花，灵动悠然，把春水的生机藏在幽谧里。\n\n全作用没骨晕染，淡彩轻敷，将花叶柔润、柳条纤长的质感晕染尽致，未着一笔写水，却借藻荇与游鱼的姿态，将春水空明漾开。花随水去，鱼逐花影，把幽赏春池的闲逸融在笔底，观之便如临浅春水泽，漫生出恬然清和的诗意。",[23,24,25,226,7,83,19047,12360,1241,3596,28],"游鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84302d047146391e5135486d1a4f33c6.jpg",[],{"id":19051,"slug":19052,"title":19053,"dynasty":99,"author":100,"museum":191,"description":19054,"tags":19055,"thumbUrl":19056,"material":282,"size":19057,"collection":44,"collections":19058,"showCount":19009,"zanCount":1003,"manualWeight":48,"mainColor":94},228445,"di-wang-dao-tong-wan-nian-tu-ce-chou-ying-228445","帝王道统万年图册","绘伏羲、神农、黄帝、少昊、舜、后稷、大禹、夏启、商汤、商高宗武丁、周文王、周武王、周成王、汉高祖、汉文帝、汉武帝、汉明帝、宋孝宗、宋太祖、宋仁宗等20为中国历史名主的画像和事迹",[194,24,25,81,28,7,106,229,14755,15195,63],"https:\u002F\u002Foss.chuangqi.store\u002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专124 (18)岁寒三友图古画邮票全套面值: 2元邮票规格: 5.9651.46mm: P12印刷机构: 瑞士哥瓦锡厂印刷版别: 影写版: 影写版邮票纸整张枚数: 5(15)枚相关资料: 摄影者吴呈芳(1)梅花山鸟：绢本，轴，横49.6公分，纵124.公分。陈洪绶明诸暨人，生于明神宗万历二十七年，卒于清世祖顺治九年。字章侯，号老莲，又号云门僧，赋性狂散。其画人物，神态特真，时谓三百年无此笔墨，花鸟草虫，亦多精妙。(2)岁寒图：纸本，轴，横2公分，纵98.1公分。杨维祯元诸暨人，生于元成宗元贞二年，卒于明太祖洪武三年。字廉夫，号铁崖，又号铁笛道人，善书画，父杨宏，筑楼铁崖山，植梅去梯，俾其读书。明太祖征诏不赴，赋诗见志。()奇石修皇图：纸本，轴，横14.7公分，纵275.1公分。夏昶明昆山人，生于明太祖洪武二十一年，卒于宪宗成化六年。字仲昭，号自在居士，又号玉峰，举进士，为翰林院庶吉士，正统中仕至太常卿。善书，能诗，精绘事，尤工墨竹，其所作竹技，烟姿雨色，偃直疏浓，各循矩度，楷书画竹，时推第一。",[24,25,226,7,28,820,209,230,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58c74366f27a7acd6bb8197d976548e3.jpg","124.3x49.6",[],{"id":19078,"slug":19079,"title":19080,"dynasty":18,"author":257,"museum":191,"description":4498,"tags":19081,"thumbUrl":19083,"material":282,"size":4502,"collection":139,"collections":19084,"showCount":19009,"zanCount":2368,"manualWeight":48,"mainColor":49},227553,"nei-ren-shuang-lu-tu-gao-qing-chang-juan-yi-ming-227553","内人双陆图（高清长卷）",[23,194,24,25,26,28,7,106,614,229,63,19082],"游戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa27a712d7149fa45d5a57a0744f2417c.jpg",[],{"id":19086,"slug":19087,"title":19088,"dynasty":189,"author":19089,"museum":316,"description":19090,"tags":19091,"thumbUrl":19092,"material":139,"size":139,"collection":139,"collections":19093,"showCount":19009,"zanCount":48,"manualWeight":48,"mainColor":49},226702,"hu-shan-chun-xiao-tu-ju-ran-226702","湖山春晓图","巨然","《五代·巨然湖山春晓图》是216年安徽美术出版社出版的图书，作者是陈传席。\n《五代·巨然 湖山春晓图》没有作为主骨干的山石轮廓线，皴染较简，云雾留白，主要以淡墨描绘出山川炯润之意。\n树干勾染，树叶用墨点簇而成，画面清淡。\n从风格上来判定，此图应是元代以后的仿古之作。",[23,194,24,25,226,173,7,177,1733,29,685,262,37,686,1273,34,809,3176,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F901fdac3aebb6e4d054546a5db41e1b8.jpg",[],{"id":19095,"slug":19096,"title":19097,"dynasty":76,"author":2837,"museum":316,"description":19098,"tags":19099,"thumbUrl":19101,"material":139,"size":139,"collection":139,"collections":19102,"showCount":19009,"zanCount":2368,"manualWeight":48,"mainColor":94},224367,"hua-hui-si-ping-zhi-si-ju-lian-224367","花卉四屏之四","此作用没骨晕染绘绣球，淡蓝敷色晕出团花柔润雅致，赭石点染萼边枝叶，清妍动人。湖石以淡墨勾皴，留白衬出空灵剔透的嶙峋肌理，与花枝相映成趣。两只秋蝉振翅穿飞，翅脉纤毫毕现，将静雅画面揉入灵动生机，暗合清秋将临的闲淡意韵，整体明秀温婉，笔法秀逸轻盈，尽显婉约雅致的花鸟意趣。",[23,24,25,28,7,83,230,19100,211,6068],"花簇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7ed7a1dd429364a77988b1cdcaa1b67.jpg",[],{"id":19104,"slug":19105,"title":19106,"dynasty":76,"author":698,"museum":19107,"description":19108,"tags":19109,"thumbUrl":19110,"material":770,"size":19111,"collection":181,"collections":19112,"showCount":19009,"zanCount":2368,"manualWeight":48,"mainColor":49},222698,"shi-zi-lin-tu-juan-qian-wei-cheng-222698","狮子林图卷","加拿大阿尔伯特博物馆","画家以平铺式绘狮子林全景，园林内山石耸立，古木参天，道路蜿蜒崎岖，房屋掩映山石之中，廊亭依水而建，九曲婉转；远处云雾升腾，一片苍茫，如临仙境。",[23,24,25,26,7,29,177,28,86,178,212,176,107,108,109,175,34,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c6fe4918e5ed6590b2c6de0b736a8fd.jpg","187.3＊38.1cm",[181,45],{"id":19114,"slug":19115,"title":19116,"dynasty":76,"author":494,"museum":495,"description":496,"tags":19117,"thumbUrl":19118,"material":500,"size":501,"collection":181,"collections":19119,"showCount":19009,"zanCount":1379,"manualWeight":48,"mainColor":49},222672,"tao-hua-yuan-tu-juan-huang-shen-222672","桃花源图卷",[23,24,26,7,177,243,107,109,174,106,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2af1485e8add576fe39965e2d112d3a5.jpg",[181,45],{"id":19121,"slug":19122,"title":19123,"dynasty":99,"author":1196,"museum":56,"description":19124,"tags":19125,"thumbUrl":19126,"material":500,"size":19127,"collection":181,"collections":19128,"showCount":19009,"zanCount":1379,"manualWeight":48,"mainColor":94},222356,"cao-wu-pu-tuan-tu-tang-yin-222356","草屋蒲团图","绘江南初秋之景色。前景画茅屋于山麓，屋内一文士抱膝坐于蒲团晨读。人物刻划生动，双目炯炯有神，衣纹线描流畅有力。茅屋左面巨石竖立，五株墨竹拔地参天，笔墨苍劲，虚实得当，时隐时现，给人以动感。背景用水墨烘染群山，山腰间云雾飘动，富于变化;山谷间飞泉直泄，形成清溪，环绕草屋湍流而过。整个画面环境幽雅、清静，给人以浑厚、凝重之感。唐寅，字伯虎，又字子畏，号六如居士，桃花庵主，生于明成化六年(1470)，卒于嘉靖二年(1523)。他是位很有才华的画家，初师沈周，后学周臣，远宗李唐、刘松年，近攻元四家，山水、花鸟、人物、仕女无所不精，在技法上虽取法前人，但不落尘俗，自出新意。从唐氏传世作品看，多见雅淡、秀润、细腻，而此作却多雄浑、凝重，这在唐氏作品中还是极为少见的。此图右上端作者自题：“虚亭林木里，傍水着栏干，试展团蒲坐，叶声生早寒”。五言诗一首。下钤“吴趋”、“唐居士”、“南京解元”印三方。此作品的创作时间，应在唐寅四十岁左右。",[23,194,24,25,226,173,7,177,29,106,14273,3712,176,34,37,108],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26f4e471afd9024c518a44d2335c9ae3.jpg","84x52",[181,163],{"id":19130,"slug":19131,"title":19132,"dynasty":99,"author":14232,"museum":191,"description":19133,"tags":19134,"thumbUrl":19136,"material":500,"size":19137,"collection":90,"collections":19138,"showCount":19009,"zanCount":1003,"manualWeight":48,"mainColor":49},222085,"hua-zi-mu-ji-tu-zhou-zhu-zhan-ji-222085","画子母鸡图轴","此画无背景，仅在一公、一母、七雏的鸡群附近俩有一些杂草，遍布地面，虽较稀疏，但远看似一层薄薄的绿色地毯，以象征出整片的草地，对整个画面起到陪衬作用。画幅下部和偏右画有一公鸡、一母鸡。右侧的公鸡低首啄食，口内衔虫，近靠二雏，二双爪有力地抓在地上，长尾飞翘舒展开来，双翅紧合，头部有较大的肉冠及肉瓣，脚健壮，跗臁及趾皆被鳞板，趾网、后趾高而短小，尾部发达。左侧为一母鸡蹲在地上，作待哺的神态，双爪有力地抓地上，嘴短、鼻孔被鳞状瓣，头部肉冠和肉瓣比公鸡小，尾巴上二翘舒展开来。七只小鸡偎近母鸡，其中一只雏鸡，全身旱绒绒的一小团，走起来呈摇摇摆摆之状，似具有初出壳的娇弱之态，皆生动传神，充分体现明宣宗有着写实的功力。\n此画以工笔勾勒白鸡，且勾线十分明显，偏向于工整之笔，染色也较平面化。画法上以工笔勾勒，别开生面，焦墨点睛，炯炯有神，羽毛捕法精细，双爪勾勒，笔扎实有力。鸡的形象画得真实生动，质感强烈，表现了一瞬间各鸡的动作神态。",[23,24,25,226,28,7,83,2703,19135,212],"小鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44c553fe940de32eacb1d4b982556980.jpg","79.7x57.2cm",[90,45],{"id":19140,"slug":19141,"title":19142,"dynasty":76,"author":315,"museum":78,"description":19143,"tags":19144,"thumbUrl":19145,"material":123,"size":19146,"collection":181,"collections":19147,"showCount":19009,"zanCount":2368,"manualWeight":48,"mainColor":94},219846,"shan-shui-tu-ce-xie-sun-219846","山水图册","本册图绘乡间野外平常小景,笔墨秀雅,造境清幽.谢荪(生卒年未详),清代画家.字缃酉,又字天令,常住南京.擅长画山水、花卉,与龚贤、樊圻齐名,为“金陵八家”之一.写心。",[24,25,81,7,173,177,29,35,34,176,109,17513],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79324e826001e1ae611d0f3618e1a31f.jpg","14.2x19.2",[181],{"id":19149,"slug":19150,"title":19151,"dynasty":18,"author":1588,"museum":78,"description":19152,"tags":19153,"thumbUrl":19154,"material":123,"size":19155,"collection":45,"collections":19156,"showCount":19009,"zanCount":48,"manualWeight":48,"mainColor":49},219745,"lou-tai-ye-yue-tu-wan-shan-ye-ma-lin-219745","楼台夜月图纨扇页","《楼台夜月图》为一小景图纨扇页，裁取亭廊台谢的一角之景，图上高柳擢秀、明月当空、山岩稍露、长廊俯见其顶、台榭俨然。在用笔上，岩石以斧劈皴法、亭榭以工稳的界笔画法，树叶全以点缀法，远山烘青，渲染设色，高空浩月，杨柳林中隐约可见楼台复道亭园之景，为马麟的精丽之作。",[24,194,25,1260,7,104,29,107,265,34,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F575197ec72f706dcbff331880e1f0f61.jpg","纵24.5厘米，横25.2厘米",[45],{"id":19158,"slug":19159,"title":19160,"dynasty":99,"author":3307,"museum":20,"description":19161,"tags":19162,"thumbUrl":19163,"mat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饶有苏汉臣一派“著色鲜润、体度如生”的意趣。惟配景花树，失之刻镂、少自然，加以湖石上附加的苔点，画法已近乎明人习气。此图表现出儿童游戏轻松诙谐的一面。以是，推断此幅原应有所本，当属明代仿宋的佳作。",[24,28,7,106,8665,17647,484,34,84,195,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72cbb027ec6f04ae9381a03904106a8b.jpg",[],{"id":19271,"slug":19272,"title":19273,"dynasty":302,"author":1977,"museum":316,"description":19274,"tags":19275,"thumbUrl":19276,"material":599,"size":600,"collection":139,"collections":19277,"showCount":19261,"zanCount":48,"manualWeight":48,"mainColor":49},288978,"xie-you-yu-qiu-he-tu-zhao-meng-fu-288978","谢幼舆丘壑图","《谢幼舆丘壑图》画江岸峰峦秀起，雾霭微茫，江面平静如镜。境界旷远。整个画面宛如宇宙万象被过滤提升成晶莹剔透般充满着音乐性的宁静世界。笔法秀润、清旷，虽系学李成、郭熙 画法而来，但一变宋人工整刻划之体。\n该图绘东晋谢鲲故事。鲲字幼舆，好老庄，善奏琴，寄迹山林。图绘茫茫山川， 荫荫松林，幼舆独坐水畔丘壑，观水流潺潺，听松涛阵阵，意态悠闲，神性超脱。图卷布局甚奇，绘法古拙，学晋、唐风格，一洗宋人旧习。",[194,24,26,27,7,29,1273,106,1134],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1102a9d9b42da6940a786b6d7fe6427.jpg",[],{"id":19279,"slug":19280,"title":19281,"dynasty":76,"author":77,"museum":316,"description":596,"tags":19282,"thumbUrl":19283,"material":599,"size":600,"collection":139,"collections":19284,"showCount":19261,"zanCount":2368,"manualWeight":48,"mainColor":4199},287731,"shan-mian-shan-shui-hua-hui-ce-yun-shou-ping-287731","扇面山水花卉册",[1260,24,25,81,173,7,227,230,178,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58a68bc6121d0e0d9f243c202d21e65c.jpg",[],{"id":19286,"slug":19287,"title":19288,"dynasty":99,"author":257,"museum":316,"description":19289,"tags":19290,"thumbUrl":19291,"material":599,"size":600,"collection":139,"collections":19292,"showCount":19261,"zanCount":48,"manualWeight":48,"mainColor":49},287391,"hu-die-hua-hui-ye-yi-ming-287391","蝴蝶花卉页","此作以沉雅地色衬景，坡岸之上一花挺生，柔茎舒展，叶片晕染出深浅层次，素色小花清雅柔婉。三蝶翩跹，色分浓淡，姿态各异，或逐花低回，或振翅缓翔，将郊野春时的悠然意趣凝于方寸。\n\n装裱织锦边框纹样精巧，与画面浑然相融。整作工致细腻，配色古静沉稳，不做繁丽铺陈，仅以清简技法勾勒闲逸生机，尽显小品雅致韵致，将虫花相伴的自然清趣娓娓铺展，恬淡动人，尽显古雅闲逸的东方意韵。",[23,24,25,83,7,28,84,484],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70b8a85c99b2cd00f3ec6e578572fb29.jpg",[],{"id":19294,"slug":19295,"title":19296,"dynasty":76,"author":257,"museum":316,"description":9820,"tags":19297,"thumbUrl":19299,"material":599,"size":600,"collection":139,"collections":19300,"showCount":19261,"zanCount":48,"manualWeight":48,"mainColor":94},263656,"ke-si-yu-zhi-shi-hua-hui-tu-ce-shi-liu-hua-yi-ming-263656","缂丝御制诗花卉图册-石榴花",[24,25,6083,7,28,83,19298,84,86,212,1329],"石榴花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad1df1585458c1487b63fa145618dd8c.jpg",[],{"id":19302,"slug":19303,"title":131,"dynasty":76,"author":4891,"museum":316,"description":19304,"tags":19305,"thumbUrl":19306,"material":599,"size":600,"collection":90,"collections":19307,"showCount":19261,"zanCount":48,"manualWeight":48,"mainColor":94},239092,"hua-hui-ce-ma-yuan-yu-239092","马元驭（1669—1722）清代画家。字扶羲，号栖霞，又号天虞山人，江苏常熟人。\n画传家法，而气韵超逸突过乃父。赋性落拓，纵酒逞笔，乃益豪放。写生得恽寿平亲传，又与蒋廷锡讨论六法，故没骨画益工，神韵飞动，不拘陈迹。元驭自以为得沈周、陆治遗意，其超纵处诚有陆氏风规，而老健远逊石田，盖能品也。兴至之作，逸笔尤佳，多用水墨。书亦隽雅。卒年五十四。",[24,25,83,7,28,81,84,569,210,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcec853be8f8ea23a0294c015b174f259.jpg",[90,45],{"id":19309,"slug":19310,"title":19311,"dynasty":76,"author":7596,"museum":316,"description":19312,"tags":19313,"thumbUrl":19314,"material":599,"size":600,"collection":181,"collections":19315,"showCount":19261,"zanCount":48,"manualWeight":48,"mainColor":94},234956,"wang-hui-fang-gu-shan-shui-ce-wang-hui-234956","王翚仿古山水册","王翚（1632年4月10日─1717年11月15日），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。江南省苏州府常熟人(今江苏常熟)。清代著名画家。其绘画以山水为主，山水融会南北诸家之长，创立了所谓“南宗笔墨、北宗丘壑”的新面貌，被称为“清初画圣”。与王时敏、王鉴、王原祁合称山水画家“四王” ，又与吴历、恽寿平并称“清六家”。同时他还是虞山派鼻祖。\n在绘画理论方面也有较高造诣。其论画主张“以元人笔墨，运宋人丘壑，而泽以唐人气韵。”",[24,25,81,7,177,105,29,353,176,37,1169,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e9365e63d8219fdbc7a9693bddcec7a.jpg",[181,45],{"id":19317,"slug":19318,"title":19319,"dynasty":76,"author":329,"museum":20,"description":19320,"tags":19321,"thumbUrl":19327,"material":529,"size":19328,"collection":139,"collections":19329,"showCount":19261,"zanCount":48,"manualWeight":48,"mainColor":94},234912,"qian-long-huang-di-she-lie-tu-zhou-lang-shi-ning-234912","乾隆皇帝射猎图轴","《乾隆皇帝射猎图》是清代 等人创作的绢本设色画，现收藏于 。\n该画以高超的写实技巧描绘了乾隆皇帝和大臣在南苑围场捕射野兔的情形，作者通过对骑在骏马上精悍的人物与狂奔逃命的野兔准备而且传神的刻画，成功地展示出乾隆皇帝娴熟的骑技和尚武骑射的创作主题，全画人物马匹千姿百态，动感十足。\n款识：“臣郎世宁恭绘。\n”下钤“臣世宁”白文方印、“恭绘”朱文方印。\n御题诗三首，款署：“南苑行围即事三首，乙亥暮春御笔。\n”钤“乾隆宸翰”白文方印、“得象外意”朱文方印、“研露”朱文长方印。\n“乙亥”是乾隆二十年（1755年），乾隆皇帝时年45岁。\n从乾隆皇帝的御制诗中可知，他此次南苑狩猎“是日凡中八兔”，可谓战绩骄人。\n从笔法上分析，图中乾隆皇帝的肖像及马无疑应出自郎世宁之手，山石树木等衬景则来自中国的宫廷画家之笔。\n《乾隆皇帝射猎图》表现乾隆帝及近亲王公大臣在南苑猎场捕射野兔的动感瞬间。\n作者通过骑在骏马上精悍的人物与狂奔逃命的野兔准确而且传神的刻画，成功地展示出乾隆皇帝娴熟的骑技和尚武骑射的创作主题。\n乾隆皇帝作为以畜牧、游猎为主的 人后裔，严格遵守被清朝诸先帝奉为“满洲根本”、“先正遗风”的骑射尚武典制。\n他通过带有游乐性质的狩猎活动，将满族人弯弓射箭的传统习俗发扬光大。\n乾隆皇帝为了弘扬这种尚武精神，谕令宫廷西洋画师郎世宁以及中国宫廷画家创作了数十幅专门表现他行围狩猎场景的画作，此图便是其中之一。\n该画真实地纪录了乾隆皇帝紧张而热烈的狩猎情景。\n同时，展示了乾隆帝行猎时所使用的各种兵器，为研究乾隆朝的皇室武备无疑提供了难得的形象资料。\n27年11月，该画在意大利“皇家韵致展”中展出。\n郎世宁（1688—1766年），意大利米兰人，原名朱塞佩·伽斯底里奥内（Giuseppe Castiglione），青年时期受到系统的绘画训练，后来加入了欧洲基督教下属的宗教组织耶稣会，并于1714年（清·康熙五十三年）以传教士的身份离开欧洲来到东方，次年抵达澳门，起汉名郎世宁，继而北上京师，随即于康熙末期进入宫廷供职，开始了他长达数十年的中国宫廷艺术家的生涯。\n郎世宁在清宫廷内为皇帝画了多幅表现当时重大事件的历史画，以及众多的人物肖像、走兽、花鸟画作品，还将欧洲的焦点透视画法介绍到中国，协助中国学者年希尧完成了叙述这一画法的著作《视学》，成为当时东西方文化交流的重要使者。\n1766年7月16日（清乾隆三十一年六月初十日）郎世宁在北京病逝，终年78岁。",[24,25,194,226,320,28,7,19322,19323,106,150,8474,19324,34,912,1171,10692,19325,19326],"中西合璧技法","写实风格","射猎场景","动态构图","狩猎题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F569e69e422015fa6786904aed47711d4.jpg","25.7×33厘米",[],{"id":19331,"slug":19332,"title":19333,"dynasty":99,"author":100,"museum":316,"description":19334,"tags":19335,"thumbUrl":19336,"material":139,"size":139,"collection":139,"collections":19337,"showCount":19261,"zanCount":48,"manualWeight":48,"mainColor":94},234272,"chou-ying-han-gong-chun-xiao-tu-cheng-shan-chou-ying-234272","仇英汉宫春晓图成扇","仇英是明代最有代表性的画家之一，与沈周，文徵明和唐寅被后世并称为“明四家”、“吴门四家” ，亦称“天门四杰”。沈、文、唐三家，不仅以画取胜，且佐以诗句题跋，就画格而言，唐，仇相接近。仇英在他的画上，一般只题名款，尽量少写文字，为的是不破坏画面美感，因此画史评价他为追求艺术境界的仙人。",[24,25,1260,860,28,7,106,614,59,107,115,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3f8f3181d7241595427cab87333c805.jpg",[],{"id":19339,"slug":19340,"title":131,"dynasty":76,"author":77,"museum":316,"description":955,"tags":19341,"thumbUrl":19342,"material":139,"size":959,"collection":139,"collections":19343,"showCount":19261,"zanCount":48,"manualWeight":48,"mainColor":94},233899,"hua-hui-ce-yun-shou-ping-233899",[24,25,81,82,173,7,83,84,1807,783,1187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1d0de15881eaef9e1fd66f6593c6ec1.jpg",[],{"id":19345,"slug":19346,"title":19347,"dynasty":76,"author":3221,"museum":132,"description":19348,"tags":19349,"thumbUrl":19350,"material":638,"size":19351,"collection":139,"collections":19352,"showCount":19261,"zanCount":48,"manualWeight":48,"mainColor":94},233738,"he-ju-tu-xu-gu-233738","鹤菊图","虚谷（1823～1896），清代著名画家，海上四大家之一，有“晚清画苑第一家”之誉。",[24,25,226,173,7,83,498,60,897,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bd2764d2a4771380b4af360eaf65809.jpg","143x39cm",[],{"id":19354,"slug":19355,"title":19356,"dynasty":256,"author":257,"museum":316,"description":19357,"tags":19358,"thumbUrl":19360,"material":599,"size":600,"collection":139,"collections":19361,"showCount":19261,"zanCount":48,"manualWeight":48,"mainColor":2504},231613,"fu-hua-qian-shou-guan-yin-xiang-li-zhou-yi-ming-231613","佛画 千手观音像立轴","暗沉底色晕开静谧肃穆的氛围，主尊合掌垂眸，慈悲肃穆尽显。千臂层叠排布，或持法器、或结法印，错落有序却不显冗杂，衣纹褶皱古朴厚重，残存的贴金痕迹晕开旧时华贵光彩。\n\n左右胁侍恭谨分立，一人捧供盘奉呈信物，一人持经卷垂首凝神，衣饰绮丽繁复，与主尊浑朴庄严形成呼应。整体设色沉敛内敛，线条遒劲凝练，将仪轨整饬与神性慈悲相融，虽历经岁月色泽黯淡，依旧传递出厚重沉静的宗教感染力，尽显古佛画典雅庄重的美学意韵。",[23,24,25,226,260,7,28,106,1487,19359],"千手","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8917d247ca8224fc3f2301f7f6315fe.jpg",[],{"id":19363,"slug":19364,"title":19365,"dynasty":76,"author":329,"museum":316,"description":19366,"tags":19367,"thumbUrl":19368,"material":139,"size":139,"collection":139,"collections":19369,"showCount":19261,"zanCount":2368,"manualWeight":48,"mainColor":49},230203,"qian-long-huang-di-da-yue-tu-lang-shi-ning-230203","乾隆皇帝大阅图","《乾隆皇帝大阅图》是清代画家 创作的一幅绢本设色画，现收藏于 。\n此图画的是乾隆皇帝于他即位后的第四年（179年）首次去南苑检阅八旗官兵时的雄姿。\n乾隆全副武装，佩带弓箭，威风凛凛，气度不凡。\n全图以鲜艳明丽的色泽，细密工致的笔触描绘这位29岁青年君主的形象，人物及马匹富有立体感，明显看出是采用了欧洲的明暗画法；衣服、头盔、皮毛等质感很强；背景中天空的云霭，色彩丰富多变。\n《乾隆皇帝大阅图》所画为乾隆皇帝骑马的形象。\n他头戴金盔，身穿铠甲，骑在骏马上，全副武装，佩带弓箭检阅八旗官兵时的雄姿。\n清高宗乾隆作为清入关后的第四任皇帝，始终认为“骑射乃满洲之根本”，为此，极其重视军队的建设，通过南苑阅兵、木兰秋狝、南海冰嬉等种种活动，来促使八旗兵保持强大的战斗力。\n依照本图的御制诗可知，该图描绘的是乾隆亲临南苑（今北京南）检阅八旗将士时的英武之姿。\n此次大阅正值清军与西域的霍集占兄弟激烈交战之际，所以，高宗乾隆除按惯例巡视八旗军的队列及各种兵器、火器的操练活动外，还暗含有向叛军炫耀清王朝的实力与军威之意。\n在南苑第一次大阅后，便命令宫廷画家朗世宁画此画。\n画中乾隆帝和马，西洋画风浓厚，十分细腻，运用中国的毛笔、纸绡和色彩，却能以欧洲的绘画方法注重对象的解剖结构和立体感的表达。\n在光线的运用上则与欧洲面法有所不同，欧洲商家喜欢表现人物脸部在特定的光线照射下分明的凹凸感，而传统的中国“写真”技艺，则要求被画者是不受光线变化常态下的相貌。\n因此，郎世宁适当地吸取了传统中国“写真”技艺的表现手法，所画人物均取正面光照，使人面面部五官清晰，画得相当精致笔触细腻柔和，又注意体面结构和立体效果，衣服的质感也很强。\n以细密的短线，按照素描的画法来描绘马匹的外形、皮毛的皱褶和皮毛下凸起的血管、筋腱，或者利用色泽的深浅来表现马匹的立体感和厚重感来画马。\n人物乾隆，则在造型上比较严谨，注重解剖机构，非常的写实符合解剖学的比例。\n画作体现中西绘画相互渗透并趋向相融合，融合的结果是绘画的审美追求朝着“写实”的方向发展。\n教授刘伟宏：郎世宁用中西融合的画法所画的《乾隆皇帝大阅图》，描绘了乾隆皇帝举行盛大阅礼的场面，具有独特的艺术魅力。\n明末清初，传教士的进入促进了西方古典主义写实绘画技法与中国传统绘画技法的融合与发展，一改传统中国画的笔墨及线描风格。\n这个时期绘画的主要特点集中在记实性，其中发展较为瞩目的题材包括装饰性壁画、人物风俗、人物肖像、战功图及祭祀等。\n《乾隆皇帝大阅图》从造型、明暗、构图及透视等方面详细阐述西方绘画技法对中国画的影响，体现了西方绘画技法促进了中国画对光影元素的运用、明暗和透视法的兴起以及色彩的广泛使用。\n郎世宁（1688—1766），原名朱塞佩·伽斯底里奥内，生于米兰。\n清康熙帝五十四年作为天主教耶稣会的修道士来中国传教。\n随即入宫进入如意馆，成为宫廷画家，曾参加圆明园西洋楼的设计工作，历任康、雍、乾三朝，在中国从事绘画达5多年。\n他是一位艺术上的全面手，人物、肖像、走兽、花鸟、山水无所不涉、无所不精，成为雍正帝、乾峰帝时 的代表人物。\n他的代表作品有《 》《 》《 》《弘历及后妃像》等。",[23,194,24,25,28,7,106,150,2439,29,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febb27b0558240e575c4f488632ba8c11.jpg",[],{"id":19371,"slug":19372,"title":19373,"dynasty":18,"author":1350,"museum":316,"description":19374,"tags":19375,"thumbUrl":19376,"material":139,"size":139,"collection":139,"collections":19377,"showCount":19261,"zanCount":48,"manualWeight":48,"mainColor":801},227824,"qiu-jiang-dai-du-tu-ye-ma-yuan-227824","秋江待渡图页","此作以边角取景，尽显空灵澹远之意趣。虬松扎根危崖，枝干苍劲扭转，松叶攒簇间带着秋意萧疏。远山以淡墨轻勾慢染，晕出朦胧黛色，江岸留白成阔朗秋水，愈衬出天地清寂。水岸泊着孤舟，舟上旅人静坐待渡，将羁旅闲愁融于冷寂江天之中。淡赭设色晕出秋日氛围感，笔致简劲秀逸，以少胜多，寥寥笔墨便勾勒出幽远无尽的诗意余韵，将山水间的清冷闲雅尽数藏于尺幅之间。",[23,24,194,25,81,173,177,7,29,174,353,176,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F986bccab4158b6928756c26c3978e0d8.jpg",[],{"id":19379,"slug":19380,"title":19381,"dynasty":76,"author":4285,"museum":316,"description":19382,"tags":19383,"thumbUrl":19384,"material":139,"size":139,"collection":139,"collections":19385,"showCount":19261,"zanCount":1379,"manualWeight":48,"mainColor":49},224431,"song-feng-die-zhang-tu-wang-shi-min-224431","松风叠嶂图","此作用全景式构图铺展丘壑，主峰崔嵬凌天，层峦迤逦延展，兼具高远之雄与深远之幽。以披麻皴写山石肌理，笔触松秀温润，浅绛设色晕染柔和，古雅苍润间带着清和明丽。\n苍松虬枝横斜，涧谷飞泉隐现，山居茅舍错落掩映于林麓间，处处透着幽寂闲逸的林下意趣。题款书法清雅隽秀，与山水笔墨浑然相融，尽显宋元文人画平淡天真的意韵，将林泉高致的静穆之美，尽数凝于尺幅之间，是追摹古意又暗含己心的山水佳制。",[23,24,3559,7,177,1273,30,109,34,176,989,108,1426],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84858b1ff2685d5dbd3bc173639e5d99.jpg",[],{"id":19387,"slug":19388,"title":19389,"dynasty":76,"author":538,"museum":539,"description":19390,"tags":19391,"thumbUrl":19395,"material":67,"size":19396,"collection":44,"collections":19397,"showCount":19261,"zanCount":2368,"manualWeight":48,"mainColor":49},222872,"chun-ge-juan-du-zhou-leng-mei-222872","春阁倦读轴","图绘一身着长裙的仕女，发髻高挽，一手支颐，一手持书，侧身倚桌案而立。其神态文静闲适中略带倦意，大家闺秀清闲寂寞的生活，刻画得细致入微。图中人物比例匀称，衣纹线条圆润流畅，可以看出画家的深厚功底。而背景的描绘也显得独具匠心，无论悬于墙上的画幅、笛子，还是膝下的小犬都不是可有可无之物，图中人物的生活情趣和身份均由此得到印证。此作如此精妙地刻画出人物的精神层面，无疑堪称人物画佳作。",[23,320,194,24,25,226,28,7,106,59,61,292,19392,19393,266,19394,409],"桌","凳","书卷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F866bd4a4449c988942f5f5abcf3da75a.jpg","170x100cm",[44],{"id":19399,"slug":19400,"title":19401,"dynasty":76,"author":329,"museum":191,"description":1518,"tags":19402,"thumbUrl":19403,"material":7,"size":1521,"collection":139,"collections":19404,"showCount":19261,"zanCount":48,"manualWeight":48,"mainColor":94},222744,"xian-e-chang-chun-tu-03b-lang-shi-ning-222744","仙萼长春图-03b",[23,194,24,25,28,7,83,629,245,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00506c220c38058c15ebc098e593bc75.jpg",[],{"id":19406,"slug":19407,"title":8325,"dynasty":99,"author":19408,"museum":20,"description":19409,"tags":19410,"thumbUrl":19411,"material":40,"size":19412,"collection":44,"collections":19413,"showCount":19261,"zanCount":1379,"manualWeight":48,"mainColor":49},222049,"huo-lang-tu-ji-sheng-222049","计盛","“货郎图”属于风俗画，这一题材自宋代以来就十分流行。画面中货郎衣着整洁，儿童服饰华丽，货架上的各类物品丰富而精致。画法上刻画细腻，设色浓艳，已将宋人民间货郎图中的生活气息转化为宫廷贵族气息，因而又有“宫廷货郎”之称。",[23,24,25,7,28,104,106,2385,9249,280,5462,34,380,484],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F379a6e73b4bffc5ce7f9a7fab61b9170.jpg","纵192.4厘米，横98.7厘米",[44,45],{"id":19415,"slug":19416,"title":19417,"dynasty":99,"author":857,"museum":56,"description":19418,"tags":19419,"thumbUrl":19420,"material":123,"size":19421,"collection":90,"collections":19422,"showCount":19261,"zanCount":2368,"manualWeight":48,"mainColor":2504},221885,"dou-cao-tu-chen-hong-shou-221885","斗草图","这幅画作描绘的是端阳时节，仕女五人围坐石下斗草为戏的情节。人物神态生动微妙，各具神韵。湖石上盘曲老松，质量厚实，与疏朗的人物布局构成鲜明的对比，有利于打破构图的呆板。陈氏画风变形夸张，用笔谨劲连绵，如行云游丝，转折有力；设色艳而不俗。此作正是画家典型风格的代表作。款署[庚寅秋，老莲洪绶画于护兰书堂]。庚寅为清顺治七年，系公元一六五○年，陈洪绶时年五十三岁。款下钤[洪绶]朱文长方印。",[23,194,24,25,28,352,7,59,1273,176,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0622469e201b8215901cfacb0c5aa797.jpg","纵134.3、横48厘米",[90,45],{"id":19424,"slug":19425,"title":19426,"dynasty":18,"author":1599,"museum":191,"description":19427,"tags":19428,"thumbUrl":19431,"material":67,"size":19432,"collection":42,"collections":19433,"showCount":19261,"zanCount":2368,"manualWeight":48,"mainColor":49},221549,"luo-han-tu-1-liu-song-nian-221549","罗汉图1","该图画一罗汉，长眉深目，头角峥嵘，伏倚枯枝。旁绘一小僧展衣接受树上猿猴献果。该图描绘工丽精当，笔法劲秀。背景设色以墨为主。层层渲染，纯净明丽。人物则以敷彩为主，墨染为辅，对比明媚雅致",[23,194,24,260,6170,28,7,19429,19430,17563,7428],"罗汉","僧人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64a28b401aad44e929fc003a7cb38ace.jpg","纵117公分，横55.8公分",[42,90,45],{"id":19435,"slug":19436,"title":19437,"dynasty":18,"author":7992,"museum":12886,"description":9058,"tags":19438,"thumbUrl":19439,"material":67,"size":19440,"collection":42,"collections":19441,"showCount":19261,"zanCount":2368,"manualWeight":48,"mainColor":49},221302,"shan-zhuang-tu-ye-yi-yuan-ji-221302","山庄图页",[23,24,25,194,7,177,29,108,109,176,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f88332f8b93c6ca6e62d137e999a3fc.jpg","31×30",[42,181,45],{"id":19443,"slug":19444,"title":13747,"dynasty":18,"author":19445,"museum":1577,"description":19446,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所有的绘画方法都是渲染的，而不是轮廓。",[24,194,7,28,83,722,12360,838],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F140f4302cb2d72fab458841216deaf68.jpg",[90],{"id":19493,"slug":19494,"title":19495,"dynasty":189,"author":1642,"museum":608,"description":19496,"tags":19497,"thumbUrl":19498,"material":123,"size":139,"collection":45,"collections":19499,"showCount":19261,"zanCount":1379,"manualWeight":48,"mainColor":49},219196,"tiao-er-tu-zhou-wen-ju-219196","挑耳图","幽室明窗下，案几铺展着文墨，长者垂目安坐，童子低眉执具，一枚耳勺的轻颤，晕开五代日常的闲雅。笔端细摹器物纹理，衣袂褶皱如流水轻漾，屏风上的山水淡远，与室内静谧相映成趣。\n\n没有激昂叙事，只撷取生活细碎片段，却将文人从容与俗世温煦凝于绢素。线条纤细灵动，设色温润沉静，人物神态捕捉入木三分：长者的松弛、童子的专注，在笔墨间流转着不动声色的诗意。\n\n这帧小品，是时光里的闲逸切片，亦是古人对慢生活的注解。于细微处见匠心，于静默中藏真趣，让千年后的观者，仍能触到那份生活的柔软。",[24,28,7,106,229,19470],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45c9e6c49ce9f614abf67fb3de9d91ed.jpg",[45],{"id":19501,"slug":19502,"title":19503,"dynasty":302,"author":6965,"museum":316,"description":19504,"tags":19505,"thumbUrl":19506,"material":123,"size":19507,"collection":44,"collections":19508,"showCount":19261,"zanCount":48,"manualWeight":48,"mainColor":49},218447,"ming-huang-guan-ji-tu-zhao-yong-218447","明皇观鸡图","两位人物和马匹的技法是用方正的铁线来描绘的，线条粗壮而精细，更让人联想到北宋李公麟柔和细腻的笔触，表现出人物的大衣、马匹的鬃毛和尾巴在风中飞舞的动作。色彩呈现出唐代的富丽堂皇，又不失文人的优雅，将厚重和明亮的色彩融为一体。树木是双层的，线条坚硬有力，继承了李唐甚至马远和夏圭的朴素。",[24,194,25,226,7,28,106,150,2703,378,1049],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde9647a159defd4650bccc45e107b570.jpg","118x67",[44],{"id":19510,"slug":19511,"title":19512,"dynasty":76,"author":698,"museum":101,"description":19513,"tags":19514,"thumbUrl":19515,"material":88,"size":702,"collection":139,"collections":19516,"showCount":19261,"zanCount":2368,"manualWeight":48,"mainColor":94},216250,"jing-fu-si-qi-dong-jing-tu-8-qian-wei-cheng-216250","景敷四气冬景图-8","此套《景敷四气》冬景图，是清乾隆时期画家钱维城的作品。此套画册共含十二帧，纯以水墨为之或薄施淡色擦染，构图简练，自出机杼。运笔较为多样，笔法松秀，墨色疏淡，用色恬然，具有很显著的文人绘画的样式。最后一幅有：甲午新正月御题。钤印：乾隆鉴赏、三希堂精鉴玺、宜子孙、乾隆。\n蜡以黏英珊结子，有花有实冒冬荣。惟应罗汉松高见，不屑别传三友名。钤印：静中观造化",[24,173,7,177,29,174,353,230,109,35,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc93f1bcbd0305cbd9f3595cfd4faef6d.jpg",[],{"id":19518,"slug":19519,"title":19520,"dynasty":76,"author":19521,"museum":191,"description":19522,"tags":19523,"thumbUrl":19524,"material":88,"size":19525,"collection":181,"collections":19526,"showCount":19261,"zanCount":48,"manualWeight":48,"mainColor":94},214812,"jiang-chao-tu-zhang-zong-cang-214812","江潮图","张宗苍","画面描绘了河流的壮丽潮汐和远岸的山脉。海浪是如此强大，当它们遇到岩石时，就会形成银色的怒涛。山脉、悬崖和树木的笔触与王原祁的松树和苍劲的山水有着同样的兴趣。",[23,24,25,29,177,7,212,176,3041,175,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9c2de55def97e2d554b4acbf37b8d33.jpg","166.7x69.5",[181],{"id":19528,"slug":19529,"title":19530,"dynasty":76,"author":563,"museum":608,"description":1497,"tags":19531,"thumbUrl":19532,"material":638,"size":1500,"collection":139,"collections":19533,"showCount":19261,"zanCount":48,"manualWeight":48,"mainColor":49},214344,"san-jue-shan-shui-ce-15-hua-yan-214344","三绝山水册-15",[23,24,81,173,29,174,230,353,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4491a88ae5e5ead8b4380ed9f6110b95.jpg",[],{"id":19535,"slug":19536,"title":8325,"dynasty":18,"author":2509,"museum":316,"description":19537,"tags":19538,"thumbUrl":19539,"material":599,"size":600,"collection":139,"collections":19540,"showCount":19541,"zanCount":1379,"manualWeight":48,"mainColor":49},288533,"huo-lang-tu-su-han-chen-288533","苏汉臣，北宋末南宋初画家。生卒年不详。汴梁（今河南开封）人，一说为钱塘（今浙江杭州）人。曾为北宋宣和画院待诏，南渡后又复职，隆兴初画佛像称旨，任承信郎。",[23,24,194,28,7,106,2385,9249,292,229,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7455767adc67dca109f33b66a6d8714d.jpg",[],70,{"id":19543,"slug":19544,"title":19545,"dynasty":18,"author":391,"museum":316,"description":3785,"tags":19546,"thumbUrl":19548,"material":599,"size":600,"collection":139,"collections":19549,"showCount":19541,"zanCount":48,"manualWeight":48,"mainColor":49},288519,"du-he-tu-zhao-ji-288519","独鹤图",[24,83,28,60,7,86,212,19547],"孤高","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc62691d2740456475597b024d6913e80.jpg",[],{"id":19551,"slug":19552,"title":19553,"dynasty":76,"author":2200,"museum":316,"description":2962,"tags":19554,"thumbUrl":19555,"material":599,"size":600,"collection":139,"collections":19556,"showCount":19541,"zanCount":1379,"manualWeight":48,"mainColor":4199},288286,"zi-shou-tu-wu-chang-shuo-288286","紫绶图",[23,24,226,7,173,83,135,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F817e309dc8834874824452e90adb0bb1.jpg",[],{"id":19558,"slug":19559,"title":19560,"dynasty":99,"author":1196,"museum":316,"description":2456,"tags":19561,"thumbUrl":19562,"material":599,"size":600,"collection":139,"collections":19563,"showCount":19541,"zanCount":1379,"manualWeight":48,"mainColor":49},287972,"qiu-shan-gao-shi-tu-juan-quan-juan-tang-yin-287972","秋山高士图卷(全卷)",[23,194,24,25,26,7,177,29,174,107,176,34,109,5412,175,178,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd2fd446df0721e6764bc25b60d786cf.jpg",[],{"id":19565,"slug":19566,"title":195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陈洪绶生活在晚明时期，朝廷极度腐败，文化方面却呈现出多变而丰富的面貌，陈洪绶是彼时最具强烈个性的艺术巨匠，在绘画的各个题材中均有独特的创造性，并影响中国绘画数百年，流风至今不衰。\n陈洪绶的这件《梨花图》绘于绢本，纵76公分，横26公分，题款：老莲洪绶画。虽未署年款，据陈洪绶传世的其它创作于深柳读书堂的作品及《梨花图》的风格推断，这件作品应创作于十七世纪三十年代中期，那时陈洪绶年龄近四十，绘画技巧已然十分纯熟。画面高低变化，巧妙地丰富了画面的视觉效果。陈洪绶的花鸟画作品，体现了他的精神品位，在构图和造型上都打破了传统样式的束缚，有古拙之趣，造型新颖、拙朴率真，这是在继承传统的基础上显现出的强烈个人风格风貌。其花鸟画表现手法，受宋代院体画风的影响，造型严谨，工笔双钩，设色艳丽，由此汲取艺术精华并发展而来。又受明末大写意花鸟画的影响，用笔洒脱灵动，兼工带写，水墨交融。这件《梨花图》既是画家长期写生锤炼的结晶，也是宋代花鸟画的神韵所在。因陈洪绶花鸟绘画具有高度的装饰性，所以类似《梅花图》这样的题材在当时必定广受欢迎。",[23,24,25,226,28,7,83,1340,211,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ed725b25d09198789d5bf2f2832ed81.jpg","76×26 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作品一百六十余件，均来自私家收藏。\n值得强调的是，这些藏品的拥有者本人既是具备一定实力的书画篆刻家，又是活跃在 界的业余鉴赏家。\n本集收录了国内私家收藏的中国近现代著名书画家作品计一百六十余件，包括任伯年、蒲华、吴昌硕、黄宾虹、张大千、马一浮、吴湖帆、弘一、吴茀之、沙孟海、周昌谷、潘天寿、沈尹默、傅抱石、齐白石、江寒汀、程十发、黄胄、陆俨少、陆维钊、启功、朱屺瞻、陈佩秋、唐云等。\n竹石公鸡图轴 钟魁啖鬼图轴 人物故事图四屏 溪堂烟壑图轴 林泉野屋图轴 牡丹湖石图轴 博古菊花图轴 松庐山居图轴 岁朝清供图轴 黄菊寿石图轴 墨竹图轴 博古红梅图轴 行书文稿手卷 天竹水仙图轴 竹石图轴",[23,24,226,7,498,83,19651,898,263,212],"天竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe34ea47443956a65404d4783bc4513f9.jpg",[],{"id":19655,"slug":19656,"title":83,"dynasty":76,"author":563,"museum":316,"description":19657,"tags":19658,"thumbUrl":19659,"material":599,"size":600,"collection":139,"collections":19660,"showCount":19541,"zanCount":1379,"manualWeight":48,"mainColor":4199},224162,"hua-niao-hua-yan-224162","华喦（1682-1756），字德嵩，号秋岳、又号新罗山人、新罗生、白砂山人，别号东园生、布衣生、老年自喻“飘篷者”。福建上杭人。华少时酷爱绘画，常替人作山水、花鸟、人物故事画，还在寺堂庙祠画壁画。花鸟画最负盛名，吸收明代陈淳、周之冕、清代恽寿平诸家之长，形成兼工带写的小写意手法。既有大局的的挥洒简逸，又有细节的精微描写，如画禽鸟，能将蓬松的羽毛玲珑剔透地表现出来。敷色鲜嫩不腻，时用枯笔干墨淡彩。这种工写结合、清新俊秀的花鸟画风格，对后世产生了积极影响。",[23,24,25,7,83,209,836,262,263,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8abdb76674bf8f6b4a883e5a267d9d69.jpg",[],{"id":19662,"slug":19663,"title":19664,"dynasty":18,"author":257,"museum":1577,"description":19665,"tags":19666,"thumbUrl":19667,"material":40,"size":19668,"collection":139,"collections":19669,"showCount":19541,"zanCount":1233,"manualWeight":48,"mainColor":2504},223578,"xuan-zang-san-zang-xiang-li-zhou-yi-ming-223578","玄奘三藏像立轴","绘玄奘大师赤足芒履，体态壮硕，略有疲惫，身负满载佛经的行笈，右手拿着拂尘，前悬灯盏，日夜兼程、西去取经。",[23,24,25,226,260,106,7,28,409,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F543bc49dad0fa1d57d1f2a920b223347.jpg","135.1×59.9cm",[],{"id":19671,"slug":19672,"title":19673,"dynasty":76,"author":329,"museum":316,"description":7785,"tags":19674,"thumbUrl":19675,"material":40,"size":139,"collection":90,"collections":19676,"showCount":19541,"zanCount":2368,"manualWeight":48,"mainColor":49},222776,"hua-bai-ying-zhou-lang-shi-ning-222776","画白鹰轴",[23,24,194,226,7,28,245,746,1273,353,1426,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8821bbc34360056591a52a75a4e58a03.jpg",[90,45],{"id":19678,"slug":19679,"title":19680,"dynasty":18,"author":19681,"museum":316,"description":19682,"tags":19683,"thumbUrl":19684,"material":19685,"size":19686,"collection":42,"collections":19687,"showCount":19541,"zanCount":2368,"manualWeight":48,"mainColor":49},221599,"luo-han-xi-yi-gua-zhou-lin-ting-gui-221599","罗汉洗衣挂轴","林庭珪","整作以苍劲古松与幽寂崖谷铺陈出世外氛围，将罗汉洗衣的日常绘得意趣盎然。下方罗汉或俯身浣洗布帛、或用力拧绞衣物，动态憨朴自然，衣袂褶皱随动作舒展，质感写实入微。上方二僧持物旁观，神态松弛闲适，崖边悬垂的僧衣晕染出柔和的色彩层次，暗合僧家清简日常。\n\n笔墨兼具工致与写意，山石松木以浓墨勾勒皴擦，尽显苍浑老辣，罗汉面容细节刻画精细，褪去神像的肃穆高远，还原僧众山间悠游的烟火日常，在禅意与世俗意趣间寻得精妙平衡，尽显宋代人物写生的细腻共情与雅致格调。",[23,194,24,25,226,260,28,7,106,686,1273,109,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dc5e0c2176d701ed80a3ec70560fa41.jpg","立轴绢本","112.3x53",[42,44,45],{"id":19689,"slug":19690,"title":19691,"dynasty":54,"author":2394,"museum":191,"description":2396,"tags":19692,"thumbUrl":19693,"material":19694,"size":19695,"collection":44,"collections":19696,"showCount":19541,"zanCount":48,"manualWeight":48,"mainColor":49},221135,"jiang-fan-lou-ge-zhou-li-si-xun-221135","江帆楼阁轴",[24,194,25,226,27,7,28,29,107,174,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4e663d48c7ef6294ae9f191dc300630.jpg","画布","纵101.9厘米，横54.7厘米",[44,45],{"id":19698,"slug":19699,"title":19700,"dynasty":869,"author":1841,"museum":5351,"description":19701,"tags":19702,"thumbUrl":19703,"material":139,"size":139,"collection":139,"collections":19704,"showCount":19541,"zanCount":48,"manualWeight":48,"mainColor":94},220501,"song-xia-ya-ji-zhang-da-qian-220501","松下雅集","松石挺劲苍古，蟠曲枝干如虬龙卧云，苔皴晕染尽述岁月风霜。青绿坡岸雅致莹润，一角丹枫点染秋韵，柔化古松沉郁色调。\n\n四位高士或立或坐，宽袍博带，神清骨秀，似正清谈畅叙，襟怀洒落出尘。衣纹线条清隽秀逸，仪态宛然，尽显魏晋林下风流。\n\n画作取法古意，将元人雅逸笔致与青绿浅绛相融，萧散简远中不失精工雅致，把山林雅集的清旷高致晕染纸上，尽显文人士大夫寄情林泉的悠然襟怀。",[24,25,226,7,106,1133,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e9c213317f505fe7d4d6db612a690ec.jpg",[],{"id":19706,"slug":19707,"title":19708,"dynasty":76,"author":6787,"museum":316,"description":19709,"tags":19710,"thumbUrl":19711,"material":7,"size":139,"collection":90,"collections":19712,"showCount":19541,"zanCount":2368,"manualWeight":48,"mainColor":94},220141,"ling-bo-shui-xian-tu-juan-ren-xun-220141","凌波水仙图卷","任薰（1835年—1893年），字舜琴，又字阜长，其父任椿，兄任熊都是画家。少丧父，从兄学画，青年时在宁波卖画为生，1868年与任颐去苏州，后寓居苏州、上海。任颐、任预均从其习画。人物与其兄同师陈洪绶，常用高古游丝、铁线、行云流水、兰叶几种描法。任薰治学严谨，在写生、临摹上均下了苦功夫。任薰兼工人物、花鸟、山水、肖像、仕女，画法博采众长，面貌多样，富有新意。 与顾文彬子顾承相友善，曾为设计怡园。1888年54岁时双目失明，后病卒于苏州。与任熊、任颐时称“三任”，合任预为“四任”，并为海上画派代表画家之一。",[23,194,24,25,320,26,28,7,83,898,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49729d30e7c1b1754794c5ec8a67dee3.jpg",[90],{"id":19714,"slug":19715,"title":19716,"dynasty":18,"author":257,"museum":78,"description":19717,"tags":19718,"thumbUrl":19719,"material":123,"size":19720,"collection":181,"collections":19721,"showCount":19541,"zanCount":48,"manualWeight":48,"mainColor":49},219957,"jiang-tian-chun-se-tu-yi-ming-219957","江天春色图","以半边雄奇崖壁衬出半幅浩渺江天，虚实相生间铺展出清旷春景。淡施青绿晕染崖石积雪，冷润雅致，带着残冬未尽的清寒。山腰间隐着两隅茅舍，藏于松云崖岫之间，更衬林泉幽寂。汀岸老松虬曲，板桥卧于浅渚，悠悠生出林下幽居的雅趣。远景山峦以淡墨轻晕，和烟波江色融成一片空濛，将春日江天的静穆辽远晕染尽致，暗合寄情林泉、澄怀观道的山水雅意。",[194,24,25,1260,7,177,29,175,108,34,176,5903,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab9003bc40ef9f1cd9031a6c367ac98e.jpg","26.4*20.5",[181],{"id":19723,"slug":19724,"title":19725,"dynasty":99,"author":19726,"museum":2754,"description":19727,"tags":19728,"thumbUrl":19740,"material":123,"size":19741,"collection":181,"collections":19742,"showCount":19541,"zanCount":1379,"manualWeight":48,"mainColor":94},219851,"xiao-xiang-ba-jing-tu-zhang-long-zhang-219851","潇湘八景图","张龙章","张龙章，字伯云，号古塘、武丘山樵，吴（今江苏苏州）人，生卒年不详。善画人物、骏马，不下赵孟頫。代表作品《穆王骏骥图》《风月梧柳图》《三教图》《潇湘八景图》。",[24,25,26,7,29,177,86,178,174,109,175,245,3466,265,796,108,19729,19730,19731,19732,19733,19734,19735,19736,19737,19738,982,19739],"远浦","归帆","山市","晴岚","江天","暮雪","洞庭","夜雨","烟寺","晚钟","夕照","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F816a582fdb55abba3dd407013f0b0e7c.jpg","29x787.5cm",[181],{"id":19744,"slug":19745,"title":19746,"dynasty":18,"author":19747,"museum":191,"description":19748,"tags":19749,"thumbUrl":19755,"material":123,"size":19756,"collection":44,"collections":19757,"showCount":19541,"zanCount":2368,"manualWeight":48,"mainColor":49},219695,"duan-yang-xi-ying-tu-su-chao-219695","端阳戏婴图","苏焯","画中描写端午节时的恶作剧，三个粉粧玉琢的胖娃娃中﹐穿红色肚兜的孩子左手拿著石榴，右手用绳系著蟾蜍，正要惊吓较小的孩子，另一个则赶来制止这场恶作剧，三孩童的手与脚皆带金钏玉饰﹐身上则佩挂长命锁﹐表示其出身的骄贵﹐衣纹图案细腻﹐利用淡染色块﹐十分成功地将人物衣著单薄下肌肤的质感表现出来。 更将人物的表情、神态很传神地掌握，像这个拿著蛤蟆的孩，一脸恶作剧的神情，连手上的蛤蟆也闪著狡猾得意的笑容，而惊吓过度的孩子则蹲在地上，双手护著头，十分害怕地颤抖著，不由得令人心生爱怜，另一个见义勇为的孩子，一个箭步赶来，神情坚定地要阻止这场恶作剧，空白的背景，更加凸显他们神气活现的面貌。",[23,24,25,28,7,106,2385,19750,1060,19751,19752,19753,19754,17647],"蟾蜍","长命锁","金钏玉饰","端阳","恶作剧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3da25db485c4495d2fa1b8a9eaea3cf.jpg","纵：88.9公分，横：51.3公分",[44],{"id":19759,"slug":19760,"title":19761,"dynasty":18,"author":257,"museum":191,"description":19762,"tags":19763,"thumbUrl":19764,"material":123,"size":19765,"collection":42,"collections":19766,"showCount":19541,"zanCount":48,"manualWeight":48,"mainColor":94},218839,"song-xi-you-qi-tu-yi-ming-218839","松溪游骑图","画面描绘了一座横跨溪流的桥梁，高大的松树从溪流岸边的大窠中升起，露出农场的大门和农场的一角，主人正从春天的郊游中返回。这幅画与刘松年的画风相似，与故宫收藏的《四季山水卷》中的春景相似，可以确定是刘松年南宋画派的作品。",[23,24,194,25,29,7,177,1133,109,150,176,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3922c2209b73b6b6fb69c2e5b68d4b33.jpg","23.1x25.8",[42],{"id":19768,"slug":19769,"title":19770,"dynasty":18,"author":257,"museum":191,"description":19771,"tags":19772,"thumbUrl":19773,"material":123,"size":139,"collection":90,"collections":19774,"showCount":19541,"zanCount":1233,"manualWeight":48,"mainColor":94},218710,"shan-cha-su-niao-tu-yi-ming-218710","山茶宿鸟图","山茶敷彩浓淡相衔，花瓣层叠如染，露蕊轻绽似噙晨露；宿鸟羽纹细缜若织，绒羽软润可触，敛翅栖枝时，眸光凝定，恍与花叶私语。枝叶晕染自然，脉络隐现，墨青交织间衬得花红鸟俏。方寸小品藏天地，写实中蕴诗意：宋画的精微与雅致尽在笔端。静赏时，似闻花叶轻颤，觉鸟羽微动，古典的温润与生机漫溢开来，于清寂里见鲜活，于雅致中藏野趣，尽显宋人观物之细、写意之深。",[23,194,24,25,1260,28,7,83,661,209,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F659d3355cd9776da0b6336002c2c162d.jpg",[90],{"id":19776,"slug":19777,"title":19778,"dynasty":18,"author":19779,"museum":316,"description":19780,"tags":19781,"thumbUrl":19782,"material":123,"size":139,"collection":45,"collections":19783,"showCount":19541,"zanCount":1379,"manualWeight":48,"mainColor":49},218659,"xi-shan-ye-zhang-tu-zhu-yi-218659","溪山曳杖图","朱义","溪光映带间，楼阁凭水而立，飞檐轻挑流云。虬枝老干上素花堆雪，暗香似随溪风漫溢。崖岫间隐现小亭，与层岩苍松相映，添得几分奇崛。\n\n径边曳杖人缓步而行，衣袂沾着山岚清润，似在细品林泉幽意。远山如黛，烟岚轻笼，江天浩渺处归舟几点，将天地拉得宽闲。\n\n整幅画以淡墨皴染山水，用细笔勾勒亭台人物，素花的留白与山石的浓淡相映成趣。动静之间，藏着宋人的雅致风骨——于山水间寻幽，让身心与自然相融，每一处笔触都似在诉说文人心中的丘壑。\n\n没有喧嚣，只有溪声、松影与步履轻缓，将“天人合一”的意趣，凝在这一方扇面里。",[23,194,24,25,1260,7,29,106,175,108,109,820,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf47ca4d9fab18381e6f16e1d10768a0.jpg",[45],{"id":19785,"slug":19786,"title":11661,"dynasty":18,"author":257,"museum":132,"description":11662,"tags":19787,"thumbUrl":11664,"material":123,"size":139,"collection":42,"collections":19788,"showCount":19541,"zanCount":1379,"manualWeight":48,"mainColor":49},218537,"e-xi-tu-yi-ming-218537",[23,24,25,1260,7,28,7355,228,378,262,212],[42,90],{"id":19790,"slug":19791,"title":19792,"dynasty":99,"author":17423,"museum":191,"description":19793,"tags":19794,"thumbUrl":19796,"material":123,"size":19797,"collection":44,"collections":19798,"showCount":19541,"zanCount":2368,"manualWeight":48,"mainColor":49},218528,"shan-ting-na-liang-tu-zhou-chen-218528","山亭纳凉图","图中显示，一块奇怪的石头直立着，被几株香蕉植物保护着。亭子里，一个有学问的人左手坐着，右手拿着一把羽扇，旁边放着一个卷轴、一本小册子和一个特瓦。他坐在地上，享受着寒冷的感觉。在亭子外面，孩子们伸出手臂为花瓶采摘棉花糖花，营造出一种轻松平静的气氛。签名：周晨。",[23,24,25,226,7,28,106,175,176,611,108,278,264,114,19795],"纳凉场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc79d2558d621c11890f2a8f08fc3817e.jpg","95.9x58.9",[44],{"id":19800,"slug":19801,"title":15156,"dynasty":302,"author":257,"museum":101,"description":19802,"tags":19803,"thumbUrl":19804,"material":123,"size":19805,"collection":44,"collections":19806,"showCount":19541,"zanCount":2368,"manualWeight":48,"mainColor":2504},218310,"luo-han-tu-yi-ming-218310","丰腴袒胸的罗汉立于绢素之上，光头浓髯，眉目间透着沉静的威严。朱红披帛斜搭肩头，随体态垂落自然褶皱；橙黄下裳宽松覆足，赤脚踝间系着细饰，添了几分随性。右手托莲碗，碗中清莲绽放，花瓣层叠，似携着佛国的净气。\n\n线条劲挺却不失柔润，勾勒出肌肤的丰腴与衣物的质感；设色古朴雅致，朱红与橙黄的暖调衬着绢本的古旧底色，更显沉静。整幅画将罗汉的庄重与生活化细节相融，既见佛法的肃穆，又含人间温情——似在无声传递禅意的悠远，让观者于古雅笔墨中，触到佛性与人性交织的温度。\n\n笔墨间藏着元代人物画的凝练，每一处褶皱、每片莲瓣都透着匠人的用心，把罗汉的神性与烟火气揉得恰到好处，似一幅流动的禅语，静静诉说着时光里的禅意绵长。",[24,25,226,7,106,260,228,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86e1ecce8051f6de779a1b198f6fa590.jpg","112.4x49.1",[44],{"id":19808,"slug":19809,"title":19810,"dynasty":302,"author":257,"museum":19811,"description":19812,"tags":19813,"thumbUrl":19815,"material":123,"size":19816,"collection":181,"collections":19817,"showCount":19541,"zanCount":2368,"manualWeight":48,"mainColor":49},218218,"cang-ying-wu-zhu-tu-yi-ming-218218","苍鹰梧竹图","山东省博物馆","苍鹰梧竹图是元朝时期的一幅著名图画，作者不详。这幅画描绘了一只苍鹰和一根梧竹之间的关系。苍鹰是一种大型鸟类，通常被认为是捕食者，而梧竹则是一种常见的树种。在这幅画中，苍鹰似乎正在用它的爪子抓住梧竹。",[24,194,25,28,7,83,245,19814,353,3712],"苍鹰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca78eed227b0a78bb43d1239104ae986.jpg","146x93cm",[181,90],{"id":19819,"slug":19820,"title":19821,"dynasty":302,"author":5007,"museum":191,"description":19822,"tags":19823,"thumbUrl":19824,"material":123,"size":19825,"collection":44,"collections":19826,"showCount":19541,"zanCount":2368,"manualWeight":48,"mainColor":2504},216961,"yuan-an-wo-xue-tu-sheng-mao-216961","袁安卧雪图","袁安在东汉时期来自汝南，被称为邵公。他是河南省的一名官员，是一个善良而有爱心的官员。画中的人身穿大红衣服，骑着马，是洛阳的一名法官。当他在一场大雪中赶到袁安家时，看到他门前的雪还没有被清理干净。邻居们以为袁某死了，于是他们敲门进去了。他问他为什么不出去，回答说不适合打扰别人，因为大家在雪下都很饿。洛阳县令认为他是个有德行的人，就推荐他作为亲属候选人来做这个职位。本画题名为 盛懋，但画风已被明人从其风格中改编。",[24,25,194,226,29,106,2562,34,176,177,173,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae3ebe4b34f0a5a378b181b1a4225e6f.jpg","149x83.8",[44],{"id":19828,"slug":19829,"title":19830,"dynasty":302,"author":7943,"museum":191,"description":19831,"tags":19832,"thumbUrl":19834,"material":123,"size":19835,"collection":90,"collections":19836,"showCount":19541,"zanCount":48,"manualWeight":48,"mainColor":49},216949,"han-jiang-lu-yan-zhou-wang-yuan-216949","寒江芦雁轴","此帧绘水滨双雁，一延颈啄啮芦根，一半合其目而休憩。毛羽丰润，神态生动。芦苇三两茎衬托其后，复有残荷几叶，益增萧瑟意境。",[24,226,28,7,83,7610,1980,6554,19833,263],"寒江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde012ecdad844b3e749ba9f388e9437d.jpg","149.7x62.7公分、全幅 90公分",[90],{"id":19838,"slug":19839,"title":19840,"dynasty":99,"author":257,"museum":608,"description":19841,"tags":19842,"thumbUrl":19843,"material":123,"size":19844,"collection":44,"collections":19845,"showCount":19541,"zanCount":1379,"manualWeight":48,"mainColor":49},215030,"si-ma-guang-gui-yin-tu-yi-ming-215030","司马光归隐图","独乐园 是宋代司马光在熙宁六年（1073年）左右建造的，虽然不是什么宏伟的房子，但因为司马光在这里写了《资治通鉴》，苏轼等人也在这里写了诗，所以它就出名了。李格非的《洛阳名园记》描述了该园的 水笔、读书堂、鱼贯寺、药园 和 竹园。《竹园》、《看山台》、《浇花》中也对这七种景象进行了简单的描述。这张图片是对竹子种植园的故事的描述。画中的鲜活人物可与晋国的陶渊明媲美。",[23,24,7,28,106,3712,109,176,13236],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd32007569961fc2242c4cd2050def5e9.jpg","76x136",[44],{"id":19847,"slug":19848,"title":19849,"dynasty":302,"author":1977,"museum":191,"description":19850,"tags":19851,"thumbUrl":19852,"material":88,"size":19853,"collection":44,"collections":19854,"showCount":19541,"zanCount":48,"manualWeight":48,"mainColor":94},215018,"weng-you-tu-zhao-meng-fu-215018","瓮牖图","这幅画描绘了子贡在住所中与元显会面的情景，以桑门为门，以破瓮为窗的陋室，以示君子以德为乐。岩石很粗糙，只画了草图，后来用绿色和蓝色填充，人物穿着柔软，笔触遒劲，具有唐代的古风。",[23,24,25,26,7,29,106,86,178,212,34,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1134b50520c2f4c147bc42dc3de893cc.jpg","27.1x619.4",[44],{"id":19856,"slug":19857,"title":19858,"dynasty":99,"author":257,"museum":316,"description":19859,"tags":19860,"thumbUrl":19862,"material":599,"size":600,"collection":139,"collections":19863,"showCount":19864,"zanCount":2368,"manualWeight":48,"mainColor":49},287979,"bei-song-zhang-ze-duan-quan-jing-qing-ming-shang-he-tu-juan-ming-qing-mo-ben-yi-ming-287979","北宋张择端全景清明上河图卷(明清摹本)","这卷追摹之作，将北宋汴京的市井烟火铺展于绢素之上。朱墙之下屋舍错落，官署比邻商肆，黛瓦飞檐勾连着宋韵城坊肌理。街衢间人流如织，挑担货郎穿街过巷，沽酒食客围坐檐下，驻足交谈的路人、接引宾朋的店家，鲜活复刻着彼时的日常百态。\n\n画者以细腻笔触捕捉俗世鲜活，酒幌招摇、门板半敞，处处藏着汴京的喧嚣暖意，把千年前都城的熙攘意趣传神留存，让观者仿佛踏入彼时的春日长街。",[23,194,24,26,19861,7,28,104,106,107,4060,152,113,120,1567],"摹本","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dd02dd6db3b5b7381b799a8a64e635f.jpg",[],69,{"id":19866,"slug":19867,"title":19868,"dynasty":76,"author":2200,"museum":316,"description":19869,"tags":19870,"thumbUrl":19872,"material":139,"size":139,"collection":139,"collections":19873,"showCount":19864,"zanCount":1379,"manualWeight":48,"mainColor":94},239220,"yan-lai-hong-zhou-wu-chang-shuo-239220","雁来红轴","此作以大写意绘雁来红，以色代墨，淡赭晕染花穗，晕染间尽显经霜愈艳的柔媚鲜活，将雁来红的秋意风姿藏于笔底。墨笔绘叶，干湿浓淡交织，苍润兼具，寥寥数笔便写出枝叶舒展的蓬勃生机。\n\n题款行书错落劲健，金石气十足，诗画相映点明古稀秋艳的意趣，诗书画印浑然一体，尽显文人写意画雅致格调。笔墨老辣简劲，将雁来红的疏野清逸之美与秋日意绪相融，尽显典型的写意花鸟风貌。",[24,25,226,7,173,498,19871,83],"雁来红","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F969b019357e416b147cfffc582a0864a.jpg",[],{"id":19875,"slug":19876,"title":1451,"dynasty":99,"author":1057,"museum":316,"description":19877,"tags":19878,"thumbUrl":19879,"material":599,"size":600,"collection":181,"collections":19880,"showCount":19864,"zanCount":2368,"manualWeight":48,"mainColor":94},235686,"shan-shui-hua-hui-ce-xiang-sheng-mo-235686","项圣谟，初字逸，后字孔彰，号易庵，别号有胥山樵、存存居士、醉风人、大酉山人、莲塘居士、烟波钓徒、松涛散仙、逸叟、狂吟客、鸳湖钓叟、不夜楼中士等等，浙江嘉兴人。",[24,25,81,7,83,5371,1187,554,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1058fce6fc406a605fe3444ec1a25c9.jpg",[181],{"id":19882,"slug":19883,"title":19884,"dynasty":99,"author":257,"museum":316,"description":19885,"tags":19886,"thumbUrl":19887,"material":599,"size":600,"collection":90,"collections":19888,"showCount":19864,"zanCount":48,"manualWeight":48,"mainColor":94},235583,"wen-chu-hua-hui-ce-yi-ming-235583","文俶花卉册","此作以糙涩米黄沙底为衬，浅纹隐现，愈显清雅悠然。柔婉青茎舒展虬曲，羽状细叶以淡青晕染，通透轻盈，尽显草木灵秀。两朵万寿菊轻绽枝头，瓣边暖橙柔润，瓣心赭红沉凝，层次细腻，将盛放娇妍定格，旁侧花苞颔首待放，静藏生机。全作未施浓彩，以轻淡设色搭配素朴底纸，尽显清隽雅致的小品意趣，将草木鲜活生机晕染在方寸之间，观之如嗅浅淡花香，悠然意远。",[24,25,81,28,7,83,84,210,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fc6eb7dafe3ffa707e1031a8859d55b.jpg",[90],{"id":19890,"slug":19891,"title":9073,"dynasty":302,"author":303,"museum":191,"description":19892,"tags":19893,"thumbUrl":19894,"material":638,"size":19895,"collection":139,"collections":19896,"showCount":19864,"zanCount":2368,"manualWeight":48,"mainColor":94},231403,"qiu-gua-tu-qian-xuan-231403","该图中描绘了瓜熟之际，野草旁生，新花又开的田园一景。该图以工笔淡彩方法处理瓜、花、叶，而野草则勾线设色与没骨法兼用，怒意洒落，尤显野逸。此图精致典雅，与宋代小品画一脉相承，然而又透出一股书卷气，作者意在追求一种清润淡雅的画格。画家以朴素无华的笔调拟绘田园景物，在题诗中表达了一个知识分子对隐逸生活的态度和情怀。\n图中写甜瓜一柄，老叶几片，一丛杂草，蜿蜒的藤蔓上开着白花。\n画家在图中题诗一首：“金流石烁汗如雨，削入冰盘气似秋。写向小窗醒醉目，东陵闲说故秦侯。”\n中国花鸟画的题材包罗万象，各种动植物都隶属其中。其中对于蔬果的细致描绘，要属北宋赵昌较早。自此而后，蔬果遂成为画家们反复描绘的对象。宋元时，西瓜成为蔬果画的主题，其中部分作品流传下来，《秋瓜图》便是钱选在写生的基础上绘制而成的，它是一幅较早描绘蔬果类的作品，且其所描绘的就是西瓜。\n该图题诗中引用“东陵侯种瓜”的典故，秦朝的东陵侯召平，在秦亡后降为平民，因家贫，种瓜于长安城东以为业。由于他种的瓜味道特别甜，遂被称为东陵瓜。东陵侯召平，由王侯贵胄而跌落红尘，历经谋生的艰难，反因种瓜而留名后世。因此，“东陵侯”成为传统文化中隐士的象征，“东陵瓜”也成为传统象征隐士品德的重要文化符号。东陵种瓜，钱选售画，两者均经历世变的沧桑与跌落凡尘的劫难。画家透过题诗，个体生命与历史文化进行连接与对话，显示画中秋瓜图的作者实为隐士的真正身份。这样，钱选在历史文化的记忆中找到自我生命的安顿。钱选笔下的秋瓜，显然不是现实之物，而是承载历史文化记忆的传统之物，是根植于传统文化脉络之上的果实，是可以在炎热的夏季令人警醒的文化记忆。\n该图所摄取景物集中于画幅的下端，画瓜地中秋瓜一枚，秋瓜果呈长圆形，近椭圆，瓜皮乌黑发亮，瓜楞清晰可见，且黑白对比鲜明，非常醒目。瓜藤蔓延，藤花绰约，有野草数茎衬托其后，瓜叶宽大，其中有瓜叶一片着地半萎，已是瓜果成熟的秋季。硕大的秋瓜用墨绿渍染，呈现碧绿油亮的色彩，瓜楞施以白粉，瓜楞分明，瓜叶脉用细笔勾勒，用笔细致精到，设色淡雅，翠色斑烂。藤花先用细笔勾勒，施以白粉，白色的花朵和墨绿的瓜果和叶形成黑白鲜明的对比。\n该图构图简洁，作者用折枝法在写生基础上经过了艺术的提炼，删繁就简，突出了画面的意境情趣。该图最明显的特点，画幅不大，却画得精致典雅，但精致而不艳丽，细腻而不纤巧，具有清润淡雅的格调，该图呈竖长方形构图，下不留地，上留有较大的空白，近于画面二分之一弱，有作者自题诗给填补，对整个画幅起到了充实其内容及平衡作用。\n台北故宫博物院院长石守谦：《秋瓜图》的精致写实、细腻处理，也显示了南宋职业画中不可或缺的高度技巧，不过他却刻意地采用轻淡的设色，以示其与一般画师之区别。",[194,24,25,226,28,7,83,11407,554,84,838,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80176e7550578ceea6d1fcbd2d4966b9.jpg","纵63.1厘米，横30厘米",[],{"id":19898,"slug":19899,"title":19900,"dynasty":54,"author":257,"museum":316,"description":19901,"tags":19902,"thumbUrl":19903,"material":599,"size":600,"collection":139,"collections":19904,"showCount":19864,"zanCount":2368,"manualWeight":48,"mainColor":49},231003,"ren-wu-1-1-yi-ming-231003","人物1-1","残壁之上，两位侍臣敛容垂立，衣褶以平涂晕染勾勒，石绿、朱红与素白交织层叠，古朴色调晕开岁月斑驳。一人握长杆凝神静立，一人执笏板垂目恭谨，柔婉凝练的眉眼线条，将侍奉的端严内敛尽数铺陈。剥落的墙皮裹挟着时光的痕迹，褪去鲜亮的色块沉淀出古拙沉静的气韵，把千年前仪制中的肃穆规整凝于方寸残片，让斑驳的肌理成为岁月的注脚，牵系起古今对大唐礼序的悠悠遐想。",[7230,511,7,106,24,194,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d72ff99d07e8808cba3c4383efe8dff.jpg",[],{"id":19906,"slug":19907,"title":19908,"dynasty":76,"author":5359,"museum":316,"description":19909,"tags":19910,"thumbUrl":19911,"material":599,"size":600,"collection":139,"collections":19912,"showCount":19864,"zanCount":48,"manualWeight":48,"mainColor":49},230158,"peng-lai-xian-jing-tu-ping-12-tiao-ping-yuan-yao-230158","蓬莱仙境图屏-12条屏","袁耀（生卒年不详），清朝画家，字昭道，江都（今江苏扬州）人。袁江之侄。",[23,24,7,104,28,177,29,107,1273,176,37,408],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54bd480a9dcef63f008711c8e7e61623.jpg",[],{"id":19914,"slug":19915,"title":19916,"dynasty":18,"author":4254,"museum":316,"description":19917,"tags":19918,"thumbUrl":19919,"material":139,"size":139,"collection":139,"collections":19920,"showCount":19864,"zanCount":48,"manualWeight":48,"mainColor":49},227494,"shan-shui-tu-zhou-fan-kuan-227494","山水图轴","北宋晚期的《宣和画谱》收录有范宽画作58件，书画家米芾也在其《画史》中记载称见过真迹30件。\n\n目前其流传的作品仅有台北国立故宫博物院收藏的〈谿山行旅图〉为现今艺术史学家所公认。",[23,194,24,25,226,173,7,177,29,174,176,34,3518,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15199fa3c2e2bfaa83fb5e9e78f5236f.jpg",[],{"id":19922,"slug":19923,"title":19924,"dynasty":256,"author":3184,"museum":316,"description":6534,"tags":19925,"thumbUrl":19927,"material":599,"size":600,"collection":3195,"collections":19928,"showCount":19864,"zanCount":48,"manualWeight":48,"mainColor":2504},225648,"rembrandt-harmensz-van-rijn-058-lun-bo-lang-225648","Rembrandt Harmensz.van Rijn - 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0138,"material":139,"size":139,"collection":139,"collections":20139,"showCount":20102,"zanCount":48,"manualWeight":48,"mainColor":94},235300,"ju-hua-zhou-xu-gu-235300","此作以上下两簇秋菊铺陈画面，左侧留白题款，疏密错落间章法雅致和谐。以淡墨勾勒花瓣，细劲舒展如丝，赭黄点染花心，醒目鲜活，尽显秋菊盛放之姿。菊叶以蓝与淡墨晕染，枯笔写枝，苍劲老辣，笔致简逸放纵，自带冷峭清奇格调。\n整体色调萧疏淡雅，将秋菊凌霜的清逸风骨尽显，融文人画清雅意趣与世俗审美于一体，于简淡朴拙之间，尽显秋花隽逸之姿与高节品性。",[24,25,226,173,7,352,630,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ef193bc0930876f14e505b19adec7fc.jpg",[],{"id":20141,"slug":20142,"title":20143,"dynasty":256,"author":20144,"museum":316,"description":20145,"tags":20146,"thumbUrl":20149,"material":139,"size":139,"collection":139,"collections":20150,"showCount":20102,"zanCount":2368,"manualWeight":48,"mainColor":49},231661,"ping-an-shi-dai-qiu-cao-tu-ping-feng-biao-wu-zong-xue-231661","平安时代 秋草图屏风","俵屋宗雪","铺陈金箔素地，晕开柔和的秋日元晖。画面自左向右漫开野趣，左侧点点白花攒着翠叶，随屏风向右逐渐繁茂，莹白碎花团簇如云，间生苍绿荻草，穗芒轻曳似凝住了浅淡秋风。\n设色清润雅致，花叶勾勒细腻柔婉，留白衬着金地暖光，将秋野疏朗静美揉进屏间，带着侘寂悠然的和风禅意。仿佛能嗅到秋草混着细花的清芬，将转瞬秋意凝作永恒画中光景，尽显幽玄雅致的日式美学意趣。",[23,279,7,28,630,1980,20147,264,20148],"秋草","金碧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa64fe109ba5703d79c1476831630b074.jpg",[],{"id":20152,"slug":20153,"title":20154,"dynasty":76,"author":997,"museum":316,"description":20155,"tags":20156,"thumbUrl":20157,"material":139,"size":139,"collection":139,"collections":20158,"showCount":20102,"zanCount":48,"manualWeight":48,"mainColor":94},228985,"jiang-nan-chun-ai-tu-shi-tao-228985","江南春霭图","淡赭晕染坡岸，老松虬枝盘曲如盖，竹树掩映间藏着矮屋，漾出林下幽居的闲散意趣。远景山峦以干笔皴擦，再笼上淡墨轻烟，春霭漫过江天，扁舟孤悬水面，将江南春日空濛柔婉的景致晕染开来。\n\n整幅以松秀笔墨绘就山水灵韵，页面上下题满行书，笔势纵宕不羁，诗画相生合契，把江南春景的澹远幽恬尽藏其中。以简淡笔墨勾勒出山川自然之趣，又寄寓文人幽居的清雅襟怀，尽显山水与心神相融的文人画逸致。",[194,24,25,173,7,29,177,178,212,353,1353,175,108,109,174,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1398b65b6b1e8c394747527e5b645ab4.jpg",[],{"id":20160,"slug":20161,"title":20162,"dynasty":18,"author":1350,"museum":316,"description":20163,"tags":20164,"thumbUrl":20166,"material":139,"size":139,"collection":139,"collections":20167,"showCount":20102,"zanCount":2368,"manualWeight":48,"mainColor":49},227821,"song-feng-ting-tu-ye-ma-yuan-227821","松风亭图页","这幅小品以边角取景，将山水意趣藏于尺幅之间。右侧虬松苍劲盘曲，枝干如铁，松针攒簇劲挺，斜斜探向半空，似携着穿林松风。古松之畔，山亭飞檐翘角，半掩于松石间，雅致清寂。左侧留白晕染远山，淡墨轻描，虚实相映，衬出山林空阔萧散的意境。\n\n用笔刚简老辣，墨色干湿浓淡错落，勾勒皴擦间，山石枯涩、古松苍润的质感尽显，以少胜多，把林泉幽居的静谧禅意铺陈开来，藏着文人心中归向林泉的高远意趣，尺幅之中意蕴悠长。",[23,194,24,25,3559,104,175,1273,176,1169,173,7,177,20165,3585,12797,212],"边角取景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa207a22d1b0e544e2ed8382683769b21.jpg",[],{"id":20169,"slug":20170,"title":20171,"dynasty":256,"author":6236,"museum":316,"description":6237,"tags":20172,"thumbUrl":20181,"material":599,"size":600,"collection":3195,"collections":20182,"showCount":20102,"zanCount":2368,"manualWeight":48,"mainColor":49},225733,"daubigny-s-garden-june-fan-gao-225733","Daubigny's garden (June - 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，不拘绳墨，意在青藤、白阳、竹憨之间。画梅以瘦硬见称，老干新枝 ，欹侧蟠曲。用间印有“梅花手段”，著名的题画梅诗有“不逢摧折不离奇”之句。还喜欢画狂风中的松竹。工书。能诗，后人辑有《梅花楼 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唐室开元致太平，年年十月幸华清。\n当时马上多娇态，不相驱驰蜀道行。",[23,24,25,194,26,7,28,106,150,212,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3b28078355dcd9084429ae23f044604.jpg",[],{"id":20450,"slug":20451,"title":20452,"dynasty":189,"author":19089,"museum":191,"description":20453,"tags":20454,"thumbUrl":20455,"material":282,"size":20456,"collection":181,"collections":20457,"showCount":20381,"zanCount":48,"manualWeight":48,"mainColor":49},226700,"qiu-shan-tu-zhou-ju-ran-226700","秋山图轴","是文人雅士卧游的理想之地。构图极富变化，笔墨精妙，设色点缀恰到好处",[24,3559,226,173,7,177,5218,176,34,809,986,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e3ae1d313c4e7dd19956e57f3ea4884.jpg","156.2x77.2公分、全幅 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1430—1516）意大利威尼斯画派画家。代表作品有《在花园里苦恼》，《小树与圣母像》，《诸神之宴》等。",[3187,260,8377,7,106,686,34,114,151,16440,11848,1463,912,1169,1170,446,20175,7600,20465],"城堡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26cc60d2e59375840eec3fddb295d915.jpg",[3195],{"id":20469,"slug":20470,"title":20471,"dynasty":99,"author":2275,"museum":191,"description":20472,"tags":20473,"thumbUrl":20474,"material":1307,"size":20475,"collection":181,"collections":20476,"showCount":20381,"zanCount":48,"manualWeight":48,"mainColor":49},222414,"hua-zhu-an-chun-zhou-zhou-zhi-mian-222414","花竹鹌鹑轴","绘雨后竹子越发翠绿，紫色的喇叭花缠绕其上，湖石下一对鹌鹑正观景觅食。画顶端有范允临题：雨过竹色明，风恬鸟声乐。睡起北窗凉，斜阳在高阁。周之冕，字服卿，明代画家，擅花鸟，所绘鸟禽栩栩如生。",[23,24,25,226,83,7,28,227,7956,634,484,263,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F877ec000da3e80bb4d127ada41a2f4e7.jpg","111.7x29.7",[181,163],{"id":20478,"slug":20479,"title":20480,"dynasty":99,"author":20481,"museum":20,"description":20482,"tags":20483,"thumbUrl":20484,"material":40,"size":20485,"collection":44,"collections":20486,"showCount":20381,"zanCount":48,"manualWeight":48,"mainColor":94},222082,"sui-chao-jia-zhao-tu-zhu-jian-shen-222082","岁朝佳兆图","朱见深","画幅右上方有明宪宗朱见深御题：“柏柿如意。一脉春回暖气随，风云万里值明时。画图今日来佳兆，如意年年百事宜。”款署：“成化辛丑文华殿御笔”，钤“广运之宝”。\n图中画钟馗，犀利的目光紧盯着飞来的蝙蝠，一手持如意，一手扶在小鬼的肩头；小鬼双手捧着盛有柿子和柏枝的托盘，寓意“百事如意”。\n明代以前，悬挂钟馗像是年节时一项重要的风俗活动，用以驱鬼辟邪，至明清之交此风俗才渐渐移向端午，所以这幅“岁朝佳兆图”可以看作是一幅祈祥祝福的宫廷年画。此图作于成化十七年（1481年），画法老练，衣纹的勾描顿挫有力，人物的造型生动夸张，显示了这位皇帝画家的娴熟技能。",[23,194,24,25,226,7,28,352,106,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9b9fc4e6f55bfb12448810b6d3f9227.jpg","纵59.7厘米，横35.5厘米",[44,45],{"id":20488,"slug":20489,"title":20490,"dynasty":99,"author":1782,"museum":191,"description":20491,"tags":20492,"thumbUrl":20493,"material":40,"size":20494,"collection":181,"collections":20495,"showCount":20381,"zanCount":48,"manualWeight":48,"mainColor":49},222038,"zhang-song-wu-lu-zhou-dai-jin-222038","长松五鹿轴","这幅画的主题是长松和鹿，长松代表长寿，鹿因与「禄」谐音，带有「福禄」或「俸禄」的意思，所以这张画具有祝寿或是祈福的功能。本画的构图与戴进一般作品不同，垂直的松林、形状像石笋的山峰和围绕的祥云几乎塞满画面全部的空间，让整幅画充满平面装饰的趣味。",[23,24,226,7,29,1273,2479,746,177,176,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb8af83ff4d6f77521d790ed2136c0af.jpg","纵：142.5厘米 横：72.4厘米",[181,45],{"id":20497,"slug":20498,"title":20499,"dynasty":99,"author":20500,"museum":191,"description":20501,"tags":20502,"thumbUrl":20503,"material":5011,"size":20504,"collection":181,"collections":20505,"showCount":20381,"zanCount":2368,"manualWeight":48,"mainColor":94},221935,"xi-yan-tu-zhou-chen-luo-221935","洗砚图轴","陈裸","陈祼（公元1563~约1639年），初名瓒，字叔祼，后去掉“叔”字，号道樗、白室，江苏吴县（今江苏苏州）人。\n善画山水，远宗赵伯驹、赵孟俯﹝赵孟頫﹞诸家，近师文征明。摹古人笔法逼真，能工书。晚年居虎丘，以吟咏自娱。作品有《石梁飞瀑图轴》，《秋山高隐图轴》。\n所图必深林叠嶂，曲径回塘，以扇面为多。能诗工书，善行楷，晚年居虎丘，以吟咏自娱。传世作品有崇祯九年(1636)作《竹溪花坞图》轴，图录于《故宫书画集》；崇祯十一年(1638)作《山水扇面》，图录于《明代名人画扇集》。崇祯二年(1629)作《雪山行旅图册页》，表现雪山的手法学夏珪，画石用小斧劈皴，画树枝笔触多带有钉头，颇具匠心。曾由吴平斋收藏，后为南京十竹斋藏品。著有《妪解集》。",[23,24,25,226,7,177,29,1273,35,1426,176,1171,106,109,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe91618ed8c738d3b3545416a0e57f159.jpg","122.4x51.5厘米",[181,163],{"id":20507,"slug":20508,"title":20509,"dynasty":302,"author":5007,"museum":20,"description":20510,"tags":20511,"thumbUrl":20512,"material":40,"size":20513,"collection":181,"collections":20514,"showCount":20381,"zanCount":48,"manualWeight":48,"mainColor":94},221753,"zuo-kan-yun-qi-tu-sheng-mao-221753","坐看云起图","图绘古木平岗，林木错落有致，一士人手执如意，席地而坐，岗下山石嶙峋，水中苇草丛生；远处双雁振翅，云雾迷蒙，山峰隐现于云海之中。本幅图体现了雅士宁静的生活情趣。",[23,24,25,1260,173,7,177,29,106,245,353,1353,176,2235],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2dc41d70c8a6c3e79ab91e8b28705867.jpg","27*28cm",[181,45],{"id":20516,"slug":20517,"title":20518,"dynasty":76,"author":7596,"museum":101,"description":20519,"tags":20520,"thumbUrl":20521,"material":88,"size":20522,"collection":181,"collections":20523,"showCount":20381,"zanCount":48,"manualWeight":48,"mainColor":94},219901,"tai-hang-shan-se-tu-wang-hui-219901","太行山色图","此为王翚仿关仝笔意作太行山图,其于画幅中央作突兀怪石、山泉溪谷,以细密雨点皴作出,颇有范宽枪笔俱均之势",[23,24,25,26,29,7,177,808,37,34,10384,31,176,986,1982,6711],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1cb4b3c91f64f54888179c45394bbda.jpg","25.3x209.4",[181],{"id":20525,"slug":20526,"title":1383,"dynasty":99,"author":1782,"museum":191,"description":20527,"tags":20528,"thumbUrl":20529,"material":1319,"size":20530,"collection":181,"collections":20531,"showCount":20381,"zanCount":48,"manualWeight":48,"mainColor":49},219837,"shan-shui-tu-dai-jin-219837","戴进以浙江地方传统水墨技法作为基，加上南宋院体画，又吸收元代李、郭派的精华。　幅中近景水亭两侧大石以斧劈皴法写之，主峰山势圆浑，造型由郭熙风格蜕化而出，然运笔则用小斧劈皴，余以淡墨大块烘染，浓墨点苔，森森密密，似马夏布墨之法，李郭、马夏风格两相融合，发展形成明初浙派风潮。画面左上有「钱塘戴文进写」六字，并钤「静庵」印记一方。",[24,25,194,177,173,7,29,108,109,174,175,34,1426,106,176,226,809,808,1170,118,3176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5184f9099fce9f5215427da498fc29cc.jpg","本幅 184.5x109.4公分",[181],{"id":20533,"slug":20534,"title":20535,"dynasty":18,"author":1588,"museum":5827,"description":20536,"tags":20537,"thumbUrl":20539,"material":123,"size":20540,"collection":90,"collections":20541,"showCount":20381,"zanCount":48,"manualWeight":48,"mainColor":94},219084,"can-he-yuan-yang-tu-ma-lin-219084","残荷鸳鸯图","图为荷塘岸边枯萎的荷花，两朵荷花干枯，细杆上隐约可见一层薄薄的雪花，似弯折折断； 一对鸳鸯站在岸边，羽毛鲜艳，身体匀称，一副低头的样子，似乎在寻找食物。",[194,24,25,1260,7,28,228,20538,2014,209,83,230,212],"残荷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8148e5c307f646b726f878e7dad3e86.jpg","25.4x24.4cm",[90],{"id":20543,"slug":20544,"title":20545,"dynasty":76,"author":12341,"museum":191,"description":20546,"tags":20547,"thumbUrl":20548,"material":88,"size":20549,"collection":90,"collections":20550,"showCount":20381,"zanCount":48,"manualWeight":48,"mainColor":94},218810,"e-mo-niao-tu-yang-da-zhang-218810","额摩鸟图","画面中两只额摩鸟姿态悠然，昂首者似欲引吭，俯身者若寻幽草。翎羽纤毫毕现，颈间蓝红绒羽如霞披覆，肌理质感细腻入微。旁侧牡丹姹紫、玉兰皎洁，枝桠间燕语呢喃，石畔小雀啄食，生机盎然。青绿山石晕染温润，皴擦有致，与禽鸟花木相映成趣。上下题跋为御制诗文，笔墨苍劲，典重之气扑面而来。整幅画作工写兼备，设色妍丽却不失清雅，奇禽异卉共构一堂，既有自然生趣，亦含皇家苑囿的雍容气象，堪称清代宫廷花鸟走兽画的精品之作。",[194,24,25,226,28,7,83,209,292,378,176,86,212,245,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe680768fee9dc27723523539b928bca7.jpg","149.8x101cm",[90],{"id":20552,"slug":20553,"title":20554,"dynasty":18,"author":2497,"museum":457,"description":20555,"tags":20556,"thumbUrl":20557,"material":123,"size":20558,"collection":139,"collections":20559,"showCount":20381,"zanCount":2368,"manualWeight":48,"mainColor":2504},218603,"wu-bai-luo-han-zhi-shou-hu-shu-jin-tu-zhou-ji-chang-218603","五百罗汉之受胡输赆图","画面的上半部分是五个罗汉在云中行走，身后是由松柏树组成的瀑布，而下半部分是一个长鼻黑眼的胡人骑着骆驼，手里拿着一个珊瑚，另一个胡人负责拉着骆驼。风景和人物是用柔和的细线画出来的，使其生动而自然。北周庾信的《哀江南》写道。西边的大厅用浮玉覆盖，南边的大厅用羽毛覆盖。武秦与越阴，荆燕与楚舞。这就是为什么后来经常用 西厅南隅 的说法来指代来自四面八方的贡品的朝拜。这幅图像和面向山姆的竹林图像都是献宝的图像，而且都显示了非汉族人的打扮，如身穿红袍、打扮成金人的骆驼手。",[23,24,25,226,260,7,106,28,379,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a32d2b58935d5585c6c8a74a79b2ef4.jpg","110.5x52.0",[],{"id":20561,"slug":20562,"title":20563,"dynasty":76,"author":1539,"museum":316,"description":20564,"tags":20565,"thumbUrl":20567,"material":123,"size":20568,"collection":44,"collections":20569,"showCount":20381,"zanCount":2368,"manualWeight":48,"mainColor":49},218491,"ting-qin-tu-yu-lan-218491","听琴图","幽篁入镜，琴音似萦。室内雅集间，主人横琴而坐，指下弦动；侧畔听者凝神，眉宇间尽是悠然。侍女轻持乐器侍立，案上文玩罗列，红萼点缀其间，更添几分雅致。窗外竹影婆娑，与镜中幽林相映，虚实交织间，尽显文人闲逸之趣。笔墨细腻，器物精描，人物神态宛然，将一段琴韵中的闲适时光，凝于绢素之上，引人沉醉于这清寂又温暖的雅境里。",[24,194,28,7,106,7558,195,4999,227,20566,4313,4312,19470],"文玩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd79ea1cf75ecae2ee4a8c203cf5dc219.jpg","88x41.7",[44],{"id":20571,"slug":20572,"title":20573,"dynasty":302,"author":257,"museum":20,"description":20574,"tags":20575,"thumbUrl":20576,"material":123,"size":20577,"collection":181,"collections":20578,"showCount":20381,"zanCount":48,"manualWeight":48,"mainColor":49},218217,"qiu-xi-chui-diao-tu-yi-ming-218217","秋溪垂钓图","画中的渔夫端坐在边石上，手持鱼竿，凝视着水面，似乎随时都可能有鱼上钩。身后是一片葱郁的树林，秋天的色彩浓郁而温暖。水面上漂浮着几片落叶，显示出季节的变迁。\n\n整幅画流露出一种平和而悠闲的气氛，令人感到身心放松。这也是秋溪垂钓图的独特魅力所在。",[24,173,7,29,353,1353,230,109,106,6582,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d078f22a1ebaa637bd9d0770e6f670d.jpg","26x23.7cm",[181],{"id":20580,"slug":20581,"title":20582,"dynasty":54,"author":257,"museum":2816,"description":20583,"tags":20584,"thumbUrl":20585,"material":2820,"size":139,"collection":139,"collections":20586,"showCount":20381,"zanCount":2368,"manualWeight":48,"mainColor":49},217286,"jiang-mo-bian-dun-huang-tu-juan-4-yi-ming-217286","降魔变·敦煌图卷-4","古朴绢本上，笔墨流转间铺展着一段生动叙事。左侧世俗人物神态各异，衣袂飘举间透着生活气息；中间裸身有须者围坐伞下，伞面纹饰繁复，身旁神兽昂首展翼，灵动线条勾勒出其威猛与祥瑞兼具的姿态；右侧僧侣群像肃穆，衣袍色彩沉稳，传递出宁静的宗教氛围。整幅画以流畅线描为骨，设色淡雅却层次分明，人物与神兽、世俗与神圣场景交织，既捕捉生活细节，又蕴含佛教故事的庄严奇幻，岁月痕迹里仍能感受到鲜活的艺术张力。",[194,24,25,26,7,28,260,1846,106,6422,29,245,34,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc400e9da6b17613f5e9395694aaabf3d.jpg",[],{"id":20588,"slug":20589,"title":20590,"dynasty":76,"author":20591,"museum":191,"description":20592,"tags":20593,"thumbUrl":20594,"material":123,"size":20595,"collection":44,"collections":20596,"showCount":20381,"zanCount":48,"manualWeight":48,"mainColor":94},216968,"li-zhu-cui-xiu-ce-liang-mu-lan-he-da-zi-216968","丽珠萃秀册-梁木兰","赫达资","梁木兰是清朝著名的艺术家，她是在《丽珠萃秀册》中被介绍的。《丽珠萃秀册》是一部清朝时期的艺术名录，其中记录了当时著名的艺术家、书画家、雕塑家、音乐家和舞蹈家的作品和生平经历。梁木兰是其中的一位艺术家，她出身于辽宁省大连市，在清朝时期以其精湛的书法和绘画技艺而闻名。",[24,25,81,7,28,106,230,29,2439,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F607e3ef4147ab6d830a434d5bcc7fcb8.jpg","30.1x22.5",[44],{"id":20598,"slug":20599,"title":908,"dynasty":54,"author":9483,"museum":132,"description":20600,"tags":20601,"thumbUrl":20602,"material":88,"size":139,"collection":90,"collections":20603,"showCount":20381,"zanCount":48,"manualWeight":48,"mainColor":94},216664,"mu-niu-tu-dai-song-216664","牧牛图 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(fragment)",[10039,3187,21077,137,3519,7,20173],"睡莲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3e725c0b74ad8f654523156cabe4b36.jpg",[3195],{"id":21081,"slug":21082,"title":21083,"dynasty":18,"author":257,"museum":101,"description":21084,"tags":21085,"thumbUrl":21086,"material":67,"size":21087,"collection":139,"collections":21088,"showCount":21006,"zanCount":2368,"manualWeight":48,"mainColor":2504},223493,"ming-huang-xing-shu-tu-zhou-yi-ming-223493","明皇幸蜀图轴","此画绘安史之乱之后，唐玄宗李隆基离开长安逃往巴蜀避难的故事。一群人仓促慌乱而逃，此时杨贵妃已经被唐玄宗赐死于马嵬坡，而画面中无人骑行的白马，应该就是杨贵妃死前的坐骑。",[23,24,7,29,106,226,177,150,176,34,1049,808],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26a9c78e8345ce04c7530887632de2f2.jpg","33x45",[],{"id":21090,"slug":21091,"title":21092,"dynasty":76,"author":329,"museum":191,"description":21093,"tags":21094,"thumbUrl":21096,"material":40,"size":21097,"collection":90,"collections":21098,"showCount":21006,"zanCount":48,"manualWeight":48,"mainColor":94},222722,"shi-jun-quan-tu-zhi-ba-shan-xing-lang-lang-shi-ning-222722","十骏犬图之八睒星狼","睒星狼为宫廷名犬之一，为科尔沁四等台吉丹达里逊进献。绘睒星狼位于画面中央偏下位置，其身后则以配景形式绘有高大的树木和低矮的花草，色泽鲜丽，清晰细致。",[23,24,25,194,28,7,746,21095,243,34,380,212],"名犬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F776979946ef2bb6e343e1385068093ab.jpg","246.6x163.8",[90,45],{"id":21100,"slug":21101,"title":21102,"dynasty":99,"author":21103,"museum":20,"description":21104,"tags":21105,"thumbUrl":21106,"material":40,"size":21107,"collection":90,"collections":21108,"showCount":21006,"zanCount":48,"manualWeight":48,"mainColor":49},222456,"liu-qin-bai-xian-li-zhou-wang-zhao-222456","柳禽白鹇立轴","汪肇","《柳禽白鹇图》绘溪水奔流，浪花翻滚，岸边青草依依，两只白鹇一俯一仰，悠然闲憩。一株杨柳，枝条倒垂，随风飘动；柳畔桃花盛开，数只燕子翻腾嬉戏于柳枝之间，充满早春气息。白鹇画法工细，形象写实，生动传神。羽毛色彩，对比鲜艳。此图工写结合，造型生动自然，色彩丰富，与画家粗简放逸之风有所不同。",[23,194,24,25,226,83,7,28,6915,245,7714,8547,16577,243,109,13449],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbeb9797ae11c53f7557aad5da268f564.jpg","纵190，横103",[90,45],{"id":21110,"slug":21111,"title":21112,"dynasty":99,"author":756,"museum":56,"description":21113,"tags":21114,"thumbUrl":21115,"material":500,"size":21116,"collection":181,"collections":21117,"showCount":21006,"zanCount":2368,"manualWeight":48,"mainColor":49},221981,"shan-zhuang-ke-zhi-tu-wen-zheng-ming-221981","山庄客至图","描绘的是友人前来拜访的场景，山水亭榭、花草树木一派世外桃源的景致。整幅作品以S型构图，山石皴然兼施，多有抬点，笔致气魄洋溢。是典型的文人画作，淡于仕进，优游林下，以诗文书画自娱，表现自己的品格情怀。此画描绘的是友人前来拜访的场景，山水亭榭、花草树木一派世外桃源的景致。",[23,24,107,29,685,262,378,3477,7,226,498,638,36],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F677782faafd32968920256e48cddfb04.jpg","纵87.5厘米，横27.3厘米",[181,45],{"id":21119,"slug":21120,"title":21121,"dynasty":302,"author":21122,"museum":20,"description":21123,"tags":21124,"thumbUrl":21125,"material":21126,"size":21127,"collection":181,"collections":21128,"showCount":21006,"zanCount":2368,"manualWeight":48,"mainColor":49},221820,"yue-yang-lou-tu-xia-yong-221820","岳阳楼图","夏永","对开清代李佐贤题跋：“岳阳楼图，界画精巧，飞阁层檐，一丝不乱，楼中人物，纤悉具备，殆类鬼工。上题岳阳楼记，楷书如蝇头蚊脚，足使离娄失明，不知作者如何著笔。此等书画，乃宋人绝技，元明以后，已成《广陵散》矣。古今人不相及，即艺事可见。李佐贤识。”钤：“竹朋”印。\n岳阳楼位于今湖南省境内，相传最早为三国时东吴名将鲁肃训练水师的阅兵台，更因北宋著名文学家范仲淹脍炙人口的《岳阳楼记》而著称于世，其与滕王阁、黄鹤楼并称为我国古代“三大名楼”。\n此幅与故宫藏另一件《岳阳楼图》之构图、技法如出一辙，只是一为纨扇，一为册页。 其精整工细的线描正可谓“细若蚊睫，侔于鬼工”。这种纯以墨笔白描界画建筑的手法到元代以后已成绝响，以至于清人李佐贤误以为此图是宋人所为。",[23,24,104,1260,352,7,107,29,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38a4943b845226bb520d7033519a172d.jpg","绢本，墨笔","纵24.4厘米，横26.2厘米",[181,163],{"id":21130,"slug":21131,"title":21132,"dynasty":302,"author":16330,"museum":191,"description":21133,"tags":21134,"thumbUrl":21135,"material":13281,"size":21136,"collection":181,"collections":21137,"showCount":21006,"zanCount":48,"manualWeight":48,"mainColor":49},221690,"hua-chun-shan-qing-yu-zhou-gao-ke-gong-221690","画春山晴雨轴","高克恭（1248－1310），号房山。其先回鹘人，占籍大同，后居武林。字彦敬，号房山老人，仕至刑部尚书。画山水，学米氏父子，造诣精绝。后学董源、李成、巨然笔法，专取写意气韵，亦擅长墨竹。高克恭画盛名盖世，而流传作品不多。此幅画溪边小景，云影满山，用笔含蓄凝练，用墨温婉蕴藉，突出宁静的氛围。",[23,24,226,173,7,177,29,685,2235,378,1273,109,686],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcbf1df459b73c36527176870aa88973.jpg","125.1 x 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唐卡是藏族文化中一种独具特色的绘画艺术形式。",[23,320,260,106,7,28,65,2235,16831],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc45b75d2d19f4d7bac59bc0e28e8dbc.jpg",[],{"id":21359,"slug":21360,"title":21361,"dynasty":99,"author":21362,"museum":191,"description":21363,"tags":21364,"thumbUrl":21365,"material":7,"size":21366,"collection":181,"collections":21367,"showCount":21308,"zanCount":48,"manualWeight":48,"mainColor":94},222452,"hua-lu-shen-yuan-feng-tang-hui-xian-shan-tu-juan-zhang-fu-222452","画陆深愿丰堂会仙山图卷","张鈇","张𫓧（？－？），字德威，山东东昌府冠县人，军籍，明朝政治人物。\n山东乡试第六十三名举人。嘉靖八年（1529年）中式己丑科会试第一百五十二名，登第三甲第一百四十一名进士\n曾祖张山；祖父张文，曾任寿官；父张周，母郭氏",[24,25,26,7,177,29,108,107,34,176,1169,3574,114,38,808,809],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcebe762343913fad16b0e0bdb556a9e5.jpg","27.1x161.2",[181,163],{"id":21369,"slug":21370,"title":20081,"dynasty":99,"author":14232,"museum":191,"description":21371,"tags":21372,"thumbUrl":21373,"material":88,"size":21374,"collection":90,"collections":21375,"showCount":21308,"zanCount":48,"manualWeight":48,"mainColor":94},222420,"san-yang-kai-tai-zhu-zhan-ji-222420","画幅正中绘着三只羊。以羊寓阳，以太同泰，寓意“三羊开泰”。依据八卦，正月为泰卦，一阳生于下，冬去春来，阴消阳长，万物复苏，所以，它是祥瑞的象征。三只羊集于一起一白二黑，衬以古木竹石。:羊开泰取意吉祥。三羊的形象皆从写生中来，前者一只小羊，正在低首食草，弯弓着背，短尾微粗，除两腿和头顶处呈白色，其余儿乎全为黑驹黝绒密的黑毛，后面一只小羊，正在低首缓步前行，双目下视，似作觅食之状，四条腿的下肢和头顶部分呈白色，其余为黑黝黝的绒毛。两乳羊柔顺之态，宛然如生。一只大羊略作俯瞰侧面，两角竖立向外伸展，呈倒“八字”，角尖如尖刀似的，身躯圆滚，毛长腿粗，头部、双耳、背部等处为黑色，及长长的黑色的颈毛，双日炯炯有神，传达出了生动的姿态和准确的头、颈、身躯关系。",[23,24,25,226,7,28,6162,378,227,230,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F373b5a7d9c34426c6e0ebc149bc2c324.jpg","纵211.6厘米,横142.5厘米",[90,45],{"id":21377,"slug":21378,"title":21379,"dynasty":99,"author":21380,"museum":191,"description":21381,"tags":21382,"thumbUrl":21383,"material":500,"size":21384,"collection":90,"collections":21385,"showCount":21308,"zanCount":48,"manualWeight":48,"mainColor":94},222064,"jian-qiu-luo-ji-lin-da-222064","剪秋罗鸡","林达","此图为《明林达花卉翎毛册》中的一页。林达（年代不详），字志道，号愧吾，福建莆田人。俊子。正德九年（1514）进士，历官南京吏部考功郎中。",[23,194,24,25,860,7,28,83,19135,84,230,3192,689],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5ad09435dd181cbb24bac44d2945b7b.jpg","29.7×40.4cm",[90,45],{"id":21387,"slug":21388,"title":21389,"dynasty":18,"author":4912,"museum":191,"description":21390,"tags":21391,"thumbUrl":21392,"material":67,"size":21393,"collection":42,"collections":21394,"showCount":21308,"zanCount":48,"manualWeight":48,"mainColor":801},221378,"ying-shan-tu-juan-wang-shen-221378","赢山图卷","《宋王诜赢山图》用勾勒青绿填染画山，古朴清雅，元代钱选小青绿山水即似此画风，卷末山石上有小楷题识，云：“保宁赐第王晋卿赢山既觉，因图梦中所见，甲辰春正月梦游者。",[23,24,25,26,29,7,177,808,34,35,31,174,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc60b9eb105d6a170d78f0e0696507e39.jpg","纵24.5厘米、横145.1厘米",[42,44,45],{"id":21396,"slug":21397,"title":21398,"dynasty":76,"author":77,"museum":191,"description":1143,"tags":21399,"thumbUrl":21400,"material":7,"size":21401,"collection":181,"collections":21402,"showCount":21308,"zanCount":48,"manualWeight":48,"mainColor":94},220983,"fang-guo-xi-han-shan-xing-lv-yun-shou-ping-220983","仿郭熙寒山行旅",[23,24,7,105,177,29,176,795,37,3960,1049,3883,1169,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f5acd697e8aabd17c2b3f85707c6b56.jpg","77.2厘米",[181,163],{"id":21404,"slug":21405,"title":21406,"dynasty":869,"author":870,"museum":8765,"description":21407,"tags":21408,"thumbUrl":21409,"material":11118,"size":139,"collection":139,"collections":21410,"showCount":21308,"zanCount":48,"manualWeight":48,"mainColor":94},220603,"zhong-kui-sao-bei-tu-qi-bai-shi-220603","钟馗搔背图","此作一改钟馗惯常的凶煞驱邪形象，将其化作略带疲态的凡俗长者。小鬼褪去狞恶之气，俯身替钟馗搔背，俨然日常相伴的侍者，满是市井烟火意趣。\n\n笔意朴拙简练，衣袍以大写意晕染，寥寥数笔尽显松弛质感，人物神态刻画细腻，钟馗眯眼松弛的模样，消解了神威戾气。搭配题画诗呼应画面谐趣，将神祗拉下神坛，以家常互动传递出冲淡幽默的文人意趣，让传统题材跳出刻板框架，尽显鲜活的世俗温情。",[24,173,7,498,106,230,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1656255cbf0464045a89337af6e2511.jpg",[],{"id":21412,"slug":21413,"title":21414,"dynasty":869,"author":4525,"museum":6047,"description":21415,"tags":21416,"thumbUrl":21417,"material":139,"size":139,"collection":139,"collections":21418,"showCount":21308,"zanCount":48,"manualWeight":48,"mainColor":94},220541,"san-ma-tu-yue-sheng-xu-bei-hong-220541","三马图(月升)","画面构图错落雅致，上方三马各有意趣。两匹垂首缓行，鬃毛垂顺，低首啮食尽显温驯松弛，水墨晕染间将骏马肌理骨相勾勒分明。另一匹昂首提蹄，鬃尾飞扬，筋骨勃发满是奔腾的野逸生气，寥寥数笔便将骏马的灵动与劲硕全然彰显。\n\n右下角晚秋枯树以淡赭点染残叶，清冷萧疏的静气，恰好衬得骏马愈发蓬勃俊朗。左侧题字笔力苍劲，与画中笔墨融作一体。整幅落笔简劲写意，以形写神，将生灵的蓬勃生机与沉静氛围感交织，尽显写意画的含蓄韵致，把骏马神形风骨尽现笔端。",[23,194,24,25,173,7,8377,498,150,378,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc93e961915d8db09e0e734cbfad68664.jpg",[],{"id":21420,"slug":21421,"title":21422,"dynasty":76,"author":7596,"museum":191,"description":21423,"tags":21424,"thumbUrl":21425,"material":88,"size":21426,"collection":181,"collections":21427,"showCount":21308,"zanCount":48,"manualWeight":48,"mainColor":94},220382,"qing-wang-hui-fang-zhao-meng-fu-chun-shan-fei-pu-wang-hui-220382","清王翚仿赵孟俯春山飞瀑","细皴粗染入神知。春水初生落涧迟。书识重光诗正叔。天瓶小册合评时。辛亥（西元一七九一年）新正用恽寿平韵。御题。",[24,25,7,27,28,177,105,29,979,1273,176,1170,34,809],"https:\u002F\u002Foss.chuangqi.store\u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38.4×30.3",[90],{"id":21438,"slug":21439,"title":21440,"dynasty":99,"author":170,"museum":1830,"description":14925,"tags":21441,"thumbUrl":21442,"material":638,"size":21443,"collection":139,"collections":21444,"showCount":21308,"zanCount":48,"manualWeight":48,"mainColor":94},220021,"dong-zhuang-tu-ce-zhi-xu-gu-tang-shen-zhou-220021","东庄图册之续古堂",[23,24,25,81,7,173,177,29,175,227,378,176,114,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23226a9c2a97b03509df6c47524c86ca.jpg","28.6cm×33cm",[],{"id":21446,"slug":21447,"title":1689,"dynasty":18,"author":647,"museum":191,"description":21448,"tags":21449,"thumbUrl":21450,"material":67,"size":139,"collection":90,"collections":21451,"showCount":21308,"zanCount":2368,"manualWeight":48,"mainColor":49},219649,"hua-niao-tu-zhao-chang-219649","以淡墨晕染花木，浓淡间晕出花叶阴阳向背，将海棠柔润花瓣、舒展枝叶的层次尽数铺陈。静栖枝头的禽鸟刻画入微，蓬松羽毛的绒质感纤毫毕现，敛翼凝神的姿态悠然恬淡。\n\n整幅画作不着浓艳设色，却将春日花木的柔媚与禽鸟的闲适融于一纸，清雅空灵间满溢融融春意。淡笔轻勾里藏着写实的精妙，简淡笔墨晕染出静谧温柔的诗意，尽显雅致的审美意趣，将自然生机诉诸笔端，淡而愈真，简而弥远，是水墨写生花鸟中的绝佳范本。",[194,24,25,28,7,83,209,84,211,1090,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29d886b9329342c4d5a14bb7b5782996.jpg",[90],{"id":21453,"slug":21454,"title":21455,"dynasty":76,"author":3061,"museum":191,"description":21456,"tags":21457,"thumbUrl":21458,"material":7,"size":21459,"collection":90,"collections":21460,"showCount":21308,"zanCount":1379,"manualWeight":48,"mainColor":94},219438,"bi-tao-zhou-jin-ting-biao-219438","碧桃轴","苍劲古干虬枝盘曲，墨色浓淡间尽显岁月肌理；粉桃灼灼，花瓣娇嫩欲滴，与老干形成刚柔相济之趣。前景湖石嶙峋，皴擦有致，旁生细草，更添野逸。水面空濛，落花点点，远处淡墨晕染的树影若隐若现，似有春风拂面，暗香浮动。整幅画笔墨清逸，意境悠远，将春日桃林的静谧雅致与生命的蓬勃张力融于一纸，尽显传统文人画的含蓄韵致与审美意趣。",[24,25,226,7,173,243,230,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ffd2b66ff2d9836a7ca1771b73634df.jpg","179.7x62.6",[90],{"id":21462,"slug":21463,"title":21464,"dynasty":76,"author":21465,"museum":191,"description":21466,"tags":21467,"thumbUrl":21468,"material":123,"size":21469,"collection":44,"collections":21470,"showCount":21308,"zanCount":1379,"manualWeight":48,"mainColor":49},219391,"qu-juan-gui-wen-shan-shui-tu-huang-ying-chen-219391","祛倦鬼文山水图","黄应谌","庭院凉亭中一人坐打瞌睡，亭外似一人迤迤然而来，带着奇异的氛围，却原来是倦鬼。作者于清顺治庚子（1660）春日画明申时行（1535-1614）〈袪倦鬼文〉文意，并书写原文于幅上。文中叙述整理手稿时，常因困倦而荒废数月，而前人有「困意则鬼入之」之说，乃撰文驱逐倦鬼，却于打瞌睡间见倦鬼前来说明如本身神定而无移，鬼又如何能入侵之理，因有所领悟，并表示感谢。",[24,25,194,7,28,29,106,175,1133,379,820],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ed4e0d57e2761d2ab147a7ee51a2f7e.jpg","163.8x219cm",[44],{"id":21472,"slug":21473,"title":21474,"dynasty":99,"author":21475,"museum":442,"description":21476,"tags":21477,"thumbUrl":21478,"material":123,"size":139,"collection":90,"collections":21479,"showCount":21308,"zanCount":48,"manualWeight":48,"mainColor":49},219323,"hua-niao-tu-er-yue-zhou-219323","花鸟图(二)","月洲","梅枝横斜，粉蕊轻绽枝头，两只禽鸟或立或眺，神态悠然。下方花卉繁茂，瓣层叠如绒，色泽温润；长尾羽禽羽翼绯红，与素白花朵相映成趣，墨枝青叶绿意交错，野趣自生。笔触细腻处见工致，设色淡雅中藏灵动，禽鸟憨态、花木生机跃然绢上，尽显自然意趣与文人雅致。岁月虽为绢面添了斑驳，却未减画面里静谧的生机流转，似能闻得花鸟间的轻语，触到时光里的温柔回响，将自然之美与文人情韵凝于方寸之间。",[23,24,194,226,28,7,83,820,227,897,209,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6ce9a7674e5a9e4c068dd1387796361.jpg",[90],{"id":21481,"slug":21482,"title":21483,"dynasty":18,"author":257,"museum":191,"description":21484,"tags":21485,"thumbUrl":21486,"material":123,"size":21487,"collection":90,"collections":21488,"showCount":21308,"zanCount":1379,"manualWeight":48,"mainColor":49},218952,"li-zhi-bo-zhao-guo-tu-yi-ming-218952","离支伯赵国图","画面上用重笔画了一枝荔枝，荔枝的果实因其红皮而令人垂涎。两只小鸟站在树枝上，笔触细腻，色彩漂亮，是一件具有强烈象征意义的伟大艺术品。",[23,194,24,25,28,7,83,2223,245,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60fa47a9909e1d2b25e8f1a85cce8e17.jpg","25.5x24.8cm",[90],{"id":21490,"slug":21491,"title":21492,"dynasty":18,"author":19681,"museum":457,"description":21493,"tags":21494,"thumbUrl":21495,"material":123,"size":2501,"collection":44,"collections":21496,"showCount":21308,"zanCount":1003,"manualWeight":48,"mainColor":2504},218606,"wu-bai-luo-han-zhi-jing-dian-qi-rui-tu-lin-ting-gui-218606","五百罗汉之经典奇瑞图","画板中央是一座三层的砖塔，其中一部道教经书已被烧成灰烬，而一部佛教经书则完好无损，熠熠生辉。聚集在宝塔周围的四位罗汉（佛教经文）双手紧握以示喜悦，而另一位罗汉则向两位官员解释情况。右下角的三个道士很震惊。所描绘的场景取自《佛祖传》中提到的焚经比道的著名典故：（永平十五年）正月初一，五岳道士朱善心等人摆出桌子，进行比对。...... 当年道士等将真谛五术福智五百零九卷，毛成子等二十七家二百三十五卷，通共七百四十八卷，放在坛上。这本书被放在祭坛上，朱棣和费祎的弟子们烧香放火。诸子道书灰飞烟灭，楚、费二人从之感而死。接下来将是梵文的火书和赫拉克勒斯，作为一个新的展台，更加明亮和纯净。当时，摩腾法师的神奇变身凌空而起，冷不丁的一句话：，狐狸不是大师级的，灯不是太阳和月亮的光。池子不是巨大的海，山不是蝴蝶的山。达摩的云彩笼罩着世界，美好的种子绽放。达摩的显现无处不在，改造着众生。即使是佛法、戒律和其他神力的宣扬，也让许多出家的人感到惊讶。",[23,194,24,25,260,104,7,106,176,37,114,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F210f5d3021349306409ef4e727b69a10.jpg",[44],{"id":21498,"slug":21499,"title":21500,"dynasty":76,"author":21501,"museum":78,"description":21502,"tags":21503,"thumbUrl":21504,"material":123,"size":139,"collection":44,"collections":21505,"showCount":21308,"zanCount":1379,"manualWeight":48,"mainColor":94},218387,"xie-liu-ru-shi-fu-jin-xiao-xiang-tu-gu-shao-218387","写柳如是幅巾小象图","顾韶","顾韶，字螺峰，钱塘(今杭州)人。清代画家顾洛女。其父擅人物、山水、花卉、翎毛，尤长仕女。写古衣冠，渊雅静穆。顾韶得父真传，人物、花卉臻妙，尤妙婴戏图。\n这幅肖像所画人物为明末清初名妓柳如是。上书小篆“柳如是幅巾小象”，落款“螺峰女史顾韶学画”，钤“螺峰”朱白文印。\n柳如是（1618—1664）本姓杨，名爱，字蘼芜，又有影怜、云娟等别名，改姓柳，名是，又名隐，字如是，号我闻室主人，人称河东君。嘉兴人。明末名妓，秦淮八艳之一。幼年为盛泽徐氏养女，后入吴江故相周道登家为侍婢。继为盛泽归家院妓，能诗善画，曾结交陈子龙，欲托身而未能。后嫁钱谦益为妾，南明亡，劝谦益殉国，不能从。谦益卒，族人争产，自经死。有《戊寅草》、《湖上草》等。\n史载柳如是喜男装。这幅小象中，她幅巾广袖，风姿如玉，眉目间自有清逸之气，可谓传神。",[24,25,226,352,7,106,59,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9021ddbd10d5a9fe53dfbc4a7171900.jpg",[44],{"id":21507,"slug":21508,"title":4253,"dynasty":302,"author":21509,"museum":5488,"description":21510,"tags":21511,"thumbUrl":21512,"material":123,"size":139,"collection":181,"collections":21513,"showCount":21308,"zanCount":2368,"manualWeight":48,"mainColor":2504},218251,"xue-jing-shan-shui-tu-sun-jun-ze-218251","孙君泽","寒枝疏瘦，柳条如丝绦般摇曳于雪色间。远山覆雪，皴笔淡染出苍茫寒意；近景暖阁内人影依稀，似有围炉清谈之趣。画面融南宋院体的精工与元人山水的空灵，留白处见雪意，线条间藏生机。萧寒天地中，暖阁的烟火气与远山的静谧相映成趣，于素净笔墨间，寻得一份静谧温情，尽显冬日山水的清旷之美。",[24,3559,226,173,7,177,2562,29,175,1241,176,106,13277,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4b3736813819c79171866fb270f653e.jpg",[181],{"id":21515,"slug":21516,"title":21517,"dynasty":54,"author":21518,"museum":20,"description":21519,"tags":21520,"thumbUrl":21521,"material":123,"size":21522,"collection":44,"collections":21523,"showCount":21308,"zanCount":48,"manualWeight":48,"mainColor":49},218143,"liu-zun-zhe-xiang-tu-ce-lu-leng-qie-218143","六尊者像图册","卢楞伽","卢楞伽（生卒年不详），长安（今西安）人。学画于吴道子，喜作经文变相一类绘画，唐玄宗驻跸四川期间由汴入蜀，声名益著。乾元（758-760年）初于大圣慈寺画行道僧，颜真卿为之题名，号称“二绝”。",[23,24,25,81,7,28,260,106,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bc5667212353981bcfb16635801cb73.jpg","30x58",[44],{"id":21525,"slug":21526,"title":21527,"dynasty":18,"author":1350,"museum":132,"description":3289,"tags":21528,"thumbUrl":21529,"material":123,"size":3292,"collection":139,"collections":21530,"showCount":21308,"zanCount":48,"manualWeight":48,"mainColor":94},218064,"song-di-ming-ti-ce-si-ma-yuan-218064","宋帝命题册(四)",[23,24,25,81,7,3559,685,107,34,37,1169,114,212,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13ea61e29236947548d533291b9864bb.jpg",[],{"id":21532,"slug":21533,"title":21534,"dynasty":189,"author":13717,"museum":191,"description":21535,"tags":21536,"thumbUrl":21537,"material":123,"size":139,"collection":44,"collections":21538,"showCount":21308,"zanCount":2368,"manualWeight":48,"mainColor":49},216985,"luo-han-zhou-guan-xiu-216985","罗汉轴","罗汉图是五代十国时期的一件珍贵的文物。它是一幅画，描绘了佛教的著名的罗汉（又被称作“菩萨”）。这幅画的特别之处在于，它是由贯休所画。\n\n贯休（907年-971年）是五代十国时期的一位著名的佛教徒和文学家。他是宋朝的开国皇帝赵匡胤的政治顾问，在赵匡胤建立宋朝后，贯休成为了宋朝的一位高级官员。贯休是当时佛教界的知名人士，他著有许多佛教经典，并且在佛教研究方面有很高的造诣。\n\n罗汉图是五代十国时期最重要的佛教文物之一，它对于研究这一时期的佛教文化和历史具有重要的价值。",[24,25,226,260,6170,7,28,106,264,280,7696,4009],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dce4cc8cc12226031be8f6e4d29a72c.jpg",[44],{"id":21540,"slug":21541,"title":21542,"dynasty":99,"author":3307,"museum":191,"description":21543,"tags":21544,"thumbUrl":21546,"material":123,"size":21547,"collection":90,"collections":21548,"showCount":21308,"zanCount":48,"manualWeight":48,"mainColor":49},216845,"qiu-zhu-shui-qin-tu-lv-ji-216845","秋渚水禽图","这幅画的布局集中在右下角，占据了图片的绝大部分。从画的右侧中间伸展出几根稀疏的芦苇，有的直上，有的向左，芦苇叶大多下垂;在图片下方，有几根芦苇栖息在堤岸上，其中一根在月亮的脖子上叽叽喳喳，另外两根芦苇回头看。屏幕左侧是平静清澈的海水，是芦苇漂浮的天堂。在图片上方是满月，空旷时，明亮的月光投射在地球上。\n画中的芦苇写得很好，外表生动。芦苇是用厚厚的光和光不同颜色的层叠叠而成的，非常细腻，不仅形状像神萧，而且羽毛的光泽也显现出来。芦苇和木槿的叶茎，淡墨，刷掉。视觉要以浅色演色性，看不到笔痕，使领域广阔而深远;用马原画湖石，夏贵墨钩法，加换，坚固简单;这幅画异常真实，自然而壮观。这幅画，和路易姬的其他花鸟画一样，极大地丰富了花鸟画和笔墨的表达。",[23,194,24,28,7,83,834,1980,84,265,3884,21545],"岸石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa017ac0164b088a5d177f88bd5bd52d1.jpg","纵177.2厘米，横107.3厘米",[90],{"id":21550,"slug":21551,"title":21552,"dynasty":76,"author":257,"museum":191,"description":21553,"tags":21554,"thumbUrl":21555,"material":88,"size":139,"collection":90,"collections":21556,"showCount":21308,"zanCount":1379,"manualWeight":48,"mainColor":94},216604,"niao-pu-ce-yi-ming-216604","鸟谱册","翎羽覆蓝如染，腹间留白似雪，双鸟栖息枝头，姿态悠然。枝上白瓣轻绽，若星点坠叶间；红实缀枝，如丹砂凝珠。墨石以皴擦出肌理，朴拙中见苍劲。旁侧题跋笔意流转，朱印钤盖添韵，笔墨与丹青交融，自然生机与文人雅致相映成趣。画面清逸古雅，于细微处藏匠心，将禽鸟之态、草木之姿绘得灵动鲜活，尽显传统花鸟之韵致，观之如临幽境，心随鸟羽轻扬，沉醉于这份自然与笔墨交织的雅致中。",[24,7,28,81,83,230,245,212,629],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4fbe133283d9300756a99be85b74661e.jpg",[90],{"id":21558,"slug":21559,"title":21560,"dynasty":99,"author":3504,"museum":132,"description":3505,"tags":21561,"thumbUrl":21562,"material":88,"size":3508,"collection":139,"collections":21563,"showCount":21308,"zanCount":2368,"manualWeight":48,"mainColor":3510},216263,"ming-za-hua-ce-2-wang-zhong-216263","明杂画册-2",[24,25,81,7,28,83,229,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F031eea93913669c390a6cd9e1119488c.jpg",[],{"id":21565,"slug":21566,"title":21567,"dynasty":18,"author":647,"museum":191,"description":16617,"tags":21568,"thumbUrl":21569,"material":67,"size":3282,"collection":139,"collections":21570,"showCount":93,"zanCount":1379,"manualWeight":48,"mainColor":49},290298,"hua-mu-dan-zhou-zhao-chang-290298","画牡丹轴",[194,24,226,7,28,83,292,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bd4bca642dcf11d1cb871a52b5b38d1.jpg",[],{"id":21572,"slug":21573,"title":21574,"dynasty":18,"author":17827,"museum":316,"description":21575,"tags":21576,"thumbUrl":21577,"material":599,"size":600,"collection":139,"collections":21578,"showCount":93,"zanCount":48,"manualWeight":48,"mainColor":49},288991,"shi-nv-pu-die-tu-xu-chong-ju-288991","仕女扑蝶图","徐熙孙，与徐崇嗣、徐崇勋为弟兄，生卒年不详。画有祖风，所作花木、禽鸟形骨轻秀。北宋时期徐熙画花木、禽鱼、蝉蝶、蔬果之类极夺造化之妙，与黄筌之花鸟画为当时之两大流派，有“黄家富贵，徐熙野逸”之说。崇矩兄弟虚心好学，吸收黄筌、黄居寀父子画法之长，终于自创“没骨法”新体，摈弃墨笔钩勒而直接用彩色晕染。亦工仕女，曲眉丰脸，姿态可人，有唐人风。",[24,28,7,106,59,484,9432],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90f63fff7f725a432c5603c8ef3f3dea.jpg",[],{"id":21580,"slug":21581,"title":21582,"dynasty":99,"author":17423,"museum":316,"description":21583,"tags":21584,"thumbUrl":21587,"material":599,"size":600,"collection":139,"collections":21588,"showCount":93,"zanCount":2368,"manualWeight":48,"mainColor":94},287361,"liu-min-tu-juan-gao-qing-zhou-chen-287361","流民图卷(高清)","周臣（1460–1535），字舜卿，号东村，中国明代著名画家。吴（今江苏苏州）人。擅画。他生活在成化至嘉靖年间。生年不详，卒于明世宗嘉靖十四年（即1535年）。擅长画人物和山水，画法严整工细。",[23,24,26,194,173,7,106,21585,6162,61,10516,86,21586],"流民","民生疾苦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89baea17418e8268052ddf9c5e1952b0.jpg",[],{"id":21590,"slug":21591,"title":21592,"dynasty":76,"author":257,"museum":316,"description":21593,"tags":21594,"thumbUrl":21596,"material":599,"size":600,"collection":139,"collections":21597,"showCount":93,"zanCount":1003,"manualWeight":48,"mainColor":49},272966,"zi-tan-mu-bian-cai-xiu-mu-dan-tu-gua-ping-yi-ming-272966","紫檀木边彩绣牡丹图挂屏","此作以彩绣成景，嶙峋湖石以深浅蓝阶绣线晕染，苍润沉稳，撑起画面骨架。几枝牡丹柔白舒展，花叶扶疏雅致，绣线排布细腻自然，晕色过渡柔和，将牡丹盛放的娇柔姿态尽数铺陈。角落兰草轻曳点缀，衬得画面愈发娴静悠然。整体色调清雅古淡，兼具工笔设色的雅致与刺绣工艺的肌理美感，把中式庭院的春日闲景藏于方寸之间，尽显温婉意趣，是小品绣制中的雅致佳构。",[8969,21595,9496,83,292,176,4267,7,7135,65,28],"彩绣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e474073ba64f037d4de801952086e7d.jpg",[],{"id":21599,"slug":21600,"title":21601,"dynasty":76,"author":257,"museum":316,"description":21602,"tags":21603,"thumbUrl":21606,"material":599,"size":600,"collection":139,"collections":21607,"showCount":93,"zanCount":48,"manualWeight":48,"mainColor":801},249175,"qian-long-kuan-hua-fa-lang-shi-nv-tu-bi-yan-hu-yi-ming-249175","乾隆款画珐琅仕女图鼻烟壶","鼻烟壶指的是盛鼻烟的容器，小可手握，便于携带。明末清初，鼻烟传入中国，鼻烟盒渐渐东方化，产生了鼻烟壶。\n人们嗜用鼻烟的习惯几近绝迹，但鼻烟壶却作为一种精美艺术品流传下来，而且长盛不衰，被誉为“集中各国多种工艺之大成的袖珍艺术品”。\n中国鼻烟壶，作为精美的工艺品，采用瓷、铜、象牙、玉石、玛瑙、琥珀等材质，运用青花、五彩、雕瓷、套料、巧作、内画等技法，汲取了域内外多种工艺的优点，被雅好者视为珍贵文玩，在海内外皆享有盛誉。\n在世界上，中国素有「烟壶之乡」的称誉，其中鼻烟壶以其精巧卓绝的制作技术，被称为「集多种工艺之大成于一身的袖珍艺术品」。鼻烟壶为盛装鼻烟之容器，鼻烟系一种烟草制品，原为西洋之物，明末清初自欧洲传入中国后，加工转化后成为粉末状药材，吸闻之后不但具有明目避疫的功效，吸闻鼻烟在各阶层更是蔚为风尚，且迅速地融入了中国的艺术风格，发展出匠心独运的各式鼻烟壶，在清代美学工艺上大放异彩，成为清代艺术的重要标志之一。",[76,10978,21604,7,614,2385,106,21605],"画珐琅","琺瑯器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8f6c77778a489e7af1575050a8801ee.jpg",[],{"id":21609,"slug":21610,"title":21611,"dynasty":76,"author":21612,"museum":20,"description":21613,"tags":21614,"thumbUrl":21615,"material":139,"size":139,"collection":181,"collections":21616,"showCount":93,"zanCount":48,"manualWeight":48,"mainColor":94},239443,"fu-chun-shan-ju-tu-juan-huang-jun-239443","富春山居图卷","黄均","黄均（1775－1850），字上琓，号榖原、榖源、香畴、墨华居士、墨华庵主，元和（今苏州）人。据嘉道间大臣梁章钜(1775 - 1849）所著《楹联丛话全编》，黄均于嘉庆间供奉内廷有年。\n蒋宝龄（1781 - 1840)父子著《墨林今话》记：黄均以议叙官汉阳主簿，施南同知。画山水、花卉、梅竹，入手即通其妙，而於山水尤尽能事。初师黄鼎，继法娄东，堪与王撰并驾，用笔用墨苍楚有致。诗宗晚唐，书学赵孟頫，卖画食贫，怡然自得。尝自言二十馀年以吏为隐。卒年七十六。著《墨华庵吟稿》。\n《清史稿》称：“画晚而益工，于吴中称后劲”。\n黄宾虹议黄榖原“以功力胜，不在纤秀”。",[23,24,26,7,177,29,176,34,31,1426,986,111,108],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F164d44c5894dd5dcbd4a28934931eb84.jpg",[181,45],{"id":21618,"slug":21619,"title":21620,"dynasty":76,"author":21621,"museum":20,"description":21622,"tags":21623,"thumbUrl":21624,"material":638,"size":139,"collection":2065,"collections":21625,"showCount":93,"zanCount":2368,"manualWeight":48,"mainColor":94},238975,"he-hua-wang-wen-zhi-ti-yong-zhou-pan-gong-shou-238975","荷花王文治题咏轴","潘恭寿","潘恭寿 （1741－1794），字慎夫，号握篔，又号莲巢，丹徒（今江苏镇江）人。中年归依佛门后，法号达莲。",[226,24,25,173,7,136,137,178,86,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9aa48d2065c663302255911bf30c46e5.jpg",[2065],{"id":21627,"slug":21628,"title":21629,"dynasty":76,"author":1892,"museum":20,"description":21630,"tags":21631,"thumbUrl":21632,"material":40,"size":21633,"collection":44,"collections":21634,"showCount":93,"zanCount":48,"manualWeight":48,"mainColor":94},238204,"duan-yang-gu-shi-tu-ce-xu-yang-238204","端阳故事图册","此图册各开分别描绘了端阳节期间的重要民俗活动，集中表现了历代各地的风俗习惯。每开均以隶书题写画名，并以行书对画作加以注释，以便读者进一步理解画面内容。乾隆皇帝作为出身于满族的清王朝统治者，将顺民心、近民俗视为稳定朝政的一条治国的根本之道，他常谕令宫廷画家以写实的绘画技法表现汉族的民俗事象，除谕令徐扬绘本图册之外，还谕令徐扬绘《姑苏繁华图》、《京春诗意图》，以及命宫廷画家周鲲绘《村市生涯图》等等，以便对汉民族的风俗传统有更为形象的认知。\n第一开名《射粉团》，题：“射粉团，唐宫中造粉团角黍饤盘中，以小弓射之，中者得食。”\n第二开名《赐枭羹》，题：“汉令郡国贡枭为羹赐官以恶鸟，故食之。”\n第三开名《採药草》，题：“五日午时蓄採众药治病，最效验。”\n第四开名《养鸲鹆》，题：“取鸲鹆儿毛羽新成者去舌尖，养之皆善语。”\n第五开名《悬艾人》，题：“荆楚风俗以艾为人悬门户上，以禳毒气。”\n第六开名《系采丝》，题：“系采丝，以五色丝系臂，谓之长命缕。”\n第七开名《裹角黍》，题：“以菰叶裹粘米为角黍取阴阳包裹之义，以赞时也。”\n第八开名《观競渡》，题：“观競渡，聚众临流称为龙舟胜会。”\n此图册构图严谨精妙，人物造型秀逸生动，线条遒劲流畅，色彩明丽典雅，显示出作者较强的写实功底和乾隆朝宫廷绘画工整清丽的笔墨特点。\n图册上钤有乾隆皇帝诸方玺印：“乾隆鉴赏”、“三希堂精鉴玺”、“宜子孙”等。",[24,25,81,28,7,106,378,212,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23165b22fac125b7d6ddb6e8f6f1549e.jpg","每开纵20.7厘米，横18.2厘米",[44,45],{"id":21636,"slug":21637,"title":21638,"dynasty":99,"author":857,"museum":316,"description":21639,"tags":21640,"thumbUrl":21641,"material":139,"size":139,"collection":139,"collections":21642,"showCount":93,"zanCount":2368,"manualWeight":48,"mainColor":49},237908,"ting-qin-zhou-chen-hong-shou-237908","听琴轴","《陈洪绶听琴轴》是明代画家陈洪绶创作的一幅绫本设色画，该画现藏于 。\n款署：“枫溪弗迟老人陈洪绶写于定香桥畔。\n”钤“字章侯”白文印。\n图绘一端庄文弱的女子在专心抚琴的场景。\n其优美的琴音吸引了周围的人，侍女驻足恭听，不愿打扰动听的旋律；男子侧耳静听，不愿落掉每一个音符。\n“弹”与“听”构成了画作的主题，也表达了文人所向往的一种娱乐情趣和他们日常的家居生活状态。\n此幅所绘人物形象古拙，线描造型准确传神，显现出作者深厚的艺术功底和既写实又独具韵味的笔墨特点，是其仕女人物画的代表作之一。",[24,25,194,226,7,28,352,106,59,195,820,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f517614b1bbd46132ab010b3fe9ea3e.jpg",[],{"id":21644,"slug":21645,"title":21646,"dynasty":76,"author":1610,"museum":20,"description":18776,"tags":21647,"thumbUrl":21648,"material":139,"size":139,"collection":90,"collections":21649,"showCount":93,"zanCount":48,"manualWeight":48,"mainColor":94},236194,"hua-mei-hua-zhang-zhao-shu-shi-cheng-shan-zou-yi-gui-236194","画梅花张照书诗成扇",[24,25,1260,7,83,820,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F899e5ea3cc711760373bed9285838479.jpg",[90,45],{"id":21651,"slug":21652,"title":21653,"dynasty":99,"author":8525,"museum":20,"description":21654,"tags":21655,"thumbUrl":21656,"material":40,"size":21657,"collection":139,"collections":21658,"showCount":93,"zanCount":2368,"manualWeight":48,"mainColor":49},233881,"fu-rong-e-tu-zhou-sun-long-233881","芙蓉鹅图轴","图绘池塘草畔，一只大鹅昂首前望，侧立于芙蓉、湖石下。芙蓉花叶用先点后勾法画成，墨、色相间。太湖石以没骨法渲染。鹅则兼用没骨与勾勒，以淡墨线勾勒轮廓、羽毛，淡墨渲染花色，朱棕赭石填染咀和掌，造型严整，笔致工细。整幅画不拘泥于细节的刻划，而是从整体出发，着力表现白鹅、芙蓉的生动神态。\n在画法上，作者将写意与写形、没骨与勾勒、水墨与淡彩融为一体，和谐地统一于图画之中。这种画法的渊源，应为宋、元以来水墨写意花鸟技法的发展和变异，是孙隆的一种创造，开写意花鸟画之新风。此图为其存世佳作。",[24,194,25,226,83,7,82,634,7355,137,319],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4161d97123ab1447f6e046cfecf58534.jpg","纵159.3厘米，横84.1厘米",[],{"id":21660,"slug":21661,"title":21662,"dynasty":76,"author":997,"museum":316,"description":21663,"tags":21664,"thumbUrl":21665,"material":139,"size":139,"collection":139,"collections":21666,"showCount":93,"zanCount":2368,"manualWeight":48,"mainColor":49},229000,"jiao-ye-mo-se-tu-ce-12-kai-shi-tao-229000","郊野墨色图册12开","《石涛花卉》是219年中国书店出版的图书，作者是孙棋。\n石涛是一位多才多艺的艺术家，善画山水，兼工墨竹、花卉、人物。\n他吸收传统文化的精髓，但不受传统精神束缚，反对墨守成规，敢于打破陈法，主张对绘画技法进行变革和创新，是中国绘画史上出类拔萃、屈指可数的人物之一。\n石涛精于花卉蔬果，尤其是传统的“四君子”题材的绘画。\n他在继承传统的基础上进行创新，花卉潇洒隽朗、天真烂漫、清气袭人，人物生拙古朴、别具一格。\n可以说，石涛开清代花鸟画之先河，在中国花鸟画史上有着不可替代的地位。\n着色花卉图册八帧 岷江春色图 花卉图册十二帧 细笔花卉图册十帧 山水花卉图册八帧 郊野墨色图册十二帧 苦瓜和尚书画册十二帧 人物花鸟图册八帧 陶渊明诗意图册十二帧 写枝山诗意图册十帧",[24,173,7,177,81,29,685,262,34,35,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34a1d8a7dff20448467a31c175199486.jpg",[],{"id":21668,"slug":21669,"title":21670,"dynasty":99,"author":3774,"museum":316,"description":21671,"tags":21672,"thumbUrl":21673,"material":139,"size":139,"collection":139,"collections":21674,"showCount":93,"zanCount":48,"manualWeight":48,"mainColor":49},228465,"kong-que-mei-hua-tu-zhou-lu-zhi-228465","孔雀梅花图轴","虬曲老梅横斜错落，红白两色梅花次第绽放在柔枝之上，冷艳娇柔间衬出古木苍劲朴拙。两只孔雀栖于枝头，一仰一顾，翠色绒羽晕染细腻，眼状翎斑层叠分明，华贵翎羽舒展下垂，姿态悠然又灵动传神，尽显瑞禽雍容气度。\n\n画作兼工带写，以工笔精绘孔雀肌理，写意铺陈梅枝古态，冷暖色调交融和谐，将春日生机与祥瑞意趣藏于笔墨之间，暗合咏颂长寿的美好寄寓，是兼具雅致文心与吉祥意涵的精妙之作。",[23,24,25,226,28,7,83,277,820],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41e3d407997aaad3691b913985c7aa58.jpg",[],{"id":21676,"slug":21677,"title":21678,"dynasty":18,"author":391,"museum":316,"description":21679,"tags":21680,"thumbUrl":21682,"material":139,"size":139,"collection":139,"collections":21683,"showCount":93,"zanCount":48,"manualWeight":48,"mainColor":49},227489,"ting-qin-tu-li-zhou-zhao-ji-227489","听琴图立轴","徽宗一朝，在中国绘画发展历史上具有重要意义。熟悉徽宗宫中艺事的邓椿在《画继》中载徽宗之言：“朕万几余暇，别无他好，惟好画耳。”赵佶以皇帝之尊提倡绘画，广招天下贤士进翰林图画院，提高院画家地位，并将“画学”前所未有地纳入科举的轨道，中国绘画的职业化至此达至极盛。",[23,24,25,226,7,28,106,1133,227,195,212,615,21681,3673,63,379],"琴桌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F305792b178f52b137d5657051444750f.jpg",[],{"id":21685,"slug":21686,"title":21687,"dynasty":76,"author":5341,"museum":316,"description":21688,"tags":21689,"thumbUrl":21690,"material":139,"size":139,"collection":139,"collections":21691,"showCount":93,"zanCount":48,"manualWeight":48,"mainColor":94},226639,"shan-shui-shan-mian-pu-ru-226639","山水扇面","出身皇室的溥儒（溥心畲），除了自身的天赋才华，从小接受严格的正统教育，加上皇室有大量的书画收藏得以临摹，绘画创作得力诗词文的涵养，使他成为诗、书、画三绝的代表性画家，30年代中期与张大千（1899-1983）齐名，享有「南张北溥」的美誉，移居台湾后，与张大千、黄君璧三人同属台湾画坛中的最杰出的国画大师，被大众称为「渡海三家」，溥儒的山水画宗法宋元，风格淡雅，艺术家重视线条的?画，总呈现出和谐宁静的气氛。 〈山水〉是溥儒1945年的作品，风景自古是文人喜爱的绘画题材，艺术家从小浸淫汉学儒家思想，笔墨功力扎实，善于形塑令人向往的文人境界，〈山水〉流露出雅致的古典气息，画作属纸本立轴。题识： 「尺素生秋水，苍然浦漵分，尚含千峰雨，疑落万峰云。江上鸣瑶瑟，岩前忆隐君。青猿声断续，应是隔溪闻。」 行书行云流水，雅逸自然，配合画面挺拔的山壑与清澈湖水，诗书画三者结合，设色清新淡雅，使人玩味再三，前景的松树是溥儒喜爱的题材，它代表文人高尚的节操，高大的山石生长着茂密的植物，浓淡不一的墨色表现了丰富的层次，值得我们细细品味，而隐居在山林里的小房子甚是可爱，蕴含着隐居的心境。在用色方面，艺术家总以多层薄彩敷色，细腻的笔调，使景物生动自然，营造出柔和辽阔的意境，画面的左半面是空旷的湖面，刻意留白的处理与右半边的景物形成对比，两艘小船为全画增添生命力，整体而言，是幅意境深远的画作，流露出一股天真脱俗的气质。",[23,24,1260,29,7,1273,106,176,109,212,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1194f3f821239671a24fdd604c5306ed.jpg",[],{"id":21693,"slug":21694,"title":14829,"dynasty":18,"author":257,"museum":316,"description":21695,"tags":21696,"thumbUrl":21697,"material":599,"size":600,"collection":139,"collections":21698,"showCount":93,"zanCount":48,"manualWeight":48,"mainColor":49},223663,"e-mi-tuo-fo-tu-yi-ming-223663","阿弥陀佛（梵语Amitābha），又名无量佛、无量光佛、无量寿佛等。大乘经载，阿弥陀佛在过去久远劫时曾立大愿，建立西方净土，广渡无边众生，成就无量庄严功德，为大乘佛教所广为崇敬和弘扬。大乘佛经主要如《无量寿经》、《阿弥陀经》、《观无量寿佛经》，对阿弥陀佛及其西方极乐世界均有详述。大乘佛教流传之地，如中国、日本等大乘教区，阿弥陀佛信仰也尤为繁盛和重要。而汉传佛教的净土宗，则完全以往生阿弥陀佛的西方净土作为专修的法门。",[23,913,24,25,226,260,106,7,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe74592da1391b22d35470a1a2831b583.jpg",[],{"id":21700,"slug":21701,"title":21702,"dynasty":18,"author":257,"museum":316,"description":21703,"tags":21704,"thumbUrl":21706,"material":139,"size":139,"collection":139,"collections":21707,"showCount":93,"zanCount":2368,"manualWeight":48,"mainColor":49},223632,"lian-chi-shui-qin-tu-zhou-dui-zhou-er-yi-ming-223632","莲池水禽图轴对轴二","以没骨晕染写就盛夏荷塘生机，粉荷或粲然盛放，或含苞待绽，淡粉水色晕出花瓣柔润层次，娇妍动人。石绿敷色的荷叶，渍染出卷舒枯荣，苍润兼具，尽显池上蓊勃夏意。\n\n两只水禽优游波间，翎羽细勾淡染，姿态闲舒缓和，破开繁花叶影的静谧，添了灵动生趣。\n\n古雅的旧绢底色晕染出宋韵古澹，构图疏密错落，将荷塘幽谧生机融于尺幅，藏着宋人格物观照的雅致意趣，虽经岁时磨损，依旧能窥见院体花鸟工致温婉的审美品格。",[23,194,24,25,226,28,7,228,136,137,834,21705],"池水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcad2f0b5b63fb5100d6e2037573719a0.jpg",[],{"id":21709,"slug":21710,"title":21711,"dynasty":18,"author":257,"museum":191,"description":5460,"tags":21712,"thumbUrl":21716,"material":67,"size":5465,"collection":139,"collections":21717,"showCount":93,"zanCount":48,"manualWeight":48,"mainColor":2504},223471,"xi-mao-tu-yi-ming-223471","戏猫图",[23,24,194,7,28,745,746,83,229,292,84,280,21713,115,1010,5462,689,21714,21715],"宠物","设色工笔","宋代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F944be0ae10bb40132b87c6508e80870b.jpg",[],{"id":21719,"slug":21720,"title":21721,"dynasty":76,"author":6776,"museum":191,"description":21722,"tags":21723,"thumbUrl":21724,"material":638,"size":21725,"collection":44,"collections":21726,"showCount":93,"zanCount":48,"manualWeight":48,"mainColor":94},223326,"mo-gu-kai-zhi-luo-shen-tu-juan-ding-guan-peng-223326","摹顾恺之洛神图卷","《清丁观鹏摹顾恺之洛神图》虽是摹本，然山水造型已自朴拙稚趣的古典画洋，转为成熟的金碧山水，且景物间的比例关系已趋精确；援以西洋明暗设色法与定点透视法，表现脸部五官、马匹体态与空间层次，营造合乎视觉经验的画面。丁观鹏在当时受到西洋绘画的影响，本卷中采取光影与透视法即是。",[23,24,25,26,7,28,106,150,34,176,105,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea4b7ef2e14f9b4457400360dcabf0de.jpg","28.1x587.5",[44,45],{"id":21728,"slug":21729,"title":21730,"dynasty":76,"author":329,"museum":191,"description":10188,"tags":21731,"thumbUrl":21732,"material":529,"size":10192,"collection":181,"collections":21733,"showCount":93,"zanCount":48,"manualWeight":48,"mainColor":801},222761,"shi-er-yue-ling-tu-2-yue-lang-shi-ning-222761","十二月令图（2月）",[23,194,24,28,7,104,29,107,106,115,176,34,820],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa9bcf35cca2199d5fa9312b5a8a3e68.jpg",[181,45],{"id":21735,"slug":21736,"title":21737,"dynasty":76,"author":329,"museum":191,"description":1518,"tags":21738,"thumbUrl":21739,"material":7,"size":1521,"collection":139,"collections":21740,"showCount":93,"zanCount":48,"manualWeight":48,"mainColor":94},222746,"xian-e-chang-chun-tu-04b-lang-shi-ning-222746","仙萼长春图-04b",[23,24,194,25,81,28,7,83,209,210,569],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fb1c18ed325a1598fb52160021a962f.jpg",[],{"id":21742,"slug":21743,"title":21744,"dynasty":76,"author":329,"museum":191,"description":1518,"tags":21745,"thumbUrl":21746,"material":7,"size":1521,"collection":139,"collections":21747,"showCount":93,"zanCount":2368,"manualWeight":48,"mainColor":94},222739,"xian-e-chang-chun-tu-01a-lang-shi-ning-222739","仙萼长春图-01a",[23,194,24,25,81,28,7,83,292,212,1022],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F327134945f8934e75f6ed2989c364895.jpg",[],{"id":21749,"slug":21750,"title":21751,"dynasty":99,"author":792,"museum":191,"description":21752,"tags":21753,"thumbUrl":21754,"material":21755,"size":21756,"collection":181,"collections":21757,"showCount":93,"zanCount":48,"manualWeight":48,"mainColor":49},222605,"xue-xi-tu-lan-ying-222605","雪溪图","蓝瑛擅长山水、花卉、兰石，师法宋元名家，早年主要得力于黄公望，作品清 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栏杆，一位长者端坐在楼阁内，正在观赏美丽的山水景致。\n款署，“景泰壬申春三月钱塘戴文进写。”",[23,24,226,29,7,177,175,109,174,106,34,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d4043ef01c707ccd4702333f8460033.jpg","纵139．0厘米，横79．8厘米",[181,163],{"id":21809,"slug":21810,"title":21811,"dynasty":18,"author":21812,"museum":101,"description":21813,"tags":21814,"thumbUrl":21815,"material":40,"size":21816,"collection":42,"collections":21817,"showCount":93,"zanCount":48,"manualWeight":48,"mainColor":49},221316,"mei-xi-pu-bu-tu-ce-ye-cui-que-221316","梅溪瀑布图册页","崔悫","《梅溪瀑布图》传为北宋画家崔悫所作。无款。裱边题签“崔慤梅溪瀑布”。\n图绘山涧湍急，水花四溅。水边山石上有一株老梅，虬曲盘折，梅花开满枝头。枝上停着几只雀鸟，空中还有一只雀鸟飞来。",[23,194,24,25,81,28,7,29,820,227,109,1426,245,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46eeace5004b00d7ed1b1eb2e6c2cf42.jpg","24.7×22.2cm",[42,90,45],{"id":21819,"slug":21820,"title":21821,"dynasty":18,"author":1046,"museum":191,"description":21822,"tags":21823,"thumbUrl":21825,"material":123,"size":21826,"collection":42,"collections":21827,"showCount":93,"zanCount":48,"manualWeight":48,"mainColor":2504},221286,"feng-nian-rui-xue-tu-zhou-guo-xi-221286","丰年瑞雪图轴","郭熙（十一世纪后叶），河南温县人，1068-1077年（神宗熙宁年间）任画院艺学。善山水，画法学自李成，而能树立一己的面貌。",[23,24,194,25,226,173,7,177,29,2562,34,176,36,111,986,21824],"流水 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[1] 图中洋溢著温馨亲子之情，寓有崇尚人伦之意。画猿得宋易元吉神韵，背景之竹丛苇草、荆棘枇杷，线条自然流利。山石皴法圆润，得董巨遗韵。整幅画构图中正和谐，与宣宗皇帝雍容大度，颇能呼应。",[194,24,25,7,28,7995,746,227,379,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66456e94601929135286fec127ea8bba.jpg","纵162.3厘米，横127.7厘米",[45],{"id":21871,"slug":21872,"title":21873,"dynasty":76,"author":5359,"museum":20,"description":21874,"tags":21875,"thumbUrl":21876,"material":123,"size":21877,"collection":181,"collections":21878,"showCount":93,"zanCount":2368,"manualWeight":48,"mainColor":49},219092,"shan-zhuang-qiu-ren-tu-yuan-yao-219092","山庄秋稔图","此图描绘山庄秋天的景色。村舍环绕于绿色山树中，茅庐内村人闲适，近处一牧童放牛于缓坡之上；远山高耸，突兀奇绝，烟云缭绕。设色青绿，构思精巧，结构准确，层次分明，显现出作者精于刻画的写实功力。",[24,7,104,28,177,29,107,176,34,106,108,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8916945174cef62eec1b5b888a7cedde.jpg","纵182.5厘米，横96.8厘米",[181],{"id":21880,"slug":21881,"title":21882,"dynasty":99,"author":1270,"museum":442,"description":21883,"tags":21884,"thumbUrl":21885,"material":123,"size":21886,"collection":90,"collections":21887,"showCount":93,"zanCount":1379,"manualWeight":48,"mainColor":49},219028,"qun-lu-tu-wen-zheng-ming-219028","群鹿图","层峦叠嶂间林木苍郁，群鹿嬉戏于溪畔石边，或卧饮清泉，或昂首远眺，或追逐嬉闹，姿态各异，灵动鲜活。鹿谐音“禄”，群鹿齐聚暗合福禄绵延的祥瑞寓意，藏着文人对顺遂生活的寄望。山石以淡墨皴染，线条清劲中见温润；树木勾勒细致，枝叶繁密却不杂乱；鹿群的轮廓与肌理刻画入微，神态毕肖。整幅画将山水的清幽与走兽的生机相融，尽显吴门画派雅致醇厚的格调，古旧绢色更添岁月沉淀的静谧之美，似在诉说自然与人文交织的诗意篇章。",[23,24,7,28,177,29,2479,746,34,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e7960bcc17b6b77977da508ad692bfa.jpg","纵186.5横96厘米",[90],{"id":21889,"slug":21890,"title":908,"dynasty":18,"author":257,"museum":316,"description":21891,"tags":21892,"thumbUrl":21893,"material":123,"size":21894,"collection":42,"collections":21895,"showCount":93,"zanCount":48,"manualWeight":48,"mainColor":49},219011,"mu-niu-tu-yi-ming-219011","一幅典型的南宋田园画，以边角料的方式绘制。一棵高大的树被描绘在河边的浅滩上，一头水牛低着头，一个牛仔试图通过攀爬牛角爬上牛背。",[23,194,24,25,1260,173,7,151,353,230,109,212,746],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc612d12f7fbf45193051cf350f77162.jpg","26x28",[42],{"id":21897,"slug":21898,"title":21899,"dynasty":76,"author":17997,"museum":21900,"description":21901,"tags":21902,"thumbUrl":21903,"material":88,"size":139,"collection":181,"collections":21904,"showCount":93,"zanCount":48,"manualWeight":48,"mainColor":94},217987,"fang-huang-gong-wang-shan-shui-tu-wang-yuan-qi-217987","仿黄公望山水图","京都国立博物馆","图绘高山屹立之下，杂木丛生、洲渚房屋掩映的山光水色之景。山石的顶端多留有空白，虚处笔迹似有似无，表现出岚光浮动的清幽意境。全图笔墨苍润老辣，于粗放中物象毕现，率意中气韵盎然。王氏自言此图仿元代画家黄公望（即作者所谓“大痴”）笔意，实际上又融入了王蒙、倪瓒等人的笔法，应是作者融元人画格的贯通之作。",[24,25,226,29,177,7,105,176,34,109,108,37,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a6ccd6d0fbd19162156288da30812a8.jpg",[181],{"id":21906,"slug":21907,"title":21908,"dynasty":99,"author":3504,"museum":132,"description":3505,"tags":21909,"thumbUrl":21911,"material":88,"size":3508,"collection":139,"collections":21912,"showCount":93,"zanCount":2368,"manualWeight":48,"mainColor":3510},216259,"ming-za-hua-ce-6-wang-zhong-216259","明杂画册-6",[24,7,28,212,83,483,264,569,21910,554],"根茎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32f2d1231e91e0eead919ad5dde30bb8.jpg",[],{"id":21914,"slug":21915,"title":1195,"dynasty":302,"author":257,"museum":191,"description":21916,"tags":21917,"thumbUrl":21918,"material":123,"size":21919,"collection":44,"collections":21920,"showCount":93,"zanCount":2368,"manualWeight":48,"mainColor":49},214667,"sui-chao-tu-yi-ming-214667","这幅画描绘了元旦的热闹场面，村子里人山人海，喜气洋洋，老老少少欢天喜地地迎接春天。从笔触和服装来看，这幅画是由明代仇英画派的画家所作。",[24,7,28,29,106,107,795,115,35,175,245,176,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5571aa43f0fbb8334aac6f762fc1a525.jpg","146.5x45.3",[44],{"id":21922,"slug":21923,"title":21924,"dynasty":76,"author":2200,"museum":316,"description":2962,"tags":21925,"thumbUrl":21926,"material":599,"size":600,"collection":139,"collections":21927,"showCount":21928,"zanCount":48,"manualWeight":48,"mainColor":94},290080,"hong-hua-tu-li-zhou-wu-chang-shuo-290080","红花图立轴",[23,24,226,7,173,83,947,230,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F188cc8526e0cecaabcb51988541cb2c9.jpg",[],62,{"id":21930,"slug":21931,"title":21932,"dynasty":189,"author":21933,"museum":316,"description":21934,"tags":21935,"thumbUrl":21936,"material":599,"size":600,"collection":139,"collections":21937,"showCount":21928,"zanCount":2368,"manualWeight":48,"mainColor":49},289960,"jiang-xing-chu-xue-tu-zhao-gan-289960","江行初雪图","赵幹","全卷描写长江沿岸渔村初雪情景。全卷人物神态生动，刻画准确，鱼鳞般的水纹用尖细流利的线条绘成，一丝不苟。绘坡石及树木大多用笔简劲老硬，皴法与墨染浑融，表现出一种清刚利畅的情趣。",[23,194,24,26,7,3559,19833,174,6582,795,1980,2562,796,106,18859],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6231144b6f47232f68a05a22d27743f8.jpg",[],{"id":21939,"slug":21940,"title":21941,"dynasty":76,"author":7863,"museum":316,"description":21942,"tags":21943,"thumbUrl":21944,"material":599,"size":600,"collection":139,"collections":21945,"showCount":21928,"zanCount":48,"manualWeight":48,"mainColor":49},288390,"mei-hua-tu-lian-li-zhou-jin-nong-288390","梅花图联立轴","金农（1687年—1763年），男，字寿门、司农、吉金，号冬心先生、稽留山民、曲江外史、昔耶居士等，因其人生历经康熙、雍正、乾隆三朝，所以自封“三朝老民”的闲号，钱塘（今浙江杭州）人，布衣终身。清代书画家，扬州八怪之首。\n他好游历，卒无所遇而归。晚寓扬州，卖书画自给。嗜奇好学，工于诗文书法，诗文古奥奇特，并精于鉴别。书法创扁笔书体，兼有楷、隶体势，时称“漆书”。五十三岁后才工画。其画造型奇古，善用淡墨干笔作花卉小品，尤工画梅。\n代表作有《东萼吐华图》《空捍如洒图》《腊梅初绽图》《玉蝶清标图》《铁轩疏花图》《菩萨妙相图》《琼姿俟赏图》等。著有《冬心诗集》《冬心随笔》《冬心杂著》等。",[23,24,226,83,820,173,7,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18a90a4baed7675ccdbb4e7b13fa224e.jpg",[],{"id":21947,"slug":21948,"title":21949,"dynasty":76,"author":698,"museum":316,"description":11359,"tags":21950,"thumbUrl":21951,"material":599,"size":600,"collection":139,"collections":21952,"showCount":21928,"zanCount":48,"manualWeight":48,"mainColor":94},239458,"hui-bu-si-guo-juan-qian-wei-cheng-239458","回部四果卷",[24,25,26,7,28,178,86,212,1060,2203,569,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a10e9be96c5643887aeff2b4ec9e0b8.jpg",[],{"id":21954,"slug":21955,"title":21956,"dynasty":76,"author":257,"museum":191,"description":21957,"tags":21958,"thumbUrl":21959,"material":500,"size":21960,"collection":44,"collections":21961,"showCount":21928,"zanCount":48,"manualWeight":48,"mainColor":94},238870,"mei-gui-fei-chun-gui-ren-xing-le-tu-zhou-yi-ming-238870","玫贵妃春贵人行乐图轴","此图描绘玫贵妃与春贵人、鑫常在花园中钓鱼的情景。人物形神毕肖，个性鲜明，明显带有肖像画特征，对研究晚清嫔妃的宫廷娱乐生活具有较为珍贵的影像价值。\n此图所绘主人公玫贵妃，姓徐佳氏，是清代咸丰皇帝的嫔妃，初为贵人，后进玫嫔。同治皇帝在位时，尊封其为玫贵妃。",[24,226,28,7,106,59,1241,136,137,176,278,84,2340,320],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0271796fde7f4f01e55be68f0f4a86c.jpg","纵169cm，横90cm",[44,45],{"id":21963,"slug":21964,"title":4264,"dynasty":76,"author":563,"museum":316,"description":21965,"tags":21966,"thumbUrl":21967,"material":139,"size":139,"collection":90,"collections":21968,"showCount":21928,"zanCount":48,"manualWeight":48,"mainColor":94},236002,"hua-hui-tu-ce-hua-yan-236002","此作取景清雅，折枝粉菊伴棘条挺然生姿，朱色竹枝斜斜破局，水墨湖石静卧留白处，虚实错落间尽显疏朗意韵。\n\n设色秀润柔和，菊瓣晕染细腻，将霜蕊的清妍尽显；朱竹艳而不俗，风骨暗藏；湖石以淡墨轻擦慢皴，苍润空灵。右上角题诗入画，与花木绘境相映，诗书印画相融，文气满溢。\n\n笔意松灵秀逸，将花木的清刚与温婉揉为一处，借草木寄寓幽人风骨，淡远雅致的逸趣扑面而来，尽显文人隽雅的审美意趣。",[24,7,173,81,83,897,227,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcaea60374c721a553bff14a64dc81773.jpg",[90,45],{"id":21970,"slug":21971,"title":21972,"dynasty":76,"author":494,"museum":316,"description":21973,"tags":21974,"thumbUrl":21975,"material":599,"size":600,"collection":90,"collections":21976,"showCount":21928,"zanCount":1003,"manualWeight":48,"mainColor":94},235482,"huang-shen-shu-guo-tu-ce-huang-shen-235482","黄慎蔬果图册","黄慎（1687年6月14日—1772年），福建宁化人，初名盛，字恭寿，恭懋，躬懋、菊壮，号瘿瓢子，别号东海布衣。家贫，遂学画，擅长人物、山水、花鸟。他的人物画题材十分广泛和丰富，它不仅画神仙佛道和历史名人，也擅长从民间生活中取材，塑造了纤夫 、乞丐、流氓、渔民等下层人民的形象，这在古代的画家当中是十分难得的。康熙间至扬州卖画，人争客之。是中国清代杰出书画家，为“扬州八怪”之一。与郑燮友善。擅草书，后以狂草笔法作画。亦能诗。有《蛟湖诗钞》。\n黄慎14岁时，父亲客死湖南，两妹相继夭折，家境十分穷困，为生计，母亲命其学画，为人写真。16岁时，离家从师，他勤奋苦学，悉心钻研，画艺日进。",[24,25,81,173,7,9850,212,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a06080dfb464dc2918e366572dfcfde.jpg",[90],{"id":21978,"slug":21979,"title":21980,"dynasty":99,"author":21981,"museum":316,"description":21982,"tags":21983,"thumbUrl":21984,"material":599,"size":600,"collection":139,"collections":21985,"showCount":21928,"zanCount":2368,"manualWeight":48,"mainColor":94},234847,"hai-tang-fu-die-tu-shan-ye-qu-yuan-jing-234847","海棠蚨蝶图扇页","瞿元镜","瞿元镜 约生于本年／常熟人。瞿世耜之子。一名镜，字端叔。常熟诸生。喜花鸟，工篆刻。明忠宣公子，父亡，十龄流落于外，人无有过而问之者，顾云美以夙谊收恤",[194,24,25,1260,7,28,1261,484,1187,554,568,860],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F782c7e9c61bf22243ba7bc8fbc180917.jpg",[],{"id":21987,"slug":21988,"title":21989,"dynasty":99,"author":170,"museum":20,"description":21990,"tags":21991,"thumbUrl":21992,"material":1175,"size":139,"collection":139,"collections":21993,"showCount":21928,"zanCount":48,"manualWeight":48,"mainColor":94},234159,"shen-zhou-sui-an-tu-juan-shen-zhou-234159","沈周邃庵图卷","沈周（1427年11月21日—1509年8月2日），字启南，号石田，晚号白石翁，明代绘画大师，书法家，文学家，医学家，长洲（今江苏苏州）人。\n沈周出身富裕的书香绘画世家，少时师从陈宽学习诗文，青年时期师从伯父沈贞，还有刘珏、杜琼、赵同鲁等学习绘画。其一生家居读书，吟诗作画，优游林泉，追求精神上的自由，从未应科举征聘，始终过着田园隐居生活。\n沈周与文徵明、唐寅、仇英并称“明四家”，是吴门画派的创始人，他师法元四家，并上溯董源、巨然，同时旁涉南宋院体画和浙派等，形成了独特的个人风格，在元明以来文人画领域有承前启后的作用。传世作品有《庐山高图》《魏园雅集图》《仿黄公望富春山居图》《沧州趣图》等。著有《石田集》《石田稿》《石田文钞》《石田咏史补忘录》《客座新闻》《续千金方》等，但大多散佚。",[23,24,25,26,173,7,177,86,178,1070,29,176,34,809,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30a686a30f4662dd5e69d37ebb1b90d7.jpg",[],{"id":21995,"slug":21996,"title":1751,"dynasty":76,"author":3221,"museum":78,"description":21997,"tags":21998,"thumbUrl":21999,"material":638,"size":22000,"collection":139,"collections":22001,"showCount":21928,"zanCount":2368,"manualWeight":48,"mainColor":94},233740,"za-hua-ce-xu-gu-233740","虚谷（1823-1896），俗姓朱，名怀仁，僧名虚白，字虚谷，别号紫阳山民、倦鹤，室名觉非庵、古柏草堂、三十七峰草堂，新安（今安徽歙县）人，居广陵（今江苏扬州）。工山水、花卉、动物、禽鸟，作画有苍秀之趣，敷色清新，造型生动，落笔冷消，别具风格。性情孤僻，非相处情深者不能得其片纸。早年学界画，后以擅画花果、禽鱼、山水著名。风格冷峭新奇，绣雅鲜活，无一笔滞相，匠心独运，别具一格。\n《杂画册》题材广泛，有白猫、金鱼、松鼠、竹、荷、菊、枇杷等众多意象，堪称虚谷的代表作。如《蔬笋河豚》竹笋的长锥形与河豚的椭圆形，置于一幅中，得到了和谐的统一，情趣横生。此图的绘画技巧突破了前人的成法，显现其独特的新格局。",[24,7,173,81,212,722,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6626be7eb24b41fff798946e9ab14f6.jpg","纵34.7厘米，横40.6厘米",[],{"id":22003,"slug":22004,"title":22005,"dynasty":99,"author":17423,"museum":191,"description":22006,"tags":22007,"thumbUrl":22008,"material":123,"size":22009,"collection":139,"collections":22010,"showCount":21928,"zanCount":48,"manualWeight":48,"mainColor":49},228363,"xian-kan-er-tong-zhuo-liu-hua-ju-yi-zhou-zhou-chen-228363","闲看儿童捉柳花句意轴","生动形象地描绘了杨万里的诗意，清新闲适，童趣横生",[24,25,226,7,28,29,106,8328,378,175,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb34e09c91adaceb2e568e701e04b643c.jpg","116.6×63.5",[],{"id":22012,"slug":22013,"title":3376,"dynasty":302,"author":22014,"museum":316,"description":22015,"tags":22016,"thumbUrl":22017,"material":139,"size":139,"collection":139,"collections":22018,"showCount":21928,"zanCount":2368,"manualWeight":48,"mainColor":49},228244,"xian-shan-lou-ge-tu-chen-ru-yan-228244","陈汝言","此作为典型的元人青绿山水，承续唐宋青绿遗韵。层叠峰峦以石青、石绿晕染勾勒，色泽古雅厚重，虽经岁月稍褪，仍可见旧时明丽。苍松虬劲错落，扎根于岩岫之间，楼阁屋舍隐现幽谷林泉，几处文人逸士或策杖徐行、或凭栏晤谈，衬出山居空寂幽深。\n\n整幅疏密得宜，将仙山秘境的超脱清灵铺展于绢素，既带着青绿山水的富丽端严，又融入元人山水独有的萧散意趣，把世外山居的恬然仙气尽数勾勒，尽显缥缈出尘的隐逸雅意。",[23,194,24,25,7610,27,7,3559,28,177,226,20055,107,1273,108,109,106,176,34,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5e76427d011700fd2ac0d5e310c74ac.jpg",[],{"id":22020,"slug":22021,"title":1142,"dynasty":76,"author":6641,"museum":316,"description":22022,"tags":22023,"thumbUrl":22024,"material":139,"size":139,"collection":139,"collections":22025,"showCount":21928,"zanCount":1379,"manualWeight":48,"mainColor":94},224601,"mu-dan-tu-zhao-zhi-qian-224601","此作以花石构景，艳色牡丹栖于遒劲老干之上，粉黛冰蓝双色相映，花瓣晕染柔润鲜活，将盛放之姿晕染得明丽不妖。苍褐枝干虬曲舒展，墨色浓淡铺陈出老木肌理，与娇花形成刚柔对照。下方顽石以大写意挥就，枯笔焦墨勾勒棱线，积墨晕染块面，浑朴厚重，稳稳托住上方花簇。书法题跋笔力雄健，与画面笔墨意趣呼应相融，兼工带写间揉合富贵妍丽与文人清刚风骨，尽显雅致雄浑的格调。",[23,24,83,7,226,292,230,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d8cd0de9c7e77bb31d338f9985752b6.jpg",[],{"id":22027,"slug":22028,"title":22029,"dynasty":22030,"author":257,"museum":316,"description":22031,"tags":22032,"thumbUrl":22033,"material":599,"size":600,"collection":139,"collections":22034,"showCount":21928,"zanCount":48,"manualWeight":48,"mainColor":49},223909,"song-shan-hua-shan-shui-tu-yi-shou-jing-mu-tuo-fu-jian-yi-ming-223909","嵩山画山水图，益寿镜木托附件","汉","汉镜有圆形﹑方形。纽多作半球形。正面磨光背面铸有几何形图案或神人禽兽等。东汉中期出现浮雕的画像造形精美。\n两汉时期大体上分西汉、新莽、东 汉三个阶段。汉镜纹饰的主要种类有草叶纹镜、蟠龙纹镜、百乳镜、连弧纹镜、规矩镜、多乳禽兽纹镜和变形四叶镜等。",[24,25,7,28,29,107,108,109,34,176,114,7135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52e9abe895df9c138c4dc01d0bc15902.jpg",[],{"id":22036,"slug":22037,"title":22038,"dynasty":18,"author":257,"museum":191,"description":22039,"tags":22040,"thumbUrl":22041,"material":123,"size":22042,"collection":42,"collections":22043,"showCount":21928,"zanCount":48,"manualWeight":48,"mainColor":49},223520,"mei-zhu-ju-qin-tu-yi-ming-223520","梅竹聚禽图","此幅《梅竹聚禽图》的构图严谨，并且重视描绘物象的准确性，符合徽宗画院注重观察写生、讲究师承法度的标准，是一件能够代表“宣和体”的佳作。画面中央，画梅树一株，枝干弯曲而上，后方衬以翠竹棘条，有伯劳、绿鸠、鹌鹑等鸟禽栖身其间。整幅画的构图以S形屈曲的梅干来切割画面，并以成弧形交叉的竹棘增加动态感，布局虽繁密，但不零乱。画家成功将画面物象和布局理想化，创造出一种超乎时空，传达永恒的完美意象。画中的主要物象，均以双钩填彩的方式，生动的描绘出对象的色彩与体积感，给人一种平和，端庄之美。",[23,24,194,25,226,28,7,83,820,227,209,230,353],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a2d45af35b0ff1f7bbe09b1b8528922.jpg","258.4x108.4",[42,90,45],{"id":22045,"slug":22046,"title":22047,"dynasty":302,"author":8800,"museum":191,"description":22048,"tags":22049,"thumbUrl":22051,"material":67,"size":22052,"collection":181,"collections":22053,"showCount":21928,"zanCount":48,"manualWeight":48,"mainColor":49},221853,"long-chi-jing-du-tu-juan-wang-zhen-peng-221853","龙池竞渡图卷","此长卷画将楼阁建筑分为两大段，每段画有宫苑重楼、水阁，千回百折，尽在水中。 该图气势恢宏，构图巧妙。",[23,194,24,25,26,104,352,7,106,107,406,149,262,34,22050,212],"竞渡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3870d12d0c453d52304f7bf589acbc8d.jpg","纵30.2厘米，横243.8厘米",[181,163],{"id":22055,"slug":22056,"title":22057,"dynasty":302,"author":8800,"museum":101,"description":22058,"tags":22059,"thumbUrl":22060,"material":123,"size":22061,"collection":44,"collections":22062,"showCount":21928,"zanCount":2368,"manualWeight":48,"mainColor":49},220433,"yang-zheng-tu-shi-ze-wang-zhen-peng-220433","养正图十则","此册绘十位有涵养正道智者的故事。细观此册与王振鹏画风不类，揭傒斯题跋更伪，当是明清人伪托之作。",[23,24,25,26,104,28,7,106,107,34,176,109,175,108,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1acc070a8884b606278633838a456375.jpg","34×42",[44,45],{"id":22064,"slug":22065,"title":22066,"dynasty":189,"author":22067,"museum":191,"description":22068,"tags":22069,"thumbUrl":22070,"material":123,"size":22071,"collection":44,"collections":22072,"showCount":21928,"zanCount":2368,"manualWeight":48,"mainColor":49},220250,"she-qi-tu-li-zan-hua-220250","射骑图","李赞华","《射骑图》画在一匹装饰得很华丽的骏马面前，站立着一位中年的契丹贵族，服饰上有着“髡发左衽”的特点。所谓髡发，就是剃光了头顶，四周蓄着一圈头发，额前较短，两鬓较长，后面还梳了两根细辫子，辫梢绕着一个小圆圈。画中人物还着左衽的中衣，外罩圆领窄袖的长袍，袍长过膝，腰里裹着一块白色的皮筒卷，即田猎时所穿的“杆腰”，上束金银装饰的皮带。左边腰间挎着一个弓瞍（囊），右边胁下很显著的地方挂着一个长袋子，中间缝一块虎皮，周围装饰着很深的黑色毛皮，袋子上部有球状圆顶，看来这个袋子大约是一个箭筒。",[23,24,194,28,7,106,150,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F946c627e579c074623886c010c525eb1.jpg","纵27.1厘米，横49.5厘米",[44],{"id":22074,"slug":22075,"title":22076,"dynasty":18,"author":11500,"museum":191,"description":22077,"tags":22078,"thumbUrl":22079,"material":123,"size":22080,"collection":44,"collections":22081,"showCount":21928,"zanCount":48,"manualWeight":48,"mainColor":49},219608,"dong-li-gao-shi-tu-liang-kai-219608","东篱高士图","《宋梁楷东篱高士图轴》是南宋画家梁楷创作的作品此画中一高士手拿菊花，漫步在山中。背景用淡墨烘染，而红叶跟高士手中的菊花，点出这幅图画的是秋天。陶渊明是著名的“隐逸诗人”，又特别爱菊花，因此图中的高士不禁让人联想到陶渊明。",[23,194,24,25,226,16713,173,7,106,5412,353,176,109,630],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6dfba9b9f71ac3b315d150e8db4344f.jpg","纵71.5厘米，横36.7厘米",[44],{"id":22083,"slug":22084,"title":22085,"dynasty":302,"author":257,"museum":5827,"description":22086,"tags":22087,"thumbUrl":22088,"material":123,"size":22089,"collection":44,"collections":22090,"showCount":21928,"zanCount":2368,"manualWeight":48,"mainColor":94},219584,"ting-yuan-chui-di-tu-yi-ming-219584","庭院吹笛图","淡墨轻勾围栏，赭石晕染庭阶，古奇湖石倚立一旁，皴笔苍劲朴拙，带着幽古意态。仕女团髻簪花，罗裙垂曳覆地，静坐凝神，柔婉秀雅的身姿融于空寂庭院中。\n\n设色简淡古雅，沉郁绢色衬出静穆氛围，留白处漫着清寂闲淡，将深闺女子的幽怅藏于无声里。笔致工细却不繁缛，人物情态含蓄温婉，寥寥笔墨便将庭院幽闲意趣与仕女静柔风姿相融，古淡悠长的韵致漫开，把深闺的闲静怅惘晕在空庭里。",[24,25,7,106,59,195,230,115,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33d0463155dcdec810230aaf5d57bc7c.jpg","纵25.4横23.5厘米",[44],{"id":22092,"slug":22093,"title":1548,"dynasty":189,"author":22094,"museum":191,"description":22095,"tags":22096,"thumbUrl":22097,"material":123,"size":22098,"collection":44,"collections":22099,"showCount":21928,"zanCount":1379,"manualWeight":48,"mainColor":49},219490,"wen-hui-tu-qiu-wen-bo-219490","丘文播","图绘四文士宴饮、赋诗、抚琴的雅集场景。四人均宽衣大袍，坐于榻上，身旁置酒杯、酒瓶，似在即席作文行酒。四位人物的姿态不一，一人停笔凝思，一人秉笔疾书，而右下者似已醉态微呈，意欲下榻，侍童忙为其穿靴并扶撑其腰，文士转身挥手，招呼怀抱锦袱之女子，而女子则淡妆素抹，作扭首含羞之态。左下背向文士，则牵住右下文士之腰带，似有不让其离席之状。三位挽双髻女子，或抱琴、或端杯侍立于榻旁。此图人物造型具有唐风，结构严谨，衣纹线条疏密有致，运笔极为娴熟。背景中的古树，枝干劲挺虬曲，树叶以三角形堆叠法绘成，并根据疏密搭配，间以色彩轻重渲染，使之古茂苍雄，更进一步衬托了“文会”主题之雅意。",[194,24,25,28,7,352,106,615,7558,353,176,1010,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a055f28d65527ebeb12ed1c39e04aab.jpg","纵84.9厘米，横49.6厘米",[44],{"id":22101,"slug":22102,"title":22103,"dynasty":99,"author":5289,"museum":191,"description":22104,"tags":22105,"thumbUrl":22106,"material":7,"size":22107,"collection":90,"collections":22108,"showCount":21928,"zanCount":1379,"manualWeight":48,"mainColor":94},219406,"song-qin-tu-tan-zhi-yi-219406","松禽图","松针如缕，淡蓝晕染似含晨露清光，垂枝轻逸如丝带斜曳。鸟儿敛翅栖于枝上，羽色温润，黑眸凝睇间藏着几分闲逸与机警。笔墨细腻处，鸟羽纹理纤毫毕现；写意枝干带着自然苍劲，工写相济间气韵流动。留白铺陈更显空灵，仿佛能听见风过松梢轻响，窥见林间幽寂。整幅画无繁复景致，却于极简中见真意——是文人对自然宁静的向往，亦是笔墨间流淌的雅致情韵，将寻常小景化作耐人寻味的诗意栖居。",[24,25,226,28,7,83,1133,1530,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F565dd85179d3be607a9685089f10b499.jpg","138.3x33.6",[90],{"id":22110,"slug":22111,"title":22112,"dynasty":99,"author":22113,"museum":191,"description":22114,"tags":22115,"thumbUrl":22117,"material":123,"size":22118,"collection":45,"collections":22119,"showCount":21928,"zanCount":48,"manualWeight":48,"mainColor":49},219328,"chun-shan-tai-xie-zhou-liu-du-219328","春山台榭轴","刘度","此图描写翠巖积秀，碧树繁花，楼阁台榭，临水错落。一人坐于阁中休憩，僮仆捧茶碗侍候，另有一童正在煮茶。台阁用界尺画，工细而不呆板，青绿设色妍丽而生动。山光水影，一派清秀。 据作者款题，此幅乃应友人之请而作，所绘的内容是昔日在西湖精舍见到宋人的《春山台榭》图卷，受到深刻的启发有感而作。 刘度的生卒年不详，存世作品见于1630年至1660年间。此幅画于1636年（崇祯九年丙子），是刘氏传世画作中较早期的作品。",[194,24,25,226,7,28,177,29,107,175,108,109,176,34,22116,115,809,1170],"台榭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe971e96e88677a3473d270d202a8981f.jpg","119.9x47.8",[45],{"id":22121,"slug":22122,"title":22123,"dynasty":99,"author":257,"museum":608,"description":22124,"tags":22125,"thumbUrl":22127,"material":123,"size":139,"collection":90,"collections":22128,"showCount":21928,"zanCount":2368,"manualWeight":48,"mainColor":49},218987,"ying-jue-ye-tu-tu-yi-ming-218987","鹰攫野兔图","苍鹰振翅俯冲，利爪紧扣野兔，生死博弈的瞬间被凝于绢素。鹰羽纹理毕现，毳毛蓬松若触；野兔蜷身挣扎，双目圆睁含惧。旁侧山石以浓墨皴擦，肌理厚重；枝上红白花簇点缀，柔艳与苍劲相映。笔墨兼具工致与写意，动静相生间，既藏自然野趣，亦显传统花鸟对生命瞬间的精准捕捉——凌厉中见细腻，苍莽里含生机，尽展古画摹写物象、传递意韵的精妙。",[24,7,28,226,3300,22126,686,292],"野兔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F419616a943fe6b976a5a62a0f0010da8.jpg",[90],{"id":22130,"slug":22131,"title":22132,"dynasty":18,"author":257,"museum":191,"description":22133,"tags":22134,"thumbUrl":22136,"material":123,"size":22137,"collection":42,"collections":22138,"showCount":21928,"zanCount":2368,"manualWeight":48,"mainColor":94},218855,"he-ting-ting-yu-tu-yi-ming-218855","荷亭听雨图","这幅画描绘了一个荷花亭，主人躺在沙发上看荷花、听雨声，而一个童仆拿着小提琴在桥头的花下姗姗来迟，抱头鼠窜，而一只受惊的鸟儿则飞上了天空。这幅画与刘松年的风格相似，笔触厚实而坚定，画感引人入胜。",[23,194,24,7,104,28,175,228,34,107,22135],"雨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4871b40e4780da845cf4f472108e38a.jpg","23.2x24.4",[42,44],{"id":22140,"slug":22141,"title":22142,"dynasty":302,"author":1977,"museum":191,"description":9959,"tags":22143,"thumbUrl":22144,"material":123,"size":22145,"collection":90,"collections":22146,"showCount":21928,"zanCount":2368,"manualWeight":48,"mainColor":49},218830,"shuang-ji-tu-zhou-zhao-meng-fu-218830","双骥图轴",[24,226,7,28,106,150,795],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae25d8ef2b999b84e7d49b2c4aee4162.jpg","102.8x50.9cm",[90],{"id":22148,"slug":22149,"title":22150,"dynasty":18,"author":257,"museum":191,"description":22151,"tags":22152,"thumbUrl":22154,"material":123,"size":139,"collection":181,"collections":22155,"showCount":21928,"zanCount":1379,"manualWeight":48,"mainColor":49},218724,"qiu-zhu-wen-qin-tu-yi-ming-218724","秋渚文禽图","这是一幅秋日的水岛画，画中有飞鸟和参天古树，意境凄凉。该书被故宫博物院和大英博物馆收藏，学者们普遍认为是元代的作品。",[23,24,194,28,173,7,353,1353,230,1530,22153,262,5218],"渚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F419d1c3920e5f599788e02111ab56aa9.jpg",[181],{"id":22157,"slug":22158,"title":22159,"dynasty":18,"author":22160,"museum":316,"description":22161,"tags":22162,"thumbUrl":22163,"material":123,"size":139,"collection":181,"collections":22164,"showCount":21928,"zanCount":48,"manualWeight":48,"mainColor":49},218611,"han-lin-ce-zhang-tu-hu-yan-long-218611","寒林策杖图","胡彦龙","寒林枝干虬曲如铁，墨色浓淡交织出萧瑟之态。右侧山石以沉凝皴笔勾勒，纹理苍劲，与疏林相映成趣。坡岸之上，策杖者孑然独立，衣袂轻扬似携山风，身影虽小却意态悠然。古雅的棕褐底色衬出笔墨清劲，虚实间藏着宋人的隐逸情怀——林泉之致，不在喧嚣，而在山、树、人的静默相对里。笔墨简淡却韵味悠长，冬日清寒与心境澄明揉进每一笔，观者仿佛能听见林间风声，触到山石凉，读懂那份寄情山水的淡然。",[24,25,29,106,353,176,177,7,1049],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60709ae11956c61255df326d8727958c.jpg",[181],{"id":22166,"slug":22167,"title":22168,"dynasty":18,"author":1033,"museum":316,"description":22169,"tags":22170,"thumbUrl":22172,"material":123,"size":22173,"collection":42,"collections":22174,"showCount":21928,"zanCount":1379,"manualWeight":48,"mainColor":49},218558,"he-hua-chong-jie-tu-lin-chun-218558","荷花虫介图","这幅画描绘了一个有着厚厚的白色条纹和点状绿色皮肤的大绿瓜，红色的蜻蜓和两只蜜蜂在瓜上盘旋，似乎是水果的香味吸引了它们；一只绿色的蚱蜢蹲在宽大的叶面上，似乎也在向瓜爬来。",[194,24,25,28,7,83,136,22171,230,838],"虫介","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11bbb375e79fb24e593b6af6beedad0f.jpg","28x26",[42],{"id":22176,"slug":22177,"title":22178,"dynasty":302,"author":257,"museum":1830,"description":22179,"tags":22180,"thumbUrl":22181,"material":123,"size":22182,"collection":181,"collections":22183,"showCount":21928,"zanCount":1003,"manualWeight":48,"mainColor":49},218207,"song-zhai-jing-zuo-tu-yi-ming-218207","松斋静坐图","松斋静坐图是中国元朝时期的一幅著名绘画，作者是佚名。\n\n这幅画的主要内容是一位老僧人在森林中静坐，周围的景色非常宁静。老僧人的脸上没有表情，但整个画面都透露出一种深沉的内省与冥想的气息。\n\n这幅画的风格融合了中国传统的山水画和人物画的元素，画面精致细腻，色彩和谐。松斋静坐图是元朝时期佛教文化的经典代表之一，也是中国绘画史上的珍贵艺术品。",[24,3559,177,7,1133,353,176,175,1426,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d571379b374461e93289d1506ce0bf6.jpg","170x106.7cm",[181],{"id":22185,"slug":22186,"title":22187,"dynasty":18,"author":1350,"museum":132,"description":3289,"tags":22188,"thumbUrl":22189,"material":123,"size":3292,"collection":139,"collections":22190,"showCount":21928,"zanCount":48,"manualWeight":48,"mainColor":94},218059,"song-di-ming-ti-ce-wu-ma-yuan-218059","宋帝命题册(五)",[23,24,25,81,7,29,795,108,106,86,212,178,109,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7665b03ac750068444024f2eb3650a7.jpg",[],{"id":22192,"slug":22193,"title":22194,"dynasty":99,"author":9875,"museum":191,"description":22195,"tags":22196,"thumbUrl":22197,"material":88,"size":139,"collection":44,"collections":22198,"showCount":21928,"zanCount":48,"manualWeight":48,"mainColor":94},218052,"leng-yan-nian-wu-yuan-tong-fo-xiang-ce-wu-bin-218052","楞严廿五圆通佛像册","吴彬是明朝的一位著名的文人，他是一位著名的佛学家，在佛教史上有很大的贡献。\n\n楞严廿五圆通佛像册是吴彬所著的一部著名的佛教著作，也是中国佛教史上最著名的像册之一。该像册收录了25尊佛像的图像，其中包括释迦牟尼佛、阿弥陀佛和观世音菩萨等著名的佛像。\n\n像册的图像都是用黑白线条绘制的，但是非常精细，每个细节都清晰可见。这本像册不仅是一部艺术杰作，而且也是一部佛教经典，对于学习佛教的人来说非常有价值。",[24,25,81,7,28,260,106,6517],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9aadd995b48af2ed2edde0fe67d588ec.jpg",[44],{"id":22200,"slug":22201,"title":22202,"dynasty":99,"author":857,"museum":101,"description":1752,"tags":22203,"thumbUrl":22205,"material":123,"size":139,"collection":139,"collections":22206,"showCount":21928,"zanCount":48,"manualWeight":48,"mainColor":94},218029,"za-hua-ce-3-chen-hong-shou-218029","杂画册-3",[24,25,81,7,28,83,897,22204,210],"蜗牛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb4f00443d432896845aecc3bed05fd9.jpg",[],{"id":22208,"slug":22209,"title":4253,"dynasty":76,"author":22210,"museum":132,"description":22211,"tags":22212,"thumbUrl":22213,"material":123,"size":22214,"collection":181,"collections":22215,"showCount":21928,"zanCount":48,"manualWeight":48,"mainColor":49},217880,"xue-jing-shan-shui-tu-li-yin-217880","李寅","李寅是清朝时期的一位著名画家，他以其精美的山水画而闻名于世。其中，李寅的雪景山水图尤为出名。\n\n李寅的雪景山水图通常描绘了冬季的山水景观，其中包括了苍翠的山峦、白雪皑皑的林地以及湖泊冰封的景象。他的作品中通常还会出现一些小景物，如枝叶凋零的树木、出没于雪地中的动物或是隐藏在雪后的小村庄。\n\n李寅的雪景山水图的特点是对细节的精确描绘，他能够捕捉到雪地上的每一片花纹，树枝上的每一朵雪花。同时，他还能够准确地再现出冬日天空中的云彩和阳光，使得作品充满了生机和活力。\n\n总的来说，李寅的雪景山水图是一种传统的中国画风，但其精细的描绘和生动的再现使其成为了一道亮丽的风景画卷，为我们带来了冬日的温馨和恬静。",[24,25,29,7,177,2562,685,2086,108,795,6866],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20922a690b3a66dc5412ba0ade0554d6.jpg","138x80cm",[181],{"id":22217,"slug":22218,"title":22219,"dynasty":302,"author":22220,"museum":191,"description":22221,"tags":22222,"thumbUrl":22223,"material":123,"size":22224,"collection":44,"collections":22225,"showCount":21928,"zanCount":48,"manualWeight":48,"mainColor":49},216990,"shi-de-zi-tu-yan-hui-216990","拾得子图","颜辉","拾得子图是指《拾得》这本书中所收录的图画，其中包含了许多关于中国古代历史、文化、生活、工艺技术的图画。《拾得》是元朝时期的一本图画书，作者是颜辉。这本书是在元朝时期绘制的，所以拾得子图中所描绘的内容也主要是元朝时期的。\n\n拾得子图中收录了许多元朝时期的图画，包括人物画、动物画、植物画、建筑物画、花卉画、工艺品画等。这些图画描绘了元朝时期的生活、文化、工艺技术等方面的内容，为我们了解元朝时期的历史、文化提供了重要的资料。",[24,25,226,260,106,173,352,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5385df89b8f503cbf4142f4a1cbf67d.jpg","152.8x69.5",[44],{"id":22227,"slug":22228,"title":22229,"dynasty":18,"author":7992,"museum":132,"description":22230,"tags":22231,"thumbUrl":22232,"material":123,"size":8549,"collection":90,"collections":22233,"showCount":21928,"zanCount":2368,"manualWeight":48,"mainColor":49},216669,"yuan-xi-tu-yi-yuan-ji-216669","猿戏图","枝间猿猱倒挂，长尾如丝垂悬，似欲探取下方轻物，姿态灵动若脱纸而出。虬枝盘曲如铁，缀以青果繁叶，墨色浓淡交错间，见苍劲中含生机。远山以淡墨皴染，近石用粗笔勾勒，虚实相映间拓开清旷空间。猿之毛发细劲蓬松，根根可见；果叶晕染鲜活，如沐朝露。笔墨工致却不失野趣，于方寸圆扇内凝注山林间的灵动瞬间——风过枝颤，猿眸流转，似能闻叶隙间的轻响。宋画的精微与诗意在此尽显：以细致笔触捕捉生命本真，用简淡意境传递自然野逸，让观者仿若置身深林，与这灵物共醉于片刻闲趣。风过枝摇时，灵猿的每一寸毛发都似在轻颤，果叶的脉络里藏着晨露的光，深林的野趣与宋人的雅致，尽凝于这一方圆幅中。",[24,194,7,28,746,10516,378,176,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e09b8ae55b49ba935e0ab9aca615986.jpg",[90],{"id":22235,"slug":22236,"title":22237,"dynasty":99,"author":17423,"museum":20,"description":22238,"tags":22239,"thumbUrl":22240,"material":88,"size":22241,"collection":44,"collections":22242,"showCount":21928,"zanCount":48,"manualWeight":48,"mainColor":94},216085,"ming-huang-you-yue-gong-tu-zhou-chen-216085","明皇游月宫图","这是一幅带有作者美好想象的画作。表现的是唐人小说中明皇李隆基曾偕方士梦游月中宫殿的情景。全图笔法工细，继承了南宋笔墨精妙的传统，注重人物个性的展示、人物与环境的配合，以及不同社会阶层人物神态、服饰的刻画，从中可见唐明皇高贵典雅的神态，侍从恭敬谦卑的表情和侍女们端庄优雅的气质等。此图是周臣优秀的人物画之一。",[23,24,194,1260,7,106,265,34,29,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb23230d53038694868c25d0ae2a93d4.jpg","纵18.6厘米，横50厘米",[44],{"id":22244,"slug":22245,"title":22246,"dynasty":18,"author":1046,"museum":316,"description":22247,"tags":22248,"thumbUrl":22251,"material":599,"size":600,"collection":139,"collections":22252,"showCount":22253,"zanCount":48,"manualWeight":48,"mainColor":49},290493,"qiu-jiang-mi-du-tu-guo-xi-290493","秋江觅渡图","郭熙（约1000～约1090年），北宋杰出画家、绘画理论家。字淳夫，河阳府温县（今属河南）人。他出身平民，早年信奉道教，游于方外，以画闻名。熙宁元年召入画院，后任翰林待诏直长。",[194,24,3559,7,177,353,17303,12452,1169,7389,987,22249,22250],"萧瑟","孤寂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8bb3c54ae0c2dc5c4f7d3a36485b611.jpg",[],61,{"id":22255,"slug":22256,"title":22257,"dynasty":76,"author":22258,"museum":316,"description":22259,"tags":22260,"thumbUrl":22261,"material":599,"size":600,"collection":139,"collections":22262,"showCount":22253,"zanCount":48,"manualWeight":48,"mainColor":94},290428,"yi-zhai-hua-niao-hua-ce-7-zhen-long-xin-290428","益斋花鸟画册7帧","龙忻","此作以淡逸之笔绘就幽庭小景，苍润奇石皴染古拙，石畔花草疏斜生姿。蓝果莹润如珠，叶片枯荣相济，粉花含露将绽，清妍动人。一只蛱蝶振翅而来，翅翼赭黄晕着朱红，斑纹纤毫毕现，灵动鲜活。\n\n画作兼用工没骨，设色秀雅柔和，笔致温婉细腻，将草木生灵的幽柔意趣尽显。动静相生间，暗合文人心底的闲适雅致，是小品花鸟的动人佳构。",[24,81,28,7,83,484,84,5841,10342,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F492260d8ba146abee202deef8c0515b7.jpg",[],{"id":22264,"slug":22265,"title":22266,"dynasty":18,"author":257,"museum":316,"description":6311,"tags":22267,"thumbUrl":22268,"material":599,"size":600,"collection":139,"colle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藏语：བཅོམ་ལྡན་འདས་མ་ཤེས་རབ་ཀྱི་ཕ་རོལ་ཏུ་ཕྱིན་པའི་སྙིང་པོ）是大乘佛教表达空性和般若波罗蜜观点的经典，又称《摩诃般若波罗蜜多心经》，简称《般若心经》、《心经》。本经是《大品般若经》的别生经，取自〈习应品〉和〈劝持品〉，作为《大般若经》的精要而集出，无序分与流通分。与《金刚经》并为通行最广的般若经。",[23,7230,260,86,22428,937,7,25,10475,8170],"写经","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf2848fc08995900089c6b332fd8a712.jpg",[],{"id":22432,"slug":22433,"title":13670,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":22434,"thumbUrl":22435,"material":599,"size":600,"collection":139,"collections":22436,"showCount":22253,"zanCount":2368,"manualWeight":48,"mainColor":49},226175,"ku-yong-dao-bei-bi-yi-ming-226175",[511,7,106,63,260,104,352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c07dac132f05fefabb70d0f8300e753.jpg",[],{"id":22438,"slug":22439,"title":22440,"dynasty":256,"author":22441,"museum":316,"description":22442,"tags":22443,"thumbUrl":22453,"material":599,"size":600,"collection":139,"collections":22454,"showCount":22253,"zanCount":48,"manualWeight":48,"mainColor":2504},225589,"zai-wen-shi-li-ai-de-hua-ma-nai-225589","在温室里","爱德华·马奈","爱德华·马奈（Édouard Manet，1832.01.23～1883.04.30）是19世纪印象主义的奠基人之一，1832年出生于法国巴黎。他从未参加过印象派的展览，但他深具革新精神的艺术创作态度，却深深影响了莫奈、塞尚、梵高等新兴画家，进而将绘画带入现代主义的道路上。受到日本浮世绘及西班牙画风的影响，马奈大胆采用鲜明色彩，舍弃传统绘画的中间色调，将绘画从追求三元次立体空间的传统束缚中解放出来，朝二元次的平面创作迈出革命性的一大步。\n印象派大师爱德华·马内的名画《春天》5日在美国纽约佳士得拍卖行拍得3320万美元。《春天》是马内的代表作之一，最早于1882年在法国巴黎展出，描绘女演员让娜·德马尔西身穿花裙，与春色交相辉映。马内试图用画笔描绘四季，但仅完成《春天》和《秋天》。马内1883年离世，终年51岁。",[3187,10039,7,8377,106,22444,22445,22446,22447,22448,22449,22450,20175,84,8432,409,3193,22451,22452],"温室植物","长椅","花盆","遮阳伞","帽子","女士","男士","热带植物","互动场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5670ad47ae742da5c0afcd6fcba8f181.jpg",[],{"id":22456,"slug":22457,"title":22458,"dynasty":76,"author":11822,"museum":316,"description":22459,"tags":22460,"thumbUrl":22462,"material":139,"size":139,"collection":139,"collections":22463,"showCount":22253,"zanCount":48,"manualWeight":48,"mainColor":94},224593,"liang-yuan-fei-xue-tu-yuan-jiang-224593","梁园飞雪图","《梁园飞雪图》是清代画家 创作的绢本设色画，现藏于 。\n此画真实细致地描绘了景色优美、构筑精致的梁园美景。\n画面中，雪片纷纷扬扬，给大地铺上了一层白色的绒毯。\n梁园里豪华的筵席，并不因为天气的阴寒而停止，殿堂里灯火通明，人来人往，非常热闹。\n画家认真地描绘了华丽精致的建筑物，以极为均匀挺直的线条描绘了房屋的各个细节，比例精当，造型准确，丝丝入扣。\n由于大雪覆盖屋顶，画家索性将屋顶留为空白，与细密的斗拱，隔窗等形成了鲜明的对比，给人以美好的视觉享受。\n该画中宫殿台阁，布置宽畅而紧密，楼阁中有数十人围坐谈话状，另一宫殿中有三位贵妇人交谈状，长廊亦有人活动；远景山峦，雪色凝寒，气氛冷峻；近景所画山石峭立，竹林茂密，枯树苍劲。\n本幅自题：“梁园飞雪，庚子徂暑邗上袁江画。\n”钤“袁江之印”、“文涛”印两方。\n袁江的《梁园飞雪图》是以西汉枚乘的《梁王兔园赋》、南朝梁江淹的《学梁王兔园赋》为依据进行创作的 ，根据款识可知该画作于康熙五十九年（172） 。\n“梁园”又名“兔园”，是汉代梁孝王刘武所建的一处私家园林，其旧址据说在今河南商丘古城东南 。\n梁孝王雅好文翰，广泛结交当时的文人名士，如司马相如、枚乘、邹阳等皆为其座上宾客，许多人长期居住园内，乐而忘返，“梁园”因此而闻名。\n袁江以古代的宫殿、名园为题材作画，他将历史上梁园安排在冬天的雪景中。\n这画作是袁江楼阁界画的代表作，表现华丽的建筑是作者创作的重点，均匀挺直的线条勾画出房屋的各个细部，繁密的斗拱，玲珑的窗格，显示了高超的界画技巧，同时作者亦注意到周围环境与自然气氛的烘托，使画面具有诗一般的意境。\n严寒冬季大雪纷飞，覆盖着大地，白雪皑皑，寒气逼人。\n可是，豪华的宫殿内的宴席，并不因为寒冷而停止，殿堂名园中灯火通明，人来人往，熙熙攘攘，举酒碰杯，热闹非凡。\n不过作者还是着重地描绘华丽宫殿、楼阁、水榭等建筑物。\n画面仅选取梁园一角，如宫殿、台阁、回廊等，房屋的各个细部全用均匀的直线画出，线条准确细劲，一丝不苟。\n在设色方面，也利用屋顶的白色，衬托出建筑物瑰丽斑澜的彩画。\n另外，还在建筑物周边画有翠竹苍松、回廊花台等，建筑物以山石及庭院相隔，殿阁前有古树参天，疏密有致。\n远山一带峰峦隆起，尽在白雪凝寒之中，烟波飘渺，远处仅微露出一座台阁顶尖，与下端华丽的宫殿，遥相呼应，给人以宽广深远之感。\n袁江将这座梁园描绘得可居可游，层次分明，又突出重点。\n他既注意描绘宫殿楼台建筑物本身，而又不忘记周围环境的烘托，使景色开阔，显示出自然美与人工美的完美结合。\n屋顶端复盖着白雪，将瓦楞掩没，作者将它留为空白，即将建筑物的屋顶和庭院使用白色，湖面则以淡色晕染，形成对比，突出了主体。\n同时，又利用建筑物顶上和庭院里积雪与色彩艳丽的斗拱、门窗、扉扇、纹饰等形成虚实的强烈对比。\n上海大学上海美术学院教授 ：《梁园飞雪图》利用天然石山土坡，略加修整，如水上架桥、岸边种竹等，直将梁园与自然环境融为有机的整体。\n袁江的界画作品《染园飞雪图》为读者提供了理解中国传统园林不同的研究切入点和观察视角，是研究中国传统园林的重要图像史料。\n袁江（约1671—1746年），清代画家。\n字文涛，江都（今江苏扬州市江都区）人。\n擅山水、楼台，初学仇英，后吸取宋人画法。\n康熙问在扬州、南京、会稽一带作画；雍正年间受聘至太原尉姓家作画。\n所作景物多曲折有致，笔墨严整，为清代界画能手。",[23,194,24,25,104,28,7,29,107,2562,12015,34,114,115,176,22461,12755,13277,3883,986,1557],"长廊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a462904cd78720e19ebc39b254ab476.jpg",[],{"id":22465,"slug":22466,"title":22467,"dynasty":18,"author":257,"museum":316,"description":22468,"tags":22469,"thumbUrl":22471,"material":139,"size":139,"collection":139,"collections":22472,"showCount":22253,"zanCount":918,"manualWeight":48,"mainColor":49},223630,"he-xie-tu-yi-ming-223630","荷蟹图","《宋人画荷蟹图》是宋代佚名创作是一幅中国画。\n图中残败的荷叶枯黄斑驳，半浸于水中，一只团脐雌蟹挥螯伏于叶上。\n潺潺流水中生长、飘浮着红蓼、蒲草、浮萍、水藻等，其叶片边沿均已泛黄，显示出时已临秋，金秋时节，正是蟹美膏肥之时，荷叶的颓势与雌蟹的鲜活形成强烈的对比。\n画面刻意求真，荷叶用双钩夹叶法描绘，叶之叶筋、斑纹及莛上的小刺都刻意求工，雌蟹用笔缜密严谨。\n此图画面意境生动，题材别出新意，为宋人写实画作的典范。\n【简介】 本幅无款。\n钤印一方，印文模糊不辨。",[23,194,24,25,7,28,228,22470,137,319,83],"螃蟹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F180dab128ffc6da8aaed986bccf8201c.jpg",[],{"id":22474,"slug":22475,"title":22476,"dynasty":18,"author":257,"museum":20,"description":22477,"tags":22478,"thumbUrl":22479,"material":529,"size":22480,"collection":139,"collections":22481,"showCount":22253,"zanCount":1379,"manualWeight":48,"mainColor":49},223584,"wa-que-qi-zhi-tu-ye-yi-ming-223584","瓦雀栖枝图页","此画绘海棠一枝，果实散挂枝头，树叶已染秋霜。\n枝头栖息着姿势各异的五只瓦雀，其中一只正仰首注视着枝叶上的昆虫，张口欲啄，形象生动活泼。\n整个画面张弛有致，设色研丽，刻画写实。\n海棠间杂红、黄、绿色，细看可见叶、果有些已遭虫蚀。\n作者取轻勾淡染之法，以表现秋叶缺乏水分的轻、薄质感。\n鸟的羽毛用细笔一笔一笔勾描，具有毛茸茸的质感。",[23,24,194,25,81,28,7,83,245,13823,836,554],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F398ac81f47572946b8488c7c3af380e0.jpg","纵28.9厘米横29厘米",[],{"id":22483,"slug":22484,"title":22485,"dynasty":76,"author":22486,"museum":316,"description":22487,"tags":22488,"thumbUrl":22489,"material":638,"size":139,"collection":44,"collections":22490,"showCount":22253,"zanCount":48,"manualWeight":48,"mainColor":4199},223276,"luo-han-chang-juan-hong-yi-fa-shi-223276","罗汉长卷","弘一法师","李叔同（1880年10月23日－1942年10月13日），又名李息霜、李岸、李良，谱名文涛，幼名成蹊，学名广侯，字息霜，别号漱筒。\n李叔同是著名音乐家、美术教育家、书法家、戏剧活动家，是中国话剧的开拓者之一。他从日本留学归国后，担任过教师、编辑之职，后剃度为僧，法名演音，号弘一，晚号晚晴老人，后被人尊称为弘一法师。\n1913年受聘为浙江两级师范学校（后改为浙江省立第一师范学校）音乐、图画教师。1915年起兼任南京高等师范学校音乐、图画教师，并谱曲南京大学历史上第一首校歌。1942年10月13日，弘一法师圆寂于泉州不二祠温陵养老院晚晴室。\n李叔同的诗词在近代中国文学史上同样占有一席之地。他年轻时，即以才华横溢引起文坛瞩目。客居上海时，他将以往所作诗词手录为《诗钟汇编初集》，在“城南文社”社友中传阅，后又结集《李庐诗钟》。出家前夕，他将清光绪二十六至三十三年（1900—1907年）间的20多首诗词自成书卷。其中就有《留别祖国并呈同学诸子》、《哀国民之心死》等不少值得称道的佳作，表现了作者对国家命运和民生疾苦的深切关注。出家前的五六年间，他还有30余首歌词问世。这些作品，通过艺术的手法表达了人们在相同境遇中大都会发生的思想情绪，曾经风靡一时，有的成为经久不衰的传世之作。\n弘一法师对联语也有浓厚兴趣，并有极高的鉴赏和创作水平。尤其是出家后，大师为各地寺院和缁素撰写的诸多嵌字联语，更表现出他的奇思妙想和深厚的艺术功底。他在宣传佛法导引终生佛化过程中，将联语这一形式作为劝人为善的巧妙手段。他书写的那些内容深刻、极富哲理的名联，现也成为警示后人的一笔宝贵的文化艺术财富。",[23,194,24,25,26,260,352,7,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b5bdb6c55f2c12f941fbbee4339b485.jpg",[44],{"id":22492,"slug":22493,"title":22494,"dynasty":76,"author":329,"museum":191,"description":10188,"tags":22495,"thumbUrl":22496,"material":529,"size":10192,"collection":181,"collections":22497,"showCount":22253,"zanCount":48,"manualWeight":48,"mainColor":49},222760,"shi-er-yue-ling-tu-12-yue-lang-shi-ning-222760","十二月令图（12月）",[23,194,24,28,7,104,1022,106,107,29,11396,34,115,35,1364,278,176,18859,114,15196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa59e46a0d4516642432e21125cc72aab.jpg",[181,45],{"id":22499,"slug":22500,"title":22501,"dynasty":76,"author":22502,"museum":78,"description":22503,"tags":22504,"thumbUrl":22505,"material":9042,"size":22506,"collection":181,"collections":22507,"showCount":22253,"zanCount":48,"manualWeight":48,"mainColor":94},222632,"jiang-shan-wu-jin-tu-juan-gao-cen-222632","江山无尽图卷","高岑","创作年代不详，据此图之笔意推断，应是高岑年轻时期、即崇德顺治年间的作品。张跋诩之“云林之淡远，山樵之缜密”，并以“黄子久之山水烟云生动林壑虚闲”以为比拟，认定《江山无尽图》“堪为书画舫中第一珍玩”。\n高岑的山水画从宋元入手,并承明代吴门诸家之法,形成两种面貌:一种承继所谓“北宗”传统,从宋范宽到明唐寅;另一路山水,则远绍元代的黄公望、王蒙，近法明代沈周，文徵明。《千里江山图》就是高岑吸取了黄公望空灵简洁的勾线法和王蒙圆润细密的皴染法。",[23,24,25,26,173,7,177,29,685,262,34,176,35,174,109,353],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe635978855f747c8aa390e5a7b497820.jpg","26×455",[181,163],{"id":22509,"slug":22510,"title":22511,"dynasty":302,"author":831,"museum":223,"description":12806,"tags":22512,"thumbUrl":22513,"material":40,"size":22514,"collection":44,"collections":22515,"showCount":22253,"zanCount":2368,"manualWeight":48,"mainColor":49},221770,"ren-ma-tu-ren-ren-fa-221770","人马图",[23,24,25,26,28,7,150,106,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F476e55f8d28399ffef02dac57ac64f66.jpg","纵：50.6cm，横：36cm",[44,45],{"id":22517,"slug":22518,"title":22519,"dynasty":18,"author":18229,"museum":1577,"description":22520,"tags":22521,"thumbUrl":22522,"material":22523,"size":22524,"collection":42,"collections":22525,"showCount":22253,"zanCount":48,"manualWeight":48,"mainColor":49},221251,"yan-tu-hui-chong-221251","雁图","宋代绘画的许多作品，尤其是僧人的作品，很大一部分保存在日本，并对日本绘画史产生了深刻的影响。北宋惠崇的作品传世极少，而这幅《雁图》因为藏于国外的缘故，在相当长时间里并未引起国内美术界的重视。\n《雁图》见于东京国立博物馆《唐绘手鉴-笔耕园》。东京国立博物馆《笔耕园》，是将室町时代以后舶来的中国画汇集而成的手鉴。收录作品60幅，其主题、画法和样式各异，并据此在各图上加有不同画家的名字。经鉴识的画家人数达49名，宋元时代画家的名字较多，但其中也有明代画家的名字，还夹杂了一些明代作品，因此可以说，在作品的收集与鉴识之中，反映出中世、近世舶来中国画的时代动向。其中不仅有南宋名家夏珪的山水图之类的难得佳作，还有其他一些质量极高的作品。汉画作爲室町时代之后绘画史上的一大流派，一直将此类中国绘画作为模板，手鉴如实地反映了当时社会对中国绘画的接纳和认同状况，可谓是珍贵史料。\n《雁图》所描绘的是汀岸一隅，五只雁栖息于芦苇丛下的岸边，四只在前，一只隐于坡岸之后。构图极其简洁，大致属于边角结构，芦苇、坡石、芦雁自右下角延伸至有病，其余部分大片留白，形成清远空旷的意境。此画虽为僧侣画，但与宋代的其他僧侣绘画（如牧溪）的率意及强调禅意不同，并未远离宋代的主流艺术风格。比如写实工细的芦雁和写意的坡石形成粗细对比，右下与左上在构图上的虚实对比，都是宋代院体画的基本表现手法。",[23,194,24,25,173,7,3765,245,262,1980,230,2003,18233,1530],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc00d57a05337889e75786d96f615a42c.jpg","绢本着色","29.3×32.1",[42,90,45],{"id":22527,"slug":22528,"title":22529,"dynasty":302,"author":1977,"museum":20,"description":22530,"tags":22531,"thumbUrl":22532,"material":22533,"size":22534,"collection":42,"collections":22535,"showCount":22253,"zanCount":48,"manualWeight":48,"mainColor":49},220842,"you-huang-d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设色画","纵25.4厘米,横36.2厘米",[42,90,45],{"id":22537,"slug":22538,"title":22539,"dynasty":302,"author":2603,"museum":191,"description":22540,"tags":22541,"thumbUrl":22542,"material":67,"size":22543,"collection":181,"collections":22544,"showCount":22253,"zanCount":48,"manualWeight":48,"mainColor":49},220817,"xi-shan-gao-yi-zhou-wang-meng-220817","溪山高逸轴","密林深处，茅屋三椽，屋中士人抚琴案上，旁童子待，屋前平坡白鹤展翅，另一人正欲渡桥而来，溪旁屋后四松挺翠。全幅皴山画树，层层点染，浓荫繁盛。此图的构图意境在显示所欲写“菊琴友”草堂抚琴之主题。",[23,194,24,25,226,173,7,177,29,34,109,108,175,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F067de7b72861ee94fa127638ad6c1f4c.jpg","该幅113.7x65.3公分；诗塘26.5x65公分；全幅93公分",[181,45],{"id":22546,"slug":22547,"title":22548,"dynasty":99,"author":857,"museum":78,"description":22549,"tags":22550,"thumbUrl":22551,"material":123,"size":22552,"collection":90,"collections":22553,"showCount":22253,"zanCount":48,"manualWeight":48,"mainColor":49},220339,"tan-mei-tu-chen-hong-shou-220339","探梅图","陈洪绶（1598-1652年），字章侯，号老莲，甲申（1644年）后号悔迟、老迟等，浙江诸暨人。通诗文，有《宝纶堂集》十卷传世。工书善画，人物、花鸟、山水皆能，尤以人物画为后世所重。初师蓝瑛，后取法李公麟、赵孟頫，所作人物，造型夸张变形，高古伟岸，运笔旋转，一气呵成，线条凝练遒劲，设色古拙，形成了高古静穆的独特画风。此图树石工笔水墨（色）相间，绘三人一马行至岸边，驻足停留，线条劲健利索，树杈枝干翻挺矫健，枝叶繁茂，给人以清幽深邃之感。",[23,24,25,226,28,7,106,150,820,29,378,686,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a13b3619cb9ad6a25f7b080296fabf4.jpg","纵131.3厘米，横49.0厘米",[90,45],{"id":22555,"slug":22556,"title":22557,"dynasty":189,"author":22558,"museum":191,"description":22559,"tags":22560,"thumbUrl":22561,"material":123,"size":22562,"collection":44,"collections":22563,"showCount":22253,"zanCount":48,"manualWeight":48,"mainColor":49},220246,"chu-lie-tu-hu-gui-220246","出猎图","胡瓌","本幅描写塞外族人，携鹰出猎之情景。画面绘猎骑者四人，穿圆领窄袖长袍，腰配短刀，骑者左手驭马，右手架着猎鹰，四骑聚于一处，似在交流狩猎经过。最右端者之马鞍上，捆扎一只胸前渗血的野兔。人物的髡发须髯、骏马的鬃鬣、猎鹰的毛羽，无不描绘精致，形象逼真。作者传为胡瓌，契丹人，约活动于九、十世纪之间，素以精于描绘塞外风光及人马而闻名，因以名之。",[23,24,25,194,7,28,106,150,1049,8099],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fb54e1035101d68949b7ae4331ce513.jpg","32.9x44.3",[44],{"id":22565,"slug":22566,"title":15156,"dynasty":302,"author":22567,"museum":5488,"description":22568,"tags":22569,"thumbUrl":22570,"material":123,"size":22571,"collection":42,"collections":22572,"showCount":22253,"zanCount":48,"manualWeight":48,"mainColor":49},220240,"luo-han-tu-cai-shan-220240","蔡山","本图描绘的是一位拄拐杖坐在岩石上的罗汉，从姿态上看来应属第一宾度罗跋啰堕阇尊者，尊者右足跨在左膝之上，半跏坐于岩石上，右手执竹杖靠住右肩，容貌古野呈胡相，长眉之下慈悲坚毅的目光炯炯有神。用笔稳健有力，脸上皱纹、衣服褶纹、以及手足线条等均相当周密，调整合宜，设色淡雅，不碍线条的流畅。罗汉坐的岩石隙缝中暗藏有“蔡山”落款。估计此图原为十六罗汉图全套中的一幅，现存有类似风格的另一幅罗汉图。从苍老消痩的罗汉表现手法中可以看出蔡山的固有画风，画中透露出的怪异氛围，与同时代的颜辉派有着相通之处。画面右下角有足利义直的寄进铭“奉三宝弟子右兵卫督源直义舍入”， 可知它是捐献给足利直义的某寺之物。据说由足利直义于贞和2年(1346)赠予高野山金刚三昧院。\n“蔡山”之名，根据室町时代的 “君台观左右帐记”中记载，除了“元人”之外，其他均不详，传统的画史上也始终未见其名。就署名于岩石隙缝一事来看，似仍沿袭了宋代的古风，元代中期以后，此风便不多见了。本幅罗汉图属于高古细润的作风，那是融和了南宋以来，文人画和职业画工的优点，在元画中又是一件杰出而珍贵的作品。",[23,24,25,226,260,106,28,7,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea77b489c9244d27f3da7403e09bf107.jpg","113.3×53.9 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"采菊图轴",[194,24,226,106,897,173,7,86,212,1551,13236],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2a061be1d2856741760d4fcc7b396d5.jpg",[],{"id":22655,"slug":22656,"title":1451,"dynasty":76,"author":77,"museum":316,"description":596,"tags":22657,"thumbUrl":22658,"material":599,"size":600,"collection":139,"collections":22659,"showCount":142,"zanCount":48,"manualWeight":48,"mainColor":94},239424,"shan-shui-hua-hui-ce-yun-shou-ping-239424",[24,25,81,7,173,230,227,84,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9a93d6197a93c72b6801a9f33f5d600.jpg",[],{"id":22661,"slug":22662,"title":22663,"dynasty":99,"author":5750,"museum":316,"description":22664,"tags":22665,"thumbUrl":22667,"material":599,"size":600,"collection":139,"collections":22668,"showCount":142,"zanCount":48,"manualWeight":48,"mainColor":94},237824,"fang-zhang-seng-yao-mei-gu-shan-shui-shan-zhang-hong-237824","仿张僧繇没骨山水扇","张宏（1577年－1652年后），字君度，号鹤涧，江苏苏州长洲县人，明代画家、篆刻家。善画山水、人物、翎毛。擅长山水，颇有意趣，亦能画兰，笔墨有元人古意，是明末吴门画坛的中坚人物。吴中学者尊崇之。另外近代学者指出他擅长“地图式绘画”，描绘旅游所见景色，是与其他吴派画家不同之处。",[24,1260,22666,7,105,29,174,34,989,1169,31,1754,212],"没骨山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3e8df82dfc9d045a62c3ee52c28183e.jpg",[],{"id":22670,"slug":22671,"title":22672,"dynasty":76,"author":17997,"museum":316,"description":22673,"tags":22674,"thumbUrl":22675,"material":638,"size":22676,"collection":181,"collections":22677,"showCount":142,"zanCount":48,"manualWeight":48,"mainColor":94},234876,"wang-yuan-qi-fang-gu-shan-shui-ce-wang-yuan-qi-234876","王原祁仿古山水册","丁巳为康熙十六年（1677年），王原祁时年三十六岁。册前王时敏款署西庐八十七老人题，应为康熙十七年（1678年）所题，即王原祁创作该册后的次年所书。以丁巳下推至庚午，不足十五年，而自跋中今阅十五年，当是王原祁笔误。\n画前副页有王时敏隶书灵心自悟四大字。画册后跋纸为王原祁自题：此余丁巳春间往云间笔也。先奉常见之谓余为'可教'，题识四字。个阅十五年矣，于古人笔墨终未梦见，殊愧先大父指授，为之泫然。康熙庚午长夏观于毘陵舟次谨题，原祁。钤原祁之印（白文）、麓台（朱文）、兴与烟霞会（白文），画册首副页，尾纸只有庞元济藏印11方。\n该册仿古山水，是王原祁早期绘画的代表作品。所仿元六家山水各具形貌，笔墨或设色又颇具苍润、恬淡、秀丽等不同特点，所以王时敏以灵心自悟夸赞其孙王原祁在仿古的同时，边学习古人的画法，同时又寻求开创个人独特艺术特点的创作方向。该册是研究工原祁早期绘画的宝贵材料。",[24,25,81,7,29,177,105,212,176,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb3906ab5fe733b92e1b4dac6a6a17ae.jpg","纵21厘米，横27厘米",[181,45],{"id":22679,"slug":22680,"title":6834,"dynasty":99,"author":2425,"museum":20,"description":14594,"tags":22681,"thumbUrl":22682,"material":770,"size":14597,"collection":181,"collections":22683,"showCount":142,"zanCount":48,"manualWeight":48,"mainColor":94},233800,"shan-shui-ce-dong-qi-chang-233800",[24,25,81,173,7,29,177,685,262,34,3712,176,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F034929475ad5bc8450af2c928ccea8b8.jpg",[181],{"id":22685,"slug":22686,"title":4406,"dynasty":18,"author":1033,"museum":20,"description":22687,"tags":22688,"thumbUrl":22690,"material":40,"size":15233,"collection":139,"collections":22691,"showCount":142,"zanCount":48,"manualWeight":48,"mainColor":49},233004,"guo-shu-lai-qin-tu-ye-lin-chun-233004","画家选取果木的一枝写秋景：寂静的山林木叶泛黄，沉甸甸的果实早已熟透却无人采摘，任由虫儿噬蚀。一只小鸟蓦然飞上枝头，打破了空间的宁静。忽而，它转颈回眸，振翅欲飞，在这收获的季节里，它是否被画面外更为诱人的景色所吸引呢？\n折枝画法发挥了小幅的特长，作者以活泼的形式突出表现了枝叶、果实的色彩和禽鸟的情态，大不盈尺却美轮美奂，在饱满丰硕的果实和小鸟怡然自得的鸣唱中，画外的情趣、诗意与画意相结合，加强了花鸟画借物抒情的目的，令人赏心。\n小鸟的动态用细劲柔和的笔致勾勒，蓬松的羽毛则以浑融的墨色晕染，木叶的枯萎、残损、锈斑，果子上被虫儿叮咬的痕迹都被一一描绘出来，可见画家从自然景致中“摄集花形鸟态”的高超的写生能力。在构图上删繁就简，明洁奇巧，既保持了画院花鸟画“要物形不改”状物精微的写实精神，又表现出作者蕴藉空灵的审美追求。设色轻敷淡染，黄绿的叶子、淡红的果实、鹅黄的小鸟，分外和谐明丽。",[24,194,25,28,7,83,22689,1530,836,783],"果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4b4d59a08468c0294c3fe6a31110e6d.jpg",[],{"id":22693,"slug":22694,"title":22695,"dynasty":54,"author":22696,"museum":56,"description":22697,"tags":22698,"thumbUrl":22700,"material":638,"size":22701,"collection":139,"collections":22702,"showCount":142,"zanCount":2368,"manualWeight":48,"mainColor":49},232269,"gu-shi-si-tie-zhang-xu-232269","古诗四帖","张旭","通篇笔画丰满，绝无纤弱浮滑之笔。行文跌宕起伏，动静交错，满纸如云烟缭绕，实乃草书颠峰之篇。北京大学教授、引碑入草开创者李志敏评价：“古诗四帖无一笔不争，无一笔不让，有呼有应，浑然天成。”今人郭子绪云：“《古诗四帖》，可以说是张旭全部生命的结晶，是天才美和自然美的典型，民族艺术的精华，永恒美的象征。”\n释文:东明九芝盖，北烛五云车。飘飖入倒景，出没上烟霞。春泉下玉溜，青鸟向金华。汉帝看桃核，齐侯问棘花。应逐上元酒，同来访蔡家。\n北阙临丹水，南宫生绛云。龙泥印玉简，大火练真文。上元风雨散，中天哥吹分。虚驾千寻上，空香万里闻\n谢灵运王子晋赞\n淑质非不丽，难之以万年。储宫非不贵，岂若上登天。王子复清旷，区中实哗嚣。喧既见浮丘公，与尔共纷翻。\n岩下一老公，四五少年赞\n衡山采药人，路迷粮亦绝。过息岩下坐，正见相对说。一老四五少，仙隐不别可？其书非世教，其人必贤哲。\n备注:《古诗四帖》录文为四首诗赋。前两首分别是南北朝庾信的《道士步虚词》之六和之八，后两首是南朝谢灵运的《王子晋赞》和《岩下见一老翁四五少年赞》。\n《庾子山集》和《谢灵运集校注》分别录有原文如下：\n东明九芝盖，北烛五云车。飘飖入倒景，出没上烟霞。春泉下玉溜，青鸟向金华。汉帝看桃核，齐侯问枣花。上元应送酒，来向蔡经家。\n北阙临玄水，南宫生绛云。龙泥印玉策，大火炼真文。上元风雨散，中天歌吹分。灵驾千寻上，空香万里闻。\n谢灵运王子晋赞\n淑质非不丽，难以之百年。储宫非不贵，岂若登云天。王子爱清净，区中实骅嚣。喧既见浮丘公，与尔共纷翻。\n岩下见一老翁四五少年赞\n衡山采药人，路迷粮亦绝。过息岩下坐，正见相对说。一老四五少，仙隐不可别。其书非世教，其人必贤哲。\n《古诗四帖》是否为张旭所作，尚有争议，但它是张旭笔法系统中一件重要的作品。它大部分线条不强调提按，而重视粗细均匀的线条中使转与速度的变化。中侧锋并用，笔锋常落在线条端部的一侧，但立即转为中锋；同时流畅中又往往生出圭角，如“年”、“别”等字，有不可端倪之感。左右部分衔接时，有时用粗重的线条。这一点在颜真卿《刘中使帖》中“期”、“将”的笔触也可看到，通过此点能看到颜、张的关系。\n狂草中的点画与其他书体中的点画不同。其一，狂草点画在连续运动中完成，而且较为快速，对控制用笔的敏捷、准确有很高要求；其二，其他书体字体中留驻、按顿等常用的方法在狂草中无法使用，只能更多地依靠手腕及其他关节的控制，因此在临习中一定要找到与点画形状相配合的运动方式。一种点画，书家可以用不同的笔法临写出大体相似的形状，但对狂草来说，只有自然而流畅地书写出这一形状才是可取的，其它操作方法不是把学习者和欣赏者引向另一种风格，而是引人离开草书。\n《古诗四帖》中有少量弱笔，但无损于整个作品的流动、敦厚，就大部分线条而言，已达到得心应手、落笔成趣的境界。草书中不离法则而随意驱运法则，这是高闲等人从来不曾梦想过的境地。\n“四帖”中真正使人感到意外的还是字结构。由于阅读与欣赏习惯的影响，“单字结构”总是欣赏者感觉中甩不掉的一个层面。与张旭其他作品相比，这件作品不符合他惯常的构字规则。\n《古诗四帖》属狂草。特点是较过去更为狂放，整体气势如长江大河一泻千里，急风骤雨，所以在草书发展史上是新突破。它打破了魏晋时期拘谨的草书风格。把草书在原有的基础结构上，将上下两字的笔画紧密相连，所谓“连绵还绕”，有时两个字看起来象一个字，有时一个字看起来却象两个字。在章法安排上，也是疏密悬殊很大。在书写上，也一反魏晋“匆匆不及草书”的四平八稳的传统书写速度，而采取了奔放、写意的抒情形式。\n《古诗四帖》，张旭自己并未书款，说它是张旭作品是根据董其昌鉴定， 后人多沿此说，但也颇有争议。\n张旭草书的章法大致可以分为单字界限清晰和单字界限不清晰这样两类。前者如《晚复帖》，后者如《古诗四帖》。两类作品书写时的心态有所不同。前一类作品书写时注意力可以主要放在字结构上，同时关注各字的连缀即可；后一类作品书写时以线条疏密及连续性的控制为首要目标。狂草中空间的疏密有时出现强烈的变化，但张旭的作品中，疏密变化都是逐渐发生的。换言之，由疏到密，或由密到疏，都有个过渡阶段，《肚痛贴》中从“肚痛”到“不可”这样突兀的变化只是个特例。\n《古诗四帖》笔法奔放不羁，如惊电激雷，倏忽万里，而又不离规矩。行文跌宕起伏，动静交错，满纸如云烟缭绕，实乃草书颠峰之篇。董其昌评说：“有悬崖坠，急雨旋风之势。”\n《古诗四帖》通篇气势奔放，运笔无往不收，如锥划沙，无纤巧浮华之笔。盛唐时期，以张旭为代表的一派草书风靡一时，它打破了魏晋时期拘谨的草书风格。把草书在原有的基础结构上，将上下两字的笔画紧密相连，所谓“连绵还绕”，有时两个字看起来象一个字，有时一个字看起来却象两个字。在章法安排上，也是疏密悬殊很大。在书写上，也一反魏晋“匆匆不及草书”的四平八稳的传统书写速度，而采取了奔放、写意的抒情形式。正如唐代文学家韩愈《送高闲上人序》中所云：“张旭善草书，不冶它技，喜怒窘穷，忧悲愉佚，怨恨，思慕，酣醉无聊，不平，有动于心，必于从草书焉发之。”\n《古诗四帖》早在北宋宋仁宗嘉佑年间已有刻本流传，墨迹进入北宋内府。“靖康之乱”散入民间，南宋后期为贾似道收藏。后转入南宋收藏家赵与勤家。明代归著名收藏家华夏的真赏斋，后又归项元汴，清时入内府。\n宋《宣和书谱》定为南北朝谢灵运书，元明时《云烟过眼录》、《珊瑚网书跋》、《平生壮观》均有记载，传至明朝中期，对作者产生怀疑，直到董其昌，才从诗韵变化揭示原说破绽并据草书肯定为张旭之作。《石渠宝笈初编》将此帖误断为赝品。\n关于是否是张旭真迹，明清均有争议，到现在仍有学者有不同意见。",[23,194,24,25,86,26,18387,212,7,22699],"字帖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1b552411f9ee44f8aa35e32c763c8a8.jpg","纵28.8厘米，横192.3厘米",[],{"id":22704,"slug":22705,"title":22706,"dynasty":18,"author":22707,"museum":316,"description":22708,"tags":22709,"thumbUrl":22710,"material":139,"size":139,"collection":139,"collections":22711,"showCount":142,"zanCount":2368,"manualWeight":48,"mainColor":94},227816,"xie-sheng-zi-wei-wei-sheng-227816","写生紫薇","卫昇","卫昇，(公元1世纪)〔南宋〕其生平仅见元代夏文彦撰《图绘宝鉴》卷四载“卫昇，画花鸟甚佳”7字，与南宋画人平列在一起，可见卫昇为南宋时人。\n传世作品仅有《写生紫薇图》册页，绢本，设色，纵2.8厘米，横25.厘米，以工笔重色法写折枝盛开之紫薇花，造型精确，结构严谨，用笔工整，敷色雅丽，是一幅精到之作，具有南宋院体画特点，现藏 。",[23,194,24,25,28,7,83,2840,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcaa4997a97e82526f8899902e8a264a.jpg",[],{"id":22713,"slug":22714,"title":361,"dynasty":76,"author":1610,"museum":316,"description":22715,"tags":22716,"thumbUrl":22717,"material":139,"size":139,"collection":139,"collections":22718,"showCount":142,"zanCount":48,"manualWeight":48,"mainColor":49},224591,"yu-tang-fu-gui-tu-zou-yi-gui-224591","《玉堂富贵图》是清代邹一桂的作品，该图规格为197×96cm，此图中牡丹、玉兰、海棠、杜鹃，布满全幅，最后还用石青衬底。\n民间常以兰花象征玉堂，牡丹花象征富贵，这两种花卉图借喻玉堂富贵，祝愿职位高升，富裕显贵的意思。\n该图画是邹一桂的作品，作于清代。\n此图中牡丹、玉兰、海棠、杜鹃，布满全幅，最后还用石青衬底。\n汉代皇宫有“玉堂殿”，后世以“玉堂”指翰林院，“历金门，上玉堂有日矣”的意思是职位高升指日可待。\n“富贵”一词出自《论语-颜渊》：“商闻之矣，生死有命，富贵在天。\n”，指富裕而显贵的意思。\n民间常以兰花象征玉堂，牡丹花象征富贵，这两种花卉图借喻玉堂富贵，祝愿职位高升，富裕显贵的意思。\n牡丹敷以淡粉，用重粉点染边缘，显得晶莹剔透、庄重典雅。\n整个画面热烈而秀雅，韵味十足。\n，字小山。\n善画人物、花卉、翎毛、偶画山水。\n擅长水墨花卉，极有重名。",[23,194,24,25,226,28,7,83,292,365,176,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74591eb4de60da169f51849ba65b2284.jpg",[],{"id":22720,"slug":22721,"title":22722,"dynasty":76,"author":2200,"museum":316,"description":22723,"tags":22724,"thumbUrl":22725,"material":638,"size":22726,"collection":90,"collections":22727,"showCount":142,"zanCount":1379,"manualWeight":48,"mainColor":94},224236,"xia-qi-tu-zhou-wu-chang-shuo-224236","霞气图轴","昌硕最擅长写意花卉，受徐渭和八大山人影响最大，由于他书法、篆刻功底深厚，他把书法、篆刻的行笔、运刀及章法、体势融入绘画，形成了富有金石味的独特画风。吴昌硕作画用“草篆书”以书法入画；线条功力异常深厚。虽然从状物绘形的角度看其线条的质感似乎不够丰富、切实，但恰恰是舍弃了形的羁绊，吴昌硕的绘画才步入了“意”的厅堂，从而形成了影响近现代中国画坛的直抒胸襟，酣畅淋漓的“大写意”表现形式。",[23,24,226,173,7,83,820,230,212,498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c20d7acbfac92920da123a70b33adeb.jpg","125x29",[90,45],{"id":22729,"slug":22730,"title":22731,"dynasty":76,"author":2200,"museum":316,"description":22732,"tags":22733,"thumbUrl":22734,"material":139,"size":139,"collection":139,"collections":22735,"showCount":142,"zanCount":48,"manualWeight":48,"mainColor":801},224214,"pin-mei-tu-wu-chang-shuo-224214","品梅图","此作为典型文人清供小景，红梅老枝苍劲朴拙，胭脂点染花苞艳而不妖，尽显虬枝凌寒盛放的生机。茶炉以淡墨晕染，焦墨点出炽红炭火，留白暗喻水汽蒸腾，古雅茶壶静置炉上，角落油伞添了几分俗世烟火意趣，将围炉品茗赏梅的幽居闲逸铺陈开来。\n\n作者以金石笔法入画，笔力雄健老辣，苍劲题诗与疏朗画面浑然一体，诗书画印相融相合，将文人雅致闲情寄寓寻常清景中，寥寥数笔便勾勒出冬日小聚的清寂快意，把日常小景升华为超然雅致的文人意境。",[23,24,25,226,7,173,820,228,229,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb20264ba227d2d6600d508cc9d63b4ae.jpg",[],{"id":22737,"slug":22738,"title":22739,"dynasty":18,"author":257,"museum":20,"description":22740,"tags":22741,"thumbUrl":22742,"material":40,"size":22743,"collection":139,"collections":22744,"showCount":142,"zanCount":1003,"manualWeight":48,"mainColor":49},223475,"zhe-zhi-hua-hui-tu-yi-ming-223475","折枝花卉图","此卷画折枝海棠、栀子、芙蓉、梅花共四幅，枝页繁茂，花儿怒放。花瓣、花页用勾勒填色法。花之娇态、页之正反和明暗表现得恰到好处。图中用笔缜密严谨，但工而不板，设色艳而不俗。第一段海棠树干上署有「赵昌」二字款，从字迹、画风分析，此款伪，实为当时高手所作。画面钤有「乾隆御览之宝」、「嘉庆御览之宝」、「宣统御览之宝」等印玺。曾经陈自明、清内府收藏。不见著録。",[23,24,25,26,2003,28,7,306,84,820,292,210,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e760018d01b4d8788990c09188ef3fe.jpg","每段49.2x77.6cm",[],{"id":22746,"slug":22747,"title":22748,"dynasty":76,"author":22749,"museum":20,"description":22750,"tags":22751,"thumbUrl":22753,"material":770,"size":22754,"collection":139,"collections":22755,"showCount":142,"zanCount":48,"manualWeight":48,"mainColor":94},223280,"ping-an-ru-yi-tu-yong-rong-223280","平安如意图","永瑢","该图有乾隆御书七绝一首，题跋恭呈孝圣太后。设色画松、梅、茶花、瓶、如意等，寓意“平安如意”，乾隆用以进献其母，表示吉祥和祝福。\n该画以淡墨干笔勾勒花瓶，设色淡雅，颇具文人雅趣。",[23,24,7,498,226,212,6240,1220,662,22752,1187,210],"如意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55fe051adda6e8cbfcf05822d916be9c.jpg","91cmx34.7cm",[],{"id":22757,"slug":22758,"title":10119,"dynasty":76,"author":22759,"museum":101,"description":22760,"tags":22761,"thumbUrl":22762,"material":22763,"size":22764,"collection":181,"collections":22765,"showCount":142,"zanCount":48,"manualWeight":48,"mainColor":49},222849,"shan-shui-tu-juan-zhang-ci-ning-222849","张赐宁","群山环抱，两棵树耸立，水面平静，叶小舟去作画。和其他水墨画一样，这幅画用墨较多，有层次感。",[23,24,25,26,173,7,29,177,685,262,31,174,1273,35,686,1169,5702],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F245cd1b249d8216f4f7f6e4b49950088.jpg","纸本 水墨 设色","41.3 x274.0厘米",[181,163],{"id":22767,"slug":22768,"title":22769,"dynasty":99,"author":22770,"museum":191,"description":22771,"tags":22772,"thumbUrl":22773,"material":1307,"size":22774,"collection":181,"collections":22775,"showCount":142,"zanCount":48,"manualWeight":48,"mainColor":94},222411,"shui-mian-wen-xiang-zhou-wen-cong-jian-222411","水面闻香轴","文从简","图绘荷塘一隅，圆盘状荷叶遮住水面，墨色浓郁，四周水草繁茂，三支荷花突颖而出，二支绽放，一支含苞待放，高处荷杆上一只翠鸟探头向水中望去，翠鸟红喙细长尖锐，全身毛发柔软整齐，神情活泼。",[23,24,226,7,28,136,137,209,319,3519],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3e54eae5e00cccc24c1fccf44406de6.jpg","106.8x43.8厘米",[181,163],{"id":22777,"slug":22778,"title":22779,"dynasty":99,"author":756,"museum":539,"description":3475,"tags":22780,"thumbUrl":22781,"material":529,"size":22782,"collection":181,"collections":22783,"showCount":142,"zanCount":1379,"manualWeight":48,"mainColor":49},221975,"wu-zhong-sheng-gai-tu-quan-juan-wen-zheng-ming-221975","吴中胜概图全卷",[23,24,25,26,7,29,178,86,177,28,808,31,107,108,109,174,175,245,34,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbea8d9ae2d8130ad7485b843268d551.jpg","纵31.5厘米，横453厘米",[181,45],{"id":22785,"slug":22786,"title":22787,"dynasty":302,"author":22788,"museum":20,"description":22789,"tags":22790,"thumbUrl":22791,"material":1038,"size":22792,"collection":163,"collections":22793,"showCount":142,"zanCount":2368,"manualWeight":48,"mainColor":49},221814,"shuang-gou-zhu-tu-li-kan-221814","双钩竹图","李衎","李衎（1245-1320），字仲宾，号息斋道人，蓟丘（今北京）人。皇庆元年（1312年）为吏部尚书，拜集贤殿大学士，与赵孟頫相友善。死后追封蓟国公，谥文简。善画竹，墨竹初师王庭筠，继师文同，青绿设色师李颇。",[23,194,24,25,226,12202,28,227,230,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53499e6ca3eee6c531a56818fa98b16c.jpg","纵185.5cm，横153.7cm",[163,2617],{"id":22795,"slug":22796,"title":3025,"dynasty":18,"author":3026,"museum":20,"description":22797,"tags":22798,"thumbUrl":22799,"material":40,"size":22800,"collection":139,"collections":22801,"showCount":142,"zanCount":1379,"manualWeight":48,"mainColor":94},221676,"zhao-ling-liu-jun-tu-zhao-lin-221676","此图依据唐太宗昭陵六骏石刻而绘，全卷分六段，每段画一马，旁有题赞。骏马的形态既忠于原作，又注意发挥绘画之长，通过遒劲的笔法和精微的设色，将马匹的毛色表现得更加真实自然，战骑驰骋疆场的雄姿也刻画得十分生动。无论是奔驰、腾跃，还是徐行、伫立，都能曲尽其态。\n六骏中，有侍者率引的飒露紫最为精采。据《旧唐书·王行恭传》记载：“初，从讨王世充，会战于邙山之上，太宗欲知其虚实强弱，乃与数十骑冲之，直出其后，众皆披靡，莫敢当其锋，所杀伤者甚众。寻有劲骑数人追及太宗，矢中御马，行恭乃回骑射之，发无不中，余贼不敢复前，然后下马拔箭，以其所乘马进太宗。行恭于御马前步执长刀，巨跃大呼，斩数人，突阵而出，得入大军。贞观中，有诏刻石为人马以像行恭拔箭之状，立于昭陵阙前。”画面选取的正是王行恭为飒露紫拔箭的刹那情景，粗壮膘悍的王行恭，右手拔箭，左手推抚，身体后倾，目光温和，疼爱之情溢于言表。受伤的马驯顺地伫立，马头与王行恭紧紧相贴，也极富感情色彩。飒露紫前腿紧绷，后腿微屈，极细微地描绘出了战马强忍剧痛的动态。在细节刻画方面，此画较之石刻更加精微。\n其余五匹，拳毛騧为李世民平刘黑闼时所乘，特勒骠为征宋金刚时所骑，均作徐步行进状，双耳竖起，目光有神。身中九箭的拳毛騧，起步轻捷，头部前昂，更显得英俊坚毅，透出久经沙场之神骏的不凡气质。白蹄乌、青骓、什伐赤分别为李世民与薛仁果、窦建德、王世充作战时乘骑，皆作奔驰之状，四蹄腾空，鬃毛飞扬，突出了飞奔的动态和勇猛的冲势，呈现出冲锋陷阵时的雄姿。六匹骏马以不同的动作、神情、气势，表现出共有的轩昂雄健气宇，在历代战马图像中堪称上乘之作。\n从画风看，此图明显吸收了汉族艺术传统，继承唐和北宋时代的画马技法，尤多唐代韩干遗韵。造型准确朴拙，线描柔和匀细，设色浓重沉厚，渲染富有质感。\n此图出自金代画家赵霖之手，为其存世孤本。每段题赞为金代著名书法家赵秉文所写，赵的流传书迹也甚少。唐昭陵六骏浮雕在宋初被勒石摹刻，此画与石刻拓片的线条结构几乎一致，赵霖很可能参酌了北宋的石刻拓片（原石刻现藏陕西省博物馆）而作。\n该卷引首有乾隆帝书《昭陵石马歌》，后幅有赵秉文题记，指出作者是赵霖。",[23,24,25,26,7,28,150,106,212,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc93242b603674493d0c3b514b8339e19.jpg","纵27.4厘米，横444.9厘米",[],{"id":22803,"slug":22804,"title":22805,"dynasty":18,"author":17938,"museum":20,"description":22806,"tags":22807,"thumbUrl":22808,"material":40,"size":22809,"collection":42,"collections":22810,"showCount":142,"zanCount":2368,"manualWeight":48,"mainColor":49},221628,"shi-jing-xiao-ya-lu-ming-zhi-shen-tu-ma-he-zhi-221628","诗经小雅鹿鸣之什图","此卷是南宋著名画家马和之创作的《诗经》系列画作品中的一卷。全卷书、画共10段，每段前小楷书《诗经》原文，文后为图。首段开头书“鹿鸣之什”四字，末段书三首诗名及小序，末又书“鹿鸣之什十篇”。\n第一段：鹿鸣　　画面上一所豪华的宫殿中华灯盛宴，一王者相貌之人踞坐殿中，嘉宾与臣下列坐两侧，以突出王者宴嘉宾臣下之意。殿外丹墀之下内侍环立，乐工鼓琴奏乐，以乐君臣。右侧是高大的树木与叠起的云霭，仿佛形成一道屏风，将画面自然隔开，表现群鹿于山谷之中，或鸣，或奔，或低首觅食，各具姿态。全图紧扣宴乐嘉宾之中心，表现得浅显而明了，使人易于理解其深刻的含意。\n第二段：四牡　　《四牡》一章是在慰劳外国使臣时演唱的。此段描绘外国使臣来朝路上的情节。画面上一辆四驾马车左行，一人手持节旄端坐车中，四名仆从于车前挽辔而行，车后一人跟随。衬景仅绘一丛树木，表现出路途的荒凉与使臣远行的艰辛。图中主要人物面部表情并不欢愉，而是略带一丝忧愁，这正与诗中“周道倭迟，岂不怀归”的人物心情之刻画相契合，但“王事靡艰，我心伤悲”，主人公又表现出一种为了国家、王事而心忧的复杂情愫。\n第三段：皇皇者华　　此段绘山间路上一辆四匹马驾的车正逶迤行进，与前段人物的运行方向相反，为自左向右行。诗序云：“皇皇者华，君遣使臣也，送之以礼乐，言远而有光华也。”一人手挽缰绳坐于车中，车旁一随从手擎使臣所用之节旄，仆从各携不同物品跟随于马车前后。此段表现使臣奉王命出行的场面。四周草木丛杂，山谷幽深，山间小溪流淌，通过环境的描绘表现出使臣为国事奔走的艰辛劳瘁之状。\n第四段：常棣　　此段绘坡岸上三人立于水畔，形貌几乎相同，似表现兄弟三人正在观看水中的植物。水中植物亦为三株，错落生长，或即为常棣之木。封建社会讲究孝悌，悌指兄弟和睦，此诗此图意皆在此。《常棣》诗云：“兄弟既翕，和乐且湛，宜尔家室，乐尔妻帑。……”古人谓“齐家治国”，兄弟和睦方能齐家，故此乃治国的前提条件。\n第五段：伐木　　此段绘山高草深，林木茂盛，山谷间二人手执利斧，在一株较矮小的树下作砍伐状。二人视线均集于树上的一只栖鸟身上，以扣紧“出自幽谷，迁于乔木”之主题。此段画面较为平直，而诗中的引申之意则未加表现。\n第六段：天保　　此段画面绘高山峻岭，乔松挺秀，碧海翻波，祥云瑞霭，红日初升于水上，皎月掩映于峰峦之间，光华耀人。诗中末段云：“群黎百姓，编为尔德，如月之恒，如日之升，如南山之寿，不蹇不崩，如松柏之茂，无不尔或承。”此诗意在表示王权天授，江山如松柏之不凋，如南山之不崩，如日月之永恒，以祈江山永固。此段所录诗中“恒”字缺最后二横笔，避宋真宗赵恒讳。\n第七段：采薇　　此段图绘山林间一队车马右向奔驰，驾车之马皆着甲胄。旌旗冽冽随风飘舞，马蹄声声踏破了山间的宁静。画面上只画出7人8马，但山坡顶部扬起的数杆旗帜却令人有千军万马随之而来的感觉。诗中一再强调戍边将士远离家园、忍饥挨冻都是边患未靖之故，鼓励将士为国出力，抵御外侮，勤劳王事。这一点在南宋初年亦是极具现实意义的。\n第八段：出车 此段描绘王者乘车出郊慰劳戍边而还的将士之场面。诗云：“我出我车，于彼牧矣，自天子所，谓我来矣。”画面上五乘车马左行，甲胄整齐，兵刃森森，军旗飘扬。此图以人物车马为主，衬景仅是边角上点缀几丛杂树，远处山丘隐现。\n第九段：杕杜　　图绘山林间茅屋隐现，小路上一妇人提篮远眺，在祈盼逾期未归的丈夫。远处山顶旗帜隐现，寓征夫将还之意。\n第十段：鱼丽　　此段绘池塘中二人划一小舟，肩扛捕获的鱼向岸边而来，岸上二人正在指点谈论。此段意在表现政权安定后物阜民丰，然“始于忧勤，终于逸乐”，故需取之有时的为政思想，对统治者施政有一定的劝戒寓意。\n马和之抓住原诗中的某一个细节，发挥自己的主观想象，以浅显易懂的绘画语言绘制出号称三百篇的《诗经》插图，在绘画创作上堪称浩大的工程。\n马和之创作《诗经图》历经高宗、孝宗二朝。据《绘事备考》载：“高宗尝以毛诗三百篇诏和之图写，未及竣事而卒。”后由孝宗继其事，仍令和之补图。《鹿鸣之什》卷见于《绘事备考》记载，可知创作于高宗朝。然马和之《诗经图》问世不久即出现摹本、临本，存世至今约16卷，风格、水平不一，显然有真迹、摹本、仿作之分。今观是卷，绘画简逸流动，属马和之典型的“蚂蝗描”，书法端庄萧洒，为高水平的高宗书体，书画均属真迹，是极难得的存世赵书马画合璧真迹。",[23,24,25,26,352,7,178,86,106,107,34,113,29,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9e854a26934fa436dd74c1f474bc2b0.jpg","纵28厘米，横864厘米",[42,181,45],{"id":22812,"slug":22813,"title":22814,"dynasty":869,"author":22815,"museum":5351,"description":22816,"tags":22817,"thumbUrl":22818,"material":139,"size":139,"collection":139,"collections":22819,"showCount":142,"zanCount":2368,"manualWeight":48,"mainColor":94},220485,"du-shu-shi-nv-lin-feng-mian-220485","读书仕女","林风眠","林风眠（1900年11月22日—1991年8月12日），家名绍琼，字凤鸣，后改风眠，画家、艺术教育家、国立艺术院（现更名为中国美术学院）首任院长。自幼喜爱绘画。代表作品有《春晴》、《江畔》、《仕女》等。林风眠从法国巴黎国立高等美术学院毕业后，出任国立北平艺术专科学校（现中央美术学院）校长兼教授，后受蔡元培之邀赴杭州主持筹办国立艺术学院（现中国美术学院）并任院长。",[23,24,7,173,106,59,229,898,63,65,6322],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff110702a58344acdddb690c44d20b44c.jpg",[],{"id":22821,"slug":22822,"title":16748,"dynasty":99,"author":16749,"museum":22823,"description":22824,"tags":22825,"thumbUrl":22826,"material":123,"size":139,"collection":44,"collections":22827,"showCount":142,"zanCount":2368,"manualWeight":48,"mainColor":49},219498,"liu-hai-xi-chan-tu-liu-jun-219498","中国美术馆","画中主人公笑容憨态可掬，眉眼弯起尽显爽朗乐天，怀中金蟾探头蹭向掌心，亲昵灵动，将闲适谐趣的氛围拉满。衣纹线条刚柔兼具，晕染细腻柔和，将粗布衣衫的朴实质感勾勒得真切自然。背景以浓淡层次分明的涡旋云水铺陈，卷浪翻涌间氤氲出缥缈仙气，动静相映间，把凡俗的烟火意趣与仙道的缥缈意境相融，将主人公自在逍遥的神态刻画得入木三分，雅俗共赏，尽显传统人物画的精妙意韵。",[24,28,7,106,19750,3041,18787,12508],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6b8fb11b825dd207c4e7201544fb69f.jpg",[44],{"id":22829,"slug":22830,"title":1383,"dynasty":302,"author":22220,"museum":22831,"description":22832,"tags":22833,"thumbUrl":22834,"material":123,"size":22835,"collection":181,"collections":22836,"showCount":142,"zanCount":2368,"manualWeight":48,"mainColor":49},218242,"shan-shui-tu-yan-hui-218242","开封市博物馆","层岩叠壑间云雾氤氲，似将山峦晕染成流动的诗行。枯木虬枝如墨笔狂舞，皴擦点染间尽显苍劲力道，却又于虬曲中藏着生机。山间屋舍隐于林麓，半露半藏，似有逸士凭窗观云，将尘嚣隔绝在外。水墨淋漓处，浓淡干湿交织，远山如黛，近石如铁，树木扶疏间，光影流转成幽寂之境。\n\n这幅山水将自然丘壑化为心象，笔墨既见法度又含写意，于沉郁中透出空灵。它以苍劲的笔触勾勒天地骨架，用氤氲的墨气晕开文人幽怀，仿佛能让人听见山风穿林、涧水潺潺，在静默中与天地精神往来，尽显元人寄情山水、以笔抒怀的意趣。",[24,173,7,177,29,176,34,175,35,353,1785],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8acb54e2e79d4575f1c162e13375372.jpg","136x127cm",[181],{"id":22838,"slug":22839,"title":22840,"dynasty":189,"author":257,"museum":191,"description":22841,"tags":22842,"thumbUrl":22844,"material":123,"size":22845,"collection":44,"collections":22846,"showCount":142,"zanCount":2368,"manualWeight":48,"mainColor":49},216986,"xian-xiu-san-xing-tu-yi-ming-216986","线绣·三星图","画上绣有十九个人，场景从上到下分为四层，第一层从左到右分别是禄、福、寿三颗星。身穿绿色斗篷的 若 星挥舞着羽毛扇，一只鹿跪在他身边，嘴里叼着一朵花，鹿 与 若 谐音，代表着职业道路。中间站着的幸运星，身穿宽大的蓝袍，带着玉柄和带流苏的葫芦形皇冠，象征着运气的延续。右边是微笑着的慈祥老人--长寿星，手持绣有 福禄寿 字样的玉盘，前面是一只手持 寿 字的仙鹤，象征着长寿。",[22843,7,260,106,1273,108,2479,209,3661,746,280,114],"线绣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ea885cec07fde0e2c751ced9d734b95.jpg","194.3x111.2",[44],{"id":22848,"slug":22849,"title":22850,"dynasty":76,"author":257,"museum":191,"description":22851,"tags":22852,"thumbUrl":22853,"material":88,"size":22854,"collection":90,"collections":22855,"showCount":142,"zanCount":2368,"manualWeight":48,"mainColor":94},216208,"xuan-zong-yu-ti-hua-ma-yi-ming-216208","宣宗御题画马","宣宗御题画马 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（约1131-1218），号清波，南宋画家，历孝宗、光宗、宁宗三朝，浙江省金华市汤溪镇宅口人。刘松年与刘龟年兄弟随父亲宦居钱塘清波门，以住地自号刘清波，因清波门又称南“暗门”，故外号宋“暗门刘”。\n刘松年工山水人物，山水皴法受李唐影响，画风笔精墨妙，变雄健为典雅，水墨青绿兼工，着色妍丽典雅，常画西湖，多写茂林修竹，山明水秀之西湖胜景，因题材多园林小景，人称“小景山水”。",[23,194,24,26,25,7,28,106,29,108,109,176,21346,1133,611,84,4352,1930,22887,212],"赏景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc1182922653740754f1d2cf37a3c1d6.jpg",[],{"id":22891,"slug":22892,"title":5547,"dynasty":18,"author":2509,"museum":316,"description":22893,"tags":22894,"thumbUrl":22895,"material":599,"size":600,"collection":139,"collections":22896,"showCount":22881,"zanCount":2368,"manualWeight":48,"mainColor":49},287454,"qiu-ting-xi-ying-tu-su-han-chen-287454","《秋庭戏婴图》以细腻的笔法，描绘两个锦衣孩童在庭院玩着一种推枣磨的游戏。兄妹两人无论从头发、眉目，衣饰，都精心刻画，丝染兼备，而且变化极为丰富，以长而圆润的线条，画出衣纹，再仔细点染衣服上的花纹，不仅画出质料的柔软细致，更赋予衣服华丽的质感，这些细微的处理，使得子孩丰润、柔软、细致的模样，跃然于纸上。",[23,24,194,28,7,106,8665,634,230,115,280],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F414a0dd806bab4abffe5b1350464294b.jpg",[],{"id":22898,"slug":22899,"title":22900,"dynasty":76,"author":13542,"museum":316,"description":22901,"tags":22902,"thumbUrl":22904,"material":599,"size":600,"collection":139,"collections":22905,"showCount":22881,"zanCount":48,"manualWeight":48,"mainColor":94},283628,"mu-gua-tu-ye-zhu-da-283628","木瓜图页","朱耷（1626年—约1705年），原名朱统𨨗，字刃庵，号八大山人、雪个、个山、人屋、道朗等，出家时释名传綮，汉族，江西南昌人 。明末清初画家，中国画一代宗师。",[24,83,7,173,22903,212],"木瓜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa77c387388d496516ea355d516ace384.jpg",[],{"id":22907,"slug":22908,"title":22909,"dynasty":76,"author":3450,"museum":20,"description":22910,"tags":22911,"thumbUrl":22912,"material":40,"size":22913,"collection":45,"collections":22914,"showCount":22881,"zanCount":48,"manualWeight":48,"mainColor":94},238228,"hong-li-xing-le-tu-zhou-zhang-ting-yan-238228","弘历行乐图轴","此画描绘了乾隆皇帝在园囿中休闲自娱的场面。深秋的庭院，林木依旧繁茂，色彩十分丰富。中年的皇帝闲坐于廊下观赏庭中景致，若有所思，桌案上已经铺设了纸砚，一童子侍立，手执拂尘，一童子正捧书册而至。画中楼阁桥梁以直尺界笔描绘，融明代仇英的传统建筑画技法与海西透视法于一体，工致而不呆板。",[24,25,226,7,28,104,320,106,107,34,115,380,114,15196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F238dc91c650fc7be74daa9b715d2f6b8.jpg","纵119.1厘米，横213厘米",[45],{"id":22916,"slug":22917,"title":13638,"dynasty":76,"author":22918,"museum":316,"description":22919,"tags":22920,"thumbUrl":22921,"material":139,"size":139,"collection":90,"collections":22922,"showCount":22881,"zanCount":48,"manualWeight":48,"mainColor":94},237457,"mu-dan-zhou-zhang-meng-gao-237457","张孟皋","张孟皋，一字梦皋，名学广，以字行，工画人物，翎毛、花卉、尤工折枝。道光时官钱塘典史。所作元气浑然。 张孟皋之名，盖由近人吴昌硕师事其风而名声振广，吴缶翁师其数十年，题画多见拟仿学、临等。尤如张赐宁等为官江浙者，其作赋色妍丽，用笔洒脱，极得时人珍爱，任伯年亦有题师张孟皋。\n张孟皋是清代嘉道时期的一位花卉画家，画史上介绍很简单，他名学广，字孟皋，以自行。多记载他是天津人，实际应是北平（今北京）大兴人，他在自己的画作上多次题“北平张孟皋”。",[24,226,7,28,83,292,210,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71d14e2a9c338194b64463d0442e5d96.jpg",[90],{"id":22924,"slug":22925,"title":5082,"dynasty":18,"author":2361,"museum":316,"description":22926,"tags":22927,"thumbUrl":22928,"material":599,"size":600,"collection":139,"collections":22929,"showCount":22881,"zanCount":48,"manualWeight":48,"mainColor":94},230972,"wu-ma-tu-li-gong-lin-230972","此图画的是宋朝元佑初年天驷监中的五匹西域名马，马旁各有一名奚官或圉人执辔引领。画中无作者款印，前4马后，各有黄庭坚签题的马名、产地、年岁、尺寸，卷末有黄庭坚“李公麟作”题跋：这些由西域诸国进贡的骏马，马名依序是“凤头骢”、“锦膊骢”、“好头赤”、“照夜白”，第五匹马佚名，经考证可能为“满川花”。画中的5位马官，两位是汉人，其余的为外族，形貌、服饰、神情各不相同，但在气质上却有着微妙的类似之处。",[23,194,24,25,26,352,7,106,150,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fec0ca19437f2221e38f8bcfaa50fb4.jpg",[],{"id":22931,"slug":22932,"title":22933,"dynasty":256,"author":257,"museum":316,"description":22934,"tags":22935,"thumbUrl":22936,"material":599,"size":600,"collection":139,"collections":22937,"showCount":22881,"zanCount":48,"manualWeight":48,"mainColor":49},230838,"cai-hui-si-bi-ru-yi-lun-guan-yin-xiang-yi-ming-230838","彩绘四臂如意轮观音像","此作以自在坐姿塑法相，菩萨面容沉静端严，宝冠缀饰华贵，璎珞环身尽显庄严。四臂各司其职，主臂托腮思惟，余臂持印握器，将悲悯自在的神韵相融。设色古雅厚重，石青、朱砂晕染出衣袂层次，头光环叠晕彩，衬出清寂高华。岁月留痕的斑驳残损，更添沧桑质感，圆转线条勾勒出舒展灵动的体态，尽显古雅释画的典雅法度，静穆间裹挟着慈悲意趣，是兼具宗教性与艺术性的珍贵遗存。",[23,24,25,7,260,106,28,1488,212,65,6767],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ca1f62971c665b5f5fb84f347665e2f.jpg",[],{"id":22939,"slug":22940,"title":22941,"dynasty":76,"author":2162,"museum":419,"description":2163,"tags":22942,"thumbUrl":22944,"material":67,"size":2173,"collection":139,"collections":22945,"showCount":22881,"zanCount":48,"manualWeight":48,"mainColor":94},230107,"hong-lou-meng-188-sun-wen-230107","红楼梦188",[24,25,7,28,104,106,107,108,109,175,243,176,278,115,34,6710,2512,22943,809],"圆窗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F179797fe31faa009c06c9f9a7e085fc1.jpg",[],{"id":22947,"slug":22948,"title":22949,"dynasty":76,"author":257,"museum":316,"description":22950,"tags":22951,"thumbUrl":22955,"material":599,"size":600,"collection":22956,"collections":22957,"showCount":22881,"zanCount":48,"manualWeight":48,"mainColor":49},229703,"guan-yao-fen-cai-teng-luo-hua-niao-hua-pen-yi-ming-229703","官窑 粉彩藤萝花鸟花盆","官窑，是南宋宋高宗时期一些窑口专为宫廷烧制的瓷器，供御捡退，在当时俗称"官窑“。官窑，毛公洞第一（今 江苏扬州一带）。南宋官窑瓷器沿袭北宋风格，规整对称，宫廷气势，高雅大气，一丝不苟。因为胎土含铁量极高，手感沉重，胎土呈深黑褐色，后称”紫口铁足“。釉面沉重幽亮，釉厚如堆脂，温润如玉。釉面多层反复细刮，釉光下沉而不刺眼，纹理布局规则有致，造型庄重大方。另外”肉腐留骨“（露胎处像死人骨头，俗称”骨董“）也是那时所造。我们今天所称官窑泛指历朝官府烧造瓷器，其实，历史上仅指南宋时期烧造的瓷器，后世再无此称呼。\n官窑起自唐，有两种涵义，一是指贡器，一是指官厂。自唐代至元代（公元八世纪~十四世纪），官窑多有贡器，少有官厂，采取的形式是“官监民烧”，烧出的瓷器，“千中选十，百中选一”，进贡给统治阶级。这种瓷器就叫做贡瓷和官窑。那时，唐代在产瓷区设有司务，如唐景隆初（公元707~709年）褚绥为新平(景德镇)司务，奉诏监烧献陵祭器。宋代设监，如太平兴国年间(公元976~983年)，派殿前承旨赵仁济监理越州窑务。到了元代则设局，以提领监陶，后改为本设总管。他们烧出的“景德年制”，“枢府’等款式的瓷器，分别称为“景德窑’，“枢府窑”等。\n官窑之谓，在中国古代陶瓷史上有不同的内涵。就广义而言，是有别民窑而专为官办的瓷窑，其产品为宫廷所垄断。在宋代瓷器中，官窑即是一种专称，指北宋和南宋时在京城汴京（汴梁，今开封）和临安（今杭州）由宫廷设窑烧造的青瓷，故又有“旧官”和“新官”之分，前者为北宋官窑，后者为南宋官窑。\n官窑是在宋大观及政和年间于汴梁所造，青瓷釉色晶莹惕透，有开裂或呈冰片状，粉青紫口铁定是其特色。\n宋室南移在凤凰山下设立官窑，又称修内司官窑或内窑，郊坛下设立的郊坛下官窑，器形较多，有直径大过一尺的大型产品。\n从1128年元世祖忽必烈设置“浮梁磁局”，到二十世纪清朝覆亡，景德镇是元、明、清三代皇家瓷厂所在地，中国的官窑制度在这里延续了632年，江西景德镇也由此拥有烧造时间最长、规模最大、工艺最精巧的官办瓷厂。景德镇地下也因此存有大量因禁绝流入民间而被就地掩埋的古碎瓷，成为中国品类最完整、年代最可靠、信息最丰富的官窑遗址和“地下瓷都”。北宋官窑也称汴京官窑。相传北宋大观、政和年间，在汴京附近设立窑场，专烧宫廷用瓷器，即北宋官窑。南宋顾文荐《负暄杂录》记载："宋宣政间（宣和、政和即公元1111－1125年）京师自置窑烧造，名曰官窑"，南宋叶在其《垣斋笔衡》中对北京官窑亦有记载："政和京师自置窑烧造，名曰官窑"。当时的京师即汴京（今开封），因宋代汴京遗址已沉入地底，到今为止，尚未发掘出北宋官窑遗址，对于北宋官窑遗址缺乏考古发掘地资料和充足的文献资料的支撑，因此，时到今，关于北宋官窑遗址在何处，仍有不同说法，一般有三种说法：一说北宋官窑即为汝窑；二说否认北宋官窑的存在；三说为北宋官窑即为汴京官窑，它与南宋时的修内司官窑先后存在。\n南宋顾文荐《负睻杂录》记载：“宋宣政间（宣和、政和即公元1111~1125年）京师自置窑烧造，名曰‘官窑’”，南宋叶寘在其《垣斋笔衡》中对北京官窑亦有记载：“政和京师自置窑烧造，名曰‘官窑’”。明代《事物绀珠》、《留留青》因袭此说。当时的京师即汴京(今河南开封)，因宋代汴京遗址已沉入地下，到今为止，尚未发掘出北宋官窑遗址。对于北宋官窑遗址缺乏考古发掘地资料和充足的文献资料的支撑，因此，今关于北宋官窑遗址在何处，仍有不同说法，一般有三种说法：一说北宋官窑即为汝窑；二说否认北宋官窑的存在；三说为北宋官窑即为汴京官窑，它与南宋时的修内司官窑先后存在。支持第三种说法的人较多。\n北宋官窑传世品很少，形质与工艺与汝窑有共同处。器多仿古，主要有碗、瓶、洗等。胎体显厚，胎骨深灰、紫色或黑色，釉色有淡青、粉青、月白等，釉质莹润温雅，尤以釉面开大裂纹片著称，不同于南宋官窑和汝窑及龙泉窑瓷器。底有文钉烧痕，有“紫口铁足”的特征。",[12818,22952,22953,7,83,22954,229],"官窑","粉彩","藤萝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04a0e6d27520d27d81d1d456aca2daf6.jpg","瓷器精选",[22956],{"id":22959,"slug":22960,"title":22961,"dynasty":99,"author":10380,"museum":316,"description":22962,"tags":22963,"thumbUrl":22964,"material":139,"size":139,"collection":139,"collections":22965,"showCount":22881,"zanCount":1003,"manualWeight":48,"mainColor":94},228421,"ta-xue-fang-you-tu-sun-zhi-228421","踏雪访友图","《苏州博物馆藏明清书画》是26年文物出版社出版的图书，作者是苏州博物馆。\n苏州博物馆藏有大量的明清书画，除了戴进、沈周、文徴明、唐寅、董其昌、陈洪绶、傅山、恽寿平、石涛、郑燮、任伯年、吴昌硕等大家之外，对于生在苏州或者曾寓居苏州的其他明清书画家，该馆也尽数网罗。\n此次借新馆开馆之际，苏州博物馆从上万件书画藏品中，择选165件精品，集结成书。\n该书装帧精美，图片均为彩版，具有较高的艺术欣赏价值和收藏价值。\n苏州博物馆系列丛书总序 前言 一夏昶 墨竹图轴 二戴进 归舟图 三沈贞吉 秋林观瀑图轴 四刘珏 烟水微茫图 五沈周 花鸟册 六沈周 岸波图卷 七文徵明 三绝图卷 八文徵明 五月江深图幅 九唐寅 农训图轴 一○唐寅 灌木丛篠图轴 一一陈淳 牡丹湖石图轴 一二王宠 春山图 一三陆治 溪山访友图轴 一四陆治 唐人诗意山水册 一五王问 雪景山水轴 一六王问 赏月图金面扇页 一七文彭、文嘉草书卢仝饮茶诗、为壶梁作山水卷 一八文嘉 垂虹亭图卷 一九文伯仁 为怀谷作山水轴 二○陈焕 重岩飞瀑图幅 二一文伯仁 石湖草堂图 二二钱谷 临流独坐图扇页 二三钱谷 摹吴镇、倪云林山水卷 二四周天球 兰花图金面扇页 二五孙克弘 墨竹图 二六陈嘉言 水仙梅雀图轴 二七丁云鹏 秋山远眺图幅 二八董其昌 绿溪清嶂图 二九陈裸 野屋寒水图扇页 三○米万钟 三一归昌世 竹石图轴 三二李流芳 仿宋元各家山水 三三顾凝远 吴中名胜十景图 三四张宏等 八家送寇慎去官图册 三五蓝瑛 松岩观瀑图轴 三六蓝瑛 仿大痴山轴 三七伍瑞隆 墨牡丹图轴 三八吴彬 仙楼飞撷图轴 三九何适 林中草亭图轴 四○孙枝 踏雪访友图轴 四一唐志 契门泊渔舟图轴 四二濮桓 芝石图 四三周之冕 杏花锦鸡图轴 四四周臣 桃花源图 四五陈章侯、 胡华鬟山水梅花合册 四六江必名 白雪高风图 四七侯懋功 为秦山作山水扇页 四八李士达 西园雅集图卷 四九王翘 花蝶草虫卷 五○尤求 白描饮中八仙图卷 五一钱贡 福源寺图卷 五二恽向 仿古山水册 五三袁尚统 迎春图轴 五四项圣谟 山水兰竹图 五五郑元勋 临石田山水幅 五六陈洪绶扑蝶图扇面 五七陈洪绶何天章行乐图卷 五八万寿祺 五九王时敏端阳墨花轴 六○王时敏山水轴 六一王时敏秋山晓霁图 六二王鉴虞山十景册 六三程遂为烟翁作山水轴 六四黄向坚万里寻亲图轴 六五龚贤墨笔山水册 六六龚贤山水卷 六七朱轩山水册 六八徐枋北苑山水 六九罗牧山水轴 七○王犟仿范宽山水轴 七一王犟山水册 七二王武水仙湖石图轴 七三恽寿平山水、花卉册 七四上睿为梅作行乐图册 七五原济广陵茱萸湾图扇页 七六原济六君子图幅 七七王原祁仿大痴山水幅 七八王原祁仿梅道人秋山图幅 七九王原祁仿赵大年江乡春晓图轴 八○王啄祁仿大痴富春大岭图轴 八一查士标溪山佳处图轴 八二华邑、许滨桃柳双鸭图幅 八三华嵒宋儒诗意图轴 八四沈铨碧梧栖凤图 八五高凤翰甘菊图 八六边寿民芦帷册 八七张庚仿北苑夏山图幅 八八李鱓芍药图轴 八九李鱓风雨芭蕉图轴 九○李鱓、陈撰等（六人合作）花果扇页 九一金农香林扫塔图轴 九二黄慎群盲聚讼人物轴 九三黄慎八仙 九四高翔临倪瓒竹树小山图扇页 九五方士庶野云晚濑图轴 九六郑燮竹石图轴 九七李方膺松石图 九八钱维城五君子图轴 九九罗聘篦谷像 一○○罗聘兰花图 一○一方薰柏龄图轴. 一○二奚冈陂塘秋水图轴 一○三张崟临顿新居第三图卷 一○四张培敦玉溪梦隐图 一○五改琦竹石幽兰图轴 一○六屠倬为南雅作山水轴 一○七王礼琵琶仕女图 一○八虚谷松鹤中堂 一○九任薰茹叶蜻蜓图 一一○任薰花鸟册 一一一任颐风云三侠图轴 一一二任颐狸猫竹石图轴 一一三吴昌硕杞菊延年图轴 一一四吴觳祥深山水秀图卷 一一五任预射雁图 一一六陆远仿子久溪山秋霭图幅 一一七方大猷为敬翁作山水 一一八翟大坤草堂赏泉图轴 一一九蔡嘉山水册 一二○张风 一二一祝昌溪水无尽图 一二二华浚仿周文矩临镜美人图幅 一二三张弼草书册 一二四沈周 一二五陈献章七绝赛兰香诗轴 一二六王鏊草书七律轴 一二七祝允明行草九愍等诗卷 一二八祝允明滕王阁序诗卷 一二九文徵明行书七律二首 一三○文徵明尺牍 一三一文徵明小楷落花诗卷 一三二唐寅行书七律轴 一三三王问草书五律金面扇页 一三四周天球楷书子凉览古一首金面扇页 一三五徐渭行草应制咏墨诗轴 一三六徐渭行草应制咏剑诗轴 一三七王樨登行书五言诗轴 一三八申时行行草摺扇面 一三九董其昌草书五言诗轴 一四○范允临行书五言绝句轴 一四一赵宦光等二十家诗词册 一四二张瑞图行草五律诗轴 一四三张瑞图行草陶诗册 一四四文震孟行书登麻姑山诗轴 一四五文从简行书册页 一四六倪元璐行书五律金面扇页 一四七傅山草书七绝轴 一四八傅山、傅眉手书诗词册 一四九归庄行草七言诗轴 一五○徐枋草书五律 一五一查士标行草七绝诗 一五二查士标行书轴 一五三张照临朱子行书轴 一五四郑燮行草七律轴 一五五刘墉致英和信札册 一五六梁同书 一五七翁方纲七言行书轴 一五八钱沣行书欧阳公李公李欣诗句轴 一五九黄易七言篆书联 一六○铁保七言行书联 一六一陈豫钟五言篆书联 一六二陈鸿寿七言隶书联 一六三赵之谦为理卿行书七言诗轴 一六四翁同龠禾八言行书联 一六五沈曾植行书七绝",[23,24,25,194,226,7,28,177,29,106,150,175,1353,353,1133,2086,685,686,1049],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ccb2b5689bf232e92ad190dd0aa50b4.jpg",[],{"id":22967,"slug":22968,"title":10322,"dynasty":302,"author":303,"museum":316,"description":22969,"tags":22970,"thumbUrl":22974,"material":139,"size":139,"collection":139,"collections":22975,"showCount":22881,"zanCount":48,"manualWeight":48,"mainColor":49},228316,"jin-hui-dui-tu-qian-xuan-228316","起于元，盛于清末，俗称“打翻字纸篓”，以画残破的文物片段堆栈构成画面。\n郑达甫先生被公认为此领域的唯一能手 锦灰堆 最早起源于何时，现无准确文献记载，相传是元代与赵孟頫齐名的画家钱选，在一次醉酒后兴起，将当天散落在饭桌上的下酒菜吃剩残物，如蟹脚、蚌壳、莲房、鸡翎、鱼刺等、信手绘制成一幅横卷，并挥笔题款“锦灰堆”。\n这可能是“锦灰堆”最早的历史记载。\n“锦灰堆”致力于特色陶瓷礼品研制、开发与销售。\n旗下品牌有锦瓷，锦瓷窑，泥道等。\n锦瓷只要生产红瓷，青花瓷，天目釉，茶具，格致古典，服务当下，具有深厚传统情怀的锦灰堆机构，于借礼品进而使得当下国人在器用和精神层面上回归古典，回归宁静，从而让现代人从喧嚣浮躁的盲动中找到某种心灵的归宿，达到静养身心，调节自我的目的。\n再者，通过对古代生活器用的阐扬、恢复，在更宏大的视野中，我们希望能为整个民族的精神回归作出点滴贡献。\n在推进整个古典生活场景的复原中，锦灰堆首推华丽、时尚的红瓷系列，并从功夫茶的发源地潮汕地区切入，引入此间的红头船文化和航海文化，凸显火“红”的福字主题。\n重构中国人的雅致生活 锦，绮丽繁华，天下莫此为甚。\n中国风雅的源头《诗经》，有“终南何有？有条有梅。\n君子至止，锦衣狐裘。\n”锦衣狐裘，诸侯方可穿着。\n《仪礼·聘礼》复有“皆奉玉锦束请觌”之句。\n锦为何物？《说文解字》云：锦，襄邑织文。\n《毛诗正义》则说，锦者，杂采为文。\n锦于中国人，乃成美好事物的普遍象征，遂有锦绣、锦囊、锦瑟、锦带、锦江、锦文、锦鳞，凡物着一锦字，读之立刻口齿芬芳。\n至于家国河山，古人亦以锦名之，曰锦绣河山。\n事实上，只有中国人可以用一种逍遥俯瞰的之态，描述壮丽宏大的山水，正如元代以降的山水画所表达的，“收拾河山入画图”。\n灰，则表达了古典中国人对世俗和底层生活的关注和亲密，这一点，则全非近代以前泰西诸国等级森然的社会体制所能及。\n“满面尘灰烟火色”，白乐天对一个卖炭老翁的细致描绘，恰恰说明了这一点。\n古代士大夫就是在“锦”与“灰”两端中求得心灵的平衡，从而达到中庸和无为的至高境界。\n宋末吴兴人钱选，一代画师。\n其时也，蒙元入主中国，钱选尚气节，不事新朝，特立独行，与赵孟頫辈异。\n选流连诗酒，无酒不能作画，此其雅癖之一；曾作小横卷，所绘举凡螯钤、鸡翎、莲房等食余剥剩、无用当弃之物，名之曰“锦灰堆”，此其雅癖之二。\n锦灰堆遂成一特异之画种，又称“八段锦”。\n生活零碎之物而形诸笔墨锦笺，而独放异彩，或可称怪异之三。\n钱选之作，有堪称国宝者，后多收入清宫大内，为清帝御览之宝。\n凡经御览，都为卷册，名曰《石渠宝笈》。\n钱选作品被收入《石渠宝笈初编》。\n民初海上，锦灰之堆润格攀涨，山水人物花鸟，不得专宠矣。\n所绘之物，由食余吐物，扩而及之“一页旧书、半张残帖、公文、私札、废契、短简”。\n若以当代美学考量，锦灰堆作为一种绘画门类，具有一种潜在的解构主义，可谓当代艺术潮流的远古鼻祖。\n会此意者，定当一笑。\n京城王世襄先生，亦慕钱选之高格与戏作，以“锦灰堆”名其文集。\n世襄年过九旬，于经世致用之学而外，洞彻古玩器物，举凡明家具、鹰鹞、烹饪、古建筑、蟋蟀、鸽子、竹艺、漆器等等，均深有发现。\n黄苗子遂以“玩物成家”目之。\n玩物而不丧志，其渊源幽淼，直可追溯先秦。\n《考工记》行文古雅，而凡世间百工造物，靡不涉及。\n魏晋诸子，倡而导之，经东坡等宋代诸儒，至明清而成玩物洪流矣。\n唐陆鸿渐行迹编海内而著《茶经》，后人饮茶，便得宗旨；宋人朱肱于杭州开酒坊，自酿自卖，著《北山酒经》流传于世，酒于是而得经典。\n而花草树木果树陶瓷园艺文房，乃至闺阁妆奁，人间烟火，皆入明代士大夫法眼，各种著述层出不穷。\n文震亨著《长物志》，高濂著《遵生八笺》，张岱著《陶庵梦忆》，玲琅满目，胪列不尽。\n执着于充满人情的尘世生活，是中国人典型的文化心理。\n明代变乱之前，物质的繁荣导致士大夫和普通民众的生活，在最求细节方面面达到了极致。\n庭除屋宇、园林百卉、钿光钗影、杯来盏往，余怀之《板桥杂记》所录晚明民众生活，其细致处，真是呼之欲出。\n悠闲，华美，逸乐，侠游，乃中国古代生活物质层面之四维。\n“闲者，匪徒尸居肉食，无所事事之谓。\n”高濂解释闲是一种境界，“闲可以养性，可以悦心，可以怡生安寿”。\n时乎坐陈钟鼎，几列琴书，榻排松窗之下，图展兰室之中，帘栊香霭，栏槛花妍，虽咽水餐云，亦足以忘饥永日。\n张岱论人，谓“人无癖，不可与交，以其无深情也；人无疵，不可与交，以其无真气也。\n” 张岱本人亦癖灯、癖游赏，癖器物。\n“少为纨绔子弟，极爱繁华，好精舍，好美婢，好娈童，好鲜衣，好美食，好骏马，好华灯，好烟火，好梨园，好鼓吹，好古董，好花鸟，兼以茶淫橘虐，书蠹诗魔。\n” 清代玩家自亦不少，晚明遗风，渔洋、袁枚等，接踵其后。\n然现代以来，士大夫之闲情雅致竟至泯然无迹，前人所持、所做、所饮、所餐、所观，遂成绝响，仅可于故纸堆中觅得鳞爪。\n此于国人，殊为憾事。\n前尘往事，并非定成空幻，成梦影。\n在器物层面，重构中国人古典生活方式，易于行，行远必将影响当下国人的价值认知。\n何也？一杯一盏，一花一木，一庐一室，一瓢一饮，均深蕴中国古典之价值，优雅，缠绵，温柔，富丽。\n似锦绣之质，浸俗世之情，于锦灰堆中，觅见风雅。\n1、 潮汕濒临南海，浮海可至南洋、印度、非洲海岸，乃至泰西诸国。\n这里是中西文明交流的一条重要路径——海上丝绸之路的必经之地，瓷器、丝绸、茶叶等中国固有的大宗产品从这里出口，而南洋的香料、珍宝、木材等，也远远不断，由此进入内地。\n潮汕也是古代中国人南迁之后的落脚点，所以，这里积存这丰厚的汉文化的元素。\n潮汕人很早就浮海去南洋谋生，其中，又以暹罗（泰国）居多。\n清代，此间与南洋的航运，是从中暹大米贸易开始的。\n为适应远洋航行的需要，原来有双桅、单桅之“潮州红头船”，发展成为“翘首高舷，备大桅樯三具”的远洋大帆船。\n《樟东风物记》：大型红头船长二十余丈，载重数百吨，三桅，有四帆开笑之称。\n红头船来自，源于清代之海禁。\n当时制度，凡出海之舶，须设色以辨。\n沿海省份，共设四色。\n广东在南，五行属火，用色为赤，遂“红油漆饰，青色钩字”。\n红头船不仅用朱砂油头，且以白粉油腹，头两侧画黑圈，再于船舷刻黑字。\n无形中，红头船具有了一种祛除不详的心理期待功能，融入到整个潮汕文化当中。\n红头船功夫茶具，不仅承载着这段具有强烈海洋文化特色的历史，还寄托着自生民以来就具有的祈福。\n2、功夫茶 苏辙诗曰：“闽中茶品天下高，倾身事茶不知劳。\n”此乃咏功夫茶诗也。\n功夫茶源于宋潮州府及福建的漳州、泉州。\n饮茶发展到功夫茶阶段，跟当时理学与禅宗的兴盛密不可分。\n功夫茶，茶中见性，以茶养性。\n除了水、火和冲泡这一程序性之外，功夫茶还衍生出极具形式美感的茶具。\n清俞蛟《潮嘉风月记》：“工夫茶，烹治之法，本诸陆羽《茶经》，而器具更为精致……杯盘则花瓷居多，内外写山水人物，极工致……杯小而盘如满月。\n” 锦灰堆功夫茶具，具本于宋代以降的人文传统。\n同时，亦融入时尚的造型，以适合现代人的审美。\n、红瓷 红瓷极尊贵，其制作之难亦冠各瓷之首。\n红瓷承载着吉祥、尊贵、自古就成为皇室追求的珍品。\n红瓷也是中国民间审美中至正之色，象征生命、繁衍和尊贵。\n红瓷釉料迥异于青花与青瓷等，其不耐高温的特性，使得一件红瓷的诞生很艰难。\n红瓷烧制，工艺复杂，须四次进炉：素烧，釉烧，红烧，金烧。\n每一环节不可偏差。\n尽管如此，仍是 “十窑九不成”。\n然则，更显红瓷的稀缺与珍贵。\n锦灰堆红头船红瓷功夫茶具，釉色分布匀停，光可鉴人，或蟠龙游凤，或牡丹缠枝，或花开富贵。\n而轻巧圆润，恰供清赏。\n（1）、红茶壶（鸿福） 壶，象盛器之形。\n日常不可或离之物，亦为礼器。\n古代常升华为美好之意。\n《春秋公羊传》：国子执壶浆。\n《三国志·诸葛亮传》：箪食壶浆。\n《芙蓉楼送辛渐》：一片冰心在玉壶。\n普通话，壶与“福”谐音，锦灰堆红茶壶便有了“鸿福”之意，同时，亦有“鸿鹄”之意，谓抱负远大也。\n（2）、红茶垫（托福） 茶垫又称壶托、托壶，红茶垫便可谐“福托”“托鸿福”“托福”等音。\n传统礼仪，接人待物，皆须谦逊。\n接茶、送茶之间，中华礼节，于细节中呈现。\n礼仪著于双方，也体现于每个个体，人借“托”举，“福”方永存。\n（）、福杯（吊鸿福杯） 杯，古又曰“爵”，饮器也。\n爵，象征荣誉和地位，即福禄寿喜之“禄”。\n与“福”为邻，传统抱负，合二为一。\n（4）、公杯（聚福） “大道之行也，天下为公。\n”《礼记》规定了中国人的最高社会理想。\n“公之为言公正无私也”。\n小小茶具，竟含儒家大道，此亦古人寄理想于“长物”之旨吧。\n公，也是古代爵位的最高等级。\n（5）、红茶渡（渡鸿福、鸿福渡） 渡，济也，引导也。\n这是一个暗藏禅机的词语，意蕴深厚。\n舍己渡人，方得超脱，这是佛家之道。\n若以当代社会伦理视之，此器亦公器也。\n然于公器之外，更充满英雄主义和绅士风度。\n（余可参照原文） （6）、精致小茶海 方寸之间，可容宇宙。\n海浩瀚无涯涘，在空间上以为这难以逾越，然则可以器用喻之。\n人心隔海，有渡可致。\n具物取名，古代闲情逸致之士乐此不疲，关键是，他们的想象力一如大海。\n海，又与潮汕之风俗相贯通。\n1）、大富大贵 “唯有牡丹真国色，花开时节动京城”，牡丹一直是中国富贵文化的核心意象，唐刘禹锡的诗恰好证明了这一点。\n作为花中之王，牡丹是历代文人雅士歌咏的对象。\n而龙、凤和蝶等意象的融合，则意味着一派高贵、长寿等怡人景象。\n2）、龙腾吉祥 在中国的语境中，龙一直是帝王的象征。\n当这一意象进入整个民族的心理深层结构，变成了众多行为的指南，一系列的崇拜也由此而来。\n龙也成了祈福消灾的对象。\n）、常年富贵 花团锦簇，一团和气，是古代人家最为看重的。\n等花卉图案，构成了众多居家要素，比如瓷器、锦缎。\n枝枝相连的形态暗示了中国人邻里相助和子孙繁衍的愿望，“连”也是“年”的谐音，于是便有“常年富贵”之名。\n4）、年年好运 运，行也。\n引申而为命运，“运隆祚永”是国家追求的目标，而祈求好运于一般人也变顺理成章。\n5）、6周年庆 大红的底色意味的喜气扑面而来。\n运筹红色，这正好是红瓷专家最为擅长的领域。\n黄色的五星，如暗夜繁星，耀人眼目，也如天女散花。",[23,24,25,26,28,7,83,568,264,1558,22971,84,484,22972,569,554,22973],"墨迹","杂物","虫蛀痕迹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F413580bf86f0f2f07a385084ba691349.jpg",[],{"id":22977,"slug":22978,"title":17921,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":22979,"thumbUrl":22982,"material":599,"size":600,"collection":139,"collections":22983,"showCount":22881,"zanCount":48,"manualWeight":48,"mainColor":49},226503,"ku-yong-dao-ding-bu-yi-ming-226503",[511,7,84,22980,8170,22981],"团花","唐代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda6252f9da74950b214d3a93c867f32c.jpg",[],{"id":22985,"slug":22986,"title":22987,"dynasty":256,"author":6236,"museum":316,"description":6237,"tags":22988,"thumbUrl":22989,"material":599,"size":600,"collection":3195,"collections":22990,"showCount":22881,"zanCount":48,"manualWeight":48,"mainColor":2504},225807,"self-portrait-1887-2-fan-gao-225807","Self-Portrait 1887-2",[3187,106,6241,7,11296],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20df9717facf0ed9c0c8c3c0edf5b76d.jpg",[3195],{"id":22992,"slug":22993,"title":22994,"dynasty":256,"author":6236,"museum":316,"description":6237,"tags":22995,"thumbUrl":22997,"material":599,"size":600,"collection":3195,"collections":22998,"showCount":22881,"zanCount":48,"manualWeight":48,"mainColor":49},225716,"basket-of-pansies-may-1887-fan-gao-225716","Basket of pansies May 1887",[3187,16431,2594,7,9412,22996,84,3074,6244],"三色堇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfc2736beb48dd5fefb91ea4af11c18c.jpg",[3195],{"id":23000,"slug":23001,"title":23002,"dynasty":76,"author":3914,"museum":316,"description":23003,"tags":23004,"thumbUrl":23005,"material":599,"size":600,"collection":139,"collections":23006,"showCount":22881,"zanCount":2368,"manualWeight":48,"mainColor":94},224476,"fang-hui-chong-bi-yi-shan-mian-wang-jian-224476","仿惠崇笔意扇面","王鉴（1598年～1677年），字元照，一字圆照，号湘碧，又号香庵主，江南太仓人，明末清初画家，“四王”之一。\n[ 万历二十六年（1598年）出生，崇祯六年（1633年）举人。后任廉州府知府，世称“王廉州”。工画，早年由董其昌亲自传授，董其昌向王鉴表示“学画唯多仿古人”，“时从董宗伯、王奉常游，得见宋元诸名公墨迹”，与同族王时敏齐名，王时敏曾题王鉴画云：“廉州画出入宋元，士气作家俱备，一时鲜有敌手”。\n吴伟业将王时敏与董其昌、王鉴、李流芳、杨文骢、张学曾、程嘉燧、卞文瑜和邵弥合称为“画中九友”，并作《画中九友歌》。康熙十六年（1677年）去世，享年八十岁。",[23,194,24,25,1260,7,173,177,29,174,245,34,989,3712,1169,31,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9764580d2c6dd6fa1298ad7da313bc76.jpg",[],{"id":23008,"slug":23009,"title":23010,"dynasty":76,"author":4285,"museum":191,"description":23011,"tags":23012,"thumbUrl":23013,"material":1307,"size":23014,"collection":181,"collections":23015,"showCount":22881,"zanCount":1379,"manualWeight":48,"mainColor":94},224433,"fang-wang-wei-jiang-shan-xue-ji-zhou-wang-shi-min-224433","倣王维江山雪霁轴","王时敏师承董其昌，师法黄公望，少时就极为聪颖，祖父王锡爵嘱托董其昌对其进行指导，创作了绘画人门的画稿即《课徒稿》。受董其昌的影响，王时敏少年便从摹古开始，因家里名画收藏丰富，方便王时敏深入钻研宋、元传统的笔墨画法。王时敏对黄公望顶礼膜拜，对其作品中干枯的笔墨和浑厚潇洒的画，风学习最下功夫。到了晚年时期，王时敏画风日益成熟，他追求用笔本身的变化，形成了用笔求“毛”的独特风格，要求有枯有润，有苍有秀，淡墨干笔皴擦，浓墨加湿渲染，老辣苍茫，墨法淳厚，从而形成了苍茫浑厚的山水画风",[24,7,29,105,177,226,212,685,2086,378,108,109,35,686,37,1426],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F818fb305d0e6313b1d20a32166c9149c.jpg","133.7x60",[181],{"id":23017,"slug":23018,"title":23019,"dynasty":99,"author":257,"museum":191,"description":23020,"tags":23021,"thumbUrl":23022,"material":529,"size":23023,"collection":139,"collections":23024,"showCount":22881,"zanCount":48,"manualWeight":48,"mainColor":49},223490,"ming-tai-zu-zhu-yuan-zhang-zuo-xiang-tu-zhou-yi-ming-223490","明太祖朱元璋坐像图轴","明太祖（1368－1398在位），明朝開國皇帝，姓朱，名元璋，年號洪武，濠州 (今安徽鳳陽)人。幼孤，入皇覺寺為僧，元末群雄並起，有雄才，以布衣成帝業。\n絹地彩繪太祖坐像，筆筆工整，風格嚴謹，幅面巨大，氣派堂皇。畫中皇帝頭戴烏紗折角向上巾，身著圓領織金盤龍皇袍，端坐金扶手椅，容貌豐偉，鬚短而黑，當值盛年。",[23,24,25,226,860,28,7,106,406,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa200f5ca4dc4d864c1d4c5a8a568a941.jpg","137x84",[],{"id":23026,"slug":23027,"title":23028,"dynasty":76,"author":8060,"museum":191,"description":23029,"tags":23030,"thumbUrl":23031,"material":1307,"size":23032,"collection":181,"collections":23033,"showCount":22881,"zanCount":48,"manualWeight":48,"mainColor":94},223121,"xi-hu-shi-jing-juan-dong-bang-da-223121","西湖十景卷","《西湖十景图卷》由清代书画家董邦达绘。虽名为「十景」，画上却以隶书标注了西湖五十四处景点：断桥残雪、平湖秋月、曲院风荷、三潭印月、苏堤春晓、柳浪闻莺、双峰插云、花港观鱼、雷峰西照、南屏晓钟等等。\n乾隆皇帝在南巡前从未亲访江南。他对江南的所有印象与知识，皆构筑在相关图籍或他人的描述上。这件〈西湖十景〉卷，为南巡出发前夕，臣工提供给他各式江南旅游资讯的例子。此画为董邦达（1699-1769）所绘製，虽名为「十景」，画上却标出五十四个景点，将西湖可游处扩增五倍以上，实为「招游」之作。乾隆皇帝在南巡前一年（1750）的题跋，显示此图的确挑起游兴，让他打算于明春南巡时亲自感受久闻的西湖之美，印证实境与画境。诗句中流露出他对游览西湖的期待之情。\n康乾二帝每次南巡前后，都会有官绘本西湖图问世，或是为皇帝南巡作详导，或是总结皇帝南巡圣迹。故而，传世“西湖十景”图以清宫旧藏为主体。在这些清宫旧藏的“西湖十景”图中，董邦达为数最巨，有5件之多。",[23,24,25,26,7,29,177,104,212,107,108,109,34,176,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd37682559659c3eec6e7025d6f306b2a.jpg","41.6×361.8",[181],{"id":23035,"slug":23036,"title":23037,"dynasty":76,"author":7863,"museum":316,"description":23038,"tags":23039,"thumbUrl":23040,"material":638,"size":23041,"collection":90,"collections":23042,"showCount":22881,"zanCount":48,"manualWeight":48,"mainColor":94},222710,"an-ma-tu-jin-nong-222710","鞍马图","图绘一人一马，所绘人物头戴翎毛宽边帽，身披红色披风，满脸胡茬一幅西域人的长相；身边的白马高大威武，颈脖上挂了一串红色绒球，尾巴用红绳扎上，主人手抚马背，可见主人对马儿的喜爱。",[23,24,25,226,173,7,106,150,212,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faaa5a47ca9c74a302637305b2584337b.jpg","76x43厘米",[90,45],{"id":23044,"slug":23045,"title":23046,"dynasty":99,"author":100,"museum":20,"description":23047,"tags":23048,"thumbUrl":23049,"material":40,"size":23050,"collection":181,"collections":23051,"showCount":22881,"zanCount":1379,"manualWeight":48,"mainColor":49},222221,"nv-le-tu-zhou-chou-ying-222221","女乐图轴","此图是一幅工笔重彩仕女画，表现的是贵族女子各执乐器，在殿宇前的地毯上配乐演奏的情景。周围站立三位女子，或侧耳倾听，或低声言谈，巧妙地营造出“听”的动感氛围。通过此图可见贵族女性在演奏时愉悦的心境，以及她们闲适高雅的游乐生活状态。",[23,194,24,25,226,28,7,104,106,59,614,107,115,195,378,379],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16ed4eecc82d33b7ef91154d2d5b82d1.jpg","纵145.5厘米，横85.5厘米",[181,45],{"id":23053,"slug":23054,"title":23055,"dynasty":99,"author":3248,"museum":191,"description":23056,"tags":23057,"thumbUrl":23058,"material":529,"size":23059,"collection":90,"collections":23060,"showCount":22881,"zanCount":48,"manualWeight":48,"mainColor":49},221939,"chun-hua-san-xi-zhou-bian-wen-jin-221939","春花三喜轴","此图用：正笔重色描绘了竹林中的二只山喜鹊，其背景有怪石及象征春天的大小鲜花，有的正在盛开，有的含苞待放，还有已是枝茂叶繁的新竹及节高挺直指天的竹笋，翠竹鞭笋，间以杜鹃筷廾，红绿相映，这足以表明已是春色的大地，画家把喜鹊置于特定的自然环境中，目看那翠竹上的一红嘴、黑顶、长尾、带白色斑点的灰喜鹊，张口呜叫俯视下面，在坡石上又一对同样漂亮的喜鹊，张开翅膀，相搏于坡石间，翎羽飞动，互以爪握其喙，互相拍打的戏嬉场面，这三喜鸟给画面带来了春天里动、植物生息繁衍的景象：画家向人们展示了自然界中极自然生动的瞬间形象，真实而富有情趣。\n宋代院画往往被后人批评为专求形似，不重神韵。\n其实，并不是每一个院画都是这样，何况绝大多数的院画是以刻划精确、立意高简为目的的。\n边文进便是吸取了这些院画中的养分，开创了自己的花鸟画面目。\n《春花三喜图》就是边景昭花鸟画之一。\n此画笔法工细，竹子以工细的墨色勾勒，再以填色表现。\n雀鸟的羽毛画法更是精细入微，着色艳丽而雅致，特别是长尾部的斑驳翎毛，还有闪闪生辉之态，其二喜鸟之神态栩栩如生。\n图中湖石沉雄，秀竹劲挺而葱郁．鲜花丛簇而生，夺人二目，二喜鹊于平坡之上嬉戏，一仰翻在地，一上前戏啄，上面竹间一喜鹊俯视二鹊．见此情景高声鸣，似在斥责，形神兼备，令人钦佩作者妙笔，而鹊之顽皮则令人莞尔。\n本画笔触细腻，叶以双勾填色法，山石皴染及花乌风格皆可见宋代院体风韵，设色艳丽清新，令人有如沐春风之感。\n边景昭（生卒年不详），字文进，福建沙县人。\n明宣德年间官武英殿待诏，擅画花鸟，笔墨承南宋院体，设色沉着雅丽。\n其子楚芳（一作祥）承父业，占籍锦衣（世袭任职锦衣卫）。",[23,24,25,194,226,28,7,83,227,62,209,230,13967],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62f1287edf3b68161f45fac1f2622fc6.jpg","纵165.2，横98.3cm",[90,45],{"id":23062,"slug":23063,"title":12964,"dynasty":302,"author":5007,"museum":191,"description":23064,"tags":23065,"thumbUrl":23067,"material":1307,"size":23068,"collection":181,"collections":23069,"showCount":22881,"zanCount":2368,"manualWeight":48,"mainColor":94},221752,"hua-xue-jing-zhou-sheng-mao-221752","盛懋：元临安（今杭州）人。住嘉兴魏塘镇。与吴镇居比邻。洪子。善画山水、人物、花鸟，始学陈仲美（琳），略变其法，精致有馀，特过于巧。皇庆二年（1313）有仿张僧繇山水图，台北故宫周刊载有其1362年（至正二十二年）所作夏山行旅图。",[23,194,24,25,226,173,7,177,29,2562,3883,34,35,23066,31,1171,176,11396,3562],"茅舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2f80914710acf1baa725ccfa5af835f.jpg","151x27.3公分",[181,163],{"id":23071,"slug":23072,"title":23073,"dynasty":18,"author":2361,"museum":12886,"description":23074,"tags":23075,"thumbUrl":23076,"material":40,"size":23077,"collection":42,"collections":23078,"showCount":22881,"zanCount":1379,"manualWeight":48,"mainColor":49},221406,"tao-yuan-ming-yin-gui-tu-quan-juan-li-gong-lin-221406","陶渊明隐归图全卷","绘陶渊明辞官乘舟归来、进行耕田、种菜、赏景等自得其乐的归隐生活，长卷共绘七幅图，为左侧题诗，右侧绘诗意，表达出诗人的“采菊东篱下，悠然见南山”的豁达心情。",[23,194,24,25,26,352,173,7,106,29,34,35,174,109,175,178,937,897,227,245,1049],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7d80abd5349282a67d9aa5f8593c2a4.jpg","37.0 x 521.5 cm",[42,44,163],{"id":23080,"slug":23081,"title":23082,"dynasty":18,"author":2509,"museum":191,"description":23083,"tags":23084,"thumbUrl":23085,"material":529,"size":23086,"collection":42,"collections":23087,"showCount":22881,"zanCount":2368,"manualWeight":48,"mainColor":49},221354,"kai-tai-tu-zhou-su-han-chen-221354","开泰图轴","画中的孩童欢乐地骑在一只大羊背上，身边围绕着各色大小造型不一、矫健欢腾的小羊，神气十足。据了解，北宋时期的日常生活中，羊并非骑乘的动物，但画中白羊被配上如神骏宝象般的鞍辔，散发着非同一般的宫廷贵气。群羊在草地中或饮，或食，或奔走，或徜徉，悠然自得的环绕在童子身边。画面背后还以长松梅花做背景，点有一双喜鹊，意取“喜上眉梢”。童子神采飞扬，群羊热闹欢腾，整幅画面充满了一派富丽祥和之气。那白胖小子丰润柔软的模样跃然于纸上，栩栩如生，令人心生爱怜。",[23,194,24,25,226,7,28,106,746,6162,378,820],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b0dcb740080929d847e81c2fd0a8fd4.jpg","纵106厘米，横52厘米",[42,44,45],{"id":23089,"slug":23090,"title":23091,"dynasty":76,"author":77,"museum":191,"description":23092,"tags":23093,"thumbUrl":23094,"material":1307,"size":23095,"collection":90,"collections":23096,"showCount":22881,"zanCount":2368,"manualWeight":48,"mainColor":801},220982,"wu-qing-tu-zhou-yun-shou-ping-220982","五清图轴","恽寿平为人敦厚，个性孤介洒脱，不愿应试科举，以卖画为生，过着与世无争的日子，气节和人品相当受人敬重，而他的画也如他的人品一样，具有高洁不流俗的风格。五清指的是松、竹、梅及水、月。松柏经霜雪而不凋谢，竹子以其有节空心，代表君子的节操与虚心；梅花不畏风霜，愈冷愈开花，是品格坚贞的写照；而水与明月更是清澈透明、洁白无瑕的象征，所以合称「五清」，自古以来就常被用来比喻君子的德行。君子才德兼备，有高风亮节的情操，和「贫贱不能移，富贵不能屈」的志节，是社会上值得尊敬的人。这幅画，恽寿平以五清来代表君子，构图简单，分为三段，上段画老松由右横斜至左，明月高挂当空，中段则有梅花盛开，伴着青翠绿竹；下段流水潺潺。款识「辛酉初秋南田寿平制」，是恽寿平四十九岁的作品。笔墨多变，有的墨色饱含水份，有的枯干焦浓。有的先湿后枯，先浓后淡，墨趣丰饶。用笔温文柔和，呈现一种平和宁静的气氛，就像他所敬重的谦谦君子一般",[23,24,226,7,1133,820,227,379,265,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F870f71bba414a2c44d511dc3af19b001.jpg","86.1x38.4",[90,45],{"id":23098,"slug":23099,"title":23100,"dynasty":99,"author":100,"museum":191,"description":23101,"tags":23102,"thumbUrl":23103,"material":88,"size":23104,"collection":44,"collections":23105,"showCount":22881,"zanCount":48,"manualWeight":48,"mainColor":94},220378,"tong-yin-qing-hua-tu-chou-ying-220378","桐阴清话图","本幅画石峰嶙嶙，梧桐垂荫。树下两人拱立清谈，一童悄然侍立。前景另绘丛筱沿坡，野水奔流。此等景境，纵或出自画家揣想，然而人语溪声，竟恍若身历其境。岩岩画法，明显受到周臣「宁戚饭牛图」的直接影响。不过仇英此作较周臣略为谨慎，虽然线条挺拔劲健，强调笔墨的速度美感，但皴法则尽量包藏在轮廓之内，并且让岩石表面布满肌理与明暗变化，不失却形象的精准掌握。",[24,194,25,226,28,7,173,177,106,615,261,11716,176,3712],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5b6d0ee5bae513958f0ef6cec9a2004.jpg","279.5x100",[44,45],{"id":23107,"slug":23108,"title":23109,"dynasty":99,"author":257,"museum":5827,"description":23110,"tags":23111,"thumbUrl":23112,"material":123,"size":23113,"collection":90,"collections":23114,"showCount":22881,"zanCount":48,"manualWeight":48,"mainColor":49},220340,"chun-jing-hua-niao-tu-yi-ming-220340","春景花鸟图","画面以早春雪景铺陈意境，老梅虬枝盘曲，枝头凝雪，冰萼缀枝。群雀栖于梅梢，灵动啾鸣，破了雪天的清寂。下方奇石覆雪，锦雉静静伫立，翎羽斑斓细腻，身旁细竹轻沾雪色，更衬出禽鸟的安然。角落里山茶吐艳，朱砂色的花萼点亮冷调的底色。\n\n工笔设色晕染柔和精微，禽鸟绒毛的蓬松、古木皲裂的苍劲都刻画入微，清冷雪景与暖调花色禽羽相映，将冬寒未褪、春意初萌的幽澹野趣尽藏其中，尽显雅致静穆又生意暗涌的格调。",[23,24,194,25,28,7,820,227,176,209,10574,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1068b2760f18f253d69357fe4d36b4c1.jpg","155.2 × 93.3",[90,45],{"id":23116,"slug":23117,"title":23118,"dynasty":18,"author":257,"museum":4901,"description":23119,"tags":23120,"thumbUrl":23121,"material":2365,"size":139,"collection":44,"collections":23122,"showCount":22881,"zanCount":2368,"manualWeight":48,"mainColor":49},219587,"hu-fa-tian-wang-tu-yi-ming-219587","护法天王图","全作以长卷铺陈浩荡群像，排布疏密有致。左侧雅士云集，宽袍博带，神态或清隽沉凝，或温雅端方，铁线游丝般的线条勾勒出出尘风神。右侧融世俗百态，驯虎、舆车错落，仆役走卒情态鲜活，雅俗相映，消解了仙圣绘的疏离感。\n\n绢面虽经岁月晕染，浅淡古雅的设色依旧耐看，劲挺流转的线描尽显白描功底。衣袂飘举间将清贵气度与市井意趣揉为一体，在庄严仪轨之中藏着鲜活烟火，尽显中古人物画的叙事张力与笔墨意韵。",[23,24,25,26,260,352,7,28,106,5443,746,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ac3273b94acfdc6de56954e04e0abfb.jpg",[44],{"id":23124,"slug":23125,"title":23126,"dynasty":99,"author":257,"museum":191,"description":23127,"tags":23128,"thumbUrl":23129,"material":7,"size":139,"collection":45,"collections":23130,"showCount":22881,"zanCount":48,"manualWeight":48,"mainColor":49},219352,"ji-tu-yi-ming-219352","鸡图","红冠劲挺的雄鸡立于侧，黑羽如缎，尾翎舒展若墨染；白羽带斑的母鸡低头轻啄，身旁雏鸡憨态可掬，或蹭母翼下，或伸颈欲食，亲子温情流淌于笔端。旁侧百合悄然绽放，淡粉花瓣与嫩绿枝叶点缀，添几分雅致。古绢底色沉敛，线条细劲精准，设色温润自然——雄鸡艳红与黑羽对比鲜明，母鸡素白与雏鸡嫩黄相映成趣。无繁复布景，却以细腻笔触勾勒鸡群生动情态，既有田园恬淡，又暗合“吉（鸡）祥和合（百合）”的美好期许，尽显明代工笔花鸟的雅致意趣与生活气息。",[860,24,25,28,7,67,2746,8655,14327,19135,84,7249,2266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf02b4d3eb9621cbc675af2bd1bf32f3.jpg",[45],{"id":23132,"slug":23133,"title":23134,"dynasty":99,"author":2275,"museum":191,"description":23135,"tags":23136,"thumbUrl":23138,"material":123,"size":23139,"collection":90,"collections":23140,"showCount":22881,"zanCount":48,"manualWeight":48,"mainColor":49},219319,"qu-ge-jie-shou-tu-zhou-zhi-mian-219319","衢歌介寿图","周之冕(1521-?)，明代画家。字服卿，号少谷，长洲(今江苏苏州)人。卒年不详，活跃于万历年间。擅花鸟，注重观察体会花鸟形貌神情，及禽鸟的饮啄、飞止等种种动态。",[860,11932,24,25,226,67,7,83,84,1530,1273,176,23137,3052],"勾花点叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F345b4913e090ae3d73841591489baea3.jpg","138.1×56.7cm",[90],{"id":23142,"slug":23143,"title":23144,"dynasty":99,"author":3774,"museum":191,"description":23145,"tags":23146,"thumbUrl":23147,"material":88,"size":23148,"collection":90,"collections":23149,"showCount":22881,"zanCount":48,"manualWeight":48,"mainColor":94},218847,"shuang-ji-tu-lu-zhi-218847","双鸡图","双鸡相倚石畔，一羽红冠微昂，一羽低首敛翅，毛羽以细笔勾染，晕出柔润光泽。石体干墨皴擦，纹理苍劲，与旁侧舒展的草叶形成刚柔对比。蜻蜓振翅悬于草尖，细足轻点，姿态灵动如真。笔墨间工写交织，设色淡雅却藏生机，题款朱印错落，更添古朴意蕴。整幅画似截取田园一隅，静谧中透着鲜活气息，将寻常物态绘出文人雅趣，尽显笔墨之妙与自然之趣，读之如沐林间清意，心随画境沉于恬淡。",[24,25,226,7,83,2703,230,838,568],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff28bf2849a86dd45fd3a78edb2b1cdfa.jpg","63.2x31.5cm",[90],{"id":23151,"slug":23152,"title":23153,"dynasty":18,"author":2497,"museum":457,"description":23154,"tags":23155,"thumbUrl":23156,"material":123,"size":23157,"collection":139,"collections":23158,"showCount":22881,"zanCount":2368,"manualWeight":48,"mainColor":2504},218604,"wu-bai-luo-han-zhi-zhu-lin-zhi-chen-tu-zhou-ji-chang-218604","五百罗汉之竹林致琛图","这幅画描绘了三个罗汉坐在云雾和绿竹之间，两个罗汉侧身站立，俯视着他们，一个罗汉手里拿着珊瑚，等待着接待他们。",[23,194,24,25,7,28,260,106,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3adb680b35d1ebd1ff03c465bd75e3c1.jpg","113.0x51.5",[],{"id":23160,"slug":23161,"title":23162,"dynasty":99,"author":257,"museum":442,"description":23163,"tags":23164,"thumbUrl":23165,"material":123,"size":23166,"collection":44,"collections":23167,"showCount":22881,"zanCount":2368,"manualWeight":48,"mainColor":49},218521,"guan-yuan-xiang-tu-yi-ming-218521","官员像图","图中画有一个官员手持笏板。这幅画的服装应该是宋代官员的服装",[24,25,28,7,106,63,860],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1592dd4e87d3a2396d5fedf8e80764c2.jpg","34.5x21.5",[44],{"id":23169,"slug":23170,"title":23171,"dynasty":302,"author":257,"museum":3439,"description":23172,"tags":23173,"thumbUrl":23174,"material":123,"size":139,"collection":44,"collections":23175,"showCount":22881,"zanCount":48,"manualWeight":48,"mainColor":49},218473,"shi-jia-xiang-yi-ming-218473","释迦像","法相端严，双目微垂似含悲悯，右手结印如引众生出迷津。红衣团花缀身，绿袖轻垂，与莲座清雅相映。须弥座层叠有致，瑞兽纹饰暗藏生机，整体色调沉厚却不失灵动，线条勾勒精准，将释迦牟尼的慈悲与威严融于一体，尽显元代佛画肃穆匠心与宗教意蕴之美。",[24,226,260,28,7,106,1488,11727],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76489862a54b40b602a7a42c7f40218e.jpg",[44],{"id":23177,"slug":23178,"title":23179,"dynasty":302,"author":257,"museum":5197,"description":23180,"tags":23181,"thumbUrl":23182,"material":123,"size":23183,"collection":44,"collections":23184,"showCount":22881,"zanCount":48,"manualWeight":48,"mainColor":49},218470,"xiao-xia-tu-yi-ming-218470","消夏图","松荫覆庭，廊榭半开，文人雅士或围案展卷细品，或执扇浅语，或侍立凝神。案上瓜果鲜妍，砚池墨香隐现，器物玲珑有致。笔墨细腻处，人物神态宛然，衣袂轻扬见风骨；庭院葱郁间，光影流转映清雅。燥热的夏日，被书卷的静气、友朋的闲谈悄悄消解，连风都带着几分慵懒的诗意。画面以细腻笔触勾勒人物情态，以温润色调晕染庭院生机，将元代文人闲适的雅趣与内心的澄明，凝在这一方消夏的天地里，尽显岁月沉淀的悠然与从容。",[24,194,25,7,28,106,115,34,1010,280],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bbfdb330eb5f30734846d33d935a8a6.jpg","24.5x15.7",[44],{"id":23186,"slug":23187,"title":23188,"dynasty":302,"author":257,"museum":23189,"description":23190,"tags":23191,"thumbUrl":23192,"material":123,"size":23193,"collection":44,"collections":23194,"showCount":22881,"zanCount":2368,"manualWeight":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万历间画家，代表作是春景鸳鸯图。\n陈粲名（1524～？）明代万历间画家。\n字长倩，一字兰谷，号雪庵、道光、雪谷子，长洲 （今江苏苏州）人。\n万历间以善花鸟闻名于时。\n传世作品有《春景鸳鸯图》轴，绢本，设色，纵17.4厘米，横82.7厘米，现藏 ；《桂石兰芝图》轴，绢本，设色，纵11.2厘米，横49厘米，藏故宫博物院；万历四十三年(1615)作《兰竹图册》著录于《 》。",[24,25,226,7,28,83,4298,379,8848,579,84,176,11145],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63ab0a3d62a43789402ff3fa5ee685e5.jpg",[90,45],{"id":23304,"slug":23305,"title":23306,"dynasty":76,"author":257,"museum":20,"description":23307,"tags":23308,"thumbUrl":23310,"material":139,"size":23311,"collection":139,"collections":23312,"showCount":23253,"zanCount":48,"manualWeight":48,"mainColor":94},234388,"hong-li-sui-chao-xing-le-tu-zhou-yi-ming-234388","弘历岁朝行乐图轴","瑞雪轻覆朱宫翠檐，琼枝素裹，将御苑晕作琉璃天地。整幅画笔致工细入微，殿宇雕梁画栋分毫毕现，人物衣袂鲜活灵动。岁朝佳节间，众人或围聚展玩古玩，或信步笑谈，稚童嬉闹于阶前，暖阁中老者安坐闲话，融融暖意漫过银装素裹的苑囿，将年节的雍容闲适与团圆意趣铺陈得鲜活生动，清冷雪景晕染下，更衬出岁朝的温情缱绻，尽显雅致年味。",[24,7,28,104,226,29,106,107,175,34,2562,115,9231,278,176,114,13277,10190,23309],"宫室","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85f954ae56eb1839f49ca658db575e98.jpg","纵305厘米，横向206厘米",[],{"id":23314,"slug":23315,"title":23316,"dynasty":256,"author":257,"museum":316,"description":23317,"tags":23318,"thumbUrl":23319,"material":599,"size":600,"collection":139,"collections":23320,"showCount":23253,"zanCount":2368,"manualWeight":48,"mainColor":49},230792,"cai-hui-wu-dai-juan-hua-gong-yang-tu-yi-ming-230792","彩绘五代绢画供养图","此作分上下两重图景，上段佛境庄穆沉静，主尊安坐莲台，说法施印，二胁侍垂眸合掌随侍左右，线条劲挺匀净，设色沉凝古雅，晕染柔和晕开诸佛的端严宝相。下段供养人乌纱袍服，持炉躬身礼拜，神情恭谨内敛，笔触朴拙写实，精准描摹出士人的仪制风貌。\n画作以上下布局勾连神性与俗世，褪却的底色里仍藏着旧日鲜妍，将信仰的肃穆与世俗的敬畏相融，尽显佛绘神俗共生的独特意趣，兼具宗教价值与世俗审美意韵。",[23,24,67,7,106,260,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02f833634d337b622021a4a78d357d12.jpg",[],{"id":23322,"slug":23323,"title":4939,"dynasty":18,"author":4940,"museum":316,"description":23324,"tags":23325,"thumbUrl":23328,"material":139,"size":139,"collection":139,"collections":23329,"showCount":23253,"zanCount":48,"manualWeight":48,"mainColor":49},228050,"hua-niao-tu-ye-wang-xiao-228050","此作以柔枝海棠为景，两只白头翁栖于枝上，一昂首啁啾，一侧耳凝望，情态灵动鲜活。花瓣晕染细腻，粉白渐变柔和饱满，枝叶勾勒挺括，敷色雅致温润。禽鸟羽毛丝缕毕现，将绒羽蓬松质感描摹入微，工细笔触尽显精妙。整幅设色清逸柔婉，留白妥帖悠远，搭配题字更添文趣，将春日花鸟的缱绻生机定格绢上，清雅静谧里藏着灵动意趣，尽显雅致细腻的古典审美意趣。",[23,24,25,194,28,7,83,1261,23326,1145,12701,23327],"白头翁","灵动","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97693085cc822f814fba371da1aa941e.jpg",[],{"id":23331,"slug":23332,"title":23333,"dynasty":18,"author":1350,"museum":316,"description":23334,"tags":23335,"thumbUrl":23336,"material":139,"size":139,"collection":139,"collections":23337,"showCount":23253,"zanCount":2368,"manualWeight":48,"mainColor":49},227822,"jiang-yin-du-shu-tu-ye-ma-yuan-227822","江荫读书图页","此作用边角取景，绘就江天寥廓之境。淡墨晕染远山，隐现烟霭之中，愈显空濛悠远。近岸危崖虬曲，寒梅凝枝、丹枫缀艳，冷暖相映为萧索冬色添几分鲜活。板桥之上，二人围坐展卷，在幽寂江隅漫品诗书，闲雅意趣随江风漾开。\n笔意苍劲洗练，大片留白拓宽了江天之境，将冬日江隅的清寂与文人林下雅兴相融，尽显空灵隽秀的诗意之美。",[23,194,24,25,81,7,28,177,29,106,795,176,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e2d753a9bb5372213332d31fe07b403.jpg",[],{"id":23339,"slug":23340,"title":23341,"dynasty":18,"author":391,"museum":316,"description":23342,"tags":23343,"thumbUrl":23344,"material":139,"size":139,"collection":139,"collections":23345,"showCount":23253,"zanCount":2368,"manualWeight":48,"mainColor":49},227486,"zhu-ji-tu-li-zhou-zhao-ji-227486","竹鸡图立轴","赵佶（宋徽宗，1082年6月7日-1135年6月4日），出生于汴京（今河南开封），宋神宗第十一子，北宋第八位皇帝。\n\n赵佶在位期间追求奢靡、政治腐败、外交不力，以致民怨四起并埋下北宋靖康年间亡国的祸根。但赵佶在书法绘画等艺术领域天赋非凡，独创“瘦金体”书法，《芙蓉锦鸡图》《池塘秋晚图》等都是传世名作。靖康之变后赵佶被俘北上，1135年死于五国城，庙号徽宗。",[23,24,25,226,28,7,83,227,2703],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F879cf431b3c0d996cb701c6e9c6a171b.jpg",[],{"id":23347,"slug":23348,"title":23349,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":23350,"thumbUrl":23351,"material":599,"size":600,"collection":139,"collections":23352,"showCount":23253,"zanCount":2368,"manualWeight":48,"mainColor":49},226179,"ku-zhu-shi-dong-pi-yi-ming-226179","窟主室东披",[511,1846,6768,11933,7,5883,4428],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff34234637a2c315ee37628394c09a5f.jpg",[],{"id":23354,"slug":23355,"title":23356,"dynasty":76,"author":2837,"museum":316,"description":23357,"tags":23358,"thumbUrl":23359,"material":139,"size":139,"collection":139,"collections":23360,"showCount":23253,"zanCount":48,"manualWeight":48,"mainColor":94},224370,"hua-hui-qi-shi-ce-shi-er-kai-10-ju-lian-224370","花卉奇石册-十二开-10","此作以灵秀湖石为主体，朴拙纹理自带幽古意趣。细茎挺出，嫩黄碎花娇俏垂曳，与苍朴湖石形成柔刚对照。石上豆娘静立，翅脉纤毫毕现，将小虫灵动之态尽致描摹。\n\n画中运用撞水撞粉技法，花叶水润鲜活，苔草以淡青晕染，与赭石湖石色调柔润相融，静中藏动，生机暗涌。全幅工写兼备，寥寥数笔便将庭院小景的恬然意趣捕捉，将草木生灵的幽微情态勾勒无遗，尽显写生精妙，满溢闲逸清雅的文人意韵。",[23,24,25,81,7,28,83,84,1633,568,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F057086feec0f2550986e5d5e2c2e3f6a.jpg",[],{"id":23362,"slug":23363,"title":23364,"dynasty":302,"author":257,"museum":316,"description":23365,"tags":23366,"thumbUrl":23367,"material":599,"size":600,"collection":139,"collections":23368,"showCount":23253,"zanCount":2368,"manualWeight":48,"mainColor":2504},223644,"xu-kong-cang-pu-sa-xiang-2-yi-ming-223644","虚空藏菩萨像2","虚空藏（梵语 ākāśagarbha，音译啊迦舍嘎赫婆）菩萨摩诃萨，密号库藏金刚。汉译又作尊上虚空孕菩萨摩诃萨、虚空库菩萨摩诃萨、虚空光菩萨摩诃萨，是中国大乘佛教八大菩萨摩诃萨之一。\n虚空藏菩萨摩诃萨在无量菩萨中专主智慧、功德和财富。因尊上智慧、功德、财富如虚空一样广阔无边，并能满足世间一切如法持戒者的善求善愿，使无量无边众生获得无穷利益，故有此虚空藏圣名。\n虚空藏菩萨具有赐予利乐的力量。“藏”表示无限福德智慧，“虚空”表广大，《大方等大集经》指出：虚空藏如同富翁，相应困苦众生，只要到她面前，即会施予救济。因此，虚空藏菩萨是以济度众生为乐的菩萨。",[23,194,24,25,7610,226,260,106,28,7,1488],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93ea3f19b6f9f690523f6b6e2e09ea73.jpg",[],{"id":23370,"slug":23371,"title":23372,"dynasty":18,"author":257,"museum":6047,"description":23373,"tags":23374,"thumbUrl":23375,"material":67,"size":23376,"collection":90,"collections":23377,"showCount":23253,"zanCount":48,"manualWeight":48,"mainColor":49},223463,"shan-que-pi-pa-tu-yi-ming-223463","山鹊枇杷图","图绘两只山雀站在枇杷枝上。枝头果实累累，枇杷青涩，黄中带绿。",[194,24,25,81,28,7,83,245,1036,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17bd14416d2c445966f588ee332fa32c.jpg","30X31cm",[90,45],{"id":23379,"slug":23380,"title":23381,"dynasty":76,"author":11085,"museum":20,"description":23382,"tags":23383,"thumbUrl":23384,"material":23385,"size":23386,"collection":181,"collections":23387,"showCount":23253,"zanCount":48,"manualWeight":48,"mainColor":49},223136,"shi-wan-tu-ce-ren-xiong-223136","十万图册","《十万图》册是任熊晚年创作的10幅山水精品，因题目均以“万”字起首而得名，即“万卷诗楼”、“万点青莲”、“万峰飞雪”、“万笏朝天”、“万竿烟雨”、“万松叠翠”、“万林秋色”、“万壑争流”、“万丈空流”、“万横香雪”，以寓至多尽善、完满俱足之意。该图册多取材于苏州太湖一带的山水而内容又有所扩大，如“万笏朝天”、“万横香雪”即以苏州天平山和香雪海为素材，“万点青莲”描绘的应是杭州西湖的景色，而“万丈空流”、“万竿烟雨”则是想象中的海岛和潇湘奇景。总之，画家是以“十”、“万”来概括天下美景与赏心乐事。作品笔法细腻，构思精微，意境深邃，并富有装饰趣味，于写实中充满浪漫情调。尤其是作者充分运用金笺纸的底色作用，使青绿设色逾显得绚丽多彩，浓艳华贵而不失雅逸的艺术效果。",[23,24,25,81,7,27,29,177,176,34,809],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F665e6202ad6aba5ebcf701093a7cb813.jpg","泥金笺，设色","纵26.3厘米，横20.5厘米",[181],{"id":23389,"slug":23390,"title":23391,"dynasty":76,"author":329,"museum":191,"description":10188,"tags":23392,"thumbUrl":23395,"material":529,"size":10192,"collection":181,"collections":23396,"showCount":23253,"zanCount":48,"manualWeight":48,"mainColor":49},222759,"shi-er-yue-ling-tu-11-yue-lang-shi-ning-222759","十二月令图（11月）",[23,24,28,7,106,107,34,176,115,23393,23394],"参禅","古建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f6ec9adc0590d630722ea9245c07bfe.jpg",[181,45],{"id":23398,"slug":23399,"title":23400,"dynasty":76,"author":23401,"museum":495,"description":23402,"tags":23403,"thumbUrl":23404,"material":529,"size":23405,"collection":90,"collections":23406,"showCount":23253,"zanCount":2368,"manualWeight":48,"mainColor":49},222689,"wu-tong-bai-tou-tu-que-lan-222689","梧桐白头图","阙岚","《梧桐白头图》是画家75岁时绘制的，工写结合，笔墨清灵，有一种纤尘不染的秀洁韵味。上部绘挺健梧桐，叶茂子实，一枝斜穿画面，绿叶飘动。一对白头鸟依偎枝上，亲密无间。下部绘神奇多彩灵石，石缝坡脚间花草杂生。笔墨细腻古朴，风格温润典雅。左下自题“道光壬辰季重九日仿瓯香馆本于天光云景斋。阙岚”。",[23,194,24,25,226,28,7,83,2265,3053,686,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79b42a65036debf55e7ebec34ee90c7e.jpg","纵101厘米，横40.5厘米",[90,45],{"id":23408,"slug":23409,"title":23410,"dynasty":99,"author":2189,"museum":240,"description":4265,"tags":23411,"thumbUrl":23413,"material":500,"size":4269,"collection":139,"collections":23414,"showCount":23253,"zanCount":2368,"manualWeight":48,"mainColor":94},222567,"hua-hui-tu-6-chen-chun-222567","花卉图6",[23,24,25,7,173,498,83,84,838,230,210,860,23412,14427],"花鸟写意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68019c2e22e4fd3401f2575cba804984.jpg",[],{"id":23416,"slug":23417,"title":23418,"dynasty":99,"author":100,"museum":1577,"description":23419,"tags":23420,"thumbUrl":23421,"material":529,"size":23422,"collection":139,"collections":23423,"showCount":23253,"zanCount":2368,"manualWeight":48,"mainColor":94},222213,"chuan-ren-xing-tu-chou-ying-222213","船人形图","笔耕园收录作品60幅，其主题、画法和样式各异，并据此在各图上加有不同画家的名字，其中不乏南宋名家的佳作，还有些其他朝代品质极高的优秀作品。",[23,24,25,1260,28,7,106,59,174,378,227,3519],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9007b806bd999f26739186ddee7c280.jpg","纵23.1厘米，横23.1厘米",[],{"id":23425,"slug":23426,"title":23427,"dynasty":99,"author":100,"museum":191,"description":23428,"tags":23429,"thumbUrl":23430,"material":67,"size":139,"collection":139,"collections":23431,"showCount":23253,"zanCount":48,"manualWeight":48,"mainColor":94},222202,"hua-zhu-shen-he-jing-ce-ye-chou-ying-222202","画竹深荷静册页","仇英（约1498年—约1552年）， 字实父，号十洲，原籍江苏太仓，后移居吴县（今苏州），明代绘画大师。\n仇英出身寒门，幼年失学，曾习漆工，后拜师周臣，成为画家。\n仇英博取众长，集前人之大成，形成自己独特的艺术风格。他山水、花卉、界画、人物、仕女无所不能，既工设色，又善水墨、白描，能运用多种笔法表现不同的对象。 时人把他与周臣、唐寅誉称为院派三大家；后人又把他与沈周、文徵明、唐寅并称为“明四家”。\n综述:\n仇英的山水画多学赵伯驹、刘松年，发展南宋李唐、刘松年、马远、夏圭的“院体画”传统，综合融会前代各家之长，即保持工整精艳的古典传统，又融入了文雅清新的趣味，形成工而不板、研而不甜的新典范，还有一种水墨画，从李唐风格变化而来，作界画楼阁，尤为细密。\n仇英擅人物画，尤工仕女，重视对历史题材的刻画和描绘，吸收南宋马和之及元人技法，笔力刚健，特擅临摹，粉图黄纸，落笔乱真。尤善于用粗细不同的笔法表现不同的对象，或圆转流畅，或顿挫劲利，既长设色，又善白描。人物造型准确，概括力强，形象秀美，线条流畅，有别于时流的板刻习气，直趋宋人室，对后来的尤求、禹之鼎以及清宫仕女画都有很大影响，成为时代仕女美的典范，后人评其工笔仕女，刻画细腻，神采飞动，精丽艳逸，为明代之杰出者\n纵观仇英的山水画，大致具有如下几个鲜明的特点：\n首先，在境界上不一味追求富丽堂皇或空漠冷寂的气氛，而在“秀雅纤丽”中有一种飘逸优雅的气息。所作山水多为表现士大夫林泉诗酒生活和清新旷远之自然景色。由于仇英出身贫寒、读书不多，其画作中也少有诗文题跋，一般仅于画幅边角落款，未有诗画结合之面貌。但是所画丘壑泉石、烟云竹树、亭台楼阁、人物景色皆精描细染而又不失清秀雅逸的气韵。特别是他描写文人高士隐遁生活的作品，如《桃源高隐图》《蕉荫结夏图》《月下吹笛图》《园居图》《春夜宴桃李园图》等，无时不流露其隽秀飘逸的情怀，画卷气溢于笔墨之中。\n其次，仇英的山水画虽隽逸优雅，“士气”十足，却少有一般文人画家笔下那种冷寂空疏的情调，而总是流溢出清新明丽的气氛，有的作品还充满蓬勃欢乐的意趣。如《莲溪渔隐图》中平远山水、溪岸水畔、房屋堂轩、茅舍鱼罟、田亩葱郁、小桥相通、行人往来，画面布局清旷，一片江南夏日情景，极富生活气息，给人以可游可居之感。再看描绘四川剑门关景色的《剑阁图》，画面峰峦重迭，远处是皑皑的雪崖雪峰，近处是重彩辉映的山峦，陡峭的绝壁上树木茂密，残雪覆盖，在崎岖的栈道上，人马众多，或隐或现迎面而来。人马动态各异，行人身着各式冬装，无不具体生动。此画画风工整，色彩浓艳，丰满壮观，可谓仇英青绿画法的代表作。仇英作品中这种浓艳而清新、壮阔而平朴的审美意趣与明中期整个美学思想的世俗化倾向相一致。\n第三，仇英的山水画风格虽源于传统青绿和“院体”画法，但并不拘于一家一派的面貌。就其整个山水画而言，在技法上可分为三类：一是较为纯正的大青绿山水，山石勾勒后不用细皴，山脚以赭石分，以青绿重色染石面，然后每一块面再加染石绿，或分以石青，使各山色协调而有分别，树木云岫勾勒精细。其《九成宫图》《桃源仙境图》等属此类典型之作。二是青绿画法与水墨画法相融合的一类。通常近处山石用小斧劈细细皴成，用青绿法以绿与石青相间染出，色不凝笔。远峰不作皴笔，以花青或石青、石绿和墨渍染而成，似有董源或沈、文画法之精神。《秋江待渡图》《莲溪渔隐图》《仙山楼阁图》等为此类代表作。三是以水墨皴染为主的画法，此类画法得到刘松年、李唐院体家法，山石用细笔小斧劈法，分面细，然于阴暗处和墨淋之，立即又以清水接染，绢地不吸水，故能产生含混融和的意趣，略见吴派绘画之影响。树法中增强转折趣味，衬以夹叶，叶叶分明，一枝一叶无不与实景契合。《松亭试泉图》《松溪论画图》等均属此类画法。",[23,24,25,1260,28,7,29,227,228,34,989,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F878a5dc84b1d01f557f1f963ad693448.jpg",[],{"id":23433,"slug":23434,"title":23435,"dynasty":99,"author":3774,"museum":191,"description":23436,"tags":23437,"thumbUrl":23438,"material":23439,"size":23440,"collection":90,"collections":23441,"showCount":23253,"zanCount":48,"manualWeight":48,"mainColor":94},222179,"hua-hui-shan-mian-lu-zhi-222179","花卉扇面","陆治（西元一四九六－一五七六年），江苏吴县人，字叔平，号包山子。倜傥好义，以教友著称于乡里。诗文书画并佳。曾和文征明、祝允明一起作画吟诗。画的名声和文征明一样好。\n这幅用淡墨干笔，画丛山叠树，渔父鼓舟前进，一面洗脚，二人在高坡上坐着似在观看瀑布。用色淡雅而有变化。画成于陆治七十三岁。陆治有诗，曾自比「桃源中人」，以喻其隐居状况。\n此画在笔法与构图，均受元代王蒙花溪渔隐图影响，颇有自况意味",[23,24,25,194,1260,7,83,84,1807,783],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbf89fa4fadd7ff6f66e547f02d3e913.jpg","泥金，纸本","纵18.3厘米， 横52.5厘米",[90,45],{"id":23443,"slug":23444,"title":23445,"dynasty":99,"author":1782,"museum":56,"description":23446,"tags":23447,"thumbUrl":23448,"material":40,"size":23449,"collection":181,"collections":23450,"showCount":23253,"zanCount":48,"manualWeight":48,"mainColor":49},222035,"xi-tang-shi-yi-tu-zhou-dai-jin-222035","溪堂诗意图轴","图绘群山环绕中，泉水汇于山涧，桥上一童子置琴而过，对面草堂内一老者坐于凳上手执诗文认真观看；远处山峰险峻，树木葱郁，几座亭台隐约显现。本幅图采用典型的对角线构图，以斧劈皴勾画石头的轮廓，以焦墨中锋画出树木虬劲枝干，层次感突出。",[23,194,24,25,226,173,7,177,29,175,108,109,34,1426,106,176,37,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f8e0f302f05704359484a669d345933.jpg","194x104cm",[181,163],{"id":23452,"slug":23453,"title":23454,"dynasty":99,"author":23455,"museum":101,"description":23456,"tags":23457,"thumbUrl":23459,"material":770,"size":23460,"collection":181,"collections":23461,"showCount":23253,"zanCount":48,"manualWeight":48,"mainColor":94},221875,"jin-ling-si-ji-tu-shou-juan-wei-ke-221875","金陵四季图手卷","魏克","图绘旧时金陵（今南京）四季景色。描绘一年四季中山峦、湖泊、城外景色，春之雾气，夏之浪涛、秋之碧波、冬之冰雪。魏之克，后名克，明朝画家，善画山水兼工花卉，传世画作《松崖待渡》扇面，《水仙梅图》等。",[23,24,25,26,7,29,28,177,173,23458,107,108,109,175,245,176,34,37,106,1654,1049],"四季","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd979470a53b8a003d3e9e4fae584c457.jpg","31.3 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王铎题云。老干不事纤细小巧。骨格坚凝韶秀。有大家气。即此一画。雪色蒙晦。石寒铁色。噫。阴晴不可知。有天道寓于中。谓画者果无意欤。夏圭钱塘人。宁宗时擅名。师范宽李唐。宗有其俪。凡以觕粝冒圭者非其真也。丙戌三月时居燕。为二弟仲和题。王铎。钤印一。铎。",[23,24,3559,226,173,7,177,176,34,1170,808],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4da237f95d56b5840f04b1a93af93930.jpg","该幅47.6x32.5公分；诗塘28x32.6公分",[181,163],{"id":23480,"slug":23481,"title":23482,"dynasty":869,"author":4525,"museum":6047,"description":23483,"tags":23484,"thumbUrl":23485,"material":139,"size":139,"collection":139,"collections":23486,"showCount":23253,"zanCount":2368,"manualWeight":48,"mainColor":94},220549,"san-ma-tu-xu-bei-hong-220549","三马图","此作融贯中西绘艺，古松虬枝苍劲，以传统笔墨铺就清旷郊野底色，皴擦点染间尽显古木沉雄苍浑的气韵。三马姿态各殊，白马静立垂眸，神气温驯柔润；黑马昂首徐行，筋骨舒展俊朗；幼驹灵动跃动，尽显稚拙生机。创作者以西方写实技法晕染皮毛肌肉，精准还原骏马的光影层次与质感肌理，又以东方写意笔墨捕捉马匹灵动神韵，将鞍马题材的意趣与写实表现力相融，让骏马的蓬勃生气跃然纸上，尽显精湛笔力与贯通东西的审美意趣。",[24,7,150,1273,912,230,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6df961ea9771a654e3dbac5c726ff8b.jpg",[],{"id":23488,"slug":23489,"title":23490,"dynasty":76,"author":23491,"museum":132,"description":23492,"tags":23493,"thumbUrl":23494,"material":123,"size":23495,"collection":181,"collections":23496,"showCount":23253,"zanCount":48,"manualWeight":48,"mainColor":49},220422,"shou-shi-tu-jiang-pu-220422","寿石图","蒋溥","蒋溥（清），大学士蒋廷锡长子，字质甫，号恒轩，江苏常熟人，清朝大臣，画家，善画花卉，深得家传。雍正8年（1730）二甲第一名进士，官至东阁大学士兼户部尚书。性情宽厚而警敏，任职后，精心奉职，勤于政事，是乾隆时期的重臣，亦是蒋派花鸟画艺术的重要代表。乾隆26年(1761)四月，病逝于任上。乾隆皇帝亲临祭奠，加赠太子太保，谥曰文恪，入祀贤良祠。",[23,24,28,7,226,83,1273,176,3041,18822,353],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa74aae3d6d0e66ce7cd8ad41fc531baf.jpg","141×41.5cm",[181,45],{"id":23498,"slug":23499,"title":23500,"dynasty":18,"author":1599,"museum":191,"description":23501,"tags":23502,"thumbUrl":23503,"material":123,"size":23504,"collection":44,"collections":23505,"showCount":23253,"zanCount":2368,"manualWeight":48,"mainColor":49},219610,"zui-seng-tu-liu-song-nian-219610","醉僧图","画面左侧一遒劲苍松，顶天立地，倔强而粗壮的树身扎根于坡石之中，稳健地镇住整个画面，使古意充盈纸上。画面右上方淡笔擦出的远山和细笔轻快而流畅地勾出的浮云，使画面更增超逸出尘之气。飘然潇洒的长松针密布于画面上方，把观者的视线吸引到树荫之下的三个人物身上。中间坐于石凳之上、解衣盘礴、乘兴挥毫者，想必是“草圣”怀素，此时他所乘之兴应与身后松枝上高挂的酒葫芦有关，似为正酣的酒兴也。怀素头呈微仰之势，似不经意地提笔挥毫，颇有“信手拈来皆文章，下笔不惑皆妙墨”之神采。他微微翘起的右脚，好像正在轻轻摆动，将他那放浪形骸的性格特征更加明显。笔法劲秀的衣纹线条，转折有力而肯定，不但极准确地刻画出人物外形，更形象地表现出怀素外表狂放，内心坚贞、高洁的性情。右边一童子面对怀素持卷肃立，神情专注于其行笔之处。怀素左边，一童子左手持砚、右手握墨，似墨刚研毕，正仔细审视是否正好可用。此《醉僧图》笔法精细秀润，布景极为高古，意境静雅、淡定，人物间呼应关照、贴切妥当，神态呼之欲出、传神入微，把“草圣”以酒助书兴、运笔酣畅的场景描绘得淋漓尽致，是一幅难得的佳作。\n此图最让人动心之处就是淡定、静雅的境界。潘天寿先生在《论画残稿》中曾说道：“艺术之高下，终在境界，境界层上，一步一重天，咫尺之隔，往往辛苦一世，未必梦见。”陈子庄先生也言：“必须于性灵中发挥笔墨，于学问中培养意境。”南宋的苟安一隅，使当时很多文人多少有些失落的悲观的情怀。刘松年的这幅为怀素的写照之作，在我看来倒有几分自况之意。心不能畅怀，借酒以发之，身不能居之境，借画以图之，借醉僧之超然境界，表达自己卧游畅神之思。当然，这只是我面对刘松年这位八百年前的古人之作，做的一番遐想而已。",[23,913,24,25,28,7,106,353,176,1551,260],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22cb54f38c3dcb5f0c2d377e84953eb4.jpg","纵95.8厘米，横47.8厘米",[44],{"id":23507,"slug":23508,"title":23509,"dynasty":99,"author":257,"museum":442,"description":23510,"tags":23511,"thumbUrl":23512,"material":123,"size":139,"collection":44,"collections":23513,"showCount":23253,"zanCount":2368,"manualWeight":48,"mainColor":49},219570,"lie-xian-tu-yi-ming-219570","列仙图","此作是道教仙官造像的经典手笔，人物分两列肃穆排布，尽显仙班整饬威仪。八位仙官仪容端方沉静，冠冕华服纹样繁丽工细，朱红石青晕染出古雅厚重的色调，衣袂间暗纹流转古朴雅致。人人手持朝笏，头覆圆光，晕出神圣清寂的气韵。背景祥云舒卷，漫出缥缈空灵的天界氛围。\n\n历经岁月，绢面虽有斑驳旧痕，却更衬设色的沉凝精妙，将天界仙僚的端严神圣凝于绢上，承载着旧时对玄穹仙班的敬畏与瑰丽想象。",[23,24,25,7,28,106,260,3661,2168,860],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4400c57ed5ee3fbe7fffc6b7e169558.jpg",[44],{"id":23515,"slug":23516,"title":15128,"dynasty":99,"author":23517,"museum":191,"description":23518,"tags":23519,"thumbUrl":23520,"material":123,"size":139,"collection":90,"collections":23521,"showCount":23253,"zanCount":48,"manualWeight":48,"mainColor":94},219446,"duan-yang-jing-tu-chen-jia-yan-219446","陈嘉言","墨石崚嶒，以浓淡干湿之笔写出苍劲肌理，似含嶙峋风骨。石畔百合舒卷有致，瓣白如玉，清雅绝尘；艳艳红花点缀其间，色如渥丹，相映成趣。细碎野花丛生，黄绿枝叶错落，笔墨兼工带写，设色明丽却不艳俗。整幅画面生机盎然，野趣中透着雅致，仿佛能嗅到端阳时节的草木清气，尽显文人画的疏朗意韵。笔意洒脱，构图疏密得当，于不经意间流露自然之美，引人沉醉于这方清幽小景里。",[24,226,7,173,498,83,230,896,84,264,554,838,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8ef5005627b1e39b1323e869dbb1145.jpg",[90],{"id":23523,"slug":23524,"title":3679,"dynasty":76,"author":375,"museum":442,"description":23525,"tags":23526,"thumbUrl":23527,"material":123,"size":23528,"collection":90,"collections":23529,"showCount":23253,"zanCount":48,"manualWeight":48,"mainColor":49},219351,"mu-ma-tu-shen-quan-219351","画面中数匹骏马姿态各异，或卧地休憩，或昂首侧望，或缓步前行。毛发晕染细腻温润，斑纹勾勒清晰写实，轮廓线条灵动传神，尽显马匹的鲜活气韵。背景枯树虬枝盘结，枝干以干笔皴擦，苍劲中透出古意；地面浅草碎石点缀，淡墨晕染出悠远空间。整体工写结合，设色雅致，马儿的悠闲神态与萧瑟树影相映成趣，传递出牧歌式的宁静安适。于细腻笔触中藏生机，于古朴意境里显情韵，尽显传统走兽画的精妙功力与悠远意趣。",[23,24,194,25,226,28,7,150,795,353,746,29,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67f9473a78fc17f9621aa38f84941ad8.jpg","92x63.5cm",[90,45],{"id":23531,"slug":23532,"title":23533,"dynasty":76,"author":698,"museum":191,"description":6844,"tags":23534,"thumbUrl":23535,"material":1884,"size":23536,"collection":45,"collections":23537,"showCount":23253,"zanCount":48,"manualWeight":48,"mainColor":94},219307,"jie-shan-zhai-tu-zhou-qian-wei-cheng-219307","借山斋图轴",[194,24,25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横26.1厘米",[90],{"id":23549,"slug":23550,"title":23551,"dynasty":302,"author":1977,"museum":191,"description":23552,"tags":23553,"thumbUrl":23554,"material":123,"size":23555,"collection":90,"collections":23556,"showCount":23253,"zanCount":2368,"manualWeight":48,"mainColor":49},218825,"yu-xiang-tu-zhao-meng-fu-218825","浴象图","“洗象图”是中国人物画传统题材，从历代流传下来的《洗象图》卷可见，自宋末至元初，经元到明清其构图基本固定，大致布局都是众人持帚洗扫白象的场景，因其与佛教禅宗之渊源，历来颇受关注。",[24,28,7,106,8378,378,212,746],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a28237cf2ba3e6056143c46553f0491.jpg","100.7x30.7cm",[90],{"id":23558,"slug":23559,"title":23560,"dynasty":76,"author":257,"museum":442,"description":23561,"tags":23562,"thumbUrl":23563,"material":123,"size":23564,"collection":44,"collections":23565,"showCount":23253,"zanCount":48,"manualWeight":48,"mainColor":49},218525,"li-xiang-jun-xiao-xiang-yi-ming-218525","李香君小像","画有李香君的小像，面板左上方有侯方域《李姬传》的小楷长诗。",[24,1260,28,7,106,59,86,178,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa138eb64d00fad7bfd083254678fc512.jpg","22.8x25.5",[44],{"id":23567,"slug":23568,"title":23569,"dynasty":99,"author":257,"museum":442,"description":23570,"tags":23571,"thumbUrl":23572,"material":123,"size":23573,"collection":44,"collections":23574,"showCount":23253,"zanCount":48,"manualWeight":48,"mainColor":49},218516,"fang-li-tang-cai-wei-tu-yi-ming-218516","仿李唐采薇图","这一页是模仿李唐画的伯夷和叔齐在首阳山上爬行的故事，以浙派画家的风格画出服装图案，并加上项元汴的募捐图案。",[24,7,105,177,106,1353,353,176,229,63,29,912],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48fcd4411154c6a9a5705445bf616bd6.jpg","30.7x28.6",[44],{"id":23576,"slug":23577,"title":23578,"dynasty":18,"author":257,"museum":23579,"description":23580,"tags":23581,"thumbUrl":23582,"material":123,"size":8549,"collection":181,"collections":23583,"showCount":23253,"zanCount":2368,"manualWeight":48,"mainColor":49},218460,"gao-shi-lin-tiao-tu-yi-ming-218460","高士临眺图","松美术馆","虬松盘枝如铁，松针密织似筛，泼墨染出苍劲骨相。树下亭榭檐角轻挑，隐见幽人凭栏，目光随流水漫向天际。波光敛于绢素，小桥横卧如带，行人二三，步痕轻浅入烟霭。远山淡赭晕染，与空濛天色相融，留白处尽是宋人山水的清寂况味。笔墨简而意远，构图疏朗却藏深致——苍松古拙、亭榭雅致、流水悠缓、远山虚渺，交织成文人临眺的诗意图景，将天地旷远与内心悠然凝作绢上无声诗行，尽显宋画山水的韵致与哲思。",[24,194,1260,7,29,106,353,108,109,230,107,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff551be231d4f0968312bf052ea0c1438.jpg",[181],{"id":23585,"slug":23586,"title":23587,"dynasty":302,"author":6965,"museum":316,"description":19504,"tags":23588,"thumbUrl":23590,"material":123,"size":19507,"collection":44,"collections":23591,"showCount":23253,"zanCount":48,"manualWeight":48,"mainColor":49},218448,"tai-zong-chu-lie-tu-zhao-yong-218448","太宗出猎图",[194,24,7,106,150,1273,8099,23589],"铁线描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F475cc26186ca387c2bdcd4b595d81ae6.jpg",[44],{"id":23593,"slug":23594,"title":23595,"dynasty":256,"author":257,"museum":101,"description":23596,"tags":23597,"thumbUrl":23598,"material":1319,"size":23599,"collection":44,"collections":23600,"showCount":23253,"zanCount":48,"manualWeight":48,"mainColor":49},218315,"bai-yi-guan-yin-tu-yi-ming-218315","白衣观音图","画面中观音衣袂翩跹若流云泻地，轻盈舒展间尽显温婉神韵。身后圆月如璧悬于天际，清辉漫洒，衬得她面容柔和，眸光含慈，悲悯之意溢于眉宇。衣纹线条细腻流畅，褶皱层叠自然，笔墨灵动处见功底。上方疏枝横斜，影映清辉；下方水波微动，更添空灵澄澈之境。整体氛围静谧祥和，似能涤荡尘心，传递出超越世俗的慈悲安宁。观者凝神间，心神便被这份神圣静谧的美感包裹，沉醉于艺术与信仰交融的温柔力量中。",[24,25,226,260,106,352,7,265,109,230,194],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f74b241027c5bc565bf1a1a100e2598.jpg","180.3x83.5",[44],{"id":23602,"slug":23603,"title":23595,"dynasty":302,"author":257,"museum":316,"description":23604,"tags":23605,"thumbUrl":23606,"material":1319,"size":139,"collection":44,"collections":23607,"showCount":23253,"zanCount":1379,"manualWeight":48,"mainColor":49},217067,"bai-yi-guan-yin-tu-yi-ming-217067","白衣观音图是元朝时期的一幅佚名绘画，被认为是中国古代宗教图像艺术的杰作。这幅画描绘的是观音菩萨的形象，她身着白衣，头戴冠冕，手持莲花，神态庄严肃穆。\n\n观音菩萨是佛教传统中的一位菩萨，被认为是慈悲与智慧的化身。她的莲花代表了佛教的清净，而白色的衣服则象征着她的纯洁和超凡的品德。\n\n白衣观音图的风格独特，线条流畅，色彩明亮。画家巧妙地运用了透视法和光影效果，使得观音菩萨的形象更加立体生动。\n\n白衣观音图至今仍被认为是中国古代宗教绘画的杰作，其独特的风格和出色的艺术技巧吸引了众多观众的目光。它不仅是一幅优秀的艺术品，也是中国文化遗产的瑰宝。",[24,25,226,260,352,173,7,106,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc53f25759ae0a1847993ffe0f015ebbf.jpg",[44],{"id":23609,"slug":23610,"title":23611,"dynasty":302,"author":257,"museum":191,"description":23612,"tags":23613,"thumbUrl":23615,"material":123,"size":23616,"collection":90,"collections":23617,"showCount":23253,"zanCount":48,"manualWeight":48,"mainColor":49},216211,"lu-yan-zhou-yi-ming-216211","芦雁轴","芦雁图轴是一件来自元朝时期的著名艺术珍品，作者不详。这件作品描绘了一只雁在芦苇丛中的景象，并以细腻的线条和精确的造型表现了雁的轮廓和羽毛。芦雁图轴的艺术风格属于元朝时期流行的清新风格，被认为是元朝艺术的精华之作。",[24,28,7,226,83,245,23614,3765,634],"芦草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b23b9ab38b1ae3b9144978aa0d68304.jpg","168.3x106.7cm",[90],{"id":23619,"slug":23620,"title":23621,"dynasty":18,"author":3752,"museum":316,"description":23622,"tags":23623,"thumbUrl":23624,"material":599,"size":600,"collection":139,"collections":23625,"showCount":23626,"zanCount":48,"manualWeight":48,"mainColor":49},287586,"hua-pi-pa-kong-que-cui-bai-287586","画枇杷孔雀","崔白（1004-1088），字子西，濠州（今安徽凤阳）人，北宋画家。崔白是开始发挥写生精神的画家，其无前人的画稿可临摹或参考，但其依靠超越前人的观察研究及描绘能力，探索花木鸟兽的生意，摆脱花鸟属装饰图案的遗影，开创新的发展方向。其擅花竹、翎毛，亦长于佛道壁画，画佛道鬼神、山水、人物亦精妙绝伦，尤长于写生。所画鹅、蝉、雀堪称三绝，手法细致，形象真实，生动传神，富于逸情野趣。一改百余年墨守成规的花鸟画风（指“黄筌画派”），成为北宋画坛的革新主将，数百年来颇受画坛尊崇。",[24,194,83,28,7,277,1036,84,1633,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe485ccbcaf466a1e71621d56277378c3.jpg",[],57,{"id":23628,"slug":23629,"title":23630,"dynasty":76,"author":257,"museum":316,"description":18745,"tags":23631,"thumbUrl":23632,"material":599,"size":600,"collection":139,"collections":23633,"showCount":23626,"zanCount":2368,"manualWeight":48,"mainColor":94},270176,"sha-tie-juan-tao-shu-xian-he-tu-mian-wu-mu-diao-hua-bing-tuan-shan-yi-ming-270176","纱贴绢桃树仙鹤图面乌木雕花柄团扇",[1260,5300,28,7,83,7457,926,227,1633,7135,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facead754c75987afe21c13f4dbff64eb.jpg",[],{"id":23635,"slug":23636,"title":23637,"dynasty":99,"author":18784,"museum":20,"description":18785,"tags":23638,"thumbUrl":23639,"material":500,"size":23640,"collection":45,"collections":23641,"showCount":23626,"zanCount":48,"manualWeight":48,"mainColor":49},237895,"ming-ren-zhu-cha-tu-zhou-ding-yun-peng-237895","明人煮茶图轴",[24,25,226,7,28,106,611,3712,84,2307],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F094a120df71d56d0cb60610819a00d95.jpg","纵137.3厘米，横64.4厘米",[45],{"id":23643,"slug":23644,"title":23645,"dynasty":99,"author":1057,"museum":316,"description":23646,"tags":23647,"thumbUrl":23648,"material":139,"size":139,"collection":90,"collections":23649,"showCount":23626,"zanCount":48,"manualWeight":48,"mainColor":49},237698,"shan-shui-hua-guo-ce-xiang-sheng-mo-237698","山水花果册","项圣谟，生于明代万历二十五年（1597年），卒于清代顺治十五年（1658年），初字逸，后字孔彰，号易庵，别号甚多，已知者有子璋、子毗、胥山樵、胥樵、古胥山樵人、兔鸣叟、莲塘居士、松涛散仙、大酉山人、存存居士、烟波钓徒、狂吟客、鸳湖钓叟、逸叟、不夜楼中士、醉疯人、烟雨楼边钓鼇客等，浙江嘉兴人。祖父项元汴，为明末著名书画收藏家和画家。伯父项德新也善画。项圣谟自幼受家庭熏陶，精研古代书画名作，虽然曾由秀才举荐为国子监太学生，但不求仕进，而把兴趣投入到书画中，从而在绘画创作上，他很早就显现出了多方面的才能，山水、人物、花鸟无一不精，曾得到明末两位最为著名的鉴赏家，董其昌和李日华的高度评价。董其昌在他的画册上题跋，称“古人论画，以取物无疑为一合，非十三科全备，未能至此。范宽山水神品，犹借名手为人物，故知兼长之难。项孔彰此册，乃众美毕臻，树石屋宇，皆与宋人血战，就中山水，又兼元人气韵，虽其天骨自合，要亦工力至深，所谓士气、作家俱备。项子京有此文孙，不负好古鉴赏百年食报之胜事矣”，李日华称赞他的画风“英思神悟，超然独得”，是“崛起之豪”。\n项圣谟的作品，以山水为多，也是他成就的主要方面。他早年从学习文徵明入手，但很快就跳出了文徵明画法画风的局限，而直接向古人学习。这主要是受益於其家族富甲天下的历代名画收藏，从而可以使他很快改学宋人用笔的周密严谨、兼取了元人的韵致。除了宗乳於祖辈的丰富家藏，亦得力其自身的观察自然、远游写生的经验，使其画面布局大开大合，意境明净清雅，结构严谨而富于变化，笔法简洁秀逸，气韵高雅，极富书卷气，具有很高的品格和思想内涵。\n他的画有两点最值得称道，也是当时其他画家所不及的。其一是强烈的政治色彩，他用画反映民间疾苦，寄托对人民的同情和对明王朝的忠贞。在先后经历了“甲申”和“乙酉”之变，满清入主中原后，项圣谟在画上就不再题写朝代的纪年，仅用干支，并钤盖“江南在野臣”、“大宋南渡以来辽西郡人”、“皇明世胄之中嘉禾处士”等印，以彰其志节。此段时间的作品，大多借用绘画抒写胸中郁愤，表现强烈的遗民感情，由徐树铭题项圣谟清顺治三年（1646）所作《山水诗画册》：“六月雪篇有时变之感，望扶桑篇有故国之思，诗史之董狐也。”于画作中寓写深意，反应时代，以画为史。李铸晋认为其在亡国后的作品，蕴含著效忠前朝，表达亡国之痛的图画象徵，如：红色，以“朱”为明朝；枝干壮硕却无叶的树木，喻为国家，虽历风雨，枝干仍傲然挺立，有著不可折屈的精神；在暮色中栖息的飞鸟是无处可归，何处为家之意等。现藏北京故宫之《大树风号图》的题跋“风号大树中天立，日落西山四海孤。短策且随时旦莫，不堪回首望菰蒲”可作其心境写照。\n其二是极其严谨的画风和写实态度。项圣谟善于从生活中摄取素材，他的画贴近现实，造型准确，严肃不苟，一反当时潦草粗疏，追求“逸笔草草”的画风。吴山涛在题项圣谟《秋声图轴》曾说到：“孔彰先生为予老友，作画必凝神定志，一笔不苟，予常嗤其太劳。君曰：我辈笔墨，欲流传千百世，岂可草草乎？旨哉其言也。”可见项圣谟这种严肃认真的好的作风，直接影响到他的画风，使他的绘画在当时的画坛上别树一帜，而赢得了“士气作家俱备”的称誉。\n项圣谟喜画高大的乔木，尤喜画松树，树木勾，擦，染精细，树干之嶙峋，历历几可扪捉，有强烈的凹凸感，而留出的受光部分则颇具体积感，与一般文人画示意性的画法迥然有别，故明时有“项松之名满东南”之誉。他画的大树，树干挺直，刚强伟岸，拟人化的画面形象鲜明强烈，具有强大的人格力量。\n在花鸟画的创作上项圣谟同样具有自己鲜明的特色，尤其讲究造型，经意构图，善于表现花叶和花瓣的层次，向背以及受光点的明暗，从而有别于当时其他花鸟画家的画风。项圣谟很认真地吸收了黄筌画派精谨慎严的审物造物精神，但在画法上，受写意画影响，形成一种工写结合的形式，酲酿了黄筌画派工笔花鸟画新的发展趋势。在技法上，大都以水墨或略施淡彩，有时也纯用色彩作没骨法，色彩淡而不薄。在用笔上，十分凝重秀逸，故而虽有姣妍之色相，却寓嶙峋之风骨，整个调子和气氛，非常飘洒雅致，不同凡俗，好似有一股冷艳暗香浮动其间。他的这种风格在之后的恽寿平、蒋廷锡等人的作品中都有所体现。\n除绘画外，项圣谟亦精书法，善赋诗。其书法端庄严谨，峻拔出脱中不失书卷气。其诗多为题画诗，除了描绘山光水色、自然美景的山水诗外，还有许多是表达其对人民疾苦的同情和对故国的怀念，文辞警策凝重，格调悲壮慨然，反映出他的个性为人。因国破家亡，其晚年家贫，却志存高洁，不结交权贵，靠卖画自给。著有《朗云堂集》、《清河草堂集》、《历代画家姓氏考》、《墨君题语》。",[24,194,7,28,1185,1060,210,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf6cca07ebe77c836898663ca11c9d3b.jpg",[90,181],{"id":23651,"slug":23652,"title":23653,"dynasty":76,"author":5359,"museum":20,"description":23654,"tags":23655,"thumbUrl":23656,"material":40,"size":23657,"collection":181,"collections":23658,"showCount":23626,"zanCount":48,"manualWeight":48,"mainColor":94},236719,"shan-shui-lou-ge-zhou-yuan-yao-236719","山水楼阁轴","此图是袁耀中年时期创作的大幅画作。绘高山峻岭，山石陡峭，树木葱郁，楼阁华丽壮观，境界幽美。图中用笔严谨精到，山水以工笔画出，墨色富于浓淡变化，明净雅致，意境恬淡，别有一番韵致。",[24,104,7,28,177,29,107,176,34,31,174,114,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd2cab51c3f5a3bcd636d980beb75aed.jpg","纵202.3厘米，横118.5厘米",[181,45],{"id":23660,"slug":23661,"title":23662,"dynasty":76,"author":257,"museum":20,"description":23663,"tags":23664,"thumbUrl":23665,"material":40,"size":23666,"collection":44,"collections":23667,"showCount":23626,"zanCount":2368,"manualWeight":48,"mainColor":49},236161,"qing-ren-wan-guo-lai-chao-tu-zhou-yi-ming-236161","清人万国来朝图轴","此画描绘的是藩属及外国使臣到紫禁城朝贺的场面。作者以鸟瞰的角度从太和门前的两个青铜狮子画起，将紫禁城中的主要建筑一一收入画幅，近大远小，主次分明，层次丰富，在大雪的银装素裹之下，整个场面宏伟壮观。",[194,24,25,104,7,106,107,968,2562,8378,2954],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3007a2fd17c1d62f37b42bee59db909.jpg","纵299cm，横207cm",[44,45],{"id":23669,"slug":23670,"title":23671,"dynasty":76,"author":3071,"museum":316,"description":23672,"tags":23673,"thumbUrl":23674,"material":139,"size":139,"collection":139,"collections":23675,"showCount":23626,"zanCount":2368,"manualWeight":48,"mainColor":94},229034,"shan-shui-lou-ge-tu-ce-chen-mei-229034","山水楼阁图册","朱楹黄瓦的殿宇层叠错落，界笔勾勒工整流丽，台磴之上的小人三两，为深庭晕开细碎烟火。中景平湖如镜，枯木疏朗映于水面，板桥衔起村郭，行人缓步，将皇家苑囿的华贵揉进乡野清趣。\n\n远景山峦晕染如烟，似被流云轻裹，墨色由浓转淡，与天际融作一处。工笔重彩糅合浅绛晕染，明雅清润的设色下，殿宇的富丽与林泉的清逸相映成趣，将楼阁的精巧与山水的悠远调和得恰到好处，尽展清妍秀逸的幽隽意境。",[24,104,7,28,81,212,29,107,108,34,176,114,115,37,1169,795,9231,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26ebd3d8df34ba8b4cbd50100c696319.jpg",[],{"id":23677,"slug":23678,"title":18974,"dynasty":76,"author":997,"museum":316,"description":23679,"tags":23680,"thumbUrl":23682,"material":139,"size":139,"collection":139,"collections":23683,"showCount":23626,"zanCount":2368,"manualWeight":48,"mainColor":94},228983,"tao-yuan-tu-shi-tao-228983","此作用淡墨晕染烟岚，赭石青绿轻敷山峦，留白铺展云气溪谷，村居错落隐于林麓溪畔，营造出幽谧空濛的世外丘壑。写意笔法脱略具象，点染之间将笔下山水化为可游可居之境。\n卷后题跋书法朴拙苍劲，题诗与绘境呼应，将武陵渔父误入桃源的悠然逸致娓娓道来，诗画交融无间。\n整作以淡远萧散的意境，寄寓着文人避世幽居的理想，把陶潜笔下的幻梦山水化为现实笔墨，尽显山水写意的诗性之美。",[24,25,26,7,29,173,177,808,37,1981,35,34,245,109,1171,15034,243,23681,809,1169,9951,106],"渔父","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7ff77b63e584f962b6ea92555a2a5a1.jpg",[],{"id":23685,"slug":23686,"title":23687,"dynasty":18,"author":391,"museum":316,"description":23688,"tags":23689,"thumbUrl":23692,"material":139,"size":139,"collection":139,"collections":23693,"showCount":23626,"zanCount":48,"manualWeight":48,"mainColor":94},227491,"liu-ya-lu-yan-tu-juan-zhao-ji-227491","柳鸦芦雁图卷","《柳鸦芦雁图》是北宋宋徽宗赵佶创作的一幅纸本淡设色中国画，现藏于上海博物馆。\n此图共分为二段，前段画柳鸦，后段画芦雁。鸦的头顶和腹部施以白粉，鸦身敷浓墨，黝黑如漆。柳树的斑驳老干，富有质感。柳鸦的墨彩很酣，笔势很壮，显示出赵佶用墨的特色。后段四只芦雁在芦草蓼花边栖息，以浅赭设色，增强了秋天萧疏的气氛。",[23,194,24,25,26,28,173,7,212,2532,23690,23691,3765,3712,245,378,319],"鸦","芦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26d888a8bed9a38a24bfea78fe527b0a.jpg",[],{"id":23695,"slug":23696,"title":20563,"dynasty":189,"author":1642,"museum":316,"description":23697,"tags":23698,"thumbUrl":23699,"material":139,"size":139,"collection":139,"collections":23700,"showCount":23626,"zanCount":48,"manualWeight":48,"mainColor":49},226707,"ting-qin-tu-zhou-wen-ju-226707","周文矩是中国五代时期南唐人，生卒年不详，大约在南唐中主李璟、后主李煜时期，官至翰林待诏，擅长画佛道、人物、车马、屋木、山水题材，最擅长画仕女画。他是出色的肖像画家。所绘作品多以宫廷贵族的生活为题材，画风和唐代的周昉比较相近，独创了“战笔”描法。\n\n《听琴图》，传为五代周文矩所作，绢本，立轴，纵60厘米，横47厘米，现收藏于美国克利夫兰美术馆藏。画上题款“周文矩”，但传为明朝唐寅唐伯虎所作赝品。",[23,24,25,194,28,352,7,106,795,175,176,195,808,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F375f9f9c019d3847bfbc827a8b08238c.jpg",[],{"id":23702,"slug":23703,"title":23704,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":23705,"thumbUrl":23706,"material":599,"size":600,"collection":139,"collections":23707,"showCount":23626,"zanCount":1379,"manualWeight":48,"mainColor":49},226285,"ku-zhu-shi-nan-bi-yi-ming-226285","窟主室南壁",[511,260,7,104,28,106,107,29,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F573bae825e97fe194a68b5e2a3d28eb3.jpg",[],{"id":23709,"slug":23710,"title":23711,"dynasty":256,"author":23712,"museum":316,"description":23713,"tags":23714,"thumbUrl":23721,"material":599,"size":600,"collection":3195,"collections":23722,"showCount":23626,"zanCount":48,"manualWeight":48,"mainColor":2504},225891,"fa-guo-wang-hou-ma-li-an-tuo-wa-he-ta-de-hai-zi-men-yi-li-sha-bai-lu-yi-si-wei-jie-lei-bu-lun-225891","法国王后玛丽．安托瓦和她的孩子们","伊丽莎白·路易丝·维杰·勒布伦","伊丽莎白·路易丝·维热·勒布伦（ElisabethLouiseVigee-LeBrun），1755年出生于法国，学肖像画成名后，被选为法兰西皇家绘画雕塑学院院士，1842年在巴黎逝世。",[3187,7,8377,23715,106,2385,23716,19926,8432,6423,9383,336,23717,23718,3193,23719,23720],"肖像画","女性","窗帘","柜子","古典","欧洲宫廷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93289aec03f77fbc22f98dd6e56f227e.jpg",[3195],{"id":23724,"slug":23725,"title":23726,"dynasty":256,"author":6236,"museum":316,"description":6237,"tags":23727,"thumbUrl":23728,"material":599,"size":600,"collection":3195,"collections":23729,"showCount":23626,"zanCount":48,"manualWeight":48,"mainColor":49},225706,"a-crab-on-its-back-1888-fan-gao-225706","A crab on its back 1888",[3187,7,2594,22470,6241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb701fd08d5fdaaf5d39775a0301012d2.jpg",[3195],{"id":23731,"slug":23732,"title":23733,"dynasty":256,"author":3184,"museum":316,"description":6534,"tags":23734,"thumbUrl":23735,"material":599,"size":600,"collection":3195,"collections":23736,"showCount":23626,"zanCount":48,"manualWeight":48,"mainColor":49},225671,"rembrandt-harmensz-van-rijn-081-lun-bo-lang-225671","Rembrandt Harmensz.van Rijn - 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色浓丽而又不隐墨骨。",[23,194,24,25,1260,28,7,83,227,636,913],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01191a7671ec45bee311028ed57ed69c.jpg",[],{"id":24071,"slug":24072,"title":24073,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":24074,"thumbUrl":24075,"material":599,"size":600,"collection":139,"collections":24076,"showCount":23938,"zanCount":2368,"manualWeight":48,"mainColor":49},226320,"ku-zhu-shi-xi-pi-yi-ming-226320","窟主室西披",[511,260,7,106,107,245,746],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff39c4843a2414572c744e4aa24a54ad8.jpg",[],{"id":24078,"slug":24079,"title":24080,"dynasty":99,"author":257,"museum":316,"description":24081,"tags":24082,"thumbUrl":24083,"material":529,"size":24084,"collection":181,"collections":24085,"showCount":23938,"zanCount":48,"manualWeight":48,"mainColor":49},223460,"shan-shui-lou-ge-tu-ye-yi-ming-223460","山水楼阁图页","图中绘高山峻岭，山石陡峭，树木葱郁，群山中有一楼阁，作为画中心，色彩不同于高山树木的墨绿，采用偏黄绘画，具有中国建筑特色，极为突出",[23,24,25,81,104,173,7,29,107,34,176,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58ae4ea4a3f42436225874305e3ba8ce.jpg","40X43",[181,163],{"id":24087,"slug":24088,"title":24089,"dynasty":54,"author":257,"museum":20,"description":24090,"tags":24091,"thumbUrl":24100,"material":529,"size":24101,"collection":139,"collections":24102,"showCount":23938,"zanCount":2368,"manualWeight":48,"mainColor":94},223360,"fu-xi-nv-wa-xiang-ye-yi-ming-223360","伏羲女娲像页","此图上彩画人首蛇身男女二人，均着窄衫小袖绛红色胡装，二人腰相连，共着一条白裙。男居左，无须，头戴笼冠，张左手执矩，矩上有墨斗（已被腐蚀）。女居在右，束高髻，张右手执规。男女上身相拥，中间两臂相连，下尾盘曲相交四节成螺旋状。两人头上有圆轮，周画圆圈以象征日；尾下有下弯月牙一，周画圆圈以象征月。画面四周面遍布大小相等的圆圈，部分以线相连象征星辰。",[23,24,7,6170,512,24092,24093,24094,18822,24095,24096,24097,24098,24099],"伏羲","女娲","人首蛇身","月","星辰","规","矩","胡装","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98549c4ea49fd625aec04606563866db.jpg","199.6*175CM,横上82*53.7CM厘米.",[],{"id":24104,"slug":24105,"title":24106,"dynasty":18,"author":257,"museum":101,"description":24107,"tags":24108,"thumbUrl":24110,"material":529,"size":24111,"collection":42,"collections":24112,"showCount":23938,"zanCount":48,"manualWeight":48,"mainColor":49},223354,"fang-zhou-fang-xi-ying-tu-yi-ming-223354","仿周昉戏婴图","周昉《戏婴图》已失传，本卷为宋人摹本，技法设色均有周昉风骨。图绘五个女子与七个幼孩嬉戏、为幼孩洗浴、穿衣的生活场景。中国古代人物画，有“婴戏图”这一种类。“婴”字，作“孩童”解。以小孩的生活、游戏为描绘对象，表现孩童的天真、稚拙、活泼、可爱，画面生动、有趣，寄托了人们对于美好生活--“多子多福”的向往，所以历来很受大众的欢迎，在唐、宋时期无论题材还是技法都已相当成熟。如宋苏汉臣的《秋庭戏婴图》可谓杰作。",[23,24,194,28,7,106,59,18832,745,2385,409,24109,67],"孩童嬉戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28b11b8ef4628a62aa0c11093093e5b0.jpg","纵30.5厘米，横111.8厘米",[42],{"id":24114,"slug":24115,"title":24116,"dynasty":76,"author":24117,"museum":6047,"description":24118,"tags":24119,"thumbUrl":24120,"material":24121,"size":24122,"collection":90,"collections":24123,"showCount":23938,"zanCount":48,"manualWeight":48,"mainColor":94},223252,"zhu-ju-hua-tu-zhou-pu-hua-223252","竹菊花图轴","蒲华","蒲华（1832—1911）字作英，亦作竹英、竹云，浙江嘉兴人。号胥山野史、胥山外史、种竹道人，斋名九琴十砚斋、九琴十研楼、芙蓉庵，夫蓉盦、剑胆琴心室等。晚清著名书画家，与虚谷、吴昌硕、任伯年合称“海派四杰”。\n早年科举，仅得秀才，遂绝念仕途，潜心书画，携笔砚出游四方，后寓居上海，卖画为生。善花卉、山水，尤擅画竹，有“蒲竹”之誉。书法淳厚多姿；其画燥润兼施，苍劲妩媚，风韵清健。\n晚清民国时期著名画家，与任伯年、吴昌硕、虚谷合称“海派四杰”。\n与海上名家广有交往， 同吴昌硕尤为密切。蒲华长吴昌硕十二岁，昌硕幼时便闻蒲华画名，关系在师友之间，互取所长，风貌因之相近。\n善用湿笔，水墨淋漓，光彩照人。善花卉、山水，尤擅画竹，有“蒲竹”之誉。\n吴昌硕作十二友诗，记蒲华曰：“蒲作英善草书、画竹，自云学天台傅啸生，仓莽驰骤、脱尽畦畛。家贫，鬻画自给，时或升斗不继，陶然自得。余赠诗云：蒲老竹叶大于掌，画壁古寺苍涯琏。墨汁翻衣吟犹着，天涯作客才可怜。朔风鲁酒助野哭，拔剑斫地歌当筵。柴门日午叩不响，鸡犬一屋同高眠”。\n吴昌硕为蒲华所作《芙蓉庵燹馀草》作序言：“作英蒲君为余五十年前之老友也，晨夕过从，风趣可挹。尝于夏月间，衣粗葛，橐笔两三枝，诣缶庐，汗背如雨，喘息未定，即搦管写竹，墨沈淋漓。竹叶如掌，萧萧飒飒，如疾风振林，听之有声，思之成咏。其襟怀磊落，逾恒人也如斯。”\n谢稚柳论言：“蒲华的画竹与李复堂、李方膺是同声相应的，吴昌硕的墨竹，其体制正是从蒲华而来”。\n蒲华中年尤勤书学，寝馈旭、素，斗墨千纸，数日而尽。至于元明各家书帖，也常把玩临摹。以书入画，酣畅恣肆。\n蒲华晚年，笔老墨精。其书法，淳厚多姿；其绘画，燥润兼施，苍劲妩媚。尤喜画大幅巨幛，莽莽苍苍，蔚为大观。所作山水大轴或册页，虽多为山居、读书等传统题材，但布局新颖，风韵清隽。\n蒲吴两家粗豪奔放的画风，使因袭纤巧之时风大为逊色，一新画派崛起于沪上画坛。\n癖好古琴，遇即购藏，视为心爱之物，名其居屋为“九琴十砚楼”。",[23,24,7,173,226,83,227,897,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f837281a5a3ede855624505ab9f5514.jpg","纸本，册页，设色","纵27厘米、横34厘米",[90,45],{"id":24125,"slug":24126,"title":24127,"dynasty":76,"author":742,"museum":539,"description":1373,"tags":24128,"thumbUrl":24129,"material":500,"size":7105,"collection":139,"collections":24130,"showCount":23938,"zanCount":48,"manualWeight":48,"mainColor":94},223233,"mu-zi-ping-an-tu-ren-yi-223233","母子平安图",[23,320,24,25,7,498,83,14327,19135,243,34,211,1187,7249,912],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f8484418d23a6d00d3a4500767ec3af.jpg",[],{"id":24132,"slug":24133,"title":24134,"dynasty":76,"author":329,"museum":20,"description":9578,"tags":24135,"thumbUrl":24137,"material":40,"size":9581,"collection":90,"collections":24138,"showCount":23938,"zanCount":48,"manualWeight":48,"mainColor":49},222792,"jiao-yuan-mu-ma-tu-lang-shi-ning-222792","郊原牧马图",[23,28,7,150,1241,106,912,686,34,1754,24136],"原野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1bf9e7ff804c6db6e3bc52b86461389.jpg",[90,45],{"id":24140,"slug":24141,"title":24142,"dynasty":76,"author":329,"museum":191,"description":10188,"tags":24143,"thumbUrl":24144,"material":529,"size":10192,"collection":181,"collections":24145,"showCount":23938,"zanCount":1379,"manualWeight":48,"mainColor":94},222767,"shi-er-yue-ling-tu-8-yue-lang-shi-ning-222767","十二月令图（8月）",[23,24,25,28,7,104,106,107,34,176,115,175,84,278,9231,617,1557],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd9d2819dab19c67c4bf7cfb5fc58f1a.jpg",[181,45],{"id":24147,"slug":24148,"title":24149,"dynasty":99,"author":14115,"museum":191,"description":24150,"tags":24151,"thumbUrl":24152,"material":88,"size":24153,"collection":163,"collections":24154,"showCount":23938,"zanCount":2368,"manualWeight":48,"mainColor":94},222227,"song-gang-zhu-wu-tu-zhou-wen-bo-ren-222227","松冈竹坞图轴","文伯仁松的《冈竹坞图》画中前景有戴笠僧人拄杖前行，将进入林间寺院；中景有一渡桥文士，或许即为“放浪溪山已有年”的文伯仁；远景宛若随著云雾浮现，凛立天际的秀峻山头，应是令作者追求神往的盛景。文伯仁是习仿文征明风格的后辈与学生中，自成面目，卓然出众者。他将文征明结构繁复的图式，朝更精致严密的方向发展，以工细的用笔与敷色，别出心裁的构图，表现郁茂清幽的山林胜景，散发出文派作品特有的雅澹气质。",[23,24,25,226,173,7,177,212,29,1133,227,175,108,109,176,34,245,353,1049],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2a43776896fe834580cb168f04bc481.jpg","132.6x30.7cm",[163,45],{"id":24156,"slug":24157,"title":24158,"dynasty":99,"author":170,"museum":20,"description":24159,"tags":24160,"thumbUrl":24162,"material":638,"size":24163,"collection":90,"collections":24164,"showCount":23938,"zanCount":48,"manualWeight":48,"mainColor":94},222129,"xin-yi-mo-cai-tu-juan-shen-zhou-222129","辛夷墨菜图卷","第一段：本幅无款，右下钤印“启南”（朱文）。另有吴宽题诗：“半含成木笔，本号是辛夷。一树石庭下，故园增我思。”钤印“延州来季子后”（朱文）。另钤“项元汴印”（朱文）等鉴藏印多方。此幅采用没骨法绘折枝辛夷，以苍秀古拙之笔画花卉枝干，以不同水分的色墨画出花瓣叶片，色泽浓淡分明，层次丰富，再用重墨劲细之笔勾画叶筋。构图疏密有致，设色清妍秀雅，富于蕴蓄之致。\n第二段：本幅无款，右下钤“启南”朱文印。另有吴宽题诗：“翠玉晓茏葱，畦间足春雨。咬根莫弄叶，还可作羹煮。”钤“原博”朱文印。另钤项元汴“平生真赏”朱文印等鉴藏印多方。画中运用干笔的飞白、水墨的渲染和重笔浓墨的点写将一棵普普通通的白菜表现得栩栩如生。此画突出了书法用笔的特点，粗放率意，转折自然，用墨亦变化多端，颇具逸致，天趣盎然。",[23,26,173,7,498,24161,7417,84,264,212,86],"辛夷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36497ff253f3762a4bf12e6f7a25d7a3.jpg","第一段，纸本，设色，纵34.9厘米，横58.8厘米；第二段，纸本，墨笔，纵34.9厘米，横58.8厘米。",[90,163],{"id":24166,"slug":24167,"title":24168,"dynasty":18,"author":11133,"museum":78,"description":6431,"tags":24169,"thumbUrl":24170,"material":24171,"size":24172,"collection":42,"collections":24173,"showCount":23938,"zanCount":1379,"manualWeight":48,"mainColor":49},221585,"an-chun-tu-li-an-zhong-221585","鹌鹑图",[23,194,24,25,28,7,83,7956,484,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0a7a66cc5c8697ff42ab6e379a7cb63.jpg","设色绢","52x68",[42,90,45],{"id":24175,"slug":24176,"title":24177,"dynasty":18,"author":1350,"museum":1577,"description":24178,"tags":24179,"thumbUrl":24180,"material":67,"size":1592,"collection":139,"collections":24181,"showCount":23938,"zanCount":2368,"manualWeight":48,"mainColor":49},221531,"jiang-shang-xiao-chuan-tu-ma-yuan-221531","江上小船图","马远（约1140－约1225年后），南宋画家。字遥父，号钦山，原籍河中（今山西永济），侨寓钱塘（今浙江杭州）。出身绘画世家，南宋光宗、宁宗两朝画院待诏。擅画山水、人物、花鸟，山水取法李唐，笔力劲利阔略，皴法硬朗，树叶常用夹叶，树干浓重，多横斜之态。楼阁界画精工，且加衬染。喜作边角小景，世称“马一角”。人物勾描自然，花鸟常以山水为景，情意相交，生趣盎然。与李唐、刘松年、夏圭并称“南宋四家”。存世作品有《踏歌图》《水图》《梅石溪凫图》《西园雅集图》等。",[23,24,194,25,1260,173,7,106,174,29,795],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9920e6cf5cd9c356e5072e6bc0e4c7e.jpg",[],{"id":24183,"slug":24184,"title":24185,"dynasty":18,"author":17938,"museu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（今浙江杭州）人。高宗绍兴(1131-1162)中登第，一说官至工部或兵部侍郎。画院待诏（画家），为南宋宫廷画院中官品最高的画师，居御前画院十人之首。周密曾谓“御前画院仅十人，和之居其首焉”。擅画佛像、界画、山水，尤擅人物，人物师法吴道子、李公麟，仿“吴装”创用柳叶描(一作马蝗描)，用笔起伏、线条粗细变化明显，着色轻淡，笔法飘逸流利，活泼潇洒，富有韵律感，出入古法，脱去习俗，自成一家。其绘画风格与唐代吴道子相仿，当时有“小吴生”之称。",[23,194,24,25,26,352,7,178,212,86,106,107,109,108,175,353,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95614c3f4e3eb9f4c63c1368cfcfd9c2.jpg","27×383厘米",[42,181,45],{"id":24192,"slug":24193,"title":24194,"dynasty":18,"author":17571,"museum":316,"description":24195,"tags":24196,"thumbUrl":24197,"material":7,"size":24198,"collection":42,"collections":24199,"showCount":23938,"zanCount":48,"manualWeight":48,"mainColor":49},221424,"shan-shui-tu-ye-yan-wen-gui-221424","山水图页","燕文贵（967—1044），北宋画家。文贵一作贵，又名燕文季，吴兴（今浙江湖州）人。擅画山水、屋木、人物。宋太宗时至汴梁于街头卖画，被画院待诏高益发现并加以举荐，后进入翰林图画院，甚得太宗赏识。\n\n作画常自出机杼，落笔命意不袭古人，所画景物清润秀雅，又善于把山水与界画相结合，将巍峨壮丽的楼观阁榭穿插于溪山之间，点缀以人物活动。刻画精微，笔法峭丽，境界雄浑，人称“燕家景致”。\n存世作品有《江山楼观图》《溪山楼观图》等。",[23,194,24,25,81,7,177,29,34,114,111,1169,5702,686],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f2cb4e910bceafecf67da9700705515.jpg","55×25",[42,181,163],{"id":24201,"slug":24202,"title":24203,"dynasty":869,"author":870,"museum":8765,"description":24204,"tags":24205,"thumbUrl":24206,"material":11118,"size":139,"collection":139,"collections":24207,"showCount":23938,"zanCount":48,"manualWeight":48,"mainColor":94},220595,"gong-chong-ce-ye-guo-guo-qi-bai-shi-220595","工虫册页·蝈蝈","此作以工写相映成趣，左侧赭红草叶写意挥就，笔致苍劲洒脱，寥寥数笔便勾勒出舒展野逸之态，淡墨晕染的浅淡底色晕开朦胧乡野意韵。右侧蝈蝈则以工笔细描，翠色躯体鲜亮通透，触须纤毫毕现，肢节纹理分明，振翅欲动，仿佛下一秒便要跃向草叶，将乡野小虫的灵动鲜活凝于纸面。\n\n简笔写意的朴拙与精微工细的鲜活彼此映衬，把寻常乡野小景绘得生机满溢，藏着对自然烟火的细腻体察，于平淡日常里撷取鲜活意趣。",[24,25,81,28,7,83,6957,838],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf64a8cd4f60805de0416aa2528db217.jpg",[],{"id":24209,"slug":24210,"title":24211,"dynasty":18,"author":257,"museum":7132,"description":7133,"tags":24212,"thumbUrl":24213,"material":7,"size":7137,"collection":139,"collections":24214,"showCount":23938,"zanCount":2368,"manualWeight":48,"mainColor":49},220241,"rui-guang-ta-si-tian-wang-xiang-4-yi-ming-220241","瑞光塔四天王像4",[194,24,28,7,260,106,746],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6228be4d803c0cec9fb87a8cbef04b3.jpg",[],{"id":24216,"slug":24217,"title":24218,"dynasty":76,"author":77,"museum":316,"description":24219,"tags":24220,"thumbUrl":24221,"material":88,"size":24222,"collection":90,"collections":24223,"showCount":23938,"zanCount":48,"manualWeight":48,"mainColor":94},219990,"yao-pu-qiong-pa-tu-yun-shou-ping-219990","瑶圃琼葩图","图绘湖石一块，形状怪异；后有牡丹围绕，枝繁叶茂，枝头花朵或粉红，或红白相间，花瓣层层叠叠，层次清晰。此幅敷色生硬，或是后人摹本。",[23,24,25,83,194,226,82,7,28,292,263,3712,84,210,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52a659286fd748d9c56f400aa903af4c.jpg","120×54",[90],{"id":24225,"slug":24226,"title":24227,"dynasty":18,"author":24228,"museum":191,"description":24229,"tags":24230,"thumbUrl":24231,"material":123,"size":24232,"collection":90,"collections":24233,"showCount":23938,"zanCount":2368,"manualWeight":48,"mainColor":94},219940,"ye-shu-cao-chong-tu-xu-di-219940","野蔬草虫图","许迪","素净的地面上，有一株孤伶伶的白菜。零星的叶片，褪了不少绿意，也被虫子啃蚀得有些残破。一只红尾的蝗虫大剌剌地弹跳了过来，看来又是想要来饱食一顿的饕客。白菜上方，另一位访客－淡黄的粉蝶也翩然而至，与一只黑翅的蜻蜓不期而遇。看这只蜻蜓摩拳搓掌的样子，不禁令人替这只娇弱的粉蝶捏把冷汗。",[23,194,24,1260,28,7,1184,483,484,635,1820],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c9714821a89822cea4d8aee785f1a6b.jpg","纵25.8厘米、横26.9厘米",[90],{"id":24235,"slug":24236,"title":24237,"dynasty":76,"author":329,"museum":20,"description":24238,"tags":24239,"thumbUrl":24240,"material":123,"size":24241,"collection":90,"collections":24242,"showCount":23938,"zanCount":48,"manualWeight":48,"mainColor":49},219870,"song-xian-ying-zhi-tu-zhou-lang-shi-ning-219870","嵩献英芝图轴","正中是一只兀立于石上的白鹰，画面的右边是一棵弯曲盘绕的老松，还有一棵藤萝攀绕着松树枝干，松树的根部和石头的缝隙之间有灵芝数株，画幅左边为坡石以及急湍的溪流。 图中所绘苍松、雄鹰、灵芝、山石、流水，在中国文化中多有强健、长寿和吉祥的美好寓意。但在色彩上，鹰白、松绿、芝棕红、土坡绛色和藤萝花粉紫，却是不同于中国传统、属于郎世宁风格的鲜明、绚丽和浓重。",[23,194,24,25,226,28,7,1022,1273,1426,176,8135,8848],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35ede8b111d7cac1c43336e0de1b2972.jpg","纵242.3cm，横157.1cm",[90],{"id":24244,"slug":24245,"title":24246,"dynasty":76,"author":11085,"museum":78,"description":24247,"tags":24248,"thumbUrl":24249,"material":638,"size":24250,"collection":44,"collections":24251,"showCount":23938,"zanCount":48,"manualWeight":48,"mainColor":94},219832,"ren-wu-ce-ye-ren-xiong-219832","人物册页","任熊善山水、人物、花卉、翎毛、虫鱼、走兽，笔力雄厚，气味静穆，深得宋人神髓。尤擅长人物，绘画师法陈洪绶，人物形象多高古、奇倔、夸张、得陈洪绶神韵而能别出心裁，其自画像神态刻画细致入微，十分写实。任熊对衣纹的勾画向来十分精彩，铁画银钩，很见功力。所题款字也是十分有力，与画法同出一辙。\n此开册页共十二页，内容丰富，题材广博，有人物、仕女、神仙、花鸟、鞍马、博古、山水等等。工笔写意，错杂出之，光怪陆离，不可方物。",[24,7,81,106,353,8328,685,262,209,912],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b4150ff29e9c640b589400940438db8.jpg","27.2x34.3厘米",[44],{"id":24253,"slug":24254,"title":24255,"dynasty":76,"author":329,"museum":191,"description":24256,"tags":24257,"thumbUrl":24258,"material":123,"size":24259,"collection":45,"collections":24260,"showCount":23938,"zanCount":2368,"manualWeight":48,"mainColor":94},219303,"shi-jun-tu-zhi-xue-dian-diao-zhou-lang-shi-ning-219303","十骏图之雪点雕轴","郎世宁（一六八八－一七六六）意大利人。十九岁，入天主教耶稣会为修士。曾习油画，兼习建筑。二十七岁来华，以绘事供奉内廷，历仕康熙、雍正、乾隆三朝。善画人物、花鸟，尤善犬马。科尔沁郡王诺们额尔和图于乾隆八（西元一七四三）年，进贡骏马一匹。",[24,194,226,7,28,150,746,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e84b14360acb49ba0390128d53f6779.jpg","238.2x270.6",[45],{"id":24262,"slug":24263,"title":24264,"dynasty":76,"author":3914,"museum":20,"description":24265,"tags":24266,"thumbUrl":24267,"material":123,"size":24268,"collection":181,"collections":24269,"showCount":23938,"zanCount":48,"manualWeight":48,"mainColor":49},219220,"fang-da-chi-shan-shui-tu-wang-jian-219220","仿大痴山水图","此图沿“S”形的水路，绘一河两岸的景色，笔墨技法精湛，设色清丽脱俗，表现了江南山水沉郁深秀的自然气象。图中山石、树木勾染以仿大痴，即黄公望的画面为主，同时参法董源及唐初巨然的笔力，显现出王鉴晚年对古人笔墨融会贯通的掌控能力。",[23,194,24,25,226,7,29,109,176,34,105,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7b4bb0de74fcee4bbd39f292a92cc45.jpg","纵122.5厘米，横61.5厘米",[181],{"id":24271,"slug":24272,"title":24273,"dynasty":189,"author":24274,"museum":191,"description":24275,"tags":24276,"thumbUrl":24277,"material":123,"size":24278,"collection":90,"collections":24279,"showCount":23938,"zanCount":2368,"manualWeight":48,"mainColor":94},219212,"gu-mu-jin-jiu-tu-tang-xi-ya-219212","古木锦鸠图","唐希雅","苍劲棘枝斜逸，锋芒暗藏的枝桠间，一只锦鸠悠然栖息。羽色层次细腻，翠绿覆背，褐羽衬胸，翅间赭红轻点，尾羽沉黑如墨，连绒羽的柔润质感都被精心晕染。它昂首敛翅，眼神澄澈，与枯枝嶙峋形成动静相宜的对照。素净绢底衬得禽鸟鲜活、枝干古拙。笔墨工细却不板滞，线条劲挺中含柔婉，将生灵生机与古木风骨融于方寸，尽显五代花鸟写生的精妙神韵，藏着天地静美与盎然生机。",[23,24,194,1260,83,28,7,21346,209,7428],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F188bf758524620865734d70b114afc3e.jpg","24.7x26.1cm",[90],{"id":24281,"slug":24282,"title":24283,"dynasty":18,"author":1033,"museum":191,"description":24284,"tags":24285,"thumbUrl":24286,"material":123,"size":24287,"collection":42,"collections":24288,"showCount":23938,"zanCount":48,"manualWeight":48,"mainColor":94},219205,"hua-mu-zhen-qin-tu-lin-chun-219205","花木珍禽图","画面中花木扶疏，珍禽顾盼生姿，翎羽纹理细腻如织，每一片花瓣都似凝着晨露的清润。淡赭色的背景晕染出雅致的古意，草木的姿态舒展自然，禽鸟的动态鲜活传神——或低头理羽，或抬足欲行，仿佛能听见羽翼轻振的细碎声响。工笔勾勒的线条精准灵动，设色淡雅却见层次，将自然生灵的生机与宋人的清幽审美融于一方圆扇之中，尽显写生妙趣与雅致格调，似能让人嗅到花木的浅香，触到古绢上的温润时光。",[23,194,24,25,1260,28,7,83,62,378,209,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7e39a3b8400e6e4315756cb77ddc544.jpg","25.8x26.3cm",[42,90],{"id":24290,"slug":24291,"title":24292,"dynasty":18,"author":257,"museum":316,"description":24293,"tags":24294,"thumbUrl":24295,"material":67,"size":24296,"collection":42,"collections":24297,"showCount":23938,"zanCount":2368,"manualWeight":48,"mainColor":49},219049,"xun-mei-fang-you-tu-yi-ming-219049","寻梅访友图","2012年6月3日，北京保利古代书画夜场，南宋佚名《寻梅访友图》同样也争夺激烈，最终以超出估价80多倍的880万落槌，该作品之前估价为RMB: 50,000-100,000。",[23,194,24,25,7,177,29,353,175,109,106,150,212,176,108,820],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1279c5adc874b1dfa7d108c60362dd6b.jpg","24×24.5",[42],{"id":24299,"slug":24300,"title":24301,"dynasty":302,"author":257,"museum":132,"description":24302,"tags":24303,"thumbUrl":24304,"material":123,"size":24305,"collection":44,"collections":24306,"showCount":23938,"zanCount":2368,"manualWeight":48,"mainColor":49},219007,"shou-lie-tu-yi-ming-219007","狩猎图","猎手策马前行，肩挎箭囊的弧度里藏着草原的风，暖黄衣袍与黑马的沉墨撞出视觉张力，粗砺笔触勾出游牧者的剽悍。猎犬腾跃紧随，四肢的动感与马的沉稳形成呼应，背景晕染的朦胧弱化了具体场景，却让狩猎的紧张感直抵人心。墨色的浓淡晕染出马匹的肌理，衣纹的褶皱里藏着动作的余韵，没有繁复修饰，却将猎场上的瞬间生机与豪迈气慨鲜活铺展——每一笔都是对生活本真的捕捉，仿佛能听见马蹄踏过草地的声响，看见猎手眼中的锐利与专注，让游牧民族狩猎时的粗犷与灵动，在岁月里静静流淌。",[24,7,106,150,746,8099],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14464278e09077cfad9f79eba8cf35e5.jpg","24.4x27.4cm",[44],{"id":24308,"slug":24309,"title":24310,"dynasty":76,"author":8060,"museum":191,"description":24311,"tags":24312,"thumbUrl":24314,"material":88,"size":24315,"collection":139,"collections":24316,"showCount":23938,"zanCount":48,"manualWeight":48,"mainColor":94},218726,"yu-hua-yuan-gu-bai-tu-dong-bang-da-218726","御花园古柏图","乾隆吟成古柏行，命董邦达作图。工笔界画摛藻堂，殿宇结构严谨，色彩华丽，似是内廷供奉所作。古柏则以写意笔趣画成，这才是董氏之笔。",[24,25,104,7,29,107,24313,177],"古柏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf9fbe8158fef5a7328b02c3d23c2004.jpg","194.2x111.5cm",[],{"id":24318,"slug":24319,"title":24320,"dynasty":99,"author":257,"museum":2754,"description":24321,"tags":24322,"thumbUrl":24323,"material":123,"size":24324,"collection":44,"collections":24325,"showCount":23938,"zanCount":48,"manualWeight":48,"mainColor":49},218451,"mao-nv-tu-yi-ming-218451","毛女图","飞瀑自崖间倾泻，溅起细碎水痕，苔石旁草木疏朗。毛女侧立，发髻簪着粉白小花，衣袂轻垂，眉目间透着悠然清寂。身旁灵鹿昂首，似与她共赏山光。山石以淡墨皴擦，肌理朴拙却藏层次；瀑布线条流畅，动静相衬。绢本的古雅色调，更添岁月沉淀的温润。画面简淡却意韵悠长，将毛女栖隐山林、与兽为友的传说，化作一卷仙逸之境，笔墨间满是山野的清旷与绝尘的况味。",[24,25,1260,7,28,106,746,29,109,230,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa13675267f743bc53cfd605358debfb0.jpg","21x21.4",[44],{"id":24327,"slug":24328,"title":24329,"dynasty":76,"author":538,"museum":442,"description":4276,"tags":24330,"thumbUrl":24331,"material":123,"size":4279,"collection":139,"collections":24332,"showCount":23938,"zanCount":48,"manualWeight":48,"mainColor":94},218325,"shen-xian-gu-shi-tu-ce-11-leng-mei-218325","神仙故事图册-11",[23,24,28,7,106,406,2235,13491,260],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F265342d420f4fcbf9947c00f2685e6c8.jpg",[],{"id":24334,"slug":24335,"title":24336,"dynasty":76,"author":6787,"museum":78,"description":24337,"tags":24338,"thumbUrl":24341,"material":123,"size":24342,"collection":44,"collections":24343,"showCount":23938,"zanCount":2368,"manualWeight":48,"mainColor":94},218248,"ke-zhai-ji-gu-tu-juan-shang-ren-xun-218248","愙斋集古图卷-上","这部作品有两卷：上卷和下卷。上卷由艺术家任薰绘制，下卷由胡祥和陆恢合作完成。\n任薰的这幅画描绘了坐在客人对面的吴氏。他盘腿坐在沙发上，周围都是珍贵的古董，古董铜器被逐一命名。",[23,24,26,7,28,106,11374,24339,196,24340],"礼器","饪食器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed9fef0b9a8c954811340da2b17afad5.jpg","41.5x160.5",[44],{"id":24345,"slug":24346,"title":24347,"dynasty":18,"author":1350,"museum":132,"description":3289,"tags":24348,"thumbUrl":24349,"material":123,"size":3292,"collection":139,"collections":24350,"showCount":23938,"zanCount":48,"manualWeight":48,"mainColor":94},218043,"song-di-ming-ti-ce-jiu-ma-yuan-218043","宋帝命题册(九)",[23,24,25,81,7,29,177,1273,3518,2562,1169,37,212,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7726c39dbc3e8cdc7addde7e073c08e0.jpg",[],{"id":24352,"slug":24353,"title":24354,"dynasty":302,"author":257,"museum":132,"description":24355,"tags":24356,"thumbUrl":24358,"material":123,"size":24359,"collection":90,"collections":24360,"showCount":23938,"zanCount":48,"manualWeight":48,"mainColor":49},216670,"shuang-ge-tu-yi-ming-216670","双鸽图","双鸽图是一幅元朝时期的图画，作者不详。这幅图展示了两只鸽子相互依偎的情景。它是元朝时期著名的一幅婚姻主题的图画，象征着爱情和婚姻的美好。图中的两只鸽子代表夫妻，它们形态优美，相互依偎，象征着夫妻之间的亲密感情。双鸽图被广泛用于装饰家庭和公共场所，作为对美好婚姻的祝福。",[194,24,25,28,7,83,24357,1530,18823,12463],"鸽子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6ba5c03c75a12c756a61bed0e670df3.jpg","30x44cm",[90],{"id":24362,"slug":24363,"title":6649,"dynasty":99,"author":257,"museum":2754,"description":24364,"tags":24365,"thumbUrl":24366,"material":123,"size":24367,"collection":44,"collections":24368,"showCount":23938,"zanCount":48,"manualWeight":48,"mainColor":49},215036,"yu-fu-tu-yi-ming-215036","渔父图是明朝时期的一幅杂技图画。该图画描绘了一位渔夫和他的儿子在渔池里捕鱼的情景。这幅图画的画风简洁流畅，构图巧妙，笔触简练而富有力量。\n\n杂技图画是明朝时期流行的一种艺术形式，通常由多幅图画组成，每幅图画都描绘了一个故事或场景。杂技图画的特点是通过精细的线条和色彩描绘人物形象，并使用富有表现力的肢体语言和动作来讲述故事。\n\n渔父图是明朝时期著名的杂技图画之一，其中渔夫和他的儿子的形象鲜活生动，描绘了渔民勤劳的生活方式。这幅图画的画风鲜明独特，对后世产生了深远的影响。",[24,7,28,106,29,245,34,686,796],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8f55a0d1c2d8e2093168ae785f5d24f.jpg","23x25.8cm",[44],{"id":24370,"slug":24371,"title":21678,"dynasty":99,"author":3720,"museum":316,"description":24372,"tags":24373,"thumbUrl":24374,"material":599,"size":600,"collection":139,"collections":24375,"showCount":24376,"zanC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，设色",[],{"id":24488,"slug":24489,"title":24490,"dynasty":76,"author":3221,"museum":20,"description":24491,"tags":24492,"thumbUrl":24493,"material":770,"size":24494,"collection":139,"collections":24495,"showCount":24376,"zanCount":48,"manualWeight":48,"mainColor":94},233178,"ping-ju-tu-zhou-xu-gu-233178","瓶菊图轴","此图为瓶插秋菊的小品画。构图匠心独运，巧于设置，高低错落的瓶和壶、“S”形走势的秋菊令画面富有活力，并形成多层次的节律变化。设色淡雅清新，笔法灵活娴熟，是虚谷晚年的花卉画代表作。",[24,25,194,226,7,173,897,1133,229,8792],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd971ac61959e2aff3b2a1a61b30a51c6.jpg","纵126.2厘米，横57.7厘米",[],{"id":24497,"slug":24498,"title":24499,"dynasty":302,"author":1977,"museum":101,"description":24500,"tags":24501,"thumbUrl":24503,"material":529,"size":24504,"collection":181,"collections":24505,"showCount":24376,"zanCount":2368,"manualWeight":48,"mainColor":49},232902,"hua-xi-yu-ma-tu-zhao-meng-fu-232902","花溪浴马图","此画展现了一个充满生活趣味的浴马场景：在碧波清流之上，一大群马匹随着马倌入水、洗浴、出水。骏马温顺而矫健。\n《花溪浴马图》虽不知其创作时间，但从内容与风格上看，此图与北京故宫博物院所藏的《浴马图》应是同一时期作品。\n《花溪浴马图》布局开阔：岸边梧桐垂柳，绿荫成趣；溪水涓涓而流，清澈透明；骏马七匹，马倌八人，有序地安排在长长的画幅之中。在一片清幽、充满村野之趣的自然景象中，人与马悠然平和，各得其乐。画中马的姿态各异，神态生动，有的立于水中，有的饮水吃草，有的昂首嘶鸣。马倌们各自分工不同，或冲洗马身，或牵马上岸，或岸边小憩。赵孟頫以文人意笔勾线，行笔偏工，设色法唐人的青绿和重彩，人与马勾勒精细，设色雅致，并且色不掩笔。此图是一幅形神兼备、妙逸并具、风格高雅的鞍马画精品。\n赵孟頫(1254-1322)是元代文人画家中罕见的全能“选手”，山水、人物、鞍马、花鸟、竹石，无一不能，无一不精。再加上诗词、书法的成就，以及对篆刻的深刻理解，可以说，他基本界定了后世文人画家诗书画印全能的标准。",[23,194,24,25,26,7610,7,28,106,150,109,34,912,176,24502,809],"树荫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b00a4e6db6c090c8f49c50804767e58.jpg","横28.1厘米，纵155.5厘米",[181],{"id":24507,"slug":24508,"title":24509,"dynasty":99,"author":792,"museum":191,"description":24510,"tags":24511,"thumbUrl":24512,"material":67,"size":24513,"collection":139,"collections":24514,"showCount":24376,"zanCount":48,"manualWeight":48,"mainColor":49},231347,"fang-zhang-seng-yao-shan-shui-tu-lan-ying-231347","仿张僧繇山水图","该幅《明蓝瑛仿张僧繇山水图》轴便充分体现了蓝瑛的绘画风貌。纵观全画，山水相接，红树青岩、小桥流水、白云缭绕，好一派洁净幽奇、绝妙脱俗的仙境！画中水天交融，近处流淌的湖水与远处的天际自然地连接在—起，从而产生一种宽阔辽远之感，同时也把山、石、树木自然地烘托出来。山石的突兀和树木的复杂变化与水天合一的平静简洁形成了鲜明的对比。河岸上峦石林立、叠叠错错，石崖间挺立着各种姿态野逸、遒劲的树木，它们深深地扎根于硬石之中，充分展现了其顽强的生命力。层层推远的山石和错落有致的树木逶迤远去，一直延伸至远处群山的云雾升腾处，引导观者将视线层层推进。",[24,25,226,105,7,27,29,378,175,2235,1426],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5c68735d15e53cd740fe2ea977fefb3.jpg","纵177厘米，横91厘米",[],{"id":24516,"slug":24517,"title":24518,"dynasty":76,"author":257,"museum":316,"description":24519,"tags":24520,"thumbUrl":24521,"material":139,"size":139,"collection":139,"collections":24522,"showCount":24376,"zanCount":2368,"manualWeight":48,"mainColor":49},230305,"fang-han-gong-chun-xiao-tu-yi-ming-230305","仿汉宫春晓图","此作铺展深宫春日盛景，亭台楼阁勾描工致，柳石花木晕染雅致，将宫苑春意揉进朱廊翠荫里。仕女们或临窗研墨、凭栏观戏，或蹴鞠扑蝶、闲庭信步，娇柔百态鲜活灵动，把深院中的松弛雅兴尽数铺陈。设色明丽柔婉，线条秀润细腻，复刻出原作的绮靡雅致，将宫廷日常的闲逸温婉晕染绢上，让旧日宫苑的春日烟火气扑面而来，尽显古典仕女画的柔美韵致与院体工笔的精妙意趣。",[24,25,26,194,28,7,104,105,106,59,107,115,34,176,278,1364,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6489682bcd338587262df0a3fe163436.jpg",[],{"id":24524,"slug":24525,"title":24526,"dynasty":76,"author":997,"museum":316,"description":24527,"tags":24528,"thumbUrl":24529,"material":139,"size":139,"collection":139,"collections":24530,"showCount":24376,"zanCount":48,"manualWeight":48,"mainColor":94},228996,"hua-hui-shan-shui-ce-ye-12-kai-shi-tao-228996","花卉山水册页12开","《陈师曾画集》是以画家个案研究为切入点，以介绍画家作品为主线，将过去未被出版的近现代有影响画家作品编辑出版，为近现代绘画学习、研究提供第一手资料。\n进入二十世纪来，中国近代画家成为美术界、收藏界研究、关注的热点。\n《陈师曾画集》由 出版。\n菊花书画卷(局部) 花卉山水人物册页四开 花卉册页二开 仿李觯册页四开 花卉(合作) 花卉山水册页五开 山水册页二开 山水 墨兰 水仙 梅花 碧霞元君祠图 拟沈周夏日山居图 北京风俗图册页三十四开 秋花奇石 墨荷 鬼趣图 钟馗读书图 达摩图 读画图 深山古寺 山林人家 仙鹤 岁寒清供图 深山秋烟 姚华小像 花卉四条 清供图 菊石图 山水册页四开 花卉四条 松树 听秋图 蔬笋 拟吴仲圭山水 群仙上寿图 山水 花鸟四屏 山水 仿沈周山水 山水 山水册页四开 忽见千帆 半山流泉 荷 芍药 些 芭蕉 花卉四屏 菊石 兰竹 仿石涛山水 鸡冠花 金壶细叶 携酒与鱼 梅花 兰石 梅竹双雀(合作) 佛手 赤壁图 山水 桃花 梅石 芭蕉菊花 腊梅秀石 山水长卷(合作) 花卉 山水册页 溪流浣衣 江乡秋获 山原行旅 村醪泥醉 雨洗铅华 空谷幽香 烟寒雨昏 老圃秋容 梅竹 月季花 花卉四条 秋园晚艳 桃花 绣球花 山林楼影 姜白石词意图册十二开 山水册页四开 山水诗画册页十六开 竹 写摩诘诗意 园林小景册页六开 山水册页二开 花卉山水册页十开 山水花果册页四开 枇杷 竹笋 杨诚斋诗意图册页六开 花卉册页八开 枇杷 秋柳图 达摩图 猴戏图(合作) 菊石 玉兰 墨笔山水 溪山松居图 山林静处 霜林红万山 山林深处 竹石 花红叶翠 附：常用印章 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118.3公分",[181,163],{"id":24601,"slug":24602,"title":24603,"dynasty":76,"author":2200,"museum":316,"description":24604,"tags":24605,"thumbUrl":24606,"material":500,"size":24607,"collection":181,"collections":24608,"showCount":24376,"zanCount":48,"manualWeight":48,"mainColor":94},224235,"cuo-luo-shan-hu-zhi-tu-wu-chang-shuo-224235","错落珊瑚枝图","吴昌硕善于画花卉，此幅《错落珊瑚枝》为吴氏花卉画之力作，“错落珊瑚枝，铁网出海底”，如其款识中所题，画面结构严谨，用笔遒劲，吴昌硕善于用线，每枝枝干、每片花叶都似铁杆般坚韧，富有生命力。其构图极为讲究，画家首先用两尊顽石坐落于画面两侧，稳住了画面重心。数枝天竺从顽石后方穿插向上，更与树叶形成疏密对比，几簇天竺果高低错落、顾盼生姿、扶摇而上。",[23,24,226,498,7,173,177,176,264,569],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4feda463be4617f92164883644e7b38b.jpg","纵183厘米，横93厘米",[181,45],{"id":24610,"slug":24611,"title":24612,"dynasty":76,"author":563,"museum":316,"description":24613,"tags":24614,"thumbUrl":24615,"material":139,"size":139,"collection":139,"collections":24616,"showCount":24376,"zanCount":2368,"manualWeight":48,"mainColor":94},224171,"tian-shan-ji-xue-tu-hua-yan-224171","天山积雪图","名画家说名画：李燕说华喦是河北美术出版社出版的一部作品。\n《名画家说名画:李燕说华喦》包括：天山积雪图、金屋春深图、松下观流图、苏米对书图、钟馗赏竹图、竹林七贤图、隔水吟窗图、曹松堂肖像、春宴图、钟馗嫁妹图、关山勒马图、渔家乐图、梅鹤图、渔夫晚归图内容。\n天山积雪图 金屋春深图 松下观流图 苏米对书图 钟馗赏竹图 竹林七贤图 隔水吟窗图 曹松堂肖像 春宴图 钟馗嫁妹图 关山勒马图 渔家乐图 梅鹤图 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chì）（有学者考证为赤麻鸭）在沙洲上相互依偎，一对鸳鸯于寒波中游水嬉戏，此情此景与漫天密雪的荒寒景色形成对比，充满诗意，是一幅山水与花鸟融汇的湖天小景佳作。正如卷后元赵巖所题诗：“江天雪意暮萧萧，望外寒沙半落潮。鸂鶒双眠看画里，潇湘极目梦魂遥。”画幅中乾隆帝御题的“鸳鸯两两相随逐，不为严寒异故心”的诗句则直接点出此画寄兴游心的主题。\n整幅用笔细润，皴法简括，水墨为主，略施赭色，大片空白的运用正体现了中国传统绘画“于无画处皆成妙境”的特质，恰到好处地表现出江南的湖山雪景。",[23,24,25,26,28,7,1980,2086,174,245,24687,19733,29,212,178,86],"寒沙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a58a63dfbbd8dca1f12f17d87a436e6.jpg","纵26.5厘米，横145.6厘米",[42,181,163],{"id":24692,"slug":24693,"title":24694,"dynasty":54,"author":2394,"museum":20,"description":13120,"tags":24695,"thumbUrl":24696,"material":67,"size":24697,"collection":181,"collections":24698,"showCount":24376,"zanCount":48,"manualWeight":48,"mainColor":94},221100,"jiu-cheng-bi-shu-tu-ye-li-si-xun-221100","九成避暑图页",[23,24,27,7,29,104,107,808,34,114,968],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2acc632af78cc169721bcff835e47cd6.jpg","纵28.5厘米，横31.6厘米",[181,45],{"id":24700,"slug":24701,"title":24702,"dynasty":869,"author":4525,"museum":5351,"description":24703,"tags":24704,"thumbUrl":24705,"material":139,"size":139,"collection":139,"collections":24706,"showCount":24376,"zanCount":2368,"manualWeight":48,"mainColor":94},220543,"shuang-jun-xu-bei-hong-220543","双骏","浓淡墨色铺就两匹俊马的迥异姿态，黑马垂首衔草，浓墨泼写鬃尾，焦墨勒出筋肉起伏，留白提亮的蹄足莹润干净，尽显温驯悠然。红马昂首长嘶，赭红染就躯体，飞扬的鬃发如流云翻涌，线条劲挺利落，将烈马桀骜悍勇的气魄尽数挥洒。\n\n以写意笔法勾勒马的肌理轮廓，揉合西洋写实的精准与东方水墨的灵逸，寥寥数笔便将骏马筋骨与神采凝于纸面。画面留白营造出郊野的空寂悠远，边角题字补全章法，文气与画意相融，将生灵蓬勃的野性生机定格于尺幅间，尽显骏马的不屈风骨。",[23,194,24,25,173,7,498,150,746],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F569a982798b011d434271fc901fb3e82.jpg",[],{"id":24708,"slug":24709,"title":24710,"dynasty":869,"author":4525,"museum":6047,"description":24711,"tags":24712,"thumbUrl":24713,"material":139,"size":139,"collection":139,"collections":24714,"showCount":24376,"zanCount":48,"manualWeight":48,"mainColor":94},220529,"pin-fu-xu-bei-hong-220529","贫妇","以水墨写意糅合西画写实技法，刻画出负重前行的劳动者形象。顿挫的墨线勾画出粗布衣衫的褶皱肌理，淡赭晕染出黝黑皲裂的皮肤，面容上尽是被岁月蚀刻的疲惫麻木。紧攥木杖的关节凸起，满载的背篓纹理写实，将底层求生的艰辛具象呈现。创作者以饱含共情的笔触，将人体解剖的精准融于东方水墨的写意语境中，粗粝朴拙的笔调里，藏着对劳苦大众的深切悲悯，静穆的画面之下，涌动着直击人心的力量，将生存的重压与劳动者的隐忍坚韧定格于纸面。",[23,24,25,173,7,106,226,63,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ed65caf0e5744e732bc73e4b5612ea0.jpg",[],{"id":24716,"slug":24717,"title":24718,"dynasty":869,"author":4782,"museum":3084,"description":24719,"tags":24720,"thumbUrl":24721,"material":139,"size":139,"collection":139,"collections":24722,"showCount":24376,"zanCount":48,"manualWeight":48,"mainColor":94},220480,"cui-can-fu-bao-shi-220480","摧残","以淡墨晕染枝叶，萧疏破败的墨痕间，残存的花朵带着褪败的艳色，晕开朦胧颓靡的氛围。以花木残败之态寄寓心绪，将感时伤世的沉郁藏入写意笔触里。枝叶偃蹇错落，墨色虚实相生，带着随性却压抑的格调，残花虽仍有灼灼余韵，却难掩周身衰颓破败之意。\n\n题字拙朴厚重，与画面萧索的意境呼应，没有直白的呼号，只借残卉枯枝暗喻时局，把乱世忧思藏入花木描摹中，含蓄沉郁，将文人画的雅致与悲怆的忧怀相融，落笔皆是怅惘。",[23,24,25,173,7,83,897,210,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ecf1760b67ff2b8a9221984d65f156b.jpg",[],{"id":24724,"slug":24725,"title":24726,"dynasty":302,"author":303,"museum":78,"description":24727,"tags":24728,"thumbUrl":24729,"material":2365,"size":24730,"collection":44,"collections":24731,"showCount":24376,"zanCount":2368,"manualWeight":48,"mainColor":49},219621,"song-tai-zu-cu-ju-tu-qian-xuan-219621","宋太祖蹴鞠图","原图为宋代名画家苏汉臣所绘，钱选在临摹之后题字：“蹴鞠图旧藏秘府，今摹图之。若非天人革命，应莫观之，言何画哉。”表现出了对此画仰慕已久的心情。明人唐文凤在《梧冈集》中有《题蹴鞠图》诗，诗中说明前两人踢球的是宋太祖赵匡胤与其弟宋太宗，后四人观看的是大臣赵普、楚昭辅、党进、石守信，都是宋朝开国的功勋，他们都喜欢踢球；“明良相逢同一时，乘闲且复相娱嬉，军中之乐谅亦宜。”此图说明了蹴鞠是宋代初年军中之乐，是宋朝开国皇帝和贵族都喜爱的活动，因此，开启了中国古代足球发展的第二个高潮时期。在《宋史·礼志》《乐志》中记载，凡是朝廷的盛大宴会都有足球表演。在《武林旧事》中记载，宋代除了官家有蹴鞠专业艺人之外，民间的瓦子中也有蹴鞠艺人表演，而在宋代开展最为广泛的则是“寒食蹴鞠”民俗活动；“寒食梁州十万家，蹴鞠秋千尚豪华。”（陆游《春晚感事》）在这样从上到下全国的足球热潮氛围中，便有了高俅、张明、柳三复等因踢球而发迹的人物。《宋太祖蹴鞠图》为后人提供了研究宋代足球发展最宝贵的资料。",[24,25,28,7,106,105,212,86,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a53204849892062b0904a61f11a9dd7.jpg","宽28.6厘米，长56.3厘米",[44],{"id":24733,"slug":24734,"title":24735,"dynasty":18,"author":1599,"museum":442,"description":24736,"tags":24737,"thumbUrl":24738,"material":123,"size":24739,"collection":2065,"collections":24740,"showCount":24376,"zanCount":2368,"manualWeight":48,"mainColor":49},219554,"san-sheng-tu-liu-song-nian-219554","三生图","画中所绘的情景，正是李源在侍从的陪同下前去赴约，已长成十三岁的今生骑牛牧童即前世园泽，唱着歌谣徐徐而来，是为“三生”也。",[23,194,24,25,26,28,7,177,106,29,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F306c01041dc84d596efb145b5bd7b859.jpg","24x100厘米",[2065,44],{"id":24742,"slug":24743,"title":21899,"dynasty":76,"author":4285,"museum":191,"description":24744,"tags":24745,"thumbUrl":24746,"material":2365,"size":139,"collection":181,"collections":24747,"showCount":24376,"zanCount":2368,"manualWeight":48,"mainColor":94},219375,"fang-huang-gong-wang-shan-shui-tu-wang-shi-min-219375","王时敏（1592年－1680年），本名王赞虞，字逊之，号烟客，又号偶谐道人，晚号西庐老人，南直隶苏州府太仓人，明末清初画家，大学士王锡爵之孙，翰林编修王衡之子，是清初画坛“四王”之首，年少时就开始从摹古入手，尤其对董其昌推崇备至的“吾家北苑”与黄公望山水，一直心摹手追。",[24,7,177,29,34,176,809,1049],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1ea8c386ca0491e6a6611eba2c86d73.jpg",[181],{"id":24749,"slug":24750,"title":24751,"dynasty":76,"author":24752,"museum":442,"description":24753,"tags":24754,"thumbUrl":24755,"ma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1368年）的一位著名画家，他的代表作品是《鸽子图》。《鸽子图》是一幅水墨画，描绘了一群自由自在地飞翔的鸽子。这幅画被认为是王渊最优秀的作品之一，其中体现了王渊对动物自然、生动的描绘方式。此外，《鸽子图》还展示了王渊对色彩运用的精湛技巧，使得画面栩栩如生，充满生机和活力。",[23,24,7,28,83,245,897],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2859eb0a4bf8656af4d2d93c4ff4064.jpg","26x28cm",[90],{"id":24806,"slug":24807,"title":24808,"dynasty":76,"author":997,"museum":4901,"description":24809,"tags":24810,"thumbUrl":24811,"material":88,"size":139,"collection":181,"collections":24812,"showCount":24376,"zanCount":48,"manualWeight":48,"mainColor":94},214831,"dong-po-shi-xu-shi-yi-tu-ce-shi-tao-214831","东坡时序诗意图册","石涛是一位著名的清代画家，他的东坡时序诗意图册是他的一部杰作。这本图册包含了许多精美的图画，描绘了东坡时期的生活情景。东坡是一位著名的宋代诗人，他的诗歌富有感性和诗意，与石涛的画风十分契合。石涛在这本图册中描绘了东坡时期的各种生活场景，包括山水风景、城市景观、家庭生活、社会活动等。他的画作富有浓郁的诗意气息，充满了东坡诗歌中的感性情感。整本图册是一部经典的艺术作品，值得一看。\n\n石涛，原名石炯，字涛，号青山，是一位著名的清代画家。他生于清朝康熙年间，擅长画山水、人物、花鸟。石涛的画风浓郁诗意，被称为“诗画一体”。他的代表作品有《东坡时序诗意图册》、《石涛画集》等。他的画作曾多次在国内外展览中展出，并受到广泛好评。",[23,24,81,7,173,29,86,178,177,498,685,262,378,35,175,108,109,106,230,353,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41710880fbba161352187f5a38967874.jpg",[181],{"id":24814,"slug":24815,"title":24816,"dynasty":99,"author":100,"museum":191,"description":24817,"tags":24818,"thumbUrl":24820,"material":123,"size":24821,"collection":139,"collections":24822,"showCount":24823,"zanCount":48,"manualWeight":48,"mainColor":49},290879,"chun-you-wan-gui-tu-zhou-chou-ying-290879","春游晚归图轴","本幅画夜幕低垂中，主仆四人春游归来。边角式的布局虽源于南宋院画，但取意则与明初戴进的「春游晚归」相近。惟仇作烘染细腻，人物情态生动，较戴进描写更加细致详实",[24,226,28,7,3559,106,980,34,176,24819,5217],"春游","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b904ecf120414f9ce0182de0f6afa95.jpg","145.5x76.5",[],54,{"id":24825,"slug":24826,"title":24827,"dynasty":189,"author":362,"museum":316,"description":24828,"tags":24829,"thumbUrl":24830,"material":599,"size":600,"collection":139,"collections":24831,"showCount":24823,"zanCount":2368,"manualWeight":48,"mainColor":49},290554,"wu-dai-nan-tang-rong-que-zhou-xu-xi-290554","五代南唐蓉雀轴","第四册，页54故宫书画图录，第一册，页65-66该幅画芙蓉盛开，与奇石交相掩映，石下尚有数株雏菊。一对对麻雀、白头翁与鶺鴒互相顾盼唱和，唯有一只麻雀孤独地在空中飞翔。该幅无款，旧传为五代南唐（十世纪初）徐熙之作，然细审此幅的笔墨与徐熙不类，当出自后人之手。",[24,194,226,83,28,7,245,634],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c26b3108f3c64d1cad0b53319ca6e2f.jpg",[],{"id":24833,"slug":24834,"title":24835,"dynasty":76,"author":2162,"museum":316,"description":24836,"tags":24837,"thumbUrl":24839,"material":599,"size":600,"collection":139,"collections":24840,"showCount":24823,"zanCount":48,"manualWeight":48,"mainColor":49},288402,"han-xiang-yun-zui-mian-shao-yao-chou-sun-wen-288402","憨湘云醉眠芍药绸","纵览《清·孙温绘全本〈红楼梦〉》全图，笔法精细，设色浓丽，情节连贯且生动感人。作者以独特的视角，将各种人物活动情节置于特定的环境之中，以生动直观的艺术形式，勾画出一幅幅情景交融、富有诗意的画面，将一部洋洋大观、令人荡气回肠的古典名著《红楼梦》表现得耐人寻味、雅俗共赏。其情节之详尽、笔法之精细、篇幅之宏大，为清代同题材绘画作品所仅见。\n全图以石头记大观园全景为开篇，画面鸟瞰构图，将大观园诸多景致悉数入画，一览无余。从第二开画面开始，依次描绘出全本《红楼梦》的故事情节。每个章回情节所用画幅数量不尽相同。画面围绕原著的故事情节，将主要人物活动表现的细致入微，楚楚动人。\n有关专家介绍，这套图中绘有山水人物、花卉树木、楼台亭阁、珍禽走兽、舟车轿舆、鬼怪神仙及博古杂项等，几近包括全部画科内容。仅各种人物就多达3000余人，主要人物采用写真技法，注重面部肤色肌纹之渲染，形神兼备。年轻的女子，弯眉、细眼、樱桃小口，身材窈窕，长颈削肩，给人以纤瘦柔媚、弱不禁风的感觉。人物的衣褶裙带勾染并用，线条流畅飘逸。",[23,24,28,7,106,59,24838,1557,899,1930,1551,26],"亭阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1c0ad93722cfabe4eaa249ff739d37d.jpg",[],{"id":24842,"slug":24843,"title":24844,"dynasty":18,"author":2244,"museum":316,"description":24845,"tags":24846,"thumbUrl":24847,"material":599,"size":600,"collection":139,"collections":24848,"showCount":24823,"zanCount":2368,"manualWeight":48,"mainColor":94},288326,"qiu-hui-cao-chong-tu-li-di-288326","秋卉草虫图","本幅画叶稍上，螳螂高举双臂，想要捕食金龟子，金龟子适时察觉，立即振翅飞起。螳螂扑了空，只好无奈地回首怅望。昆虫追逐与逃脱的生死瞬间，透过画家的描绘，扣人心弦",[194,24,28,7,83,483,874,20147,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78d045300c5b04cb819d7d29c68685b7.jpg",[],{"id":24850,"slug":24851,"title":24852,"dynasty":76,"author":14016,"museum":316,"description":14017,"tags":24853,"thumbUrl":24855,"material":599,"size":600,"collection":139,"collections":24856,"showCount":24823,"zanCount":2368,"manualWeight":48,"mainColor":94},288234,"duo-zi-tu-li-zhou-qu-zhao-lin-288234","多子图立轴",[23,24,226,28,7,83,245,1060,227,230,24854],"多子多福","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84673a9abd63bfd4f7c5dbd2d3b0bdb3.jpg",[],{"id":24858,"slug":24859,"title":24860,"dynasty":189,"author":257,"museum":316,"description":24861,"tags":24862,"thumbUrl":24863,"material":139,"size":139,"collection":139,"collections":24864,"showCount":24823,"zanCount":48,"manualWeight":48,"mainColor":49},239547,"huang-quan-xie-sheng-zhen-qin-tu-juan-yi-ming-239547","黄筌写生珍禽图卷","此作写实功底极尽精微，将十余类禽鸟、虫豸与灵龟一一铺陈。画师以淡墨细勾轮廓，随类施色晕染，禽鸟绒羽纤毫毕现，虫翼轻薄通透，龟甲纹理凹凸逼真。每一只生灵都形神兼备，振翅的雀鸟、爬行的甲虫、静立的水禽，皆定格住最鲜活的瞬间，尽显对自然万物的入微体察。\n\n虽为写生稿的合集，却处处彰显工笔花鸟的极致功底，将生灵的鲜活神韵凝于绢素之上，尽显五代写实工笔的隽永魅力。",[24,194,25,26,28,7,83,245,636,3539,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F332fee9c6e6f4bf61e5511d43efcaedc.jpg",[],{"id":24866,"slug":24867,"title":19020,"dynasty":76,"author":19021,"museum":316,"description":19022,"tags":24868,"thumbUrl":24869,"material":599,"size":600,"collection":139,"collections":24870,"s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到表现形式，都继承了唐代周昉的传统。\n\n该图人物画卷与同是五代时期大画家顾闳中的传世名作《韩熙载夜宴图》卷有重大联系。这不仅是因为此图在绘画风格上与后者极为类似，而且在画面内容上也符合画史事实。",[23,194,24,25,26,28,7,106,59,195],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a17334f891c05bde91603b85c042b93.jpg",[],{"id":24994,"slug":24995,"title":20428,"dynasty":76,"author":375,"museum":5197,"description":24996,"tags":24997,"thumbUrl":24999,"material":529,"size":25000,"collection":139,"collections":25001,"showCount":24823,"zanCount":48,"manualWeight":48,"mainColor":49},223159,"bai-lu-tu-shen-quan-223159","此图绘在柏树之下、溪流岸边，两只梅花鹿一立一卧，均仰视远方。图中鹿的描绘十分工整、细腻，山石的点染、溪波的勾勒也有类似笔调，尤为细致而并非完全写实，画面既真实又不泥于细节。\n此画场面雄奇壮阔，波涛汹涌的溪边，在坡石平地处，幽憩着两只梅花鹿：其中一只雄性的梅花鹿屹立于坡上，二足着地，前左腿略微弯曲上提，仰首远眺，汲角往后，短尾微翘，背复部梅花斑纹清晰可见；另一只雌性梅花鹿，卧伏于山石上，两耳耸立，伸着脖颈，双目远视，画面下端为山石横卧，山石下急流滚滚，波纹起伏。在画幅右侧下坡石后，一棵巨大的柏树拔地而起，树干粗壮，枝干曲直向上，虬枝盘旋，相互交织在一起，其中有数枝横入画幅左侧和中部。在画幅打上侧款署“乾隆丙寅二秋”即1746年。\n此图极为清丽活泼。画面内容是柏树下、溪流畔的风景，两只梅花鹿一立一卧，神态悠然，动态生动，极是传神。最为引人注意的是鹿的描绘，十分工整、细腻，山石的点染、溪波的勾勒也有类似笔调，十分细致而并非完全照抄写实，显得画面既真实又不泥于细节。\n画家所作笔墨用意有二：其一，横出的柏树枝叶，使上端牢旷的画面得以填补，起到了使画面构图充满和平衡作用；其二，浓密枝叶形成大片的树荫，正是梅花鹿憩息最好去处和场所。在古柏后有石壁远崖，隐约可见山涧泉水顺流而下，汇聚在宽阔无际的江河中，构成一幅清丽娴雅的景致，令人心旷神怡。作者在创作此画时，特别注意虚笔在背景处理中的运用，虚实相生，阴阳分明，赋色妍丽清雅。此画题材富有吉庆寓意。",[23,194,24,25,28,7,746,29,2479,24998,1426,176,3712],"柏树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e97721781d653cc08291b2edf0edcd7.jpg","纵98 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年代，清代女画家，画家陈舒的曾孙女，写生写生，画如陈舒的笔法。",[23,194,24,25,26,7,28,228,722,209,319,635,1980,25016,720,1111,25017,3596,25018,7249,84,262,25019,245],"水藻","红鱼","莲叶","小鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30ec091c195124569eded74b3cf2a78e.jpg","32.2×339.2cm",[],{"id":25024,"slug":25025,"title":25026,"dynasty":99,"author":792,"museum":539,"description":25027,"tags":25028,"thumbUrl":25029,"material":638,"size":25030,"collection":90,"collections":25031,"showCount":24823,"zanCount":2368,"manualWeight":48,"mainColor":94},222604,"hong-ye-qiu-qin-tu-lan-ying-222604","红叶秋禽图","枝头稀稀落落的几片叶子，让人联想到地上可能已有大片的落叶，秋意渐浓",[23,226,24,7,173,83,1754,1530],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0891cd63ac53d923be6085e133c60d20.jpg","35.8x94.7",[90,45],{"id":25033,"slug":25034,"title":25035,"dynasty":99,"author":25036,"museum":56,"description":25037,"tags":25038,"thumbUrl":25039,"material":638,"size":25040,"collection":181,"collections":25041,"showCount":24823,"zanCount":2368,"manualWeight":48,"mainColor":94},222578,"zhu-lu-shan-fang-zhou-shen-zhen-222578","竹炉山房轴","沈贞","该图画山峦耸立、老树槎桠，叶竹围绕山房，生意昂然。此图时代风格极为鲜明，与刘珏、杜琼诸家接近，从而得以探明沈周画风的出处，了解承前启后的脉络。",[23,24,25,226,7,177,28,29,227,378,35,109,106,686,23066,1171,689],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04ce7c6cd7d2c7863041083e3b58f8f4.jpg","纵115.5厘米，横35厘米",[181,45],{"id":25043,"slug":25044,"title":25045,"dynasty":302,"author":303,"museum":101,"description":25046,"tags":25047,"thumbUrl":25048,"material":638,"size":25049,"collection":139,"collections":25050,"showCount":24823,"zanCount":48,"manualWeight":48,"mainColor":94},221713,"wang-xi-zhi-guan-e-tu-quan-juan-qian-xuan-221713","王羲之观鹅图全卷","《王羲之观鹅图》是描写东晋书圣王羲之观白鹅的情景。此图画法，笔画简约，千墨燥锋，似是枯瘦格调，而其皴山石、立屋宇，却是较为精密且有顿挫有致的用笔技巧。山石皴笔时见飞动与疏密有致，笔划松动而老辣，空灵而沉着。\n此画为长卷，画面开阔。远景为平远山水景色，中景为一片宽阔河水，水面开阔平如镜，有几只白鹅正在河面上戏水，使谧静的河上略见生气：近处为村落，下面为坡石，坡石间和平地上，丛生松林杂树，树的后边为一座较大的屋宇水榭，水榭中站着两人，高者为此画主人公王羲之，正在凝视前方河面上戏水的鹅群，神情专一，仔细观看鹅群戏水的多姿多态。王羲之的身后为幼童，似乎也随着主人正在观看一群白鹅。\n在画面左侧，作者有一首七言题诗： “修竹林间爽致多，闲庭坦腹意如何。为书道德遗方士，留得风流一爱鹅。”\n画卷隐居题签为乾隆御笔：“钱选《观鹅图》真迹，内府御玩。”下钤“神品”、“御赏”二玺。在画卷引首部分书有“山阴逸兴”四字，上钤“乾隆御笔”玺。画心左上方有乾隆丙寅御笔诗：“墓高风有足多，独推书圣却云何。行云流水参神韵，笔阵传来只白鹅。”画心上部钤“稽古右文之玺”，上有“苍”字，与之配套的有内府五玺：“三希堂精鉴玺”， “宜了孙”、 “乾隆鉴赏”、 “乾隆御览之宝”与“石渠宝笈”玺",[23,24,25,26,7,28,178,212,29,106,175,227,34,7355],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31301d79c761a30f82e35acb1616dd0c.jpg","23.2X92.7厘米",[],{"id":25052,"slug":25053,"title":25054,"dynasty":18,"author":2244,"museum":101,"description":25055,"tags":25056,"thumbUrl":25057,"material":67,"size":25058,"collection":42,"collections":25059,"showCount":24823,"zanCount":48,"manualWeight":48,"mainColor":49},221501,"chun-jiao-mu-yang-tu-li-di-221501","春郊牧羊图","《春郊牧羊图》为扇面小品，大不盈尺，绘春郊野外，羊群于坡岸吃草放牧的情景，羊群刻画生动，奔走俯首等姿态栩栩如生，有母子舔犊情深、有结伴奔跑嬉戏、有独自悠闲觅食。荒草并不丰茂，但却充满生机，平稳均衡的画面布局又隐藏着山坡横向的动感和柳树上扬下垂的起伏变化，而正在攀爬柳树的牧童，更是给看似安静的画面增添了活眼",[23,24,194,1260,28,7,2532,6162,746,106,912,9086,5217],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a238f37fd4e936610467a8de5665e84.jpg","24.1×24.8cm",[42,90,163],{"id":25061,"slug":25062,"title":25063,"dynasty":18,"author":4254,"museum":101,"description":10525,"tags":25064,"thumbUrl":25065,"material":529,"size":10528,"collection":42,"collections":25066,"showCount":24823,"zanCount":48,"manualWeight":48,"mainColor":49},221392,"yan-lan-qiu-xiao-tu-shou-juan-fan-kuan-221392","烟岚秋晓图手卷",[23,24,25,26,29,177,7,176,34,37,986,5218,809,1785,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e46fdf1ba9c7c72c2074be0b953a710.jpg",[42,181,163],{"id":25068,"slug":25069,"title":25070,"dynasty":18,"author":25071,"museum":316,"description":25072,"tags":25073,"thumbUrl":25074,"material":67,"size":25075,"collection":42,"collections":25076,"showCount":24823,"zanCount":48,"manualWeight":48,"mainColor":94},221322,"shi-yong-tu-quan-juan-zhang-xian-221322","十咏图全卷","张先","此图是一幅山水人物画，画卷的开首部分便是吴兴南园一角，主体建筑为一座重檐歇山顶的楼阁，相配小亭栏杆回环曲折，花草树木掩映，庭中有鹤，亭角有花一株，环境幽雅而气象恢宏。楼阁内，马太守正陪二老对坐奕棋；小亭内，二老手扶栏杆，一面赏景一面闲话；另二老或携琴或曳杖，款款而来。此外有童仆衙役陪伴侍候。这是一次风流儒雅的集会，轻松愉快，表现出一派太平盛世的气氛。这一段表现了三首诗的内容，除前述一首之外，另有《庭鹤》、《玉蝴蝶花》二首。\n南园临水而建，湖对岸远渚汀洲，村庄茅舍，树木葱浓，群山耸翠，依次表现出《孤帆》、《宿清江小舍》、《归燕》、《闻砧》、《宿后陈庄偶书》、《送丁秀才赴举》、《贫女》七首诗的内容。\n张先的绘画作品，无论历史流传还是文献记载，仅此一幅。至于它的时代，从山石皴法及布置方法看，大体是北派山水的继承，属于荆浩、关同体系，而无李成、郭熙痕迹，更不入南宋格调，显然是北宋前期的风格。\n这件作品的文献价值一直受到前人的重视，它所记载的当时的文化活动及有关人物，都是唯一的现存第一手资料。陈振孙根据南园立石，对各种人物作了详细的笔录和考证。刻石在元代便毁灭了，颜尧焕的跋记录颇详。到今天，其画和所有的题跋，更弥足珍贵。\n此画原为清宫收藏，溥仪以赏溥杰的名义将画盗出宫廷，后携至长春。伪满政权覆灭时，此画被窃，此后50年中不知下落。\n1995年，在北京瀚海拍卖公司的拍卖会中此画才再度面世。故宫博物院根据徐邦达、启功、刘九庵等专家的建议，并得到国家文物局的批准，以1800万元竞价将此画购回，使这件国宝找到了它应有的归宿。国家文物局和故宫博物院用这么多的钱保护一件国宝，用启功先生的话说：“两个字，值得。”",[23,24,25,26,7,29,107,175,109,174,34,176,106,212,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb43225b3fa18322ee72418abdc181ec0.jpg","画心纵52厘米，横125.4厘米",[42,181,163],{"id":25078,"slug":25079,"title":25080,"dynasty":18,"author":5119,"museum":191,"description":25081,"tags":25082,"thumbUrl":25083,"material":67,"size":25084,"collection":44,"collections":25085,"showCount":24823,"zanCount":48,"manualWeight":48,"mainColor":94},221201,"song-gao-zong-shu-xiao-jing-ma-he-zhi-hui-tu-ce-zhao-gou-221201","宋高宗书孝经马和之绘图册","圖冊原本應為圖文相連的長卷，後來因破損嚴重，改裝成書畫分開的冊頁形式。畫幅各藉不同場景，詮釋各階層人士盡孝及忠君的雙重意涵。圖文相輔，充分突顯了“為君主立言”的創作初衷。圖冊諸題跋均肯定《孝經》書法出自於宋高宗之手。畫幅風格則與馬和之全然不同，部分山石皴法反倒與李唐、蕭照較近。",[23,194,24,25,81,7,106,86,937,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4ba40826be74d19b5b9d115b4400475.jpg","40x88厘米",[44,45],{"id":25087,"slug":25088,"title":25089,"dynasty":302,"author":303,"museum":191,"description":25090,"tags":25091,"thumbUrl":25092,"material":123,"size":25093,"collection":90,"collections":25094,"showCount":24823,"zanCount":48,"manualWeight":48,"mainColor":49},220384,"qiu-fang-niao-yu-tu-qian-xuan-220384","秋芳鸟语图","钱选山水师赵令穰，人物师李公麟，花鸟师赵昌，青绿山水师赵伯驹，尤善作折枝，其得意者赋诗其上。工临仿，尝借人白鹰图，夜临摹装池，翌日以临本归之，主人弗觉。选多写人物、花鸟，故所图山水当世罕传。。钱选与赵孟頫同乡并同享盛名。擅画人物、花卉及山水。其自题《其与花鸟画曾师法赵昌，又自有变法，多表现田园隐居等情趣，如《柴桑翁像》、等山水画。后因为手颤，以及对付诸多仿造者，改作水墨写意花卉。明代鲁王朱檀墓随葬有钱选等，多以水墨画就。",[23,194,24,25,1260,7,28,83,897,245,230,20147],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F194ffa877014eafa9f6fefd8f3e58dd3.jpg","24.2x26.2",[90],{"id":25096,"slug":25097,"title":25098,"dynasty":302,"author":1977,"museum":608,"description":25099,"tags":25100,"thumbUrl":25101,"material":123,"size":25102,"collection":44,"collections":25103,"showCount":24823,"zanCount":1379,"manualWeight":48,"mainColor":94},220304,"shen-qi-tu-zhao-meng-fu-220304","神骑图","赵孟頫（1254年10月20日 －1322年7月30日 ），字子昂，汉族，号松雪道人 ，又号水晶宫道人（一说水精宫道人 ）、鸥波，中年曾署孟俯。吴兴（今浙江省湖州市）人，原籍婺州兰溪。南宋晚期至元朝初期官员、书法家、画家、诗人，宋太祖赵匡胤十一世孙、秦王赵德芳嫡派子孙。",[23,26,28,7,86,212,150,746,378,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57852e2c7d3771acfec8f2e8b15502eb.jpg","16.8x87厘米",[44,45],{"id":25105,"slug":25106,"title":25107,"dynasty":18,"author":257,"museum":191,"description":25108,"tags":25109,"thumbUrl":25111,"material":123,"size":25112,"collection":42,"collections":25113,"showCount":24823,"zanCount":48,"manualWeight":48,"mainColor":49},220148,"lu-ting-shuang-ya-tu-yi-ming-220148","芦汀双鸭图","淡墨晕开秋水，似笼着薄雾寒烟，汀渚静卧，清寂悠然。右侧芦苇以双钩提笔绘就，细劲笔触勾出舒展茎叶，墨色分染衬出枯软肌理，仿有风过簌簌摇曳，野意横生。\n\n水面野鸭悠然徐行，浓墨点染头颈，浅墨晕开羽上斑纹，明暗相宜，灵动鲜活。寥寥数笔勾出鸭掌拨出的细微波痕，暗合水动之姿。\n\n整幅画作以简驭繁，舍去浓艳敷色，独以水墨铺陈郊野水滨之景，将秋日汀洲的幽寂闲趣藏于绢素，把自然生灵的安闲之态凝于笔端，尽显含蓄雅致的古典意韵。",[23,24,25,83,226,28,7,1980,835,3519,25110],"汀洲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31af9eabc519e95fbd973739de4ea50c.jpg","86.5x90.4",[42],{"id":25115,"slug":25116,"title":25117,"dynasty":76,"author":1829,"museum":316,"description":25118,"tags":25119,"thumbUrl":25120,"material":7,"size":139,"collection":90,"collections":25121,"showCount":24823,"zanCount":48,"manualWeight":48,"mainColor":49},220145,"chang-nian-bai-zi-fu-gui-tu-li-shan-220145","长年百子富贵图","李鱓，（1686年—1756年），字宗扬，号复堂，别号懊道人、墨磨人，清康熙二十五年（1686）生，乾隆二十一年（1756）卒，江苏扬州府兴化人，明代状元宰相李春芳第六世孙。清代著名画家，“扬州八怪”之一。\n工细笔法放逸，以泼墨等画法，创作出了生动、鲜活、淋漓、奔放、形神兼备的花鸟画作品，“纵横驰骋，不拘绳墨”，以至于被后人视为“怪物”。",[23,24,25,226,7,173,498,83,1273,292,553,10342,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda79c3a547dcbd57a9fa5702339cdc28.jpg",[90],{"id":25123,"slug":25124,"title":25125,"dynasty":18,"author":17938,"museum":442,"description":25126,"tags":25127,"thumbUrl":25128,"material":123,"size":25129,"collection":42,"collections":25130,"showCount":24823,"zanCount":1379,"manualWeight":48,"mainColor":49},219730,"chen-feng-tu-ma-he-zhi-219730","陈风图","陈国始封于西周初年，建都于今淮阳县，前后延续了500多年。该国以鸟为崇拜对象，简礼仪而重巫祠，其俗善歌舞，民风浪漫开放，这些都在《诗经·陈风》中得以体现。马和之创作的这组《陈风图》以浅显易懂的绘画语言解读了当时的文化与礼仪。《诗经》爱好者一定不能错过。马和之是南宋画家，为南宋宫廷画院中官品最高的画师，居御前画院十人之首。擅长人物、佛像、山水，其绘画风格与唐代吴道子相仿，人称“小吴生”。",[23,24,25,26,352,7,29,106,107,175,34,108,109,178,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F459c29b66cb238c23aa756f3463369ea.jpg","纵26.8、横731.5厘米",[42],{"id":25132,"slug":25133,"title":25134,"dynasty":302,"author":257,"museum":78,"description":25135,"tags":25136,"thumbUrl":25137,"material":123,"size":25138,"collection":90,"collections":25139,"showCount":24823,"zanCount":2368,"manualWeight":48,"mainColor":49},219254,"xing-hua-yuan-yang-tu-yi-ming-219254","杏花鸳鸯图","老干虬曲盘折，枝桠间素白杏花轻绽，似碎雪点染枝头，清妍雅致。水畔鸳鸯相倚，羽色温润柔和，与浅滩细草、零星苔石相映，添得几分闲逸生趣。画面色调古雅沉敛，笔墨简淡却意韵悠长，于静谧中藏生机，尽显元代文人画的清逸之致，观之如沐春风，心归恬淡。",[23,7610,194,24,25,83,28,7,2328,2014,378,262,263,11542,1530,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3807ab913238f9ab10fab7e5d2ba0d67.jpg","纵163横98.2厘米",[90],{"id":25141,"slug":25142,"title":25143,"dynasty":18,"author":11133,"museum":25144,"description":25145,"tags":25146,"thumbUrl":25147,"material":2365,"size":25148,"collection":90,"collections":25149,"showCount":24823,"zanCount":2368,"manualWeight":48,"mainColor":49},219074,"zhi-niao-tu-li-an-zhong-219074","鸷鸟图","西雅图艺术博物馆","双鸟振翅于苍空，一似利剑穿云，一若疾电掠野，羽翼纹理细劲如丝，飞羽层叠间藏着风的力度。下方山石嶙峋，荒草疏疏，墨色简淡却见苍劲，衬出鸷鸟雄健身姿。眼神未刻意描摹，却透着猛禽独有的锐光。整幅画于工致中见野逸，将鸷鸟凌厉气势与旷野清寂氛围融于一纸，尽显宋人对自然生灵的深刻洞察与笔墨匠心。寥寥数笔的背景，更让观者聚焦飞鸟动态神韵，仿佛能听见翅膀划破空气的声响，感受到荒野里蓬勃的生命张力。",[23,194,24,25,83,28,7,245,230,11542],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3df516f0d73f4636a45f5da60eb29c20.jpg","25.4x27cm",[90],{"id":25151,"slug":25152,"title":25153,"dynasty":54,"author":25154,"museum":191,"description":25155,"tags":25156,"thumbUrl":25157,"material":123,"size":25158,"collection":44,"collections":25159,"showCount":24823,"zanCount":2368,"manualWeight":48,"mainColor":94},218899,"shuang-qi-tu-wei-yan-218899","双骑图","韦偃","此图表现两人各乘一马，并辔狂纵之情景，构图、造形、用笔皆显示了韦偃画马艺术之非凡才能和独特风格，韦偃从主题效果着眼，注重画面气势，往往于险中见胜，不稳中见稳，使画面绝处逢生，平中生奇。",[23,194,24,25,7,28,106,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3b078e9b0d663299c9f5600a79bc8e1.jpg","纵31厘米，横44.5厘米",[44],{"id":25161,"slug":25162,"title":25163,"dynasty":18,"author":17938,"museum":191,"description":25164,"tags":25165,"thumbUrl":25166,"material":123,"size":25167,"collection":42,"collections":25168,"showCount":24823,"zanCount":48,"manualWeight":48,"mainColor":49},218866,"jiang-sheng-cao-ge-tu-ma-he-zhi-218866","江声草阁图","画中有一座建在悬壁上的亭子，瀑布流入河中，一棵松树拔地而起，一个学者靠在栅栏上看一颗飞星。",[23,24,194,7,28,29,107,34,245,7249,686,3519],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d2c1ff15b6b9c4fa6376a24609f2ff0.jpg","23.3x24.6",[42],{"id":25170,"slug":25171,"title":25172,"dynasty":99,"author":3307,"museum":191,"description":25173,"tags":25174,"thumbUrl":25177,"material":88,"size":25178,"collection":90,"collections":25179,"showCount":24823,"zanCount":2368,"manualWeight":48,"mainColor":49},218840,"cao-hua-ye-qin-tu-lv-ji-218840","草花野禽图","绘高梁丛底下，一对野雉正在低头觅食，另外还有三只荜雀翱翔于上，构景既真实生动，又富趣味性。画上并没有作者的签名，因为钤盖了吕纪的印章，而被误认为是他的作品。实际上这幅画虽然极好，但风格却和吕纪不尽相同，推测应该出自明代其他高手所作。吕纪（活动于1439—15○5年间），浙江鄞县人。明孝宗时任职于仁智殿作画，并被授予锦衣指挥的官名。",[194,24,25,226,28,7,83,245,25175,25176,176,264,212],"野禽","草花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28a86ac72036a3a520bff486521df824.jpg","146.4x58.7cm",[90],{"id":25181,"slug":25182,"title":25183,"dynasty":99,"author":14476,"museum":20,"description":25184,"tags":25185,"thumbUrl":25186,"material":123,"size":25187,"collection":181,"collections":25188,"showCount":24823,"zanCount":48,"manualWeight":48,"mainColor":49},218760,"hong-nong-du-hu-tu-zhu-duan-218760","弘农渡虎图","此画构图奇突，场面壮观，景物与人物活动相辅相成，充满生趣。画法上看，其人物、马匹的线条简练，姿态土动。人物多承马远，用线顿挫。画树木，笔法曲折多顿挫变化，枝如鹰爪；画山石顿笔勾描，略施皴染，间用马、夏的斧劈皴和水墨渍染。天与水皆用淡墨晕染，烘托出了雪景。从此图的内容到形式来看，都体现了明代院体画的特色。",[23,24,25,226,7,28,177,106,150,5443,29,176,34,1049,795],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F886a91eebdb1ac1117494daf67ec29d6.jpg","纵174厘米，横113.6厘米",[181,44],{"id":25190,"slug":25191,"title":25192,"dynasty":18,"author":257,"museum":78,"description":25193,"tags":25194,"thumbUrl":25195,"material":123,"size":25196,"collection":42,"collections":25197,"showCount":24823,"zanCount":48,"manualWeight":48,"mainColor":49},218619,"yuan-lu-tu-yi-ming-218619","猿鹭图","在画山的一棵老松树上，一只猴子右手抱着一只苍鹭，左手挥舞着，似乎在吓唬坐在树顶的另一只苍鹭，尽管树顶的苍鹭确实受到了惊吓，它张着尖嘴，翅膀微微张开，似乎准备逃走了。紧握着的游隼张开的嘴，似乎在呼救。",[23,194,24,25,1260,7,28,212,7995,4039,1273,3712,230,353,245,746],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe68a43a8dfe0798f567015c2597b7b30.jpg","23.3x23.8",[42],{"id":25199,"slug":25200,"title":24168,"dynasty":18,"author":11133,"museum":316,"description":25201,"tags":25202,"thumbUrl":25203,"material":638,"size":25204,"collection":90,"collections":25205,"showCount":24823,"zanCount":1379,"manualWeight":48,"mainColor":49},218549,"an-chun-tu-li-an-zhong-218549","画面分上下两帧，各绘一只鹌鹑，姿态迥异却各得神韵。上方鹌鹑低头探向草丛，羽翅纹理细密如织，绒毛质感似触手可及；下方鹌鹑昂首而立，目光警觉，尾羽舒展间尽显灵动。背景以疏淡笔墨勾出枯苇、细枝，与鹌鹑的工致刻画形成对比，清雅中透着野趣。绢本设色温润古朴，禽鸟的鲜活与环境的萧瑟相映，既见宋代院体画的精致写实，又藏自然生机的悄然流动，尽显宋人观物入微的审美意趣。",[194,24,25,28,7,83,1530,7956,838,7428],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e3b3fb868cf2e335d61dbfc6fae97c5.jpg","23x25",[90],{"id":25207,"slug":25208,"title":25209,"dynasty":256,"author":257,"museum":101,"description":25210,"tags":25211,"thumbUrl":25212,"material":88,"size":25213,"collection":44,"collections":25214,"showCount":24823,"zanCount":2368,"manualWeight":48,"mainColor":49},218316,"ri-ben-du-tang-tian-shen-tu-yi-ming-218316","日本· 渡唐天神图","人物宽袍博带，衣纹流转间见古朴气度。手中梅枝缀着花苞，清韵暗生；身侧囊匣似藏典籍，隐现渡海求艺的初心。上方题字墨痕苍劲，与人物沉静神态相契，勾连起东瀛与大唐的文化牵系。画面虽简，却以含蓄笔触，将古代跨海求法的虔诚与文化交融的暖意凝于纸上，似能窥见千年前那些跨越沧海的身影，带着对文明的向往，在笔墨间留下永恒的回响。",[24,25,226,7,106,28,820,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F040b1b8dece6ec842089b519db230ca5.jpg","94.8x36.5",[44],{"id":25216,"slug":25217,"title":25218,"dynasty":18,"author":25219,"museum":5827,"description":25220,"tags":25221,"thumbUrl":25222,"material":123,"size":25223,"collection":181,"collections":25224,"showCount":24823,"zanCount":2368,"manualWeight":48,"mainColor":94},218280,"feng-yu-shan-shui-tu-li-shan-218280","风雨山水图","李山","三条瀑布从画面右侧倾泻而下，与下方的岩石撞击出波浪，而左岸的松树形状奇特，树枝拍打着，似乎在跟随风向向右倾斜。一座桥横跨两岸，两个人和一头驴子在桥上逆风而行。",[23,24,25,29,1353,353,177,7,11023,176,34,37,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75f605ea64091fed8c0af258bb334556.jpg","24.1x24.8cm",[181],{"id":25226,"slug":25227,"title":1383,"dynasty":99,"author":25228,"museum":132,"description":25229,"tags":25230,"thumbUrl":25231,"material":123,"size":25232,"collection":181,"collections":25233,"showCount":24823,"zanCount":48,"manualWeight":48,"mainColor":2504},218098,"shan-shui-tu-li-zai-218098","李在","明朝时期的画家李在是一位著名的山水画家。他的作品以其精细的写实技巧、恢弘的气势和自然的造型而闻名。\n\n李在的山水图以其鲜明的色彩和细腻的线条而著称。他善于运用笔墨勾勒出高山峻岭、秀美的林木、碧波荡漾的江河、以及蒙蒙细雨的天气。他的画作还经常加入人物、建筑和动物的元素，使得作品更具生动感。\n\n李在的山水画不仅具有艺术价值，而且在当时也被视为象征君权的艺术品。他的作品深受当时的皇帝和贵族的青睐，并在历史上留下了深远的影响。\n\n总之，李在是一位杰出的山水画家，他的作品以其精细的写实技巧和自然的造型而闻名，并在历史上留下了深远的影响。",[24,25,194,226,173,7,177,29,30,34,108,109,37,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc76f77a8ae01189e0f35aebdf3f3f1bb.jpg","138.8x83.2cm",[181],{"id":25235,"slug":25236,"title":25237,"dynasty":302,"author":16330,"museum":5827,"description":25238,"tags":25239,"thumbUrl":25240,"material":123,"size":25241,"collection":181,"collections":25242,"showCount":24823,"zanCount":48,"manualWeight":48,"mainColor":2504},217926,"gao-shi-tu-gao-ke-gong-217926","高士图","高士图是中国元朝时期的著名画家高克恭的代表作之一。这幅画描绘了一位儒家士人的形象，体现了高克恭对传统文化的尊敬。\n\n高士图的画风典雅、精致，采用了传统的山水画的手法，但又有别于传统的山水画，展现出高克恭独特的艺术风格。在这幅画中，高士端坐在池塘边，手托着下巴，神态沉静、自若，表现出了儒家士人的谦逊、淡泊的态度。\n\n高士图被认为是高克恭的代表作之一，因为它体现了高克恭对中国传统文化的尊敬，以及他对儒家哲学的理解。这幅画也被认为是元朝时期艺术发展的里程碑，因为它展现了艺术家对传统文化的传承与创新的完美结合。",[24,25,29,173,7,353,1353,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35f7a2c46e365347d66d4983ee269969.jpg","179.7x101.6cm",[181],{"id":25244,"slug":25245,"title":25246,"dynasty":99,"author":257,"museum":191,"description":25247,"tags":25248,"thumbUrl":25249,"material":88,"size":25250,"collection":90,"collections":25251,"showCount":24823,"zanCount":48,"manualWeight":48,"mainColor":94},216216,"ming-ren-hua-suan-ni-tu-yi-ming-216216","明人画狻猊图","这幅画的主题是狻猊，它是古代中国神话中的一种强大的兽，被认为是一种深深联系着天地万物的神兽。在这幅画中，画家细致地描绘了狻猊的身体特征，并运用了各种色彩来表现狻猊的神秘和强大。这幅画是一个经典的代表作，展现了明朝画家对古代传统文化的热爱和尊重。",[24,194,25,7,28,746,11893,353,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d8a9122c3bb3c95220a73fd82916619.jpg","211.9x178.6cm",[90],{"id":25253,"slug":25254,"title":15156,"dynasty":99,"author":25255,"museum":191,"description":25256,"tags":25257,"thumbUrl":25258,"material":88,"size":25259,"collection":44,"collections":25260,"showCount":24823,"zanCount":48,"manualWeight":48,"mainColor":49},214747,"luo-han-tu-zhao-xiu-lu-214747","赵修禄","画中的罗汉眉毛胡子一把抓，左手持袖，右手持珠，化作水波，脚踏浪花，形象生动。衣服的轮廓和画作的线条都非常清晰细腻，所谓流畅的笔触可能就是这种笔触风格的体现。",[24,25,226,260,106,7,212,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f0de78a831d6c5e798e599ccb531b57.jpg","82.3x24.2",[44],{"id":25262,"slug":25263,"title":25264,"dynasty":18,"author":25265,"museum":78,"description":25266,"tags":25267,"thumbUrl":25268,"material":139,"size":139,"collection":42,"collections":25269,"showCount":24823,"zanCount":48,"manualWeight":48,"mainColor":25270},202978,"sui-yang-wu-lao-tu-ti-ba-ce-jiang-can-202978","睢阳五老图题跋册","蒋璨","册页中人物身着宽袍官帽，神态从容内敛，线条勾勒简洁精准，衣袂褶皱处见笔力细腻。旁侧题跋墨色浓淡相宜，行笔流畅自然，文字与画像相映成趣，既留存人物风貌，更承载历代文人的评述感怀。纸本古朴质感与书画雅致气韵交融，仿佛窥见往昔文人雅集的从容心境，岁月痕迹在笔墨间流淌，尽显传统书画合璧的独特魅力。",[81,28,178,106,86,7,352,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F181806e01c0d82064ca8ee0a7b420c76.jpg",[42],"d5b99b",{"id":25272,"slug":25273,"title":25274,"dynasty":99,"author":100,"museum":191,"description":25275,"tags":25276,"thumbUrl":25277,"material":123,"size":25278,"collection":181,"collections":25279,"showCount":25280,"zanCount":2368,"manualWeight":48,"mainColor":49},290878,"song-ting-shi-quan-tu-zhou-chou-ying-290878","松亭试泉图轴","画中峰峦峥嵘，在云雾间半藏半露，近处陡峭的山岩间，一挂飞瀑跌成数叠，曲折流至松林溪间，临溪一歇山重檐松亭，亭中隐士品茶赏景，童子蹲着煮茶，亭外溪边一童子正持瓶汲泉。作者画出了一片娱性怡情的天地。",[194,24,226,7,28,29,175,1273,106,109,686],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16d3e2d68807da9d43ef17fbb8fb40a7.jpg","128.1x61",[181],53,{"id":25282,"slug":25283,"title":25284,"dynasty":189,"author":2083,"museum":191,"description":25285,"tags":25286,"thumbUrl":25287,"material":599,"size":600,"collection":139,"collections":25288,"showCount":25280,"zanCount":48,"manualWeight":48,"mainColor":49},290376,"zhu-mei-han-que-tu-zhou-huang-quan-290376","竹梅寒雀图轴","雪寒中，朱连雀、桑鳲、八哥、麻雀栖于梅竹枝蔓中，此项题材、布景，可见于《边文进三友百禽》。从画幅横大于纵，与一般立轴纵大于横，有所不同，或许原本为一大画幅，因残破割裂而成者。画中绿竹竿，每节以重笔勾勒，连节处虚空，这种画法，亦见于边氏作风。八哥羽毛，其墨黑如碳，一般是以灯炱加胶所成，枝干留有残雪，用破笔沾白粉戳出，其法亦见于吕纪诸画中。就风格论，该画出于明人，为边文进、吕纪一系画家所作。",[24,194,2746,226,28,7,820,227,245,16050],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5b9b276031df00cd0af945364161f1b.jpg",[],{"id":25290,"slug":25291,"title":4138,"dynasty":76,"author":2883,"museum":316,"description":4139,"tags":25292,"thumbUrl":25293,"material":599,"size":600,"collection":139,"collections":25294,"showCount":25280,"zanCount":48,"manualWeight":48,"mainColor":94},239248,"mu-dan-shi-liu-zhong-ce-jiang-ting-xi-239248",[24,25,83,81,28,7,292],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe10c20a2249c853072ea9c34d74b851b.jpg",[],{"id":25296,"slug":25297,"title":6199,"dynasty":76,"author":6200,"museum":20,"description":6201,"tags":25298,"thumbUrl":25299,"material":139,"size":139,"collection":139,"collections":25300,"showCount":25280,"zanCount":1003,"manualWeight":48,"mainColor":49},237118,"shi-nv-ce-cui-wei-237118",[24,25,81,7,28,59,229,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F519e14663043a6abef08f50ab0e10161.jpg",[],{"id":25302,"slug":25303,"title":205,"dynasty":99,"author":25304,"museum":316,"description":25305,"tags":25306,"thumbUrl":25307,"material":139,"size":139,"collection":90,"collections":25308,"showCount":25280,"zanCount":2368,"manualWeight":48,"mainColor":94},236539,"hua-niao-ce-tang-zhi-yin-236539","唐志尹","唐志尹[清]字相五，江苏扬州人，住姜堰。一作字聘三，海陵（今泰州）人。志契弟。花鸟得吕纪、王偕之传。所居万竹园，冒襄、蓝瑛辈尝过访之。康熙（一六六二至一七二二）初年八十余。与侄日昌，兄志契时称三唐。《泰州志、无声诗史、图绘宝鉴续纂、画史会要》",[24,25,81,7,28,83,245,820],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47b669b84d4f71b6aa2834de627edee9.jpg",[90,45],{"id":25310,"slug":25311,"title":25312,"dynasty":76,"author":257,"museum":20,"description":25313,"tags":25314,"thumbUrl":25315,"material":1038,"size":25316,"collection":44,"collections":25317,"showCount":25280,"zanCount":48,"manualWeight":48,"mainColor":94},236179,"hong-li-sui-chao-xing-le-tu-xiang-yi-ming-236179","弘历岁朝行乐图像","暖阁里主仆围聚，主人逗弄怀中幼童，满堂融融暖意弥散。阶下有人持笛奏乐、孩童嬉闹，檐下案头陈设瓶花清供，雅趣横生。近旁苍松虬劲古朴，崖石覆雪添了冬日清寒，远景烟霭轻笼，亭台隐没云间，冷暖景致相映成趣。\n\n整幅工笔妍丽细腻，将皇家岁朝的闲温情致，与园林雅致意趣揉合一处，把佳节天伦之乐绘得鲜活动人，尽显华贵静谧的宫廷年味图景。",[24,194,28,7,104,106,107,1273,176,115,2385,280,409],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9cf7690222da77f1a730090ee748426.jpg","纵384cm，横160.3cm",[44,45],{"id":25319,"slug":25320,"title":25321,"dynasty":99,"author":1196,"museum":316,"description":25322,"tags":25323,"thumbUrl":25324,"material":139,"size":139,"collection":139,"collections":25325,"showCount":25280,"zanCount":2368,"manualWeight":48,"mainColor":49},235993,"ren-wu-tu-ye-tang-yin-235993","人物图页","此作以娴静仕女为主体，她踞坐朱红锦毡，素手轻拢琴弦，眉梢隐含幽愁，仪容温婉端丽。衣纹勾勒柔劲舒展，设色雅致古淡，将深闺女子的沉静与悒郁揉入笔底。\n\n左侧题诗与画作相得益彰，行书俊逸秀挺，诗中闺怨与仕女情态相互映照。整体空灵清雅，以极简场景烘托出幽寂绵长的春愁，将缱绻心事藏于笔墨色彩间，诗画合璧，尽显隽秀雅致的格调，是融情于景的精妙小品。",[194,24,25,28,7,106,59,195,178,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a945bd646f963731c397889aed56bff.jpg",[],{"id":25327,"slug":25328,"title":205,"dynasty":76,"author":25329,"museum":316,"description":25330,"tags":25331,"thumbUrl":25332,"material":599,"size":600,"collection":139,"collections":25333,"showCount":25280,"zanCount":48,"manualWeight":48,"mainColor":94},235209,"hua-niao-ce-wang-li-235209","王礼","王礼（1813－1879）初名秉礼，字秋言，号秋道人,南翁道人（一作士），别署白蕉研主，一号蜗寄生，室名延秋款冬之室，常用印鉴王礼、王礼之印、王秉礼印、吴江王礼、秋言、秋言写生、秋言画印、秋言书画、秋道士、湫言、阿大、戴传、延秋款冬之室、公之犹、雪蕉家学、梵天壶隐、红梨逸史书画记。",[24,7,28,81,83,243,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0b5c68a130e73e550876852397e441d.jpg",[],{"id":25335,"slug":25336,"title":25337,"dynasty":76,"author":25338,"museum":316,"description":25339,"tags":25340,"thumbUrl":25349,"material":139,"size":139,"collection":139,"collections":25350,"showCount":25280,"zanCount":2368,"manualWeight":48,"mainColor":94},234599,"qing-lv-shan-shui-wan-shan-jiang-yun-234599","青绿山水纨扇","姜筠","姜筠（1847－1919），字颖生，别号大雄山民，安徽省怀宁人。光绪十七年（1891）举人，官礼部主事。1913年梁启超在北京雅集词人诗友于万牲园，举行癸丑上巳修禊，颖生曾作图纪念。\n姜筠工书画，书法学苏轼，兼善篆刻。山水专学王翚，笔墨浓重，苍润古秀，殊乏清疏之气，间作花卉。工写兼至，别有韵味。《深山白云图》画大山、坡岸、房屋、渔舟，一派生机勃勃的景象。山中白云飘浮，更衬托了远山的深远，山上密密杂树寓意着新的生命处在潜伏的酝酿 期。姜筠作画以古法入，在借鉴古人笔意上又力图摆脱古人，从而寻找自己的绘画道路。图中的山石树木借鉴古法，重视造化，而点缀其中的 房屋、渔舟、云气正是表现了人的伟大和大自然的永恒。",[24,25,1260,27,7,29,109,174,34,176,37,175,977,25341,395,25342,25343,25344,25345,25346,25347,25348],"设色山水","传统国画","古典书画","山水景物","流水孤舟","云雾缭绕","山石树木","亭台建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e9fc52f859f06ac6e06372c7f3cfa33.jpg",[],{"id":25352,"slug":25353,"title":25354,"dynasty":76,"author":997,"museum":20,"description":15780,"tags":25355,"thumbUrl":25356,"material":770,"size":15784,"collection":139,"collections":25357,"showCount":25280,"zanCount":2368,"manualWeight":48,"mainColor":94},233770,"tao-yuan-ming-shi-yi-tu-ce-shi-tao-233770","陶渊明诗意图册",[24,25,81,173,7,178,86,29,34,35,1785],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21739288ecf9a96bf144d35e36186e18.jpg",[],{"id":25359,"slug":25360,"title":25361,"dynasty":76,"author":2200,"museum":20,"description":25362,"tags":25363,"thumbUrl":25365,"material":638,"size":25366,"collection":139,"collections":25367,"showCount":25280,"zanCount":2368,"manualWeight":48,"mainColor":94},233732,"wu-jun-qing-ku-gua-tu-zhou-wu-chang-shuo-233732","吴俊卿苦瓜图轴","本幅设色。自题“和尚以为号，山家以为肴，以嗜甘者，而嗜此寥寥“款：”乙酉四月吴昌硕“。\n吴昌硕（1844—1927年），原名俊，字昌硕，以字行，号苦铁、缶庐等，浙江安吉人。早年习书，中年学画。曾任官府小吏，后以鬻书卖画为生。绘画以写意花卉著称于世，对近现代画坛影响极大。精篆刻，被推为“西泠印社”社长。书法一变前人成法，风格独特，长于摹写石鼓文，并以此擅名于近代书坛。与任伯年、高邕等在沪书画家相友善。著有《缶庐诗存》，后人整理出版其画集多种。",[24,25,226,7,173,83,25364,553,554],"苦瓜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc1e99426b2f6144728f43f592f51d11.jpg","纵176cm横47.7cm",[],{"id":25369,"slug":25370,"title":25371,"dynasty":18,"author":257,"museum":101,"description":25372,"tags":25373,"thumbUrl":25375,"material":67,"size":25376,"collection":139,"collections":25377,"showCount":25280,"zanCount":2368,"manualWeight":48,"mainColor":49},232878,"gua-guo-cao-chong-tu-juan-yi-ming-232878","瓜果草虫图卷","宋代绘画是中国传统艺术当之无愧的颠峰，形成了琳琅满目的各式题材与流派，而它最具代表的特点是画家深入的观察与细腻的表达，因此产生出叹为观止的精妙画作。这既源于宋代兴起的理学精神，强调“格物”；亦源于宋代人对于生活的热爱，使他们乐于描绘世界的细微处——例如一类以瓜果作为题材的花鸟画作品。",[23,24,25,26,7,28,83,25374,483,484,553,569,554,1187],"瓜果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc51b48aaaf0d6e93f2e0fb70756a9d19.jpg","41x197.3厘米",[],{"id":25379,"slug":25380,"title":25381,"dynasty":189,"author":25382,"museum":12886,"description":25383,"tags":25384,"thumbUrl":25385,"material":67,"size":25386,"collection":139,"collections":25387,"showCount":25280,"zanCount":48,"manualWeight":48,"mainColor":49},232620,"fan-bu-xue-wei-tu-juan-hu-qian-232620","番部雪围图卷","胡虔","胡瓌与胡虔父子的生卒年均不详，他们父子熟悉草原生活，专绘游牧民族形形色色的生活场景，内容包括卓歇、牧马、射骑、按鹰、撬幕、汲泉等，创作丰富，描绘极为传神生动。\n[五代·后唐]镶子，画番部人马有父风。其父用笔清而圆，虔得笔于父，熟而劲，伹清圆微劣于父。《图画见闻志、宣和画谱、真迹日录》",[23,24,25,26,28,7,106,150,746,795,353,86,178,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb672acb1f1813c352c1c5db3e6cbe11.jpg","28.8×117厘米",[],{"id":25389,"slug":25390,"title":25391,"dynasty":302,"author":257,"museum":12886,"description":25392,"tags":25393,"thumbUrl":25394,"material":638,"size":139,"collection":139,"collections":25395,"showCount":25280,"zanCount":48,"manualWeight":48,"mainColor":49},231496,"fang-liu-song-nian-song-xia-lun-dao-tu-yi-ming-231496","仿刘松年松下论道图","苍松虬曲如卧龙，扎根危岩之间，飞泉叠落撞碎成雪，循着层岩汇入深涧。右下角平坡上，二人相对晤谈，一人敛衽凝神静听，一人凭石畅意抒怀，山林幽寂将这场论辩衬得愈发悠然。\n\n画作以水墨晕染层叠山势，皴擦勾勒出岩壁嶙峋肌理，松枝笔触老辣苍劲，将山野清旷出尘之态尽数铺展。以景托人，把林下寄情、坐而论道的隐逸雅趣融于山水烟岚，尽显文人寄心林泉的林下风流，笔墨间萧散简远，于沉静古雅色调晕染出出世闲情。",[23,24,173,7,177,105,29,1273,1426,109,106,686],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ece85a22e089d31138e99f0a6f7bf48.jpg",[],{"id":25397,"slug":25398,"title":25399,"dynasty":189,"author":1730,"museum":191,"description":25400,"tags":25401,"thumbUrl":25403,"material":1319,"size":25404,"collection":181,"collections":25405,"showCount":25280,"zanCount":48,"manualWeight":48,"mainColor":49},231050,"dong-tian-shan-tang-tu-dong-yuan-231050","洞天山堂图","《周凯画集》是 1998年出版的图书，作者是周凯。\n《周凯画集》为周凯画集，内容分为重彩丹青、浅绛水墨、书法三大部分。\n重彩丹青 1 秋瘤湖边 2 翠谷鸣泉 寺后小国 4 香港，永受嘉福 5 香港青马大橘 6 香港山顶缆车 7 山城 8 门神 9 喜盈盈 1 仰卧的女人体 11 卖水果人家 12 天下共此时一一深圳“世界之窗” 1 14 化生童子 15 五层塔 16 菩萨与罗汉 17 阁楼中的女孩 18 水乡市井 19 飞天 2 有井的圆楼 21 明王 22 围城 2 菩萨与伎乐 24 秋帆南下 25 树阴下的女人体 26 门外秋山 27 双龙与鳖 28 带水塔的山村 29 苍崖 幽谷轻绡 1 置庭园 2 蓝色的夜曲 丙寅二月 4 玄牝之灵 5 帝裔之乡 6 青绿山水 7 红色山水 8 深山萧寺 9 离堆 4 根 41 崖 浅绦水墨 42 屑屑山水秀 4 寒峰插天 44 峰峭余翠 45 明，陆治诗意 46 幽壑叠泉 47 魏·曹植游仙诗诗意长卷 48 清人诗意 49 扶桑轫暾 5 洞天神工 51 陶冶性灵 52 帖石防殴岸 5 蕉下读书图 54 束晋·庾阐观石鼓诗诗意手卷 55 云散峭峰 56 水村山郭（四季条幅之春） 57 前峰一夜两（四季条幅之夏） 58 秋来风雨知多少（四季条幅之秋） 59 暮景千山雪（四季条幅之冬） 6 君子之求 61 唐·柳宗元诗意 62 鹞 6 元·钱舜举诗意 64 林泉高致闽 65 烟岚圆 66 鶸冠花 67 临王蒙春山读书图 68 仿山水图 69 唐·刘长卿诗意 7 双矶圆 71 临董源洞天山堂图 72 水墨山水 7 临李唐万壑松风图 书法 74 唐·杜甫论诗七绝三首 75 唐·李白梦游天姥吟留别诗 76 画禅室随笔一则 77 南田论画一则 78 世说新语二则",[24,25,29,226,173,7,177,685,2235,25402,1133,34,175,379,108,109],"洞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4a4de7bd1f0b9c7318084670f1579b8.jpg","183.2x121.2",[181],{"id":25407,"slug":25408,"title":25409,"dynasty":76,"author":7668,"museum":316,"description":25410,"tags":25411,"thumbUrl":25412,"material":139,"size":139,"collection":139,"collections":25413,"showCount":25280,"zanCount":2368,"manualWeight":48,"mainColor":49},230191,"chun-shan-ting-ruan-tu-lv-huan-cheng-230191","春山听阮图","《春山听阮图》是清代画家吕焕成创作的一幅绢本设色画。\n关于清代画家 ，《 》中记载：“擅人物、花卉，兼长山水，好作斧劈皴，风格颇似戴文进。\n”他创作的道士、佛神像，皆笔法工整，设色古雅。\n在这幅《春山听阮图》轴中，作者一改以往的艺术特色，不见斧劈痕迹，风格却似 作品的格调。\n不过这倒使我们从另一个角度领略到画家对不同艺术境界的探求。\n山间的瀑布、亭宇、林木相互掩映，在烟岚缭绕的气氛中若隐若现。\n近景溪边的亭台上有一人正在弹阮，他神情怡然，气质脱俗，想必正沉浸在乐曲独特的旋律之中；他的身边有一人正聚精会神地聆听着，想必是其朋友，那坐卧斜倾的姿态，看上去像是完全被阮音优美的旋律所醉倒。\n右边的低崖上有二人正在观景，或许是回荡在山谷里美妙的阮音打断了他们的话题，使他们不由得回转过头，听着佳音赏着眼前的美景。\n我们虽然听不到这美妙的乐音，但早已被这些生动的描绘带入“春山听阮”的意境，从听阮者那专注的神情里，可以想像到这位高士弹奏的高妙之处，从那溪水与闲云的流动中，那绿石、苍松融融的气息间，更感受到春的惬意。\n因为有这委婉动听的阮音回绕，这春山，这草木，这流水，这自然之机，便清雅宜人，恍若梦中的仙境。\n该作为竖构图，满布局，结构严谨，层次分明，经营有序，不见壅塞。\n笔法工细挺秀，轻皴淡染，设色艳丽。\n溪边人物虽小，但刻画细致入微，形神毕俱。\n山石是勾勒后，稍加皴制，不露笔痕，然后再以石青、石绿轻轻晕染。\n松树以淡墨层层染之，桃花用少许胭脂染成，使得整幅画面不仅构图饱满而且颜色丰富，典雅超逸。\n此画左上角自题“舜江吕焕成写”。\n轴纵观此图气势超逸，高雅脱俗。\n画中一座座雄伟的山峰拔地而起，前呼后拥，左右相迎；山势陡绝、奇丽，从近到远层层推移，既高大又深远，既峭峻又缥缈，给人一种于壮美中见超然的 。\n吕焕成（16-175），清初画家。\n字吉文，号祉园山人，浙江余姚人。\n擅长嘶人物、山水，兼画花卉。\n笔法工整，设色古雅。\n吕焕成是明代书画家文征明的外孙女婿，正因这特殊身份，使其始终执迷于“吴派”绘画。\n清代初期，他坚持“吴派”山水作风。\n作品既有“北宗”画法的崇高峻美，也有“南宗”画法的秀润笔致。\n时时透露出一股清新和洒脱的气息。\n传世作品较少，主要有《春山听阮图》轴。",[23,24,25,226,27,7,28,104,29,106,107,1273,176,109,1171,243],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbd09de321dae177cef791720d8eb004.jpg",[],{"id":25415,"slug":25416,"title":25417,"dynasty":76,"author":2162,"museum":419,"description":2163,"tags":25418,"thumbUrl":25419,"material":67,"size":2173,"collection":139,"collections":25420,"showCount":25280,"zanCount":48,"manualWeight":48,"mainColor":94},230103,"hong-lou-meng-184-sun-wen-230103","红楼梦184",[24,28,7,106,59,175,2235,378,63,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fabfc332f8765efb0858e3cb67140d24d.jpg",[],{"id":25422,"slug":25423,"title":25424,"dynasty":99,"author":14232,"museum":316,"description":25425,"tags":25426,"thumbUrl":25427,"material":139,"size":139,"collection":139,"collections":25428,"showCount":25280,"zanCount":1003,"manualWeight":48,"mainColor":49},228894,"gua-shu-tu-ce-ye-zhu-zhan-ji-228894","瓜鼠图册页","画面取隅角小景，湖石朴拙沉静，石顶细草轻立，石畔缀着深紫垂萝，晕染出幽谧闲静的氛围。\n\n小鼠憨态可掬，正贪啃半颗荔枝，柔细绒毛纤毫毕现，将小兽馋态描摹得灵动鲜活。荔枝丹红似火，果壳糙粝的肌理写实逼真，汁水淋漓的碎屑散落，将鲜果的甜润感烘托尽致。\n\n设色古雅柔澹，绢本晕染细腻，将日常细碎生趣凝于尺幅，融俗世恬然意趣与文人雅致留白为一体，以精湛写生功底，定格下天真平和的治愈瞬间。",[194,24,25,81,28,7,5779,569,230,838,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e45121baa27799f442e64863b39946d.jpg",[],{"id":25430,"slug":25431,"title":23704,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":25432,"thumbUrl":25433,"material":599,"size":600,"collection":139,"collections":25434,"showCount":25280,"zanCount":48,"manualWeight":48,"mainColor":49},226166,"ku-zhu-shi-nan-bi-yi-ming-226166",[511,260,104,7,106,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F273402eec4cc4462b478a2ee087690bf.jpg",[],{"id":25436,"slug":25437,"title":25438,"dynasty":76,"author":9455,"museum":11214,"description":25439,"tags":25440,"thumbUrl":25441,"material":500,"size":25442,"collection":181,"collections":25443,"showCount":25280,"zanCount":2368,"manualWeight":48,"mainColor":94},224495,"tao-fu-song-ju-tu-wu-li-224495","陶甫松菊图","绘群山连绵，山峰高耸入云，山上松树成林，高大茂盛；山脚下房屋隐现，人影绰绰，泉水潺潺，秋景宜人。技法上，皴染浑穆，层峦叠障，气韵深沉。用笔纯用中锋，谨严厚朴，气魄雄厚。此图笔墨幽微，拟元代大画家王蒙的风格，有一种空幻的感觉，令人有悠然远隔尘嚣之想，巧妙地体现了陶圃主人陆廷灿的思想境界：在出世与入世之间。",[23,24,7,177,226,29,176,109,174,1273,630,175,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d825f00689d43da1412df9f4ac0c81e.jpg","纵178.68CM 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哲宗于元符三年（1100年）正月病逝时无子，太后向氏于同月立赵佶为帝，次年改年号“建中靖国”。\n宋徽宗即位之后启用新法，但是宋徽宗重用的蔡京等打着绍述新法的旗号，无恶不作，政治形势一落千丈。过分追求奢侈生活，在南方采办“花石纲”，在汴京修建“艮岳”。宋徽宗尊信道教，大建宫观，自称“教主道君皇帝”， 并经常请道士看相算。重和元年（1118年），置道官二十六等、道职八等。宣和三年（1121年），令三京置女道录、副道录各一员，始立道学制度。在宋徽宗集团的腐朽统治下，内部农民起义风起云涌，宋江起义和方腊起义先后爆发，北宋统治危机四伏。但是宋徽宗在艺术上的造诣极高。宋徽宗对绘画的爱好十分真挚，他利用皇权推动绘画，使宋代的绘画艺术有了空前发展。 他还自创一种书法字体被后人称之为“瘦金体”，他热爱画花鸟画自成“院体”。是古代少有的艺术型皇帝。\n靖康元年（1126年），金军兵临城下，受李纲之言，禅让给太子赵桓，靖康二年（1127年）三月，与钦宗赵桓被金人掳去。金天会十三年（1135年）死于五国城，时年54岁。南宋绍兴十二年（1142年）三月，棺椁被迎回南宋，葬于绍兴永佑陵。",[23,194,24,25,81,28,7,245,795,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42e2bf0c5effb80786fbb766f9d19af2.jpg",[42,90,45],{"id":25498,"slug":25499,"title":25500,"dynasty":18,"author":3173,"museum":191,"description":7406,"tags":25501,"thumbUrl":25502,"material":529,"size":25503,"collection":42,"collections":25504,"showCount":25280,"zanCount":48,"manualWeight":48,"mainColor":49},221296,"jin-men-ying-zhao-zhou-guo-zhong-shu-221296","金门应诏轴",[23,24,25,104,226,7,28,106,107,227,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e85929dfecd1409924803dab3ee25f0.jpg","30x28",[42,44,45],{"id":25506,"slug":25507,"title":25508,"dynasty":99,"author":2425,"museum":191,"description":18416,"tags":25509,"thumbUrl":25510,"material":18419,"size":139,"collection":181,"collections":25511,"showCount":25280,"zanCount":48,"manualWeight":48,"mainColor":94},220934,"fang-wang-meng-fang-dong-yuan-qiu-shan-xing-lv-tu-dong-qi-chang-220934","仿王蒙仿董源秋山行旅图",[24,25,29,173,177,105,7,176,34,107,108,109,1049,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3c15c82af0fc77e48f2b48d1c1ee14c.jpg",[181,163],{"id":25513,"slug":25514,"title":25515,"dynasty":18,"author":257,"museum":191,"description":25516,"tags":25517,"thumbUrl":25519,"material":123,"size":25520,"collection":42,"collections":25521,"showCount":25280,"zanCount":48,"manualWeight":48,"mainColor":94},220386,"wu-kuan-li-hua-qu-yu-yi-ming-220386","无款梨花鸲鹆","此作尽显宋代工笔花鸟精妙意趣，墨色绘就的鸲鹆立于花枝，羽色浓淡层叠晕染，将玄色羽毛的绒软光泽尽数勾勒，明黄爪眼提亮画面，灵动仿若正引吭啼鸣，瞬间的生机被定格尺幅之间。\n\n淡粉晕出梨花清透柔润，留白托出瓣边莹白，苍劲枝桠衬得禽鸟愈发神完气足。古旧绢面晕开岁月沉香，却未掩画师对自然的入微体察。笔意简淡清雅，以小见大，将春日枝间融融春意凝练其中，静中藏动，尽显宋人雅致审美的悠悠余韵。",[23,194,24,25,28,7,83,1340,25518,836],"鸲鹆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25127c3e83af8c31239f09f1f2372412.jpg","25.3x29.8厘米",[42],{"id":25523,"slug":25524,"title":25525,"dynasty":99,"author":792,"museum":442,"description":25526,"tags":25527,"thumbUrl":25528,"material":123,"size":25529,"collection":181,"collections":25530,"showCount":25280,"zanCount":48,"manualWeight":48,"mainColor":49},219739,"xue-xi-zai-he-tu-lan-ying-219739","雪溪载鹤图","蓝瑛（1585-1664），一说（1585-约1666），明代杰出画家，字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号东郭老农，所居榜额曰“城曲茅堂” ，钱塘（今浙江杭州）人，是浙派后期代表画家之一。\n工书善画，长于山水、花鸟、梅竹，尤以山水著名。其山水法宗宋元，又能自成一家。师画家沈周，落笔秀润，临摹唐、宋、元诸家，师黄公望尤为致力。晚年笔力蓊苍劲，气象峻嶒，与文征明、沈周并重。作品有：《秋山红叶图》《江皋话古图》《白云红树图》《松岳高秋图》《苍岩嘉树图》等，其画派在晚明影响甚大，传其画法者甚多",[23,24,25,29,7,177,2086,809,174,60,34,176,989,2562,808],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3c18c1ed7f1b694637bbfe4ff1320c4.jpg","纵75.6横36.5厘米",[181],{"id":25532,"slug":25533,"title":25534,"dynasty":99,"author":792,"museum":191,"description":25535,"tags":25536,"thumbUrl":25537,"material":123,"size":25538,"collection":181,"collections":25539,"showCount":25280,"zanCount":48,"manualWeight":48,"mainColor":49},219397,"shan-shui-tu-yi-hai-qiu-zhong-lan-ying-219397","山水图-已亥秋仲","画面层峦叠嶂隐于烟霭，远山如黛，近岫含翠。苍松劲柏立岸而生，枝干虬劲，墨色浓淡相宜；水面波光粼粼，一叶扁舟悠然泛波，岸边茅屋隐于林间，野趣横生。中段亭榭临溪，飞檐翘角与周遭林木相映成趣。山石皴法刚健，兼具浙派风骨与文人雅致，墨色晕染自然，设色淡雅温润。秋仲清寂悠远尽显笔端，仿佛可闻林间风声、水面桨声，引人步入静谧山水之境，体味超然物外的闲适安宁。",[24,25,226,7,29,175,109,174,378,176,989,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dc24749ccb3e2b4cacaa976f90dcd98.jpg","145.8x71.6",[181],{"id":25541,"slug":25542,"title":25543,"dynasty":302,"author":257,"museum":191,"description":25544,"tags":25545,"thumbUrl":25546,"material":7,"size":139,"collection":45,"collections":25547,"showCount":25280,"zanCount":48,"manualWeight":48,"mainColor":49},219326,"lao-pu-qiu-rong-tu-yi-ming-219326","老圃秋容图","画面中，数丛秋菊凌霜绽放，黄蕊凝金、紫瓣含晕，叠瓣层舒间尽显妍丽之态；叶片墨绿带苍，脉络清晰如染秋霜。旁侧墨石以皴擦写就，苍劲古朴，石上苔点疏密错落，更添岁月厚重。几只麻雀或栖石巅梳理羽翅，或低空掠飞相逐，灵动身姿为静谧秋景注入鲜活生气。笔墨兼具工细与写意，设色淡雅却见精神，秋意浓而不俗，尽显文人画“逸”之韵致——仿佛能闻菊香幽幽，听雀语啾啾，于方寸绢素间藏尽老圃秋日的清旷雅趣。",[24,7,28,83,630,209,230,264,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1869d6dcdca848d4e68850d5569f1ae2.jpg",[45],{"id":25549,"slug":25550,"title":25551,"dynasty":54,"author":9483,"museum":191,"description":25552,"tags":25553,"thumbUrl":25555,"material":67,"size":139,"collection":163,"collections":25556,"showCount":25280,"zanCount":48,"manualWeight":48,"mainColor":94},219232,"hua-niu-dai-song-219232","画牛","戴嵩 ，生卒年不详，唐代画家。韩滉弟子，韩滉镇守浙西时，嵩为巡官。擅画田家、川原之景，画水牛尤为著名，后人谓得“野性筋骨之妙”。相传曾画饮水之牛，水中倒影，唇鼻相连，可见之观察之精微。明代李日华评其画谓：“固知象物者不在工谨，贯得其神而捷取之耳。”与韩干之画马，并称“韩马戴牛”。",[7230,24,25,194,173,7,28,151,106,378,25554,263,212],"小狗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf1d4166525a0816f7b92f6d8b121fdb.jpg",[163],{"id":25558,"slug":25559,"title":25560,"dynasty":76,"author":25561,"museum":20,"description":25562,"tags":25563,"thumbUrl":25564,"material":123,"size":25565,"collection":44,"collections":25566,"showCount":25280,"zanCount":2368,"manualWeight":48,"mainColor":49},219102,"kang-xi-di-bian-zhuang-xie-zi-xiang-gong-ting-hua-jia-219102","康熙帝便装写字像","宫廷画家","图中康熙帝身穿便装，左手轻按平铺于方桌上的白纸，右手提笔正欲习字，身后屏风上的墨龙暗示着王者尊贵的地位。以特色透视技法画出的方桌与用欧洲焦点透视法描绘的屏风座形成了场景中能够调和的冲突。由此无法判断出，这幅佳作绘制于西风东渐的初期，是一位学习过西方画法、但又没有彻底明了其透视原理的宫廷作家所构思的。虽然此画存在不协调的现象，但它仍然是中西绘画交流、碰撞下的有趣的作品，值得我们进一步探究和分析。",[23,24,28,7,106,406,4226,1011,1012,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0a24ed93f8ff588cb1d9dfc78cc5cfa.jpg","纵50.5厘米，横31.9厘米",[44],{"id":25568,"slug":25569,"title":25570,"dynasty":302,"author":831,"museum":25571,"description":25572,"tags":25573,"thumbUrl":25574,"material":123,"size":139,"collection":90,"collections":25575,"showCount":25280,"zanCount":48,"manualWeight":48,"mainColor":49},219096,"si-ma-tu-ren-ren-fa-219096","饲马图","维多利亚和阿尔伯特博物馆","画面捕捉饲马的日常瞬间：红衣者俯身照料，另一人持物趋近，两马或立或侧，姿态悠然。线条如铁线般挺劲，勾勒出马的健硕肌理与人物衣褶的流转，细节处见匠心——马鬃的蓬松、鞍具的纹理，皆刻画入微。设色淡雅却点睛：红衣的暖艳与背景的素净相映，衬出场景的质朴鲜活。整体风格写实，却于平凡中藏着对生命的关照，既见游牧文化对马的珍视，也显画家对生活烟火的细腻捕捉。画面静谧却涌动着日常生机，似能闻草料轻响，触岁月温软，是元代生活图景与艺术匠心的凝练呈现，于质朴中见生动，于细微处显深情。",[194,24,25,7610,28,7,106,150,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37d4df022bb041213a807994378e568d.jpg",[90],{"id":25577,"slug":25578,"title":25579,"dynasty":18,"author":17571,"museum":191,"description":25580,"tags":25581,"thumbUrl":25582,"material":123,"size":25583,"collection":181,"collections":25584,"showCount":25280,"zanCount":48,"manualWeight":48,"mainColor":94},218936,"xue-xi-cheng-xing-tu-yan-wen-gui-218936","雪溪乘兴图","这幅画采用了团扇的形式，描绘了一位优雅的男子在寒林和水榭的山谷中乘船拜访朋友。颜文贵（967-1066）是浙江吴兴人。以前隶属于军队，在太宗时期退役，在京城（河南开封）跟随郝惠学习书法。他擅长画山水、人物和船只，尤其擅长画四季，画风清雅秀丽，被誉为 燕家景。",[23,194,24,25,1260,173,7,177,29,109,174,13277,34,2562,809,3883,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b8d2f37f64bed82c6552fdc2774171c.jpg","22.3x23.8",[181,42],{"id":25586,"slug":25587,"title":25588,"dynasty":18,"author":3752,"museum":132,"description":25589,"tags":25590,"thumbUrl":25592,"material":123,"size":139,"collection":90,"collections":25593,"showCount":25280,"zanCount":48,"manualWeight":48,"mainColor":49},218905,"yan-e-tu-cui-bai-218905","雁鹅图","画面中雁鹅姿态鲜活，羽翼层叠间细笔勾出绒羽的蓬松质感，白绒与墨羽晕染过渡自然，红掌轻点地面似欲移步，尽显禽鸟灵动之态。旁侧水草以疏朗线条勾勒，叶片随风摇曳如含生机，与雁鹅的写实刻画相映成趣。古绢底色沉雅温润，衬得物象愈发鲜活，打破了宋初院体画的刻板拘谨，透出自然野趣。整作以写生为基，笔墨兼具工致与意趣，将禽鸟的鲜活与草木的清逸融于方寸纨扇，于细微处见生机盎然，尽显宋代画坛新风韵。",[23,24,25,1260,7,28,83,25591,1980,230,3519],"雁鹅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40f48905bd757fa0bd76d4450fe81f6d.jpg",[90],{"id":25595,"slug":25596,"title":25597,"dynasty":18,"author":257,"museum":191,"description":25598,"tags":25599,"thumbUrl":25600,"material":123,"size":25601,"collection":90,"collections":25602,"showCount":25280,"zanCount":2368,"manualWeight":48,"mainColor":94},218737,"xiang-shi-chui-jin-tu-yi-ming-218737","香实垂金图","它被画上了两个金灿灿的橙子，树枝经过精心挑选，给人以秋天水果的香味。这幅画被倒置装裱，观看时可以用旋钮转动。",[23,194,24,25,81,28,7,83,569,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc33d905cd84a86e927d93aef90fabb11.jpg","24.3x27.5",[90],{"id":25604,"slug":25605,"title":1383,"dynasty":18,"author":1350,"museum":5488,"description":25606,"tags":25607,"thumbUrl":25608,"material":123,"size":25609,"collection":181,"collections":25610,"showCount":25280,"zanCount":48,"manualWeight":48,"mainColor":49},218665,"shan-shui-tu-ma-yuan-218665","画面截取山水一角，以简练刚劲的斧劈皴勾勒山石轮廓，墨色层次分明，尽显山川肌理。远处亭台掩映于林木间，几人对坐似在品茗论道；中景水面开阔，波光隐现；近岸桥梁横跨，行人缓步，岸边石上二人闲坐，姿态悠然。人物虽小却形神兼备，与山水景致相融，传递出闲适雅致的文人意趣。马远以“边角”之景营造深远空间，笔墨简括却意境悠长，将自然静谧与人文悠然巧妙结合，尽显南宋山水画的抒情特质与艺术匠心。",[23,24,25,226,7,177,29,107,108,106,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46c82aa8fa0505c1342ef40c1af44517.jpg","36.4x19.2厘米",[181],{"id":25612,"slug":25613,"title":25614,"dynasty":99,"author":1057,"museum":20,"description":25615,"tags":25616,"thumbUrl":25617,"material":123,"size":25618,"collection":181,"collections":25619,"showCount":25280,"zanCount":48,"manualWeight":48,"mainColor":49},218362,"fang-he-zhou-tu-xiang-sheng-mo-218362","放鹤洲图","此图是项圣谟为友人朱葵石所画的一件作品。放鹤洲在嘉兴鸳鸯湖畔，唐代著名宰相裴休曾在此建造别墅，但久已荒废。朱葵石在其遗址上疏浚河道，广植树木，重新再造。清顺治十年（1653年），朱葵石请项圣谟来别墅作客，他们泛舟湖上，饮酒赋诗，尽情享受林泉之乐，作品正是为纪念他们这一次相会而创作的。\u2028　　画面上，纵横交错的河道将田畴、村庄分割，农民往来耕作于其间，反映了长江下游低湿地带的风貌。画面左中部树木葱茏茂密，其间设置桥梁、屋宇、亭子、假山石和备用的画舫等，正是别墅所在地。画面左下端有寺庙宝塔，上端城墙蜿蜒，则是嘉兴城。别墅与周围的环境融为一体，布置讲究，而建筑并不炫耀豪华。项圣谟的这件作品不但写实，而且表现出中国文人崇尚自然，即“仁者乐山，智者乐水”的思想。",[23,24,29,7,173,177,34,245,174,108,109,175,1049],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce80d46161a9b0729030988c27b5e0af.jpg","纵65.5厘米，横53.7厘米",[181],{"id":25621,"slug":25622,"title":25623,"dynasty":76,"author":538,"museum":442,"description":4276,"tags":25624,"thumbUrl":25625,"material":123,"size":4279,"collection":139,"collections":25626,"showCount":25280,"zanCount":48,"manualWeight":48,"mainColor":94},218329,"shen-xian-gu-shi-tu-ce-8-leng-mei-218329","神仙故事图册-8",[23,24,194,7,28,106,59,13491,2235,81,409,2943],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd518a2424dfa8a7b97c0876e9d26a005.jpg",[],{"id":25628,"slug":25629,"title":15156,"dynasty":76,"author":257,"museum":608,"description":25630,"tags":25631,"thumbUrl":25632,"material":123,"size":139,"collection":44,"collections":25633,"showCount":25280,"zanCount":48,"manualWeight":48,"mainColor":49},218300,"luo-han-tu-yi-ming-218300","罗汉趺坐神兽身侧，衣袂如流云舒卷，线条婉转间藏松活之趣。光头映着古绢暗纹，长须皴染得苍劲有力，眉目低垂时，禅意便从眼角眉梢漫出。神兽造型奇崛，鬃毛卷曲似浪涛翻涌，双目圆睁却含温驯，与罗汉的静定相映成趣。设色淡雅，墨骨清晰，浅晕的赭石与石青点缀其间，恰如古寺晨钟里的一抹微光。岁月在绢上留下斑驳痕迹，却让这份禅意更显醇厚——动静相生的构图里，是超然物外的平和，亦是传统佛画对心性的温柔观照。",[24,25,226,260,28,7,106,746],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62bbeb3ee91439ac7a59fb3d67f3c6b0.jpg",[44],{"id":25635,"slug":25636,"title":25637,"dynasty":18,"author":25638,"museum":608,"description":25639,"tags":25640,"thumbUrl":25643,"material":123,"size":25644,"collection":44,"collections":25645,"showCount":25280,"zanCount":2368,"manualWeight":48,"mainColor":49},218299,"cai-yao-xian-ren-tu-meng-xian-218299","采药仙人图","孟显","长髯垂胸，衣袂带风，仙人负筐徐行。筐中松针攒簇、花草含露，似携来云崖清气；手中小锄轻握，步履悠然，眉宇间透着山野的清旷与超然。笔墨简括却神形兼备，衣纹线劲挺流畅，如吴带当风般舒展；设色古雅温润，棕褐底色衬出人物的朴拙逸气。整幅画将采药闲逸之态凝注于简练线条与含蓄晕染中，不刻意雕琢却细节见风骨，仿佛能闻药草淡香，望见云深幽居，尽显宋代人物画对神韵的极致追求——于平淡处藏真意，于简淡中见风骨。",[194,24,25,226,7,106,12846,25641,2459,25642],"草药","采药","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12f7c5ae46894b861fb1474f9a2c232b.jpg","84.1x27.4",[44],{"id":25647,"slug":25648,"title":25649,"dynasty":302,"author":2603,"museum":132,"description":25650,"tags":25651,"thumbUrl":25652,"material":123,"size":25653,"collection":181,"collections":25654,"showCount":25280,"zanCount":48,"manualWeight":48,"mainColor":49},217743,"nan-cun-cao-tang-tu-wang-meng-217743","南村草堂图","南村草堂图是一幅画作，它描绘了王蒙在南村的草堂中写诗的场景。在这幅画中，王蒙坐在一张桌子前，手拿笔，正在写诗。画中还有许多自然元素，如树、花和鸟。这幅画反映了王蒙对自然的喜爱，也表现了他作为一位文人的生活方式。\n\n南村草堂图是王蒙的一部重要作品，它体现了他对自然、人生和社会的独特观点。通过这幅画，我们可以了解到王蒙的性格和想法，以及他对人生的看法。",[23,24,25,26,173,7,177,178,212,86,29,107,108,109,353],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f321da5e3294ddbe21991bf518c888b.jpg","27.2x88.8cm",[181],{"id":25656,"slug":25657,"title":25658,"dynasty":99,"author":18784,"museum":191,"description":25659,"tags":25660,"thumbUrl":25662,"material":88,"size":25663,"collection":44,"collections":25664,"showCount":25280,"zanCount":48,"manualWeight":48,"mainColor":49},217034,"bai-ma-tuo-jing-tu-ding-yun-peng-217034","白马驮经图","白马驮经图是中国明朝时期画家丁云鹏所作的一幅著名的中国画。这幅画描绘了一匹白马背负着丰满的袋子，路过田野、山谷和小村庄，显然是在途中运送物资。\n\n丁云鹏是明朝时期著名的画家，他的作品风格独特，被称为“丁式画法”。他的作品中经常出现农村生活的题材，善于捕捉农民劳作的真实生活。白马驮经图就是其中的一幅代表作。\n这幅画的特点在于对光影的运用，丁云鹏巧妙地运用阴影和明暗来突出画面的立体感，让人感觉白马和背负的袋子都是立体的，充满了生命力。此外，画中的风景也很优美，景色宁静而美好，给人带来深刻的视觉冲击。\n\n总的来说，白马驮经图是一幅充满生命力和美感的中国画，值得一看。",[23,24,25,28,7,260,106,150,378,29,176,912,31,212,3429,25661],"经箱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74fd292e518fbf95bea5b9e942631f6c.jpg","130.9x54.5",[44],{"id":25666,"slug":25667,"title":25668,"dynasty":99,"author":3504,"museum":132,"description":3505,"tags":25669,"thumbUrl":25670,"material":88,"size":3508,"collection":139,"collections":25671,"showCount":25280,"zanCount":2368,"manualWeight":48,"mainColor":3510},216260,"ming-za-hua-ce-5-wang-zhong-216260","明杂画册-5",[24,7,28,83,209,12097,62,554],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3b7a2d37dce367fc85ce44174fdaaf3.jpg",[],{"id":25673,"slug":25674,"title":25675,"dynasty":302,"author":257,"museum":25676,"description":25677,"tags":25678,"thumbUrl":25679,"material":123,"size":25680,"collection":181,"collections":25681,"showCount":25280,"zanCount":48,"manualWeight":48,"mainColor":49},215145,"xi-shan-lou-ge-tu-yi-ming-215145","溪山楼阁图","重庆市博物馆","溪山楼阁图是一幅中国古代山水画，作者佚名，来自元朝（1271-1368年）。这幅画以其精美的画风和丰富的山水景观而闻名，是一件珍贵的艺术瑰宝。\n\n在这幅画中，作者以逼真的笔触和精细的构图技巧，勾勒出了一座位于山谷中的楼阁。楼阁的四周环绕着秀美的山水景观，山峦起伏，溪流潺潺，树木葱茏，给人以清新的视觉享受。\n\n在这幅画中，作者还融入了许多寓意深刻的元素，如山间的松柏、荷花池塘、仙人掌等都被视为吉祥物，象征着幸福、长寿、繁荣等。\n\n总的来说，溪山楼阁图是一幅精美的山水画作品，充分展现了中国古代画家对自然美景的热爱和描绘技巧。",[194,24,7,104,27,29,107,34,109,176,37,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86fc87bbefb1be97892e5282dfcc31c1.jpg","27.5x26.4cm",[181],{"id":25683,"slug":25684,"title":25685,"dynasty":302,"author":257,"museum":191,"description":25686,"tags":25687,"thumbUrl":25688,"material":1307,"size":25689,"collection":139,"collections":25690,"showCount":25691,"zanCount":2368,"manualWeight":48,"mainColor":49},291029,"hua-hu-zhou-yi-ming-291029","画虎轴","此画通幅描绘如真，渍染极得润厚的韵致。画无名款，旧签定为元人。惟据画风判断，与明代宫廷画风，颇多相近处，是以推断，该幅或出自明代良工之手。松林石涧间，一巨虎黄皮黑纹，毛色鲜丽，体态威武雄壮。虎之双眼，俱以金粉涂饰，并略染汁绿，显得格外神气逼人。其背隆起，宛如张弓欲发，隐然有即将出击之势。虎口微启，低吟而未啸。树梢，二山鹧见状，相与惊跃鸣叫，更为此猛虎出山的场景，平添紧张、不安的气息",[24,25,226,28,7,5443,746,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F754b14053084a7cd4ca663a634e08e9c.jpg","165.5x45.3公分",[],52,{"id":25693,"slug":25694,"title":25695,"dynasty":54,"author":2559,"museum":316,"description":25696,"tags":25697,"thumbUrl":25698,"material":599,"size":600,"collection":139,"collections":25699,"showCount":25691,"zanCount":48,"manualWeight":48,"mainColor":49},290239,"wan-shan-ji-xue-tu-wang-wei-290239","万山积雪图","王维（701年—761年），字摩诘，号摩诘居士。河东蒲州（今山西永济）人，祖籍山西祁县。唐朝诗人、画家。\n王维出身河东王氏，于唐玄宗开元九年（721年）中进士第，为太乐丞。历官右拾遗、监察御史、河西节度使判官。天宝年间，拜吏部郎中、给事中。安禄山攻陷长安时，被迫受伪职。长安收复后，被责授太子中允。唐肃宗乾元年间任尚书右丞，世称“王右丞”。\n王维参禅悟理，精通诗书音画，以诗名盛于开元、天宝间，尤长五言，多咏山水田园，与孟浩然合称“王孟”，因笃诚奉佛，有“诗佛”之称。书画特臻其妙，后人推其为南宗山水画之祖。著有《王右丞集》《画学秘诀》，存诗约400首。北宋苏轼评云：“味摩诘之诗，诗中有画；观摩诘之画，画中有诗。”",[23,194,24,26,29,2562,2724,109,34,175,177,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F784f5c4fab22ae5e6ea7f75c69dcfa56.jpg",[],{"id":25701,"slug":25702,"title":25703,"dynasty":76,"author":742,"museum":316,"description":1373,"tags":25704,"thumbUrl":25707,"material":599,"size":600,"collection":139,"collections":25708,"showCount":25691,"zanCount":48,"manualWeight":48,"mainColor":94},289652,"chun-hua-ti-niao-jing-xin-ren-yi-289652","春花啼鸟镜心",[23,24,25705,83,7,28,245,25706,212],"镜心","春花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3419b0daa27ad6da934e8775bd43d751.jpg",[],{"id":25710,"slug":25711,"title":25712,"dynasty":76,"author":2200,"museum":316,"description":2962,"tags":25713,"thumbUrl":25714,"material":599,"size":600,"collection":139,"collections":25715,"showCount":25691,"zanCount":2368,"manualWeight":48,"mainColor":94},288529,"ci-hua-ruo-lao-shi-yi-tu-zhou-wu-chang-shuo-288529","此花若老诗意图轴",[23,24,226,173,7,83,292,230,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f598f5c457146f401751b0950996e9f.jpg",[],{"id":25717,"slug":25718,"title":25719,"dynasty":99,"author":257,"museum":316,"description":6765,"tags":25720,"thumbUrl":25721,"material":599,"size":600,"collection":139,"collections":25722,"showCount":25691,"zanCount":48,"manualWeight":48,"mainColor":2504},287648,"wen-shu-pu-sa-zuo-xiang-wu-se-cha-ban-yi-ming-287648","文殊菩萨坐像（无色差版）",[24,260,6768,7,28,106,746,8300],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d41534d13dcade9bfedf364d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由此可见画家的绘制初衷和生活情趣。\n引首自书“卧游”，钤“沈氏启南”朱文印。鉴藏印：“士元珍藏”朱文印，“朱卧庵收藏印”朱文印，“查映山氏收藏图书”朱文印。\n仿倪山水，自题：“苦忆云林子，风流不可追。时时一把笔，草树各天涯。沈周。”钤“启南”朱文印。鉴藏印：“卧庵所藏”朱文印，“士元”朱文印，“昆山王成宪画印”朱文印，“映山珍藏”朱文印。\n杏花。自题：“老眼于今已敛华，风流全与少年差。看书一向糢糊去，岂有心情及杏花。沈周。”钤“启南”朱文印。鉴藏印：“卧庵所藏”朱文印、“昆山王成宪画印”朱文印。\n秋葵。自题：“秋色韫仙骨，淡姿风露中。衣裳不胜薄，倚向石阑东。沈周。” 钤“启南”朱文印。鉴藏印：“士元”朱文印，“卧庵所藏”朱文印，“昆山王成宪画印”朱文印。\n秋柳鸣蝉。自题：“秋已及一月，残声绕细枝。因声追尔质，郑重未忘诗。沈周。”钤“石田”白文印。鉴藏印：“昆山王成宪画印”朱文印、“士元”朱文印、“䒶机流动”朱文印。“卧庵所藏”朱文印。\n平坡散牧。自题：“春草平坡雨迹深，徐行斜日入桃林。童儿放手无拘束，调牧于今已得心。沈周。”钤“启南”朱文印两方。鉴藏印：“昆山王成宪画印”朱文印、“士元”朱文印、“之”“赤”朱文联珠印。\n栀子花。自题：“花尽春归厌日迟。玉葩撩兴有新栀。淡香流韵与风宜。帘触处、人在酒醒时。 生怕隔墙知。白头痴老子，折斜枝。还愁零落不堪持。招魂去、一曲（按：此字点去）阙小山词。右词寄小玉山，沈周。”钤“启南”朱文印，“吴言”朱文印。“石田翁”白文印。鉴藏印：“之”“赤”朱文联珠印，“朱卧庵收藏印”朱文印，“士元”朱文印，“卧庵所藏”朱文印。\n秋景山水。自题：“淡墨疏烟处，微踪仿佛谁。梅花庵里客，端的是吾师。沈周。”钤“启南”朱文印。鉴藏印：“士元”朱文印、“昆山王成宪画印”朱文印。\n芙蓉。自题：“芙蓉清骨出仙胎，赭玉玲珑轧露开。天亦要妆秋富贵，锦江翻作楚江来。沈周。”钤“启南”朱文印。鉴藏印：“士元”朱文印、“卧庵所藏”朱文印、“昆山王成宪画印”朱文印、“竹南藏玩”白文印。\n枇杷。自题：“弹质圆充饤，蜜津凉沁唇，黄金作服食，天亦寿吴人。沈周。”钤“启南”朱文印。鉴藏印：“士元”朱文印,“卧庵所藏”朱文印、“昆山王成宪画印” 朱文印。\n秋山读书。自题：“高木西风落叶时，一襟萧爽坐遥遥。闲披秋水未终卷，心与天游谁得知。沈周。”钤“启南”朱文印。鉴藏印：“昆山王成宪画印”朱文印、“士元”朱文印、“卧庵所藏”朱文印。\n石榴。自题：“石榴谁擘破，群琲露人看。不是无藏韫，平生想怕瞒。沈周。”钤“启南”朱文印。鉴藏印：“昆山王成宪画印”朱文印，“士元”朱文印，“卧庵所藏”朱文印。\n雏鸡。自题：“茸茸毛色半含黄，何独啾啾去母傍。白日千年万年事，待渠催晓日应长，沈周。”钤“启南”朱文印，“白石翁”白文印。鉴藏印：“士元”朱文印、“昆山王成宪画印”朱文印、“朱卧庵收藏印”朱文印。\n秋江钓艇。自题：“满池纶竿处处缘，百人同业不同船。江风江水无凭准，相并相开总偶然。沈周。”钤“启南”朱文印。鉴藏印：“昆山王成宪画印”朱文印，“卧庵所藏”朱文印。\n菜花。自题：“南畦多雨露，绿甲已抽新。切玉烂蒸去，自然便老人。沈周。”钤“启南”朱文印。鉴藏印：“之”“赤”朱文联珠印，“昆山王成宪画印”朱文印。\n江山坐话。自题：“江山作话柄，相对坐清秋。如此澄怀地，西湖忆旧游。沈周。”钤“启南”朱文印。鉴藏印：“之”“赤”朱文联珠印、“昆山王成宪画印”朱文印。\n仿米山水。自题“云来山失色，云去山依然。野老忘得丧，悠悠柱杖前。沈周。”钤“启南”朱文印。鉴藏印：“卧庵所藏”朱文印、“昆山王成宪画印”朱文印。\n雪江渔夫。自题：“千山一白照人头，簑笠生涯此钓舟。不识江湖风雪里，可能干得庙堂忧。沈周。”钤“白石翁”白文印。鉴藏印：“昆山王成宪画印”朱文印、“卧庵所藏”朱文印。\n题跋。自题：“宗少父四壁揭山水图，自谓卧游其间。此册方可尺许，可以仰眠匡床，一手执之，一手徐徐翻阅，殊得少文之趣。倦则掩之，不亦便乎？于揭亦为劳矣。真愚闻其言，大发笑。沈周跋。”钤“石田”白文印。鉴藏印：“昆山王成宪画印”朱文印，“芃园曹氏平生真赏”朱文印，“麓云楼书画记”朱文印，“康饴”朱文印，“只可自怡悦”白文印，“朱卧庵收藏印”朱文印，“依竹居士鉴赏书画印”朱文印。",[24,25,81,7,173,83,1036],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05b13d6b7f85d6cd1ab67e05024fd237.jpg","纵27.8厘米，横37.3厘米",[],{"id":25749,"slug":25750,"title":25751,"dynasty":99,"author":100,"museum":20,"description":25752,"tags":25753,"thumbUrl":25754,"material":40,"size":25755,"collection":139,"collections":25756,"showCount":25691,"zanCount":1379,"manualWeight":48,"mainColor":49},233416,"tao-cun-cao-tang-tu-zhou-chou-ying-233416","桃村草堂图轴","自题：“仇实父为少岳先生制”，钤“十洲”朱文葫芦形印。此图是仇英师承南宋“二赵”风格的作品，描绘的是幽深静逸的隐居环境。草堂位于山坳，其后桃林一片，溪流出其下，一童子踞溪侧洗砚。更上则高岭白云，丛树列布，意境幽深。画作富有诗意，画法精细工谨，细致入微。通幅大青绿着色，色彩艳丽深重。方薰在《山静居论画》中说：“设色不以深浅为难，难于色彩相合，合则神气生动。”此图将滴翠的石绿、秀雅的淡赭、温润的墨色自然和谐地统一在一起，具有一种雅俗共赏的艺术效果。此图为仇英青绿山水画的代表作之一。\n据徐石雪题跋考证，画中主人公为项元淇。仇英此图是应项元淇之约而作。项元淇，字子瞻，号少岳。工诗文，善草书，著名收藏家项元汴之兄。图中项氏襟带飘然，风度高雅，四周环境清幽，景色宜人，宛如人间仙境。裱边有董其昌、昆虔、徐宗浩题跋。经清内府收藏，后为徐石雪所得。",[24,226,28,7,27,29,34,175,109,108,106,212,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7b542990eb17d240c9f1d39023cb377.jpg","纵150厘米，横53厘米",[],{"id":25758,"slug":25759,"title":25760,"dynasty":18,"author":1315,"museum":25761,"description":25762,"tags":25763,"thumbUrl":25764,"material":638,"size":25765,"collection":139,"collections":25766,"showCount":25691,"zanCount":2368,"manualWeight":48,"mainColor":49},232776,"si-ji-shan-shui-tu-juan-li-tang-232776","四季山水图卷","日本京都高桐院","作品以开阔的画面展示了从卷头的春景开始到卷末的冬景结束，连续画出了四季山水的变迁。仔细观摩之，这一春夏秋冬的四季也分别画成孟、仲、季三景，并且通过巧妙的布置而连成一景。一卷四季变化实属罕见。",[23,194,24,25,26,7,29,177,28,685,262,174,378,175,245,108,109,796,106,230,353],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc6192ff70fbb361ec6c27ae7f9dd2de.jpg","纵32厘米，横515.5厘米",[],{"id":25768,"slug":25769,"title":25770,"dynasty":54,"author":2060,"museum":316,"description":25771,"tags":25772,"thumbUrl":25773,"material":139,"size":139,"collection":139,"collections":25774,"showCount":25691,"zanCount":2368,"manualWeight":48,"mainColor":49},231009,"ta-xue-xun-mei-tu-li-zhou-han-huang-231009","踏雪寻梅图立轴","淡墨晕开萧寒天地，残雪覆住荒寂山径，老梅枯桠横斜枝头，暗吐细蕊晕开浅淡生机。\n策驴人身裹绯色锦袍，在灰冷雪景中撞出融融暖意，宽斗笠掩去眉眼，只余垂敛悠然的姿态，似正循着暗香缓行。以枯淡墨色皴出山岩残雪，驴蹄轻踏积雪，寥寥数笔便勾勒出冬日清寂意趣，简淡笔触藏着雅逸文思。\n水墨铺就荒寒底色，一点艳红点亮画面，冷暖对冲间，将踏雪探春的幽居雅兴融在萧寒景致中，淡远空灵，尽显文人冬日寻幽的诗意闲情。",[23,11932,24,25,226,7,106,6927,820,2086,6582,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd38b2ea6613a1a34c5f1e5c9936e5a58.jpg",[],{"id":25776,"slug":25777,"title":25778,"dynasty":76,"author":997,"museum":316,"description":25779,"tags":25780,"thumbUrl":25781,"material":139,"size":139,"collection":139,"collections":25782,"showCount":25691,"zanCount":48,"manualWeight":48,"mainColor":94},228998,"she-se-shan-shui-ce-shi-tao-228998","设色山水册","此作以虚实相生之趣写山林幽境，主峰半隐于翻涌云海间，一道飞瀑垂落，破开山石沉凝。留白衬出云气的空濛氤氲，干湿浓淡的水墨晕染出山峦苍润肌理。右下亭台隐于深林，坡岸幽草间似有幽人卧看云起，野趣横生。两枚朱红点染左上，为水墨素朴添了古雅意趣。\n\n笔墨简淡却丘壑暗藏，以意造境，将江南山林的静穆萧散尽显，仿佛能聆听到瀑声潺潺，嗅见草木清芬，于尺幅之间尽显林泉高致，藏着文人山水独有的幽寂禅意与雅逸情怀。",[24,7,173,29,107,1426,37,176,264,106,212,177,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ae6fd993ba1f516bdea0e22920187e0.jpg",[],{"id":25784,"slug":25785,"title":25786,"dynasty":18,"author":257,"museum":316,"description":25787,"tags":25788,"thumbUrl":25790,"material":139,"size":139,"collection":139,"collections":25791,"showCount":25691,"zanCount":48,"manualWeight":48,"mainColor":94},227561,"mo-zhou-fang-gong-ji-diao-qin-tu-quan-juan-yi-ming-227561","摹周昉宫妓调琴图全卷","《调琴啜茗图》，又名《弹琴仕女图》、《宫妓调琴图》，传为周昉所作，并为其仕女画的代表之作。图绘三位坐于庭院的贵妇，在两位侍女的陪伴下，或把弹调音、或托盏品茶，表现出贵族妇女闲散恬静的生活。《调琴啜茗图》现存多幅摹本，如纳尔逊-阿特金斯艺术博物馆收藏的完成于宋代的绢质摹本、弗利尔美术馆收藏的绘制于明代的纸质摹本、京都国立博物馆收藏的带有仇英款的绢质摹本。极为巧合的是辽宁省博物馆收藏有两卷《调琴啜茗图》，一件为清宫旧藏，曾经《石渠宝笈》续编著录，署款“周昉”，实为后人仿本。另一件则为清代扬州画家管希宁所摹。两件与前述作品均作同一主题内容，今展出者为清宫旧藏之本。",[23,24,194,26,105,28,7,106,59,25789,195,4999,230,378,212,65,7135],"宫妓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86a8be6ac76555b6613aa727cae2fb3c.jpg",[],{"id":25793,"slug":25794,"title":778,"dynasty":18,"author":25795,"museum":316,"description":25796,"tags":25797,"thumbUrl":25798,"material":139,"size":139,"collection":139,"collections":25799,"showCount":25691,"zanCount":1379,"manualWeight":48,"mainColor":94},227398,"qiu-kui-tu-li-da-zhong-227398","李大忠","画面写秋葵一枝，工笔钩勒填彩。秋葵之花瓣用粉细勾，叶用重绿，重彩渲染，布局谨严，一丝不苟，姿韵生动。两朵盛开的花与疏疏的几枝叶，充分表现出秋葵的神态。该图堪称南宋院体画的精品，是南宋写生画的绝妙之作。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秋山如洗，清风如妆。近处的岩石很像李唐和刘松年的作品，而远处的山峰的笔法和环境则很像惠崇的作品。",[23,24,25,173,7,29,174,109,796,353,177,1135,1169,6582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3efef7fae05066bc6df419889f6c421.jpg","23.4x23.8",[42,181],{"id":25952,"slug":25953,"title":25954,"dynasty":302,"author":25955,"museum":191,"description":25956,"tags":25957,"thumbUrl":25958,"material":88,"size":25959,"collection":44,"collections":25960,"showCount":25691,"zanCount":48,"manualWeight":48,"mainColor":801},218831,"xiang-ma-tu-zhou-zhao-lin-218831","相马图轴","赵麟","赵麟（西元十四世纪），浙江吴兴人。雍之子，孟俯之孙，字彦征，官浙江省检校。工书，善画人物，至正壬午（一三四二年）作春山图，乙巳（一三六五年）作洗马图。赵麟画传世绝少，此帧画老树枯枝，藤萝缠绕。一人朱衣纱帽，坐树根。前一马低首啮草。其人端详视其骨相以度骏驽。人物衣褶、马之鬃鬣，皆细劲有力。树稍逊，款书极得家法。",[24,25,194,226,7,28,106,150,1353,353,230,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faac95bc04a45d346bbbbee2ed1b2bee5.jpg","95.7x30.1cm",[44],{"id":25962,"slug":25963,"title":25964,"dynasty":18,"author":257,"museum":191,"description":25965,"tags":25966,"thumbUrl":25967,"material":123,"size":25968,"collection":181,"collections":25969,"showCount":25691,"zanCount":48,"manualWeight":48,"mainColor":94},218807,"xue-jing-tu-yi-ming-218807","雪景图","这幅画完全以郭熙为原型，是一幅平坦而高大的雪山图。笔法高超，渲染细腻，与唐棣、朱德润不同，与同集的《岷山晴雪》的笔法或晋代的笔法相似。",[23,24,25,29,173,7,177,795,176,2562],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44eed831c8d808e79d6530358092763e.jpg","25.7x26.8",[181],{"id":25971,"slug":25972,"title":25973,"dynasty":18,"author":257,"museum":191,"description":25974,"tags":25975,"thumbUrl":25976,"material":123,"size":25977,"collection":90,"collections":25978,"showCount":25691,"zanCount":1379,"manualWeight":48,"mainColor":49},218707,"han-tang-qun-yan-tu-yi-ming-218707","寒塘群雁图","这是一幅描绘池塘一角的画，岸边有枯草和树叶，给人一种寒意。几只大雁聚集在一起，其中一只飞向空中，与伸出头来的那只大雁遥相呼应，形成一个生动的画面。笔触和色彩的灵感来自于崔白。",[23,24,194,25,28,7,3765,245,2340,378,838,262,10209,1530],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71dfdb429461da18280483cbdee873a7.jpg","194.4x109.2",[90],{"id":25980,"slug":25981,"title":25982,"dynasty":76,"author":257,"museum":20,"description":25983,"tags":25984,"thumbUrl":25985,"material":7,"size":139,"collection":44,"collections":25986,"showCount":25691,"zanCount":2368,"manualWeight":48,"mainColor":94},217311,"gu-xiu-wu-shi-san-can-tu-ce-yi-ming-217311","顾绣·五十三参图册","绣线流转间，善财童子的虔诚跃然绢上。顾绣以针代笔，将山水的淡远、人物的温煦凝于丝缕：或见童子俯身问法，衣袂飘举间藏着求道的恳切；或观善知识拈花含笑，眉眼舒展处透着慈悲的从容。针脚细密处晕染出虚实层次，丝线的柔光与笔墨的雅致相融，似有禅意悄然流淌。草木的舒展、山石的肌理，皆以灵动针法勾勒——既存画之韵致，更显绣之精工。每一幅皆是一段求道的缩影，绣工于细节处藏巧思，尽显明清绣艺与释教题材结合的雅致深味，让观者在丝缕交织里触碰到那份千年不变的虔诚与静穆。",[9495,8969,28,7,260,106,29,34,176,109,1273,261,4428,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ca39984ae1662855dc39ec30e30b1f4.jpg",[44],{"id":25988,"slug":25989,"title":25990,"dynasty":18,"author":480,"museum":78,"description":25991,"tags":25992,"thumbUrl":25994,"material":139,"size":139,"collection":139,"collections":25995,"showCount":25691,"zanCount":48,"manualWeight":48,"mainColor":25996},202725,"cao-chong-hua-die-tu-juan-yan-yan-nv-shi-202725","草虫花蝶图卷","长卷铺展间，草木葳蕤，群芳竞艳，蝶舞虫鸣似跃然绢上。工笔线条细腻婉转，设色清雅古艳，花瓣的柔润、蝶翅的轻透、虫豸的灵动皆刻画入神，尽显宋代花鸟画的写实风骨与雅致意趣。古朴绢本衬得花叶愈发鲜活，蜂蝶穿梭间仿佛可闻草木清香，将自然之趣凝于一卷，流露着画家对生命的细腻体察与精湛笔墨功底。",[24,194,26,28,7,83,483,873,292,25993],"写","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e19a8ad65d10fa60a01b79f888a5e80.jpg",[],"80715e",{"id":25998,"slug":25999,"title":26000,"dynasty":302,"author":257,"museum":316,"description":26001,"tags":26002,"thumbUrl":26003,"material":599,"size":600,"collection":139,"collections":26004,"showCount":26005,"zanCount":48,"manualWeight":48,"mainColor":2504},290802,"xiu-xian-chun-si-xi-zhou-yi-ming-290802","绣先春四喜轴","元绣之作传世极少。是幅用线粗松，长针交错平绣，色线变化较少。梅干绣线几乎磨损殆尽，露出绣稿白线，坡陀上小草，绣後以墨笔添画。通幅设色清雅，用针平整，由是幅可略窥元绣品之风格。",[24,226,83,8969,820,898,245,7,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63757c95091ed188ce37ddb0ad1c1d3d.jpg",[],51,{"id":26007,"slug":26008,"title":26009,"dynasty":76,"author":257,"museum":316,"description":26010,"tags":26011,"thumbUrl":26013,"material":599,"size":600,"collection":139,"collections":26014,"showCount":26005,"zanCount":48,"manualWeight":48,"mainColor":49},289741,"hua-yuan-hua-shi-er-yue-ling-tu-ba-yue-tu-zhou-yi-ming-289741","画院画十二月令图八月图轴","仲秋园池盛景跃然绢上，水岸亭台层叠错落，高阁凌水而建，文人雅士凭栏游赏，或把盏叙谈，或极目远眺，尽得清秋舒展意趣。下方庭院间，棕榈奇石点缀雅致园景，廊下有人对坐弈棋，仆从往来奔走备事，将官宦世家的闲适日常铺陈开来。\n\n水面澹澹漾开，远岸林木疏朗，暮色初升晕染天际，把八月的闲雅氛围揉入边角细节。全作工笔细腻，设色清隽雅致，将仲秋游园的松弛意趣藏在人物情态里，把园林精巧意趣与太平岁月的悠然融于一体，尽显古典雅致的世家闲情。",[24,226,7,28,104,106,107,175,109,34,265,115,176,746,26012],"游乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bcb28d920a01f8e8712b428cf940c7e.jpg",[],{"id":26016,"slug":26017,"title":26018,"dynasty":76,"author":2162,"museum":316,"description":24836,"tags":26019,"thumbUrl":26022,"material":599,"size":600,"collection":139,"collections":26023,"showCount":26005,"zanCount":48,"manualWeight":48,"mainColor":49},288380,"gui-fei-yan-yan-ti-da-guan-yuan-sun-wen-288380","贵妃筵宴题大观园",[23,24,28,7,104,194,106,614,107,26020,17249,17248,26021],"筵宴","贵族生活","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72ac5e634ebe9b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－1884年11月18日），汉族，浙江会稽（今绍兴）人。初字益甫，号冷君；后改字撝（huī）叔，号悲庵、梅庵、无闷等。清代著名书画家、篆刻家，与吴昌硕、厉良玉并称“新浙派”的三位代表人物，与任伯年、吴昌硕并称“清末三大画家”。李志敏评价：“赵之谦学北碑自成一体。”\n赵之谦从青年时代起，就刻苦致力于经学、文字训诂和金石考据之学，取得了相当的成就。尤精书画、篆刻。赵之谦善于向前人和同时代各派名家学习，又不囿前人，勇于创新。 在绘画上，他是“海上画派”的先驱人物，其以书、印入画所开创的“金石画风”，对近代写意花卉的发展产生了巨大影响；在书法上，他是清代碑学理论的最有力实践者，其魏碑体书风的形成，使得碑派技法体系进一步趋向完善，从而成为有清一代第一位在正、行、篆、隶诸体上真正全面学碑的典范；在篆刻上，他在前人的基础上广为取法，融会贯通，以“印外求印”的手段创造性地继承了邓石如以来“印从书出”的创作模式，开辟了一个前所未有的新境界。\n赵之谦的篆刻成就巨大，对后世影响深远。近代的吴昌硕、齐白石等画家都从他处受惠良多。著有《六朝别字记》《悲庵居士文存》等，又有篆刻《二金蝶堂印存》。",[24,25,226,7,83,292,229,212,86,498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9ed4d9db10b63206fec6a4df1288307.jpg",[90,45],{"id":26071,"slug":26072,"title":26073,"dynasty":76,"author":26074,"museum":316,"description":26075,"tags":26076,"thumbUrl":26077,"material":638,"size":139,"collection":44,"collections":26078,"showCount":26005,"zanCount":48,"manualWeight":48,"mainColor":94},237083,"jiang-feng-shi-nv-ce-jiang-feng-237083","蒋峰仕女册","蒋峰","仕女画在中国传统绘画中属于人物画的范畴，但由于它以女性为描绘对象，通过塑造优美动人的妇女形象，来反映当时的社会生活，传达特定的艺术趣味和审美观念，在题材内容、思想内涵、创作方法、表现形式等方面都有独特之处，其肇始、成熟、演变、发展的历史轨迹也不全与人物画同步，因此，它已成为中国绘画中的一个独立画科，其艺术传统还一直延续到今天，对当代的国画、年画，以及牙雕、玉器、雕漆、宫灯、花丝镶嵌等工艺品有着不可忽视的影响。",[24,25,81,7,28,106,59,195,86,178,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93f5e9f674e02a1ae624093d9b343a35.jpg",[44],{"id":26080,"slug":26081,"title":26082,"dynasty":76,"author":5049,"museum":316,"description":26083,"tags":26084,"thumbUrl":26085,"material":139,"size":139,"collection":139,"collections":26086,"showCount":26005,"zanCount":48,"manualWeight":48,"mainColor":94},235782,"yu-shan-zhu-xian-he-bi-ce-ju-hua-ce-ye-yang-jin-235782","虞山诸贤合璧册-菊花册页","此作以淡墨写意绘秋菊，花枝挺秀舒展，淡赭晕染花瓣，勾勒出蓬松柔润的花形，疏密间尽显秋菊凌霜之姿。叶片以浓淡墨色分出阴阳向背，笔意疏朗清逸，无一笔冗赘。\n搭配右侧题诗，诗画相映，借秋菊明志，抒发出幽居田园、不畏清寒的隐逸襟怀。画风清隽雅致，将花卉情态与文人风骨相融，淡而有味，简中见韵，尽显文人花鸟小品悠然隽永的意趣。",[24,25,81,7,83,897],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2663c37389e497ee30df241718774aff.jpg",[],{"id":26088,"slug":26089,"title":26090,"dynasty":76,"author":742,"museum":316,"description":1373,"tags":26091,"thumbUrl":26092,"material":599,"size":600,"collection":139,"collections":26093,"showCount":26005,"zanCount":2368,"manualWeight":48,"mainColor":94},235406,"tao-hou-tu-zhou-ren-yi-235406","桃猴图轴",[24,25,226,7,746,10516,2288,836,554],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc91447d55f5265c58f0b6e0a06c907bb.jpg",[],{"id":26095,"slug":26096,"title":26097,"dynasty":76,"author":2200,"museum":316,"description":26098,"tags":26099,"thumbUrl":26100,"material":139,"size":139,"collection":139,"collections":26101,"showCount":26005,"zanCount":2368,"manualWeight":48,"mainColor":94},235244,"li-ju-ping-zhou-wu-chang-shuo-235244","篱菊屏轴","此作以阔笔泼墨绘就葫芦秋架，枯笔写藤蔓，遒劲如铁，盘绕交错尽显野逸生机。葫芦以淡彩晕染，黄润清透，将秋实饱满的质感尽显，墨叶泼辣淋漓，浓淡铺陈相宜，苍润兼具。\n\n左侧题画诗文笔苍朴，篆隶笔法老辣厚重，诗画呼应相融，将田园秋意与文人逸趣合二为一。整幅下笔雄浑朴拙，以金石意趣入画，寥寥数笔便定格秋日架上鲜活意态，朴拙间见灵秀蓬勃，尽显大写意花鸟的盎然生机与沉厚韵味。",[24,25,226,173,7,498,83,1819,553,554,1070,178,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5000c77ba43cc4203afefb648a729f86.jpg",[],{"id":26103,"slug":26104,"title":26105,"dynasty":99,"author":26106,"museum":20,"description":26107,"tags":26108,"thumbUrl":26109,"material":770,"size":139,"collection":139,"collections":26110,"showCount":26005,"zanCount":48,"manualWeight":48,"mainColor":94},234188,"xun-yang-pi-pa-xing-tu-juan-li-shi-da-234188","浔阳琵琶行图卷","李士达","李士达的生活年代大约是十六世纪中叶到十七世纪初。在万历二年（公元1574年）考中进士，泰昌元年（公元1620年）还画过一幅《关山风雨图》，活了八十多岁。\n[明]号仰槐，一作仰怀，陕西省三原县人。万历元年（一五七三）癸酉乡试中举 [1] ，入雁塔题名碑，万历二年（一五七四） [2] 进士。画人物、山水名世。万历间隐居新郭。尝论画有五美云：“苍、逸、奇、远、韵。”五恶云：“嫩、板、刻、生、痴。”人谓其深得画理。寿至八十外。泰昌元年（一六二o）尝作关山风雨图。《明画录》、《无声诗史》、《吴县志》、《故宫周刊》。主要作品《松阴搔背》、《松竹高士》、《坐听松风》、《蕉阴独酌》、《西园雅集》、《寒林钟馗》、《罗汉卷》、《仙山楼阁》、《三驼图》。",[23,24,25,26,7,28,173,29,106,174,109,34,150,1135,5903,353,175,1049,3466],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbda0629b682f08ed426a8007477828c6.jpg",[],{"id":26112,"slug":26113,"title":26114,"dynasty":18,"author":257,"museum":191,"description":26115,"tags":26116,"thumbUrl":26117,"material":123,"size":26118,"collection":42,"collections":26119,"showCount":26005,"zanCount":2368,"manualWeight":48,"mainColor":49},231057,"fu-gui-hua-li-tu-yi-ming-231057","富贵花狸图","枝桠遒劲舒展，牡丹素瓣柔润晕染，似凝露轻绽。花叶疏密错落，暗衬盛放雍容。花狸伏身软草间，墨白毛色过渡自然无痕，双目凝注身前游虫，警觉中带着憨柔慵懒，将灵动感藏于静息姿态。\n\n整幅设色古雅沉静，绢底旧调晕开澹澹古韵，工细写实中带着雅致意趣，将繁花雍容与狸奴野趣相映成趣，闲静画面里暗涌鲜活生机，于清淡古拙间晕开平和悠然的氛围感，尽显小景中的雅致禅意。",[23,24,194,226,28,7,83,292,745,838,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8509dd73930dd4201e8b570bf5528f6.jpg","141x107.5",[42],{"id":26121,"slug":26122,"title":3082,"dynasty":76,"author":742,"museum":316,"description":26123,"tags":26124,"thumbUrl":26125,"material":139,"size":139,"collection":139,"collections":26126,"showCount":26005,"zanCount":2368,"manualWeight":48,"mainColor":94},230127,"hua-niao-ce-ye-ren-yi-230127","画面设色秀雅清润，两只山雀依偎枝桠，翎毛晕染细腻柔和，憨态可掬尽显亲昵意趣。月季柔瓣轻展，粉色素净雅致，枝叶皴染结合，深浅浓淡晕开蓬勃生机。右上方题字笔意隽秀，与画面相映成趣。整体构图疏朗空灵，以兼工带写之法，将草木柔态与禽鸟灵动融为一体，把寻常花鸟小景绘成充满温情的雅致小品，晕染出恬淡悠然的江南雅韵，尽显清隽婉约的文人画意趣。",[24,25,81,7,83,28,212,209,62,12078,554],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb68230908224e58f73ae2820e23e446.jpg",[],{"id":26128,"slug":26129,"title":26130,"dynasty":302,"author":23847,"museum":316,"description":26131,"tags":26132,"thumbUrl":26133,"material":599,"size":600,"collection":139,"collections":26134,"showCount":26005,"zanCount":48,"manualWeight":48,"mainColor":94},228159,"yu-shan-hua-niao-tu-ce-gu-ying-228159","玉山 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清新，了解之深厚，是后世无可比拟的。",[23,194,24,25,6083,28,7,83,84,4120,554],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F566273ba43fdaceaabf6298b88025aa3.jpg",[],{"id":26144,"slug":26145,"title":8898,"dynasty":189,"author":3894,"museum":191,"description":26146,"tags":26147,"thumbUrl":26149,"material":139,"size":139,"collection":139,"collections":26150,"showCount":26005,"zanCount":2368,"manualWeight":48,"mainColor":49},227260,"shan-zhe-ji-que-tu-huang-ju-cai-227260","《山鹧棘雀图》是北宋花鸟画家黄居寀所创作的一幅设色画，现藏于台北故宫博物院。此图描写晚秋时节的溪边小景。近景的溪边几块石头显得突出，整个景色显得荒寒萧疏，但飞鸣、栖息于荆刺丛上的几只雀鸟，则为画面增添了不少生机和活跃的气氛。",[23,28,7,83,245,230,3712,686,209,7428,26148],"荆棘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94e4895995ba64cb331932d19a89e33a.jpg",[],{"id":26152,"slug":26153,"title":26154,"dynasty":76,"author":997,"museum":316,"description":26155,"tags":26156,"thumbUrl":26157,"material":139,"size":139,"collection":139,"collections":26158,"showCount":26005,"zanCount":1233,"manualWeight":48,"mainColor":94},224521,"shan-shui-tu-ce-8-kai-7-shi-tao-224521","山水图册8开-7","此作以高远之法取景，陡崖奇崛凌霄，枯笔皴擦写出山石嶙峋肌理，勾勒出峭拔苍劲的山势。崖畔林麓隐着古寺，山道间策杖行旅徐行，松下石台点缀幽境，留白处淡墨晕染云海，虚实相生，漾出空山幽寂之韵。\n\n笔墨干湿互用，松针勾勒劲挺老辣，题款小字清隽雅致，朱红印章点染提亮，既有黄山风骨，又自具萧散疏朗的文人意趣，将天地浩渺与林泉幽怀相融，藏着以造化为师的灵思，尽显山水间悠然淡远的禅意。",[23,194,24,25,81,173,7,177,29,106,34,176,37,107,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66a6020bb641d0c028408138c6b6de59.jpg",[],{"id":26160,"slug":26161,"title":26162,"dynasty":256,"author":257,"museum":316,"description":26163,"tags":26164,"thumbUrl":26165,"material":599,"size":600,"collection":139,"collections":26166,"showCount":26005,"zanCount":48,"manualWeight":48,"mainColor":49},223656,"shi-jia-mu-ni-fu-tu-yi-ming-223656","释迦牟尼佛图","释迦牟尼，佛教创始人。姓乔答摩，名悉达多。“释迦牟尼”（Śākyamuni）是佛教徒对他的尊称。释迦，种族名，意为“能”；牟尼，亦译为“文”，是尊称，意为“仁”、“儒”、“忍”、“寂”。合为“能仁”、“能儒”、“能忍”、“能寂”等，意即释迦族的“圣人”。",[23,24,25,7,106,260,226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09cc36a64a84fc986ad994576078d911.jpg",[],{"id":26168,"slug":26169,"title":26170,"dynasty":18,"author":257,"museum":191,"description":26171,"tags":26172,"thumbUrl":26174,"material":26175,"size":26176,"collection":139,"collections":26177,"showCount":26005,"zanCount":2368,"manualWeight":48,"mainColor":2504},223437,"song-xiu-ju-hua-lian-er-zhou-yi-ming-223437","宋绣菊花廉（二）轴","通幅以沉暗墨色为底，金针彩线织就案头秋供盛景。主株菊丛葳蕤繁茂，团花如簇，瓣层叠似凝霜聚雪，花叶以套色勾勒晕染，明暗过渡自然，将秋菊的清隽风骨尽数铺展。四周蝶影轻翩，细碎蜂蝶点染虚空，为静雅画面添上灵动生机。\n\n下方朱漆条案承托主盆，两侧配衬小花盆栽，章法端严对称，尽显宋人居室清供的雅致意趣。绣工精绝，戗色、盘金技法交织，针脚细密匀整，丝绒光泽晕开花鸟雅韵，静穆晕着秋日庭间的清寂诗意，尽显宋人尚雅的审美意趣。",[23,913,8969,28,7,226,630,484,22446,84,264,83,3673,229,26173],"装饰纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe36b2a6209c7a620404ab879a6cb7f2c.jpg","轴绢本","150.4x64厘米",[],{"id":26179,"slug":26180,"title":26181,"dynasty":99,"author":257,"museum":191,"description":26182,"tags":26183,"thumbUrl":26184,"material":529,"size":26185,"collection":139,"collections":26186,"showCount":26005,"zanCount":2368,"manualWeight":48,"mainColor":49},223375,"chu-jing-tu-yi-ming-223375","出警图","此卷全本共两件，《出警图》和《入跸图》，皇帝出京称出警，回京称入跸。此图卷描绘明世宗由陆路谒陵的情景。庞大的皇家谒陵队伍，由北京城得胜门出发，画家沿途舖设，盛大的卫仪阵容，直至皇帝谒陵的目的地。",[23,24,25,26,7,28,106,150,29,34,3982,4007,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ba7555859181efb34e956d465f1006b.jpg","92.1×2601.3cm",[],{"id":26188,"slug":26189,"title":26190,"dynasty":99,"author":3774,"museum":191,"description":26191,"tags":26192,"thumbUrl":26193,"material":500,"size":26194,"collection":181,"collections":26195,"showCount":26005,"zanCount":2368,"manualWeight":48,"mainColor":49},222175,"tian-chi-shi-bi-zhou-lu-zhi-222175","天池石壁轴","陆治（1496－1576），字叔平，明代画家。吴县（今江苏苏州）人，因居包山，自号包山。倜傥嗜义，以孝友称。\n陆治（1496－1576）明代画家。吴县（今江苏苏州）人，字叔平，因先世由汴徙居吴之包山梅梁里，遂自号包山。倜傥嗜义，以孝友称。好为诗及古文辞，善行、楷，尤心通绘事。游祝允明、文徵明门，其於丹青之学，务出其胸中奇，一时好称，几与文埒。工写生得徐、黄遗意。点染花鸟竹石，往往天造。山水受吴门派影响，也吸取宋代院体和青绿山水之长，用笔劲峭，景色奇险，意境清朗，自具风格，在吴门派画家中具有一定新意，与陈淳并重于世。晚年贫甚，衣处士服，隐支硎山，种菊自赏。有贵官子因所知某以画请，作数幅答之。其人厚其贽币以谢。治曰：吾为所知非为贫也。立却之。求其画者，请之而强必不可得，不请之乃或可得。卒年八十一。",[23,24,226,3559,7,177,5561,30,34,1273,986,978,176,37,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd07d9dc6fb51d4ebd3729366331c84f8.jpg","本幅 70.6x30.3公分、全幅 44.5公分",[181,163],{"id":26197,"slug":26198,"title":26199,"dynasty":302,"author":303,"museum":316,"description":26200,"tags":26201,"thumbUrl":26202,"material":529,"size":26203,"collection":90,"collections":26204,"showCount":26005,"zanCount":1379,"manualWeight":48,"mainColor":49},221705,"shu-tu-qian-xuan-221705","鼠图","他画的《黠鼠图》是目前我们所能见到的最早的一件画鼠作品。\n画中的老鼠正在偷食瓜果，每个老鼠的形态不一，笔触细腻，老鼠的狡黠形象跃于纸上。",[23,24,25,7,28,5779,746,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d3d4a9ecece2b0a34a04e94dee2d0a5.jpg","24.3 27.3",[90,45],{"id":26206,"slug":26207,"title":26208,"dynasty":18,"author":1474,"museum":1577,"description":26209,"tags":26210,"thumbUrl":26212,"material":6393,"size":26213,"collection":42,"collections":26214,"showCount":26005,"zanCount":2368,"manualWeight":48,"mainColor":49},221494,"long-gu-che-tu-li-song-221494","龙骨车图","李嵩画过许多表现下层社会生活的风俗画，及表现农民劳动生活的《春溪渡牛图》、《春社图》和组画《服田图》等。传至今日的《货郎图》是李嵩传世的重要作品。他以货郎为题材，创作过多幅货郎图。除故宫博物院藏的一幅横卷外，余皆为小幅，分别藏于台北故宫博物院、美国堪萨斯州阿肯博物馆的尼尔逊美术馆及美国纽约大都会美术馆。\n李嵩具有多方面才能，尤其善于通过绘画，表达自己对生活的感受和态度，他的《夜湖图》、《水殿招凉图》，《观潮图》、《西湖图》、《仙山瑶涛图》，《骷髅幻戏图》、《观灯图》、《柳塘聚禽图》、《花篮图》等，都显示出他卓越的绘画技巧。其中《骷髅幻戏图》则以其不易被人理解的深刻的寓意，为美术史留下了一个画谜。",[23,24,28,7,104,26211,151,106,229],"农事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a05840e2dc8620ab8a0852363b3faea.jpg","25.626.4cm",[42,44,163],{"id":26216,"slug":26217,"title":26218,"dynasty":18,"author":1474,"museum":191,"description":26219,"tags":26220,"thumbUrl":26222,"material":1307,"size":26223,"collection":42,"collections":26224,"showCount":26005,"zanCount":48,"manualWeight":48,"mainColor":49},221489,"yue-ye-kan-chao-tu-li-song-221489","月夜看潮图","这幅「月夜看潮」图，所画即南宋时临安(今浙江杭州)中秋夜观海潮的情形。高悬的明月下，浪潮卷涌成一直线地奔驰而来;江畔华美的平台阁楼上，隐约可见有人穿梭、呼指着。整个画面没有拥塞的车水马龙、也没有激情喧闹的人海，取而代之的是远山江帆、月影银涛，一幕祥和而又没有纷扰的景致。",[23,24,7,104,29,107,174,265,34,26221,212],"潮水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe131ee4ef3a1bf68a965799b0b4a1826.jpg","纵22.3厘米，横22厘米",[42,181,45],{"id":26226,"slug":26227,"title":26228,"dynasty":99,"author":5750,"museum":191,"description":26229,"tags":26230,"thumbUrl":26231,"material":88,"size":26232,"collection":181,"collections":26233,"showCount":26005,"zanCount":48,"manualWeight":48,"mainColor":94},220139,"han-shan-gao-yi-tu-zhang-hong-220139","寒山高逸图","张宏（1577-1652后）字君度，号鹤涧，明代绘画大师，南直隶苏州府吴县（今江苏省苏州）人。善画山水，重视写生，笔力峭拔、墨色湿润、层峦叠嶂、秋壑深邃、有元人古意；他画石面皴染结合作为其特色。所作写意人物，形神俱佳，散聚得宜，是明末吴门画坛中的中坚人物，吴中学者尊崇之。",[24,25,226,173,7,29,176,795,106,35,3389,686,809,177,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55adcf750f0530ec73bbae83ff894f8e.jpg","184.3x59厘米",[181,45],{"id":26235,"slug":26236,"title":26237,"dynasty":76,"author":26238,"museum":419,"description":26239,"tags":26240,"thumbUrl":26241,"material":1319,"size":26242,"collection":181,"collections":26243,"showCount":26005,"zanCount":48,"manualWeight":48,"mainColor":49},220032,"jiang-lou-fang-you-tu-wu-hong-220032","江楼访友图","吴宏","此幅吴远度云是仿北宋初李成画法，实则借名而已，皴法已带唐伯虎乱柴皴法度，构图渲染全是金陵画派作风，然江天开阔，渔隐互答，远度此幅尤允佳品。",[23,24,25,3559,226,7,177,107,108,109,174,34,176,35,111,1785],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7aaaf4122119ceb7d3d07d79758a578d.jpg","78.63*160.6cm",[181],{"id":26245,"slug":26246,"title":26247,"dynasty":302,"author":7943,"museum":191,"description":26248,"tags":26249,"thumbUrl":26250,"material":7,"size":26251,"collection":90,"collections":26252,"showCount":26005,"zanCount":48,"manualWeight":48,"mainColor":49},219896,"ying-zhu-hua-mei-zhou-wang-yuan-219896","鹰逐画眉轴","此帧画一只苍鹰自空中急速俯冲而下，即将迫及画眉，画眉则张口失声伧促逃窜，一幕弱肉强食的情况活跃在纸上。全幅用笔甚工，设色温雅，颇有宋画遗风。",[23,194,24,25,226,28,173,7,83,245,836,264,554],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F430c0da1dc68285a385d2a617339a9ad.jpg","117.2x53.3公分",[90],{"id":26254,"slug":26255,"title":26256,"dynasty":99,"author":14232,"museum":191,"description":26257,"tags":26258,"thumbUrl":26259,"material":88,"size":139,"collection":44,"collections":26260,"showCount":26005,"zanCount":48,"manualWeight":48,"mainColor":94},219650,"shou-xing-tu-zhu-zhan-ji-219650","寿星图","明成祖朱棣之孙，明仁宗朱高炽长子，明朝第五位皇帝（1425年5月29日—1435年1月31日在位）、书画家，年号“宣德”。",[24,25,106,7,28,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55e610390b67ca78dfcbe69d37be9a06.jpg",[44],{"id":26262,"slug":26263,"title":26264,"dynasty":76,"author":257,"museum":132,"description":26265,"tags":26266,"thumbUrl":26267,"material":123,"size":26268,"collection":44,"collections":26269,"showCount":26005,"zanCount":1003,"manualWeight":48,"mainColor":49},219453,"yuan-ren-qiu-lie-tu-yi-ming-219453","元人秋猎图","描绘了北方少数民族在高山密林间行军、围猎、休憩、露营的情形。\n画卷以人物活动为主线，山水树石作为场景铺垫，既是人物活动展开的背景，又形成各段情节之间的自然间隔和过渡。十二米的长卷中场面宏大，情景众多，共画有七百余人，人物身份不一，有的衣饰华贵，气宇轩昂，被众人簇拥，俨然王族之相。多数是兵将勇士之属，其中甚至还有女兵的身影。\n此卷布局繁密有序，山峦错落，画面是静止和片段性的，而人物活动则有一定的时间性和延续性，如何将二者结合就很考验画家的创作能力了。表现带有情节性和故事性的山水人物，中国传统绘画的惯用手段就是利用长卷的形式，画卷的展开赋予画面一种流动性，画中人物的活动随观赏者的目光而移动，时间的维度就在不知不觉中展开了。",[23,24,26,7,28,106,150,29,34,1023,8099,5218,746],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9edf607c039286a054fe9cb75697a771.jpg","纵59厘米，横1240厘米",[44,181],{"id":26271,"slug":26272,"title":26273,"dynasty":256,"author":26274,"museum":223,"description":26275,"tags":26276,"thumbUrl":26277,"material":67,"size":139,"collection":181,"collections":26278,"showCount":26005,"zanCount":48,"manualWeight":48,"mainColor":49},219238,"shan-shi-qing-lan-tu-chao-xian-yi-ming-219238","山市晴岚图","朝鲜·佚名","晴岚如纱轻覆烟水，远山黛影隐入云间。近岸巉岩错落，古木虬枝斜出，屋宇依林泉而建，似有清寂烟火漫出枝叶。水面波光微漾，几叶扁舟缓行，桨声随雾霭飘散。笔墨细腻处，山石肌理分明；淡染之间，云雾流动如活。山水的旷远与人间的宁和交织，空灵中透着温润，读之如临幽境，心随画中烟水沉静下来。",[23,24,3559,177,7,29,107,108,109,174,176,34,175,1169,37,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f9e5d65eb51248a44011e70f9c087ce.jpg",[181],{"id":26280,"slug":26281,"title":7942,"dynasty":18,"author":26282,"museum":132,"description":26283,"tags":26284,"thumbUrl":26285,"material":123,"size":26286,"collection":90,"collections":26287,"showCount":26005,"zanCount":2368,"manualWeight":48,"mainColor":49},218882,"tao-zhu-jin-ji-tu-ma-ben-218882","马贲","马氏家族绘画代代相传，必然有一些绘画技法是代代相传的。从这个角度，我们可以看到，《桃竹锦鸡图》右边的桃树枝干部分，与马远《西园雅集图》等作品中的树干画法，非常接近，都是直来直去的描绘方式；《桃竹锦鸡图》中非常显眼的燕子，与收藏在日本大和文华馆的马远《竹燕图》，存在非常明确的一致性。竹子的画法与传世马远多件绘画中的竹子，更是接近。通过这些细节的全面比较，可以判断：《桃竹锦鸡图》是马氏家族的作品。\n《桃竹锦鸡图》从时间坐标上看，是宣和时代；从绘画特征来看，是马氏家族；那么，按照逻辑，《桃竹锦鸡图》的作者就是马贲。马贲的生活时代跨北宋神宗、哲宗、徽宗，比崔白、吴元瑜等画家的活动时间略晚10-20年。他是南宋大画家马远的曾祖父，马氏五代绘画家族的第一代人物。他的晚期作品，受宣和时代影响，应该具有典型的宣和画家绘画意识。",[24,194,25,28,7,83,2288,227,1284,230,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc1576814ae297b450aa13cc8ea4cb67.jpg","21x22cm",[90],{"id":26289,"slug":26290,"title":26291,"dynasty":18,"author":17571,"museum":191,"description":26292,"tags":26293,"thumbUrl":26294,"material":123,"size":26295,"collection":181,"collections":26296,"showCount":26005,"zanCount":2368,"manualWeight":48,"mainColor":49},218880,"fang-dai-tu-yan-wen-gui-218880","访戴图","在这幅画中，雪白的溪水无声无息，戴逵的另一处房屋隐藏在溪水边的树林中。",[23,194,24,173,7,177,3559,29,34,795,35,808],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40533f611ebb8113ef7135e83a646b99.jpg","22.1x24.6",[181],{"id":26298,"slug":26299,"title":26300,"dynasty":18,"author":257,"museum":78,"description":26301,"tags":26302,"thumbUrl":26303,"material":123,"size":26304,"collection":44,"collections":26305,"showCount":26005,"zanCount":1379,"manualWeight":48,"mainColor":49},218588,"ren-wu-gu-shi-tu-juan-ying-luan-tu-yi-ming-218588","人物故事图卷（迎銮图）","南宋佚名作家所作的《迎銮图》是一幅以描绘历史事件为选材的作品。这幅现藏于上海博物馆的作品，表现了南宋抗金战争中的一件重要历史事件——韦后南归。",[23,24,194,25,26,7,28,106,150,29,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c8a11479e4109b860eb40b23814c4d0.jpg","横142.2厘米，纵26.7厘米",[44],{"id":26307,"slug":26308,"title":26309,"dynasty":99,"author":26310,"museum":132,"description":26311,"tags":26312,"thumbUrl":26313,"material":88,"size":26314,"collection":181,"collections":26315,"showCount":26005,"zanCount":48,"manualWeight":48,"mainColor":49},217062,"gao-shi-guan-pu-tu-sheng-mao-ye-217062","高士观瀑图","盛茂烨","这幅画是一块巨石耸立在瀑布上，平台上有几位高僧在观看瀑布，乐在其中。这幅画笔力雄浑，滴水不漏，有劈泉裂石之势，而其树木山石都与古人的血脉相连。",[23,24,173,7,28,177,29,106,1426,108,34,686,175,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f72bd5bed6ccdc8ef477233ace97724.jpg","156x88cm",[181],{"id":26317,"slug":26318,"title":26319,"dynasty":18,"author":257,"museum":191,"description":26320,"tags":26321,"thumbUrl":26322,"material":123,"size":26323,"collection":42,"collections":26324,"showCount":26325,"zanCount":1379,"manualWeight":48,"mainColor":49},290994,"hua-chun-fu-gui-tu-yi-ming-290994","华春富贵图","从图中技巧、内容看，当是一位宫廷画家高手。它是一件珍贵的插花古图。我们可从中窥见宋代宫廷插花之美。\n图以工笔彩绘，笔笔不苟。绘金漆宝相花纹金瓶，放置于嵌宝石漆架上，插以大朵重瓣朱红、粉、白牡丹，当是宋时照殿红等牡丹花名种；并以桃花（花瓣略尖，是桃花无疑）、木香枝条相衬。（左下角枝条似是取荷包牡丹相衬，但画得很模糊，未能确认），造型略为对称之形，而活泼灵动。牡丹六朵，分左右、前后、上中下，居于花型之中，相伴桃花、木香，暗示着五方空间，真是天地五方六合皆春色。含有贺岁朝新春之意，亦为富贵气象。今日牡丹插花之华贵丰韵，当亦应如是。",[24,194,25,226,7,28,83,292,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25a6ec52fe441c112236cda157c0733d.jpg","144.5x49.8",[42],50,{"id":26327,"slug":26328,"title":26329,"dynasty":302,"author":303,"museum":316,"description":26330,"tags":26331,"thumbUrl":26332,"material":599,"size":600,"collection":139,"collections":26333,"showCount":26325,"zanCount":1379,"manualWeight":48,"mainColor":94},290959,"lan-ting-guan-e-tu-qian-xuan-290959","兰亭观鹅图","宋钱选兰亭观鹅图卷：传说东晋大书法家王羲之生性喜鹅，曾见一道士有白鹅甚可爱，因书《黄庭经》以换之。此图即钱选据传说附会而成。近景树木蓊郁，竹林茂密，亭台掩映，白鹅戏水，王羲之凭栏观望。远山苍翠，村庄隐现于雾霭山林间。境界秀雅明润，风格古拙高逸。青绿设色，画法直追唐人。钱选（公元1239─1301年），浙江吴兴人。字舜举，宋景定间乡贡进士。为“吴兴八俊”之一。入元不仕，流连诗画以终其身。山水、人物、花鸟无不擅长。",[194,24,25,26,27,7,29,175,107,106,227,34,7355,109,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e36723340126cf3064bb0ea8d3c7df5.jpg",[],{"id":26335,"slug":26336,"title":26337,"dynasty":76,"author":13506,"museum":316,"description":26338,"tags":26339,"thumbUrl":26340,"material":599,"size":600,"collection":139,"collections":26341,"showCount":26325,"zanCount":2368,"manualWeight":48,"mainColor":94},290314,"sui-chao-li-jing-zhou-chen-shu-290314","岁朝丽景轴","通过描绘各种带有良好意愿谐音的物品，来表达对新年的祈盼和祝福。运用谐音、象征的表现手法，在明清许多吉庆画中屡见不鲜，体现着含蓄、高雅的情调，带有较强的文化气息。",[24,226,28,7,83,820,661,898,7260,567,2203,3673,12818,212,13191,3828],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4db4869e407e5adfdd4127d79baf616d.jpg",[],{"id":26343,"slug":26344,"title":26345,"dynasty":76,"author":10797,"museum":316,"description":10798,"tags":26346,"thumbUrl":26347,"material":599,"size":600,"collection":139,"collections":26348,"showCount":26325,"zanCount":48,"manualWeight":48,"mainColor":94},290217,"shan-shui-shan-mian-2-zhang-xiong-290217","山水扇面-2",[23,1260,24,7,151,243,8421,29,176,34,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88be39cdc3e376892292b3c895927355.jpg",[],{"id":26350,"slug":26351,"title":13255,"dynasty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，高妙绝伦，曾为虚谷、胡公寿、赵之谦、任薰等多人画像，无不逼肖。浙江省博物馆藏有其《酸寒尉像》轴，写吴昌硕着官衣立像，极其传神；其花鸟画，早年以工笔见长，仿北宋人法，近于陈洪绶。后取法恽派及陈淳、徐渭、朱耷的写意法，笔墨趋于简逸放纵，设色明净淡雅，形成兼工带写、明快温馨的格调。代表作有藏于徐悲鸿纪念馆的《紫藤翠鸟图》轴等。对近现代花鸟画产生了巨大影响。",[24,226,83,173,7,498,16577,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0c5e4f5fad3781f2b6d9d87d03ee6f2.jpg",[90,45],{"id":26418,"slug":26419,"title":26420,"dynasty":76,"author":19521,"museum":316,"description":26421,"tags":26422,"thumbUrl":26424,"material":139,"size":139,"collection":139,"collections":26425,"showCount":26325,"zanCount":48,"manualWeight":48,"mainColor":49},238227,"qian-long-huang-di-song-yin-hui-bi-heng-zhou-zhang-zong-cang-238227","乾隆皇帝松荫挥笔横轴","《张宗苍等乾隆皇帝松荫挥笔横轴》是清乾隆时期 等绘制的一幅画。\n款识：“乾隆十八年四月臣张宗苍奉勅恭绘。\n”下钤二朱文方印“张”、“宗苍”。\n“ 十八年”即175年，乾隆皇帝时年4岁。\n画幅右上乾隆皇帝御题五言诗：“松石流泉间，阴森夏亦寒。\n构思坐盘陀，飘然衫带宽。\n能者尽其技，劳者趁此闲。\n谓宜入图画，匪慕竹皮冠。\n癸酉夏日题。\n”下钤“即事多所欣”白文方印、“乾隆御笔”朱文方印。\n该诗文与张宗苍于同一年奉勅绘的《 》轴所题内容相同。\n图绘 一身文士装扮，提笔创作的形象。\n乾隆皇帝作为清王朝盛世期的统治者，闲暇之余广学博览，不仅孜孜不倦地学习汉文化，并且积极地参与文学创作，其诗文绝大部分是其从政、巡幸、筵宴、读书、玩赏等活动中的即兴之作，诗意多平淡，缺少文学艺术性，但具有一定的史料价值。\n据统计，其仅御制诗就达4万余首，尚不包括他即位之前的《 》7余首和其他零星作品，虽然其中有的诗是经翰林词臣们润色或代笔，并为之作注的，但是，其作品数量之大，仍然冠历朝作者之首。\n乾隆皇帝出于对写诗作文的喜爱，常谕令宫廷画家们绘制他在创作时的儒雅形象，此图便是其中之一。\n图中乾隆皇帝的画像写实逼真，其冥思苦想的表情传神生动。\n山石连皴带染，以无规则的墨点作苔点，既得厚重之力，又得灵动之美。\n挺拔的松树以劲键有力、娴熟的笔法表现，营造出满目苍翠的神仙之境，与乾隆皇帝洒脱高逸的文人形象相契合。\n张宗苍（1686—1756年），字默存，一字墨岑，号篁村、蔗翁、太湖渔人，晚称瘦竹，吴县（今江苏苏州）人。\n师承清代娄东画派的传人黄鼎，擅画山水。\n初以主簿理河工事。\n清乾隆十六年 （1751年）高宗南巡，以绘《吴中十六景》画册敬献，称旨，命入都祗候内廷。\n十九年（1754年）授户部主事。\n其山水画用笔沉着，山石多加积染，表现出深远的意境，具有苍劲秀雅之风，深得高宗皇帝赏识，成为乾隆朝宫廷的重要画家。\n《石渠宝笈》著录画作116件。\n71岁时卒于故里。",[194,24,25,26423,173,7,177,1273,106,29,686,1426,809,2235],"横轴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8df7f2229ff6e2483b5711f97d5f894d.jpg",[],{"id":26427,"slug":26428,"title":26429,"dynasty":76,"author":11822,"museum":316,"description":26430,"tags":26431,"thumbUrl":26434,"material":139,"size":139,"collection":139,"collections":26435,"showCount":26325,"zanCount":48,"manualWeight":48,"mainColor":49},235977,"peng-lai-xian-dao-tu-zhou-yuan-jiang-235977","蓬莱仙岛图轴","《蓬莱仙岛图》是清代袁江创作的绢本设色画。\n本幅题：“蓬莱仙岛，戊子凃月邗上袁江画”，钤“袁江之印”、“文涛”印2方。\n“蓬莱仙岛”是中国古代神话传说中的“海上神山”，岛上的宫殿建筑全用黄金白银盖成，奇花异草、珍禽怪兽不计其数，更是藏有“不死之药”。\n此图就是袁江以这些古代神话传说为题材，加上自己的艺术想象而构思创作的仙山仙境。\n作者在描绘这座海上仙山时，着重突出了云烟缭绕的仙境氛围，精美细致的楼阁、雄奇伟岸的山石与烟涛微茫的大海烘托出画家理想的生活境界，令人悠然神往。\n袁江（约 1671—1746年以后），字文涛，江都（今江苏扬州）人。\n擅画山水楼阁。\n早年师法仇英，中年时曾得无名氏画谱，技艺大进。\n其界画在清代被推为第一。",[24,104,28,7,67,26432,810,107,176,13664,26433,29,2459],"蓬莱仙岛","大海","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7046a2be5c72aa6e5af46b7e932afdb.jpg",[],{"id":26437,"slug":26438,"title":26439,"dynasty":76,"author":257,"museum":316,"description":26440,"tags":26441,"thumbUrl":26442,"material":139,"size":139,"collection":139,"collections":26443,"showCount":26325,"zanCount":48,"manualWeight":48,"mainColor":49},235450,"yuan-jiang-guan-chao-tu-zhou-yi-ming-235450","袁江观潮图轴","危崖高阁凌然峙立，丹彩飞檐映着崖畔缤纷花树，丹紫错落晕开秋意。浩渺江面潮波翻涌如堆雪，樯帆随浪远近浮沉。远山隐在烟霭暮色里，晕出空蒙柔曼的天际。\n\n画作笔法工致精丽，山石皴擦硬朗苍劲，楼阁界画严整工细，设色温雅柔和，赭色晕染铺就江天色调，将钱江大潮的浩荡雄阔与秋江暮色的朦胧诗意相融，尽显山海楼阁的壮美景致与观潮的旷远意趣。",[24,104,7,28,29,107,174,686,34,26221,37,1169,4073,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e5c6d3fc428d12a5c9a98e0c3595ceb.jpg",[],{"id":26445,"slug":26446,"title":13638,"dynasty":76,"author":2200,"museum":316,"description":26447,"tags":26448,"thumbUrl":26449,"material":139,"size":139,"collection":139,"collections":26450,"showCount":26325,"zanCount":48,"manualWeight":48,"mainColor":94},235221,"mu-dan-zhou-wu-chang-shuo-235221","以金石篆隶笔法挥写牡丹，枝干如屈铁苍劲老辣，尽显嶙峋骨力。墨叶以积墨破墨晕染，浓淡干湿交叠，厚重淋漓间烘托出花头的娇妍。花冠轻施胭脂淡色，水色晕开，与焦墨绿叶形成强烈浓淡对冲，艳而不俗，腴润中带着雄健气度。\n\n左侧长题诗文以古拙笔墨书就，书画浑然一体，将文人意趣与花木生机相融，老辣烂漫兼具秀润雅致，尽显大写意花鸟的风神风骨。",[24,25,226,83,292,7,178,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F127a4f127c53d3abf1eb6f939ff6861b.jpg",[],{"id":26452,"slug":26453,"title":26454,"dynasty":76,"author":11085,"museum":316,"description":20395,"tags":26455,"thumbUrl":26456,"material":599,"size":600,"collection":139,"collections":26457,"showCount":26325,"zanCount":2368,"manualWeight":48,"mainColor":94},234981,"mu-dan-shan-mian-ren-xiong-234981","牡丹扇面",[24,1260,7,28,83,292,230,210,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ef6e39009c0679e8fbde899009d894d.jpg",[],{"id":26459,"slug":26460,"title":4793,"dynasty":99,"author":4794,"museum":20,"description":26461,"tags":26462,"thumbUrl":26463,"material":529,"size":4798,"collection":139,"collections":26464,"showCount":26325,"zanCount":48,"manualWeight":48,"mainColor":94},234190,"mei-hua-shuang-qin-juan-chen-ji-ru-234190","陈继儒字仲醇，号眉公，明代松江府华亭县（今上海）人，生于嘉靖三十七年（1558）十一月，卒于崇祯十二年（1639）。陈自幼研习书画，与董其昌同学并为一生至交，他们都是晚明名声甚隆、影响甚大的士人，但有所不同的是陈继儒年纪轻轻便放弃了仕途。\n陈继儒所处的时代是政治腐朽、党争激烈、矛盾尖锐、皇帝荒淫、社会风气堕落的晚明，他清醒地认识到再走科举一途己无多大意义，因此，毅然下定决心“谢去青襟”，隐居山林。朝廷屡次征召，他“皆以疾辞”。\n晚明时代是一个求变与保守交织的时代，从吴门画派以后，晚明绘画大致划分为两派，一是以徐渭、陈洪绶为代表的创新派，一是以董其昌为代表的书斋文人画派，这两种风格不断竞争，构成了晚明画坛的主要特点。虽然强烈的社会变革要求造就了一批卓具改革精神的画家，但是作为当时的文化主流则依然是因循保守的士大夫绘画，其代表人物就是“松江画派”的董其昌，而陈继儒所属的云间画派也是正统文人画的风向标。\n陈继儒的画风与整个晚明时代的气息显得有些格格不入，他的作品清雅脱俗，静中不显荒疏，且无不满或是失望留于画面，而是与世无争，以平和的心态面对世间百态，独辟蹊径，潜心创作，凭着自己丰富的学养在乱世中取得了书画上的成就。从流传的作品中可知陈继儒山水、梅竹作品居多。梅竹上追宋元，山水师法董巨",[23,24,25,26,7,28,820,83,245,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa65883b1783be479b0e29d8bfbac1daf.jpg",[],{"id":26466,"slug":26467,"title":26468,"dynasty":54,"author":2394,"museum":20,"description":26469,"tags":26470,"thumbUrl":26471,"material":40,"size":26472,"collection":139,"collections":26473,"showCount":26325,"zanCount":48,"manualWeight":48,"mainColor":49},233221,"gong-yuan-tu-juan-li-si-xun-233221","宫苑图卷","此卷描绘古代宫苑中夏日景致，宫殿楼观、屋宇舟车纤若毫发，山石均以细笔勾出，略有皴斫，重青绿敷色，同时大量使用金线勾勒建筑物轮廓和网巾水纹，辉煌明丽，富有装饰性。此卷为吴瀛先生于1947年“倾囊得之”，1955年捐献故宫博物院，卷后有其长题，考定此卷为张丑《清河书画舫》中著录的“唐大李将军御苑采莲图”。后经有关学者考证，此卷为南宋人作，虽非出自李思训父子之手，但仍反映出早期青绿楼阁绘画的一些特点。",[23,27,7,104,28,26,29,107,106,108,109,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f27739550c87b246fdfc42c398a96ff.jpg","纵23.9厘米，横77.2厘米",[],{"id":26475,"slug":26476,"title":26477,"dynasty":302,"author":8800,"museum":316,"description":26478,"tags":26479,"thumbUrl":26480,"material":67,"size":26481,"collection":139,"collections":26482,"showCount":26325,"zanCount":48,"manualWeight":48,"mainColor":49},232904,"peng-lai-bi-shu-tu-juan-wang-zhen-peng-232904","蓬莱避暑图卷","王振鹏（生卒年不详），字朋梅，浙江温州人。元代著名的画家，擅长人物画和宫廷界画，被元仁宗赐号为“孤云处士”，并官至漕运千户。传世作品有：《伯牙鼓琴图》《江山胜览图卷》《阿房宫图》《金明池图》。\n温州历史上曾出过不少著名画家，而有作品流传至今的，当首推元代的王振鹏。王振鹏，字朋梅，号孤云处士，被誉为“元代界画第一人”。有关王振鹏史实最原始的资料，是与他同时代的著名学者虞集所撰的《王知州墓志铭》。这篇写于元奉定四年（1327）的文章是虞集应王振鹏之请为其父所作。其父名由，字在之。所谓知州衔乃是王振鹏艺贵显之后由元仁宗追赠。因其父35岁离世，无事迹可陈述，故全文主要在称述王振鹏艺事。所以虽为王由墓志，实为王振鹏立传。从中得知仁宗尚为太子时，王振鹏就因画艺超群而受赏识，并赐号孤云处士。于延祐元年三月迁为秘书监典籍。累官数处，至治时为廪给令，佩金符，拜千户，总海运于江阴、常熟间。这大致勾勒出他一生的轮廓。",[23,24,25,26,104,7,28,27,106,107,108,109,174,175,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff91bcae19f54291adfcc4eb057b517fa.jpg","39.8×327.3厘米",[],{"id":26484,"slug":26485,"title":26486,"dynasty":18,"author":1588,"museum":316,"description":26487,"tags":26488,"thumbUrl":26489,"material":67,"size":26490,"collection":139,"collections":26491,"showCount":26325,"zanCount":48,"manualWeight":48,"mainColor":94},232873,"xie-sheng-hu-die-hua-hui-tu-juan-ma-lin-232873","写生蝴蝶花卉图卷","图绘群蝶恋花的田园小景。轻灵振翅的蛱蝶起舞于画幅的上半部；秋花枯芦摇曳于画卷的底边。在物象表现上，作者用双勾填色法画土坡、草丛、蛱蝶。其勾线富于顿挫和粗细变化，墨色亦有浓淡轻重之分，敷色积染多层，特别是蛱蝶的翅翼更因积染而色彩浓艳厚重，从而与主要以植物色染就的草叶形成“轻”与“重”的对比。图中蛱蝶的形象最为传神，作者逼真地刻画了蛱蝶之翼薄如绢纱的质感、绚丽斑斓的花纹和蛱蝶细如发丝的根根须脚。传神的笔墨展示了作者深厚的写生功底，使本图成为研究古代蝶种的形象资料。",[194,24,25,26,7,28,566,83,484,84,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb467a89c60170e8b6134389615759f31.jpg","27.85*334.93厘米",[],{"id":26493,"slug":26494,"title":26495,"dynasty":99,"author":1196,"museum":2861,"description":26496,"tags":26497,"thumbUrl":26498,"material":638,"size":26499,"collection":139,"collections":26500,"showCount":26325,"zanCount":2368,"manualWeight":48,"mainColor":49},231837,"qi-feng-gao-yin-tu-tang-yin-231837","奇峰高隐图","弘治十年（1497年），唐寅参加录科考试期间与好友张灵宿妓喝酒，放浪形骸。提学御史方志十分厌恶这种行径，唐寅在录科考试中名落孙山。苏州知府曹凤爱惜人才，为唐寅求情，方志录于榜末。注：方志，字信之，成化二十三年进士。 弘治十一年（1498年），唐寅中应天府乡试第一，在他的《领解元后谢主司》一诗之中写道：壮心未肯逐樵渔，秦运咸思备扫除。剑责百金方折阅，玉遭三黜忽沽诸。红绫敢望明年饼，黄绢深惭此日书。三策举场非古赋，上天何以得吹嘘。唐寅作《送文温州序》和《金粉福地赋》。 弘治十二年（1499年），唐寅与江阴徐经入京参加会试，因牵连徐经科场案下狱，后被罢黜为吏。 弘治十三年（1500年），唐寅被罢黜为浙藩小吏，个人深以为耻坚决不去就职。唐寅归家后夫妻失和，休妻。",[23,24,25,226,7,177,29,30,108,109,34,176,1426,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24db9aed0cc0e34002c0bec4c6d5e69f.jpg","75x56",[],{"id":26502,"slug":26503,"title":26504,"dynasty":76,"author":10084,"museum":419,"description":26505,"tags":26506,"thumbUrl":26507,"material":67,"size":26508,"collection":139,"collections":26509,"showCount":26325,"zanCount":48,"manualWeight":48,"mainColor":49},231352,"tuan-shan-pai-huai-tu-luo-pin-231352","团扇徘徊图","画以水墨画一侧面仕女，手执团扇目视前方，似进似退徘徊不定。\n右上角画一飞雁，上下呼应，连成一脉。画题“奉帚平明金殿开，且将团扇\n暂徘徊，玉颜不及寒鸦色，犹带昭阳日影来”。署款“甲寅新秋两峰道人以指\n头图此见赠。回忆王江宁长信秋词语，遂援笔书之。春湖”。",[23,24,25,226,173,7,106,59,245,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa2ccb06ebdae0ec08e182f813cb13c1.jpg","纵98，横31.9厘米",[],{"id":26511,"slug":26512,"title":7236,"dynasty":18,"author":1046,"museum":316,"description":26513,"tags":26514,"thumbUrl":26515,"material":139,"size":139,"collection":139,"collections":26516,"showCount":26325,"zanCount":2368,"manualWeight":48,"mainColor":49},228400,"shu-shan-zhan-dao-tu-guo-xi-228400","此作以全景铺展蜀中山川，层峦叠嶂氤氲在淡墨轻岚之中，岩壁苍劲厚重，林木蓊郁苍润。栈道盘桓于幽谷险峰之间，山坳间村舍山居错落，行旅、舟桥点缀其间，将蜀道的奇崛险峻与山野烟火相融。\n画师以温润秀劲的笔墨，兼工带写晕染山石肌理，赭石敷色古雅沉静，以高远、平远交替的章法，尽显山川宏阔清旷的苍莽意境，将蜀地山水的雄秀灵奇和行旅幽情完美相合，尽显全景山水的雄浑雅致。",[23,2003,24,25,26,29,7,177,808,686,6152,34,35,36,106,5501,809,11646,1785,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ce8e773a25ce85e5e2190d4006eead8.jpg",[],{"id":26518,"slug":26519,"title":26520,"dynasty":18,"author":846,"museum":101,"description":26521,"tags":26522,"thumbUrl":26523,"material":139,"size":139,"collection":139,"collections":26524,"showCount":26325,"zanCount":48,"manualWeight":48,"mainColor":49},227963,"pi-pa-ba-ge-tu-tuan-shan-ye-wu-bing-227963","枇杷八哥图团扇页","此作工致写实，将一隅小景绘得意趣悠长。通体乌黑的禽鸟静栖枝桠，羽翼以浓淡墨色晕染出蓬松柔润的质感，亮眼圆睁尽显憨稚警觉，喙部与爪尖勾勒细腻，姿态沉稳憨拙。旁侧枇杷枝叶舒展，叶片以淡绿敷色，细笔勾出筋脉区分阴阳向背，将叶片的舒展柔劲尽显无遗，簇生的浅黄花苞素雅清新。\n整幅画面设色温润古雅，笔意精细却不显匠气，把寻常林间片刻定格为隽永图景，尽显静观万物的雅致审美，淡逸平和中藏着鲜活生机。",[194,24,25,1260,28,7,83,245,1036],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff313a95abb99fbd631ae6e3ea15178f3.jpg",[],{"id":26526,"slug":26527,"title":26528,"dynasty":18,"author":1474,"museum":316,"description":26529,"tags":26530,"thumbUrl":26531,"material":139,"size":139,"collection":139,"collections":26532,"showCount":26325,"zanCount":48,"manualWeight":48,"mainColor":49},227742,"lou-ge-tu-li-song-227742","楼阁图","李嵩(1166—1243)，宋钱塘（今杭州）人。出身贫寒，年少时曾以木工为业。好绘画，颇远绳墨。被宫廷画家李从训收为养子，承授画技，终成一代名家。宋光宗、宋宁宗、宋理宗三朝（1190—1264）画院待诏，时人尊之为“三朝老画师”。工画人物道释，得从训遗意，尤长于界画。人物画用笔细致，神采奕奕；花鸟画精丽严谨，不觉繁缛呆滞；山水画以意匠经营，情留象外，引人入胜；界画不用界尺，而宫苑楼阁规矩绳墨皆备，不同凡响。绘画题材丰富多彩，从宫廷到民间、从城市到农村、从生产到生活、从吃喝到娱乐、从仙山到龙宫、从历史到现实均在画中有所反映，以反映农村风土和农民生活的居多，所作有精工鲜丽之院体画，作品甚丰，仅著录者就达50多幅。如《明皇斗鸡图》《花篮图》；有白描淡色之风俗画，如《货郎图》；也有水墨渲染之山水画，如《西湖图》等。\n\n传世作品有嘉定四年（1211）作《货郎图》卷、《花篮图》页、《骷髅幻戏图》轴藏故宫博物院；《西湖图》卷藏上海博物馆；《听阮图》、《夜月看湖图》及传为李嵩的山水小品画《水殿招凉图》等藏台北故宫博物院。传世作品还有《椿溪渡牛图》、《服田图》、《采莲图》和《观潮图》等，题材后世论画者题其画说：“李师最识农家趣”。\n\n李嵩的风俗画更为知名，他画过许多表现下层社会生活的农村生活风俗画，把劳动人民的生活作为审美对象来描绘，这在中国古代美术发展史上有着重要的意义。 其《货郎图》有多种本子存世，以故宫博物院收藏的一卷为最佳。此画描写一挑担货郎在乡村被孩童围住的情景，充满浓厚的乡土气息。藏于故宫博物院的《骷髅幻戏图》轴，人物表情甚佳，衣纹丁头鼠尾，多用直线，细而有力。",[24,25,104,28,7,29,107,378,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feee79b8cdce1dc5eed5659beb992a37f.jpg",[],{"id":26534,"slug":26535,"title":17656,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":26536,"thumbUrl":26539,"material":599,"size":600,"collection":139,"collections":26540,"showCount":26325,"zanCount":48,"manualWeight":48,"mainColor":2504},226249,"ku-zhu-shi-xi-bi-yi-ming-226249",[511,7230,260,7,11370,106,5883,4428,26537,11625,7696,10041,13679,26538,5884],"建筑纹样","洞窟内壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F061a4f96fab239c644c4c6e2bfc3086c.jpg",[],{"id":26542,"slug":26543,"title":26544,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":26545,"thumbUrl":26546,"material":599,"size":600,"collection":139,"collections":26547,"showCount":26325,"zanCount":2368,"manualWeight":48,"mainColor":49},226220,"ku-yong-dao-nan-bi-yi-ming-226220","窟甬道南壁",[511,7,260,106,4027,3661,6866,7694,3429,12282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa60fc23eb0a795ff982e50a1a833031a.jpg",[],{"id":26549,"slug":26550,"title":26551,"dynasty":99,"author":257,"museum":316,"description":26552,"tags":26553,"thumbUrl":26554,"material":139,"size":139,"collection":139,"collections":26555,"showCount":26325,"zanCount":48,"manualWeight":48,"mainColor":49},223635,"lian-hua-tu-ye-yi-ming-223635","莲花图页","此作以工笔绘就，柔劲细线勾勒莲瓣轮廓，淡赭轻晕瓣边，褪去初绽娇色，白荷温润舒展，尽显盛放的雍容雅致。硕大荷叶以石绿敷色，墨笔勾出叶脉肌理，在古绢底色晕染下，绿意沉凝厚重，与素净白荷相映，清雅中带着沉静古拙的岁月质感。\n\n画面构图饱满却不显繁冗，一花两叶错落排布，将夏荷舒展之态定格。无多余点缀，以极简布景烘托莲的出尘气韵，尽显传统工笔花鸟的内敛雅致，晕开古画沉淀的静美意趣。",[23,194,24,25,81,7,28,136,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4589146b155a8c850a3f7b447dbf6eb0.jpg",[],{"id":26557,"slug":26558,"title":26559,"dynasty":99,"author":257,"museum":316,"description":26560,"tags":26561,"thumbUrl":26563,"material":67,"size":26564,"collection":139,"collections":26565,"showCount":26325,"zanCount":48,"manualWeight":48,"mainColor":94},223582,"rui-lian-ling-mao-tu-yi-ming-223582","瑞莲翎毛图","荷塘里，荷叶绿如盘，粉红的荷花，或腐烂，或萌芽，含彩花，已结莲子； 天空中的白雁鸭成对啄食嬉戏，翠鸟、家禽或站在水草的杆上，或在柳枝上，或盘旋在空中，一派生机勃勃的景象。",[23,24,25,7,28,83,136,137,26562,245,834,34,3442,84,1530,689,4468,4469],"天鹅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd66437a893b263b8850ee0421ee4d9d3.jpg","80x60cm",[],{"id":26567,"slug":26568,"title":26569,"dynasty":18,"author":257,"museum":20,"description":26570,"tags":26571,"thumbUrl":26573,"material":3146,"size":26574,"collection":42,"collections":26575,"showCount":26325,"zanCount":2368,"manualWeight":48,"mainColor":49},223561,"you-qi-tu-juan-yi-ming-223561","游骑图卷","该卷旧传是唐人手笔，实为北宋翰林图画院某画家摹写唐代人马画的精品，显露出宋代院体细谨求实的艺术面貌，得到宋徽宗赵佶的认可。此图属行乐类题材，画7人5马，似出游狩猎。人物全身唐装，衣纹作铁线描，细劲刚挺，神情刻划细致入微，生动传神。设色极简，清淡明洁。无论是从绘画技巧，还是风格来讲，都可视为中国古典写实绘画表现鞍马题材的典范之作，与西方文艺复兴早期如鸟切诺等人的写实绘画相比，在鞍马人物形象的准确性与形体透视的生动性等方面的把握上，似乎具有更感人的魅力。可知中国古典写实绘画应是比西方更早掌握了如何通过透视缩形来真实表现客观物体的方法。尽管西方意义的科学透视法并不在中国产生，但那种中国式的视觉投影方法，曾经有力支撑着中国封建时代盛期的绘画写实艺术，那么，甚至在图像时代的今天，我们仍然有必要对其现实意义进行研究。",[23,194,913,26,28,352,7,106,150,26572],"骑马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc607519eb1cdca03b10fb72d38b179c4.jpg","47x195",[42,44,45],{"id":26577,"slug":26578,"title":26579,"dynasty":18,"author":2361,"museum":56,"description":26580,"tags":26581,"thumbUrl":26582,"material":638,"size":26583,"collection":44,"collections":26584,"showCount":26325,"zanCount":2368,"manualWeight":48,"mainColor":49},223398,"shang-shan-si-hao-hui-chang-jiu-lao-tu-li-gong-lin-223398","商山四皓会昌九老图","此图卷以白描手法分别画秦末高士东园公、甪里、绮里季、夏黄公四人避乱隐居中商山的故事和唐会昌五年三月二十四日九位退休老人白居易、胡杲、吉皎、郑据、刘真、卢真、张浑、李元爽、释如满等九位老人相聚洛阳履道坊白居易居所欢聚“尚齿”之会，既醉且欢之际赋诗画画的情景。",[23,24,25,26,352,7,106,29,176,34,986,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe46ace2e8df223b406f8896937f90bac.jpg","30.7，横：238厘米",[44,163],{"id":26586,"slug":26587,"title":26588,"dynasty":76,"author":2805,"museum":20,"description":26589,"tags":26590,"thumbUrl":26591,"material":67,"size":26592,"collection":139,"collections":26593,"showCount":26325,"zanCount":2368,"manualWeight":48,"mainColor":94},222809,"hua-zhu-qi-qin-tu-wang-wu-222809","花竹栖禽图","《花竹栖禽图》底部一奇古巨石，一朵盛开的牡丹从石左侧斜出，枝头一雀鸟面向花朵，鸟目圆睁，似在欣赏花的美丽，又像陶醉在花香中。\n花鸟的颜色艳而不俗，用笔工而不板，明快醒目。\n巨石以浓墨绘出，见有皴染。\n石隙空洞处可见枝叶，错落雅致。\n墨竹疏落有致，用墨浅淡，与底部的花、鸟、石形成色彩上的鲜明对比。\n整幅画面虚实相间，构图奇巧，设色浓淡适宜，笔墨兼工带写，形成了赏心悦目的视觉效果。\n可见，作者跋中所言“学古而步泥其迹”不虚。\n此画右侧下端，置一太湖巨石，两头小中间大，造型奇特，玲珑别透，中间以矾头突出，湖石几乎占有画面的二分之一。\n石旁有翠竹数株，拔地而起，竹竿挺拔，有二大株翠竹冲出画面，一株矮竹附在湖石旁。\n湖石左脚下有数株茶花，茶花有的绽开，有的含苞，在绿叶村托下显得艳丽清雅。\n画幅左侧有作者自题识，丁已年为康熙十六年（1677），王武时年45岁，为王武中年佳作。\n此画的景物基本集中于画幅右侧，但由于画家精心安置，使整幅画位置安稳、平而不板，赋色明丽、艳而不俗，这是此画的最大的特色，也是此画最成功之处。\n在表现技法上，画家以水墨勾勒，皴染作山石，在点苔之后复以石青点之，湖石显得坚实、凝重。\n竹叶和茶花用绿色和红色直涂法，花蕊以黄色点染，花瓣虽都是红色，但亦有深浅区别变化，花叶上又用中锋细笔加画叶脉。\n一只小鸟以积墨法画之，墨色变化丰富，表现出羽毛的质感。\n此画采用没骨与匀勒法相结合的手法，显得自然协调，敷色雅丽明快，令观赏者心旷神怡，颇有忘忧之感。",[23,24,194,25,226,7,28,227,62,209,230,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c8017c120ae98e5925dad71a77ec4ec.jpg","90.7×40.5cm",[],{"id":26595,"slug":26596,"title":26597,"dynasty":99,"author":3307,"museum":539,"description":3737,"tags":26598,"thumbUrl":26599,"material":638,"size":26600,"collection":90,"collections":26601,"showCount":26325,"zanCount":48,"manualWeight":48,"mainColor":49},222391,"si-xi-tu-li-zhou-lv-ji-222391","四喜图立轴",[23,24,7,28,83,226,3300,13967,1133,1426,176,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35b651d770ecc93ed64e2befaf762c39.jpg","93x51",[90,45],{"id":26603,"slug":26604,"title":26605,"dynasty":99,"author":16749,"museum":26606,"description":26607,"tags":26608,"thumbUrl":26610,"material":26611,"size":26612,"collection":44,"collections":26613,"showCount":26325,"zanCount":2368,"manualWeight":48,"mainColor":49},222137,"liu-hai-xi-jin-chan-tu-zhou-liu-jun-222137","刘海戏金蟾图轴","石家庄市博物馆","画中刘海蟾神情怡然，步态从容，身着长袍，足凳云履，腰系葫芦与紫芝。左手托三足金蟾，飘波于碧涛之上。背景远山一抹，海天辽阔。驻足画前细细品味，一股清新自然之气扑面而来。在浩瀚无垠的大海和辽阔无边的天空映衬之下，刘海蟾的神仙气质脱颖而出。画家摄取了刘海蟾信步波上的瞬间，虽无情节，却给人留下无限遐想的空间——他是到蓬莱赴会众神仙，还是到凡间赐福世人？这正是花架构思的奇妙之处。",[23,24,226,28,7,106,408,228,26609],"金蟾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1450695127d7e3b981d63088893321af.jpg","绢地，设色","纵181.3厘米，横108.8厘米",[44],{"id":26615,"slug":26616,"title":26617,"dynasty":302,"author":831,"museum":20,"description":26618,"tags":26619,"thumbUrl":26620,"material":40,"size":26621,"collection":44,"collections":26622,"showCount":26325,"zanCount":48,"manualWeight":48,"mainColor":49},221767,"er-ma-tu-juan-ren-ren-fa-221767","二马图卷","元朝任仁发的《二马图》卷，是一幅有着明确讽刺内容的绘画作品，而且含义十分尖锐，下面试解释画面一二。\n画面很简单，画幅前边是一匹壮实、膘肥肉厚的花马，昂首，踏着轻快的碎步，尾巴扬起飘动，显得自在得意。随在这匹马后边的则是一匹骨瘦如柴的马，条条肋骨清晰可见，它低着头，步履蹒跚，尾巴卷缩着，显出吃力疲惫之态。画家以极其写实的手段，采用勾勒的笔法，描画了马匹的轮廓，线条极富表现力，然后赋以色泽，颇具唐人画马的传统。\n如果单纯从画面来看，画中描绘的只是两匹马，我们似乎不会感到这是一幅讽刺绘画，但是结合画幅后面作者自己的题记来看，其实它是对当时官场乃至社会的种种腐败黑暗提出了强烈的批评。只不过采用了隐喻、拟人的手法，曲折地表明了画家的态度和观点。这大概也是画家所处的时代决定的，因为像《二马图》这样的作品，当时除去作者本人以外，能看到的人可以说不会很多，这样的绘画活动仅仅只能算是个人行为，不会像现在的漫画作品能够发表于报刊上，影响面十分广大，变成了一种社会行为。\n这幅并无任何其他背景和道具的《二马图》卷，看似简单，其实寓意深刻。内容的关键在于画幅后面画家任仁发自己题写的一段文字。他在跋语中先叙述了所画的肥、瘦二马：“肥者骨骼權奇，縈一索而立峻坡，雖有厭飫芻豆之榮，寧無羊腸踣蹶之患。瘠者皮毛剝落，齧枯草而立風霜，雖有終身擯斥之狀，而無晨馳夜秣之勞。”在写完对两匹马的评语后，作者笔锋一转，进一步议论道：“世之士大夫，廉濫不同，而肥瘠系焉。能瘠一身而肥一國，不失其爲廉；苟肥一己而瘠萬民，豈不貽淤濫之恥歟？”看了这段跋语，我们才恍然大悟，原来任仁发是借用两匹马来评论官场的得失利弊。他将画中的肥马比喻成为官不正的贪官，他们吸食民脂民膏，故而肥壮；又将画中的瘦马比喻为廉明勤政的清官，因为忙于政务而累得皮毛剥落，骨瘦如柴。然后作者表明了应当以前者为戒、以后者为榜样的态度。明白了任仁发画这肥、瘦二马的用意之后，再仔细观察，就会发现，作者在画中还安排了一个不大为人注意的细节，那匹肥马马首挽着笼头，但是缰绳却松开了，拖在地上，而瘦马不但有笼头，缰绳还套在马颈上。一匹是没有约束的脱缰之马，失去了控制，就会无法无天，鱼肉百姓而肥己。另一匹是有约束的拴着缰绳的马，有了管束才能尽心尽力，克勤克俭。在这里任仁发似乎又进一步阐述了自己对于官吏管理的看法，其用心可谓十分良苦。其深刻含义就是如果一个社会缺乏了某种监督和制约的机制，腐败就将滋生。",[23,24,25,26,7,28,150,746,178,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc32de904e74241fc3d2e6288cfebb4fe.jpg","纵28.8厘米，横142.7厘米",[44,45],{"id":26624,"slug":26625,"title":26626,"dynasty":18,"author":2220,"museum":20,"description":26627,"tags":26628,"thumbUrl":26629,"material":67,"size":26630,"collection":42,"collections":26631,"showCount":26325,"zanCount":48,"manualWeight":48,"mainColor":94},221469,"ling-feng-bo-ge-tu-lu-zong-gui-221469","玲峰鹁鸽图","绘鹁鸽两羽，全身白色，只留尾巴黑色，一只立于湖石上，微张的尖嘴似与地面上的另一只打招呼；画面竹枝繁茂，花团锦簇，春光融融。鲁宗贵，南宋画家，工花竹、禽鸟、窠石，用笔意趣有余，描染佳妙。",[23,194,24,25,28,7,83,209,1273,263,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ac548a4d2e561d376899c9dbecd6e64.jpg","28 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cm",[42,90,45],{"id":26633,"slug":26634,"title":26635,"dynasty":54,"author":26636,"museum":20,"description":26637,"tags":26638,"thumbUrl":26639,"material":67,"size":26640,"collection":2065,"collections":26641,"showCount":26325,"zanCount":48,"manualWeight":48,"mainColor":49},221087,"lan-ting-shi-quan-juan-liu-gong-quan-221087","兰亭诗全卷","柳公权","《兰亭诗》卷释文\n本幅无款印。\n卷前引首清乾隆皇帝行书题“笔谏遗型”，题签“兰亭八柱第四”，题记一段。又有瘦金体题签“唐柳公权书群贤诗”。\n卷后有宋邢天宠、杨希甫、习之、蔡襄（后添）、李处益、孙大年、王易、黄伯思（伪）、宋适，金王万庆，明王世贞（两段）、莫是龙、文嘉、张凤翼，清王鸿绪等题跋和观款。\n此书传为柳公权所书东晋穆帝永和九年（353年）三月三日，王羲之与谢安、孙绰等人在会稽（今浙江绍兴）兰亭修禊时与会者所赋的37首诗及诗序。\n本卷笔法僵硬粗糙，且多枯锋，但较自然率易。卷后宋代黄伯思尾题（伪）中云“传柳书”，细观之，个别字的用笔明显不是出自柳书，如：孙统四言诗中的“希”字、庾友四言诗中的“则”字、王涣之四言诗中的“足”字等末笔写的非常丑怪，字的结体亦多不够沉稳，失于浮躁，与柳氏所书王献之《送梨帖》后之题跋墨迹对比不但笔法不类，连结体也无丝毫相同之处。从诗文看，颇有不通处，如：把孙绰四言诗“怀彼伐木”误书为“怀彼代水”，把谢安四言诗“伊昔夫子”误书为“伊昔先子”。“伐木”是《诗经》中语，“夫子”是指孔丘，说明书写者是一位文墨不够精通之人。无论从艺术特征还是艺术水平来分析，该卷决非柳公权之笔。\n此卷断为宋以前抄本。从所录37首诗中可看出，个别用字不避宋讳，如谢安诗中“契慈玄执，寄教林丘”的“玄”字、王肃之诗中“嘉会欣时游，豁朗畅心神”的“朗”字等都没有避北宋始祖皇帝赵玄朗之讳。另外从书法的主体风格看，推测应写于唐代，与杜牧墨迹《张好好诗卷》大略相近，并且是信笔直书，不是临仿得来。作为唐抄古本，此卷与敦煌遗书中《文选·陆机短歌行等残卷》（伯2554）、《玉台新咏卷第二残卷》（伯2503）有同样的文学价值。\n宋《宝章待访录》，明《东图玄览》、《清河书画舫》、《清河见闻表》，清《珊瑚网书凭》、 《式古堂书画汇考》、《大观录》、《石渠宝笈·续编》、《石渠随笔》著录。",[23,25,86,26,178,937,212,173,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79b8d7f88a916d9db75382a5a25a16e8.jpg","纵26.5厘米，横365.3厘米",[2065,2067],{"id":26643,"slug":26644,"title":26645,"dynasty":76,"author":77,"museum":316,"description":596,"tags":26646,"thumbUrl":26647,"material":26648,"size":26649,"collection":45,"collections":26650,"showCount":26325,"zanCount":48,"manualWeight":48,"mainColor":94},221003,"hua-guo-shu-cai-ce-ye-yun-shou-ping-221003","花果蔬菜册页",[23,24,25,81,82,7,173,83,9850],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38aaa574a7446c4481fe42d5b8f15d83.jpg","纸本 设色 册页","23 X 28 CM X 10",[45],{"id":26652,"slug":26653,"title":26654,"dynasty":869,"author":4525,"museum":8765,"description":26655,"tags":26656,"thumbUrl":26657,"material":500,"size":139,"collection":139,"collections":26658,"showCount":26325,"zanCount":48,"manualWeight":48,"mainColor":94},220564,"jiu-fang-gao-tu-xu-bei-hong-220564","九方皋图","画面以质朴底色铺陈，左方驯马壮汉肌肉虬结，笔触精准勾勒出力量感，烈马扬蹄摆尾尽显桀骜，一旁驭者沉静注视。右侧老者目光如炬，于旁人的疑惑神情中笃定识人，寥寥数笔便将人物性格刻画分明。\n\n创作者将西式写实的人体结构与国画笔墨相融，铁线般的线条勾勒身形，淡墨晕染铺就荒郊底色，既保留写意的留白韵致，又以写实功底强化画面张力。借旧典暗喻识才辨贤的深意，将传统题材注入时代精神，筋骨兼具，形神合一，尽显创作巧思与风骨。",[23,194,24,173,7,498,106,150,912,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbffe6163f0f6d4f5d21df2d5184d3f94.jpg",[],{"id":26660,"slug":26661,"title":26662,"dynasty":869,"author":4525,"museum":6047,"description":26663,"tags":26664,"thumbUrl":26667,"material":139,"size":139,"collection":139,"collections":26668,"showCount":26325,"zanCount":2368,"manualWeight":48,"mainColor":94},220548,"chuan-fu-xu-bei-hong-220548","船夫","漓江烟霭如纱晕染天际，前景丹黄枝叶错落交织，框住扁舟浮生。赤身船夫们筋肉虬结，或匍匐撑篙、或伫立持杆，将劳力的沉实粗粝揉碎在漾漾水波里。蓝衣妇人静坐舱侧，指尖捻着细碎活计，松弛的背影与紧绷的船夫形成鲜明对照，将日常烟火气晕开劳作的艰涩。\n\n画作融水墨晕染与写实工笔于一体，淡墨晕开远山虚影，细笔勾勒出躯干贲张的肌理，把底层劳动者的鲜活力量揉进水乡诗意里。以平实视角定格江面上生计的重量，将烟火日常淬炼成沉凝的生命注脚，笔墨里既有写实筋骨，又带着东方意境的柔婉，苦役里透出质朴生机。",[24,7,173,8377,106,149,262,34,210,1169,7220,26665,6170,26666],"秋意","场景画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F287adcfa47e3a00be2e87bcf795b7f9b.jpg",[],{"id":26670,"slug":26671,"title":26672,"dynasty":18,"author":257,"museum":191,"description":26673,"tags":26674,"thumbUrl":26675,"material":123,"size":26676,"collection":90,"collections":26677,"showCount":26325,"zanCount":2368,"manualWeight":48,"mainColor":49},220443,"song-ren-sun-ji-tu-yi-ming-220443","宋人隼击图","秋桂飘香，芙蓉摇曳，原是祥和秋景，却呈现阵阵肃杀之气。但见巨鹰凌空俯冲，凌厉的目光，大有扑杀之势。于是雉鸡藏身石后，八哥、蜡嘴仓皇桃散，状甚惊恐。而它们在走避之余，尚注视着巨鹰动向的眼神，尤为生动传神。本幅细致写实，传为宋人所作，然就树干、芙蓉叶、芦苇等多处笔意观之，倒颇合明代吕纪一派画风。",[23,24,25,7,28,245,34,380,686,18823],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97657f8d0e87c5567462cc2a0dbe89c9.jpg","本幅 154.8x101.5公分、全幅 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命气息。",[24,25,7,28,245,3765,1980,897,230,83,320],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74094fc2a952daf18c529cd8039ea047.jpg","81x33cm",[90],{"id":26751,"slug":26752,"title":26753,"dynasty":18,"author":257,"museum":191,"description":26754,"tags":26755,"thumbUrl":26756,"material":123,"size":26757,"collection":90,"collections":26758,"showCount":26325,"zanCount":2368,"manualWeight":48,"mainColor":94},218843,"ke-si-chun-guang-chang-shou-tu-yi-ming-218843","缂丝春光长寿图","缂丝以“通经断纬”之法织就，纹理细密若绘。画面中禽鸟翘首栖于枝间，羽色蓝绿相衬，尾羽纤长舒展，姿态灵动鲜活。枝上缀有盛放的花团，花瓣层叠晕染，色泽温润雅致，叶片脉络清晰可见，尽显春意盎然之态。整体构图疏朗有致，设色古朴淡雅，虽无作者名款，却将宋代缂丝的精湛技艺与文人审美意蕴融于一体。禽鸟与花卉相映成趣，传递出春光和煦、生机勃发的意韵，暗含长寿吉祥的美好祈愿，为宋代缂丝艺术中兼具工艺之美与寓意之深的精品。",[194,24,1329,7,83,245,292,210,836,1187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F578e7e2828c11ca9b8337d3875c50e13.jpg","49x36.2cm",[90],{"id":26760,"slug":26761,"title":26762,"dynasty":18,"author":18229,"museum":191,"description":26763,"tags":26764,"thumbUrl":26765,"material":123,"size":139,"collection":181,"collections":26766,"showCount":26325,"zanCount":48,"manualWeight":48,"mainColor":94},218699,"chun-hu-fang-ya-tu-hui-chong-218699","春湖放鸭图","粼粼春波轻漾，岸畔丛树新绿初绽，枝桠间似有柔风拂过。群鸭悠游于浅滩，或潜或浮，打破湖面静谧却更衬出天地清旷。画面以淡墨晕染水色，赭石轻点岸坡，色调温润如春日暖阳。构图虽简，却于留白处藏无限悠远——似可闻水声潺潺，嗅草木清香。那份恬淡自在，恰是小景山水的妙处：不追磅礴气势，只撷自然一角生机与意趣，让观者心随水禽，飘向春日烟水深处。笔墨细腻处见雅致，清寂中藏灵动，尽展宋人对自然的细腻感知与诗意情怀。",[23,24,25,81,173,7,29,34,9558,835,4048,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F611f2359fee40bf129bb4fc8e4c89e36.jpg",[181],{"id":26768,"slug":26769,"title":26770,"dynasty":18,"author":1588,"museum":78,"description":26771,"tags":26772,"thumbUrl":26773,"material":123,"size":26774,"collection":181,"collections":26775,"showCount":26325,"zanCount":1379,"manualWeight":48,"mainColor":49},218553,"jiao-yuan-ye-zhang-tu-ma-lin-218553","郊原曳杖图","亭子和阳台的一角被画上了。柳树高大而美丽，月亮在天空中，岩石微微露出，从上面可以看到长廊，亭子完全可以看到。\n悬崖用凿子画，亭子用稳健的笔触画，树叶也得到充分的装饰，远处的山峰被烤得绿油油的，并被渲染成彩色，天空中的月亮，以及柳树林中隐约可见的亭子和台阶。",[23,24,25,1260,173,7,29,106,808,34,1171,212,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef491921f92892f4f8b6bec2dc1e90cc.jpg","23.3x23.6",[181],{"id":26777,"slug":26778,"title":26779,"dynasty":76,"author":257,"museum":191,"description":26780,"tags":26781,"thumbUrl":26783,"material":7,"size":26784,"collection":44,"collections":26785,"showCount":26325,"zanCount":1379,"manualWeight":48,"mainColor":94},218509,"san-xing-tu-song-yi-ming-218509","三星图颂","图中绘有代表幸福、繁荣和长寿的三颗星，还有一个婴儿的玩偶，虽然是编织的，但与图像无异，代表了清朝时期宫廷的编织水平。",[24,28,7,106,16143,2385,1273,176,3661,84,2168,26782,280,115],"祥瑞题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22f2d6afa3a98fe6874490590030f7ca.jpg","182x83.3",[44],{"id":26787,"slug":26788,"title":26789,"dynasty":18,"author":257,"museum":316,"description":26790,"tags":26791,"thumbUrl":26792,"material":123,"size":139,"collection":44,"collections":26793,"showCount":26325,"zanCount":2368,"manualWeight":48,"mainColor":49},218380,"feng-yuan-dang-xiong-tu-juan-yi-ming-218380","冯媛当熊图卷","殿宇的静穆被熊咆撕碎，尘雾里冯媛挺身挡在御座前。她衣袂轻扬却身姿如松，直面鬃毛贲张的猛兽——利爪前探的寒芒，映在她凝定的眼眸里。身侧嫔妃敛袖疾退，裙裾纷乱间露惶然神色；侍御持械却难掩惊惶，唯有她的身影如砥柱般屹然。御座上的帝王扶案屏息，目光锁在那抹决绝的背影上。\n\n古卷设色沉雅，线条流转间将刹那的紧张凝固：猛兽的凶戾、众人的惊惧、冯媛的无畏，在绢素上交织成一曲勇气的绝唱。笔墨不刻意渲染却动人心魄，于鬓发的微颤、衣褶的飘转处见风骨，让千年后的观者仍能触到那份临危不乱的赤诚——不是张扬的豪壮，是静水流深般的担当，在古雅的色调里静静发光。",[23,194,24,25,26,28,7,106,746,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64a9c747976af01358494e9c913d07cb.jpg",[44],{"id":26795,"slug":26796,"title":26797,"dynasty":76,"author":20677,"museum":191,"description":26798,"tags":26799,"thumbUrl":26800,"material":123,"size":26801,"collection":181,"collections":26802,"showCount":26325,"zanCount":48,"manualWeight":48,"mainColor":49},218290,"jiang-shan-chun-ai-tu-gao-qi-pei-218290","江山春霭图","高其佩（西元一六七二－一七三四年），字 韦之，号且园，又号南村。辽宁人。凡花木、鸟 兽、鱼龙、人物，无不精妙，尤以山水人物为胜 。其山水沉着，人物生动，深得明吴伟之神趣。另以指头作画著称，奇情异趣，信手而成。本幅画层峦叠翠，山城寺阁错落，溪上泊棹 连樯，岸畔田畴村居。稻田?农人耕作，山径有 行旅载途。溪水溶溶，远山春霭，春意什浓。全 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1889",[3187,16431,6241,7,27024,3074,8108,912,84],"玫瑰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46d3a60614fba5855055438203fb970b.jpg",[3195],{"id":27028,"slug":27029,"title":27030,"dynasty":18,"author":257,"museum":191,"description":27031,"tags":27032,"thumbUrl":27033,"material":638,"size":27034,"collection":139,"collections":27035,"showCount":26854,"zanCount":48,"manualWeight":48,"mainColor":49},223423,"song-ren-ying-xi-tu-zhou-yi-ming-223423","宋人婴戏图轴","以小孩为主要绘画对象，以表现童真为主要目的，所以画面丰富，形态有趣。",[23,24,25,226,28,7,106,8665,8328,34,380,484,16815,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda63fb920aa5b61046227673fe4d57a0.jpg","279x84",[],{"id":27037,"slug":27038,"title":27039,"dynasty":76,"author":1892,"museum":56,"description":1893,"tags":27040,"thumbUrl":27041,"material":1901,"size":1902,"collection":139,"collections":27042,"showCount":26854,"zanCount":48,"manualWeight":48,"mainColor":49},222818,"gu-su-fan-hua-tu-di-er-duan-xu-yang-222818","姑苏繁华图第二段",[23,24,25,26,28,7,104,106,107,108,109,175,34,35,153,112,116,1895,111,110,155],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa13854b780c9cb3ed4dddfbf1c538ccc.jpg",[],{"id":27044,"slug":27045,"title":27046,"dynasty":76,"author":329,"museum":191,"description":10188,"tags":27047,"thumbUrl":27051,"material":529,"size":10192,"collection":181,"collections":27052,"showCount":26854,"zanCount":48,"manualWeight":48,"mainColor":94},222763,"shi-er-yue-ling-tu-4-yue-lang-shi-ning-222763","十二月令图（4月）",[23,24,7,28,106,107,108,109,175,176,84,27048,27049,27050],"细雨","赏花","消遣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cd2462abe95344680ac6dca3956b1cd.jpg",[181,45],{"id":27054,"slug":27055,"title":27056,"dynasty":76,"author":329,"museum":191,"description":1518,"tags":27057,"thumbUrl":27058,"material":7,"size":1521,"collection":139,"collections":27059,"showCount":26854,"zanCount":48,"manualWeight":48,"mainColor":94},222734,"xian-e-chang-chun-tu-shao-yao-tu-lang-shi-ning-222734","仙萼长春图芍药图",[23,194,24,25,81,28,7,83,899,230,553,554],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d4e80ec12b7bb3352ab726c4f69de0f.jpg",[],{"id":27061,"slug":27062,"title":27063,"dynasty":99,"author":2189,"museum":240,"description":4265,"tags":27064,"thumbUrl":27065,"material":500,"size":4269,"collection":139,"collections":27066,"showCount":26854,"zanCount":48,"manualWeight":48,"mainColor":94},222563,"hua-hui-tu-2-chen-chun-222563","花卉图2",[23,194,24,25,83,498,7,84,554,3950],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b58c1f760d5e2ed82b57cd46ef85900.jpg",[],{"id":27068,"slug":27069,"title":27070,"dynasty":302,"author":1917,"museum":191,"description":27071,"tags":27072,"thumbUrl":27073,"material":123,"size":27074,"collection":44,"collections":27075,"showCount":26854,"zanCount":48,"manualWeight":48,"mainColor":49},221846,"yuan-shi-zu-chu-lie-tu-zhou-liu-guan-dao-221846","元世祖出猎图轴","《元世祖出猎图》属于全景式大尺幅作品，取材于元世祖行猎的场面，即元世祖忽必烈与帝后及其侍从狩猎情景。 画中忽必烈着红衣白裘，乘着黑马。画中有十人，有弯弓搭箭，有驾鹰纵犬，人物分散，似做围猎状。\n《元世祖出猎图》中人物、马骑无论衣着、装备皆刻画精细，表情神态自然生动。 所画人和马作各种不同的姿态，转侧俯仰，富有变化",[23,24,25,194,226,7,28,106,150,746,8099,24136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f29856d91d375b99fed5b050f99805e.jpg","182.9x104.1",[44,45],{"id":27077,"slug":27078,"title":27079,"dynasty":302,"author":27080,"museum":101,"description":27081,"tags":27082,"thumbUrl":27083,"material":1319,"size":27084,"collection":181,"collections":27085,"showCount":26854,"zanCount":48,"manualWeight":48,"mainColor":49},220425,"shi-shang-song-hua-tu-zhang-xun-220425","石上松花图","张逊","元代张逊书画世所罕见，故宫博物院藏有其白描双勾竹一卷，足见风采。此山水一幅是王季迁旧物，1997年捐给大都会艺术博物馆。用笔学董、巨，山中静日长，只见松花开又落。落款自题：“石上松花落又开，山樗无用亦成材，蒲轮不到樵人径，白发徒过五十来。张逊。”另有倪瓒、李瓒题诗。",[23,24,3559,226,173,7,176,34,262,1169,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff011efff5735f2afb6e05f576839c3ab.jpg","90.8cm×42.5cm",[181,163],{"id":27087,"slug":27088,"title":27089,"dynasty":99,"author":3307,"museum":191,"description":27090,"tags":27091,"thumbUrl":27093,"material":123,"size":27094,"collection":90,"collections":27095,"showCount":26854,"zanCount":48,"manualWeight":48,"mainColor":49},220400,"he-zhu-shui-fu-tu-lv-ji-220400","荷渚睡凫图","月夜时分，岚雾凄迷，芦苇、荷叶隐现其间，洲渚上栖息大雁四只。构图上只有近、中景，远景则多省略不绘。本幅虽有吕纪名款，然有存疑之处，且通幅之笔力较为薄弱，当非吕氏之原迹。但其景物布置与气氛营造与另一张本院收藏吕纪「秋渚水禽」颇为接近，故此应为一相当忠实于吕氏风格之仿作，可从此画中一窥吕纪写意风格的面貌。\n吕纪（活动于公元1439－1505年间），浙江宁波人。字廷振，号乐愚，亦作乐渔。吕纪为明代中叶著名的宫廷花鸟画家，孝宗弘治（公元1488－1505年）间值仁智殿，官至锦衣卫指挥。花鸟初学边文进（活动于1403－1428），后摹仿唐宋诸名家，结合工笔、写意法，呈现出多种面貌，颇具个人特色。",[23,24,25,194,7,28,83,228,27092,245,230,319],"凫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01ee5454cc9863896919696108f94b6c.jpg","纵：174.5公分 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“元” 送 “喜” 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夏秋草图屏风-秋分","酒井抱一","日本画家的的琳派。他以复兴绪方光琳的风格和流行而闻名，并创作了光琳作品的许多复制品。",[23,7,28,83,553,3074,84,484,838,12745,27379],"日本传统绘画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F115d92d5e47f2f2a6c2be087928f418c.jpg",[],{"id":27383,"slug":27384,"title":27385,"dynasty":99,"author":23950,"museum":2861,"description":27386,"tags":27387,"thumbUrl":27392,"material":67,"size":27393,"collection":139,"collections":27394,"showCount":27253,"zanCount":2368,"manualWeight":48,"mainColor":49},231591,"kong-que-tu-lu-zhao-yang-231591","孔雀图","这幅画描绘了一对生活在牡丹丛中巨石上的孔雀，以及杏花丛中的一对蓝丝带。 卢朝阳代代相传的作品很少。 这个有边景昭，吕纪风致，可以看出他学来的渊源。",[23,24,7,28,83,277,292,662,245,176,84,860,67,3442,27388,4009,13705,1530,4876,211,1187,27389,11849,27390,27391],"花卉禽鸟","羽毛","晕染","勾勒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee51507f3008fc01a7b7141c72840283.jpg","281x119厘米",[],{"id":27396,"slug":27397,"title":27398,"dynasty":76,"author":27399,"museum":316,"description":27400,"tags":27401,"thumbUrl":27403,"material":599,"size":600,"collection":139,"collections":27404,"showCount":27253,"zanCount":1379,"manualWeight":48,"mainColor":27405},230856,"bai-shou-quan-tu-li-hong-zhang-230856","百寿全图","李鸿章","李鸿藻（1820年2月14日—1897年7月24日），字兰荪，号石孙、砚斋，河北保定人。同光年间的清流领袖，晚清主战派重臣之一。咸丰二年（1852年）进士，选庶吉士，授编修，督河南学政。同治元年（1862年），被提拔为侍讲，深受西太后慈禧的信任，累迁内阁学士，署户部左侍郎。同治四年（1865年），再升都察院左都御史，加太子少保。光绪二年（1876年），命兼总理各国事务衙门，反对完颜崇厚擅订《里瓦几亚条约》。历任礼部尚书、协办大学士，调吏部尚书。光绪二十三年（1897年）以病乞假，旋卒，享年七十八岁，清廷予谥文正，赠太子太傅，入祀贤良祠。",[86,1070,7,25,27402,937],"篆刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F959ee7019a280c62ec2c7430aab6b404.jpg",[],"D50000",{"id":27407,"slug":27408,"title":27409,"dynasty":76,"author":257,"museum":316,"description":27410,"tags":27411,"thumbUrl":27412,"material":139,"size":139,"collection":139,"collections":27413,"showCount":27253,"zanCount":2368,"manualWeight":48,"mainColor":49},230300,"wan-guo-lai-chao-tu-yi-ming-230300","万国来朝图","《万国来朝图》是清代宫廷佚名画家创作的绢本设色画，现藏于 。\n《万国来朝图》，将万国来朝使团朝贡的场景绘于画面，场面宏大十分热闹。\n画面显示，每到元旦朝贺庆典，各国度、各民族朝贺宾客穿着艳丽的服装，外貌气质各自不同，带着琳琅满目、五花八门的贡品云集在太和门外，在左右两侧指定区域内人头攒动、等候乾隆皇帝的接见；充分展示出宫廷建筑群的宏伟壮观和天朝大国、万国来朝的盛世气派。\n《万国来朝图》包含了远西诸国（荷兰、英吉利、法兰西）、周边诸国（日本、朝鲜、安南），而荷兰、英吉利、法兰西又都是带口子边的，在贬低他国的同时直接反映了清朝以天朝上国自居的自大心态。\n该画作在大雪银装素裹下更加庄严雄伟；太和殿前皇家侍卫身着华服、排列整齐，文武百官肃立静候待命；乾隆帝安闲地坐在后宫屋檐下靠椅上喝茶休憩，准备前往太和殿接见各国使臣；后宫人物众多，女眷们身着吉服三五成群或闲聊、或看热闹，孩子们兴高采烈的或嬉戏、或放鞭炮，太监宫女们各司其位或忙碌于元旦准备工作、或穿梭于庭院回廊；各国度、各民族朝贺宾客穿着艳丽的服装，外貌气质各自不同，带着琳琅满目、五花八门的贡品云集在太和门外，在左右两侧指定区域内人头攒动、等候乾隆皇帝的接见。\n队伍前面有一只经过精心装扮的高大威猛的大象显得神气十足，大象上坐着一人正与同伴交谈着什么。\n画面将万国来朝的宾客们巧妙地安排在画幅四分之一处的右下角，延展出画外仍有众多宾客，场面宏大十分热闹。\n在我国历史上，历朝历代的元旦同样是宫廷最为重要的节日之一。\n具体到大清王朝紫禁城里的元旦，从本质上讲与民间并无二致，只是多了份典礼式的庄严和肃穆，活动多以规模宏大盛典形式表现。\n收藏的几幅由清代宫廷画家绘制的《万国来朝图》，就是对紫禁城内元旦朝贺活动的形象记录。\n赏析这些画作，可以使我们对当年位居九五之尊的皇帝如何过元旦，获得一些感性认识。\n据专家考证，为了宏扬清朝政府的威德，展现“四夷宾服、万国来朝”的繁荣景象，在乾隆帝授意下，宫廷画家们先后创作了多幅向清国朝贺、歌功颂德的绘画，作品之间只是在细节上略微有所不同。\n从画面中可以看出，元旦朝贺庆典是在紫禁城内举行，作者以鸟瞰的角度全景式构图，运用传统工笔界画的表现技法，大胆地通过对个别宫殿适当挪位、变换角度、压缩，通过宏观和微观将主要建筑和场景尽量容纳其中，展示出宫廷建筑群的宏伟壮观和皇家气派、将不同时间段来朝使团朝贡的场景绘于画面，集中表达兴盛之意。\n纵观整体画面，层次丰富、主次分明，准确传神地将各种元素巧妙地组合，将数以百计的人物安排得恰到好处、刻画得细腻入；整幅画作呈现出祥和的景象，淋漓尽致地营造出乾隆年间紫禁城元旦朝贺庆典的热闹场景，给观者强烈的艺术感染力、留下深刻印象。",[23,24,28,7,104,106,107,968,115,34,2562,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7aff9949ab70c37e5214da467c0091b5.jpg",[],{"id":27415,"slug":27416,"title":11067,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":27417,"thumbUrl":27418,"material":599,"size":600,"collection":139,"collections":27419,"showCount":27253,"zanCount":2368,"manualWeight":48,"mainColor":49},226283,"ku-zhu-shi-bei-bi-yi-ming-226283",[24,25,194,511,260,104,7,106,107,29,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa20a829b1e7a26c782be3b06a09edbd8.jpg",[],{"id":27421,"slug":27422,"title":4024,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":27423,"thumbUrl":27424,"material":599,"size":600,"collection":139,"collections":27425,"showCount":27253,"zanCount":48,"manualWeight":48,"mainColor":49},226232,"ku-zhu-shi-zao-jing-yi-ming-226232",[511,260,7,28,84,8170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F735741f7d2cf965ac9bf9aac6041d358.jpg",[],{"id":27427,"slug":27428,"title":24073,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":27429,"thumbUrl":27430,"material":599,"size":600,"collection":139,"collections":27431,"showCount":27253,"zanCount":2368,"manualWeight":48,"mainColor":49},226186,"ku-zhu-shi-xi-pi-yi-ming-226186",[22981,511,7,260,106,29,107,34,11370],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f2cf7e3d349a2d63c2f7b9a261c0abf.jpg",[],{"id":27433,"slug":27434,"title":27435,"dynasty":256,"author":27436,"museum":316,"description":27437,"tags":27438,"thumbUrl":27443,"material":599,"size":600,"collection":3195,"collections":27444,"showCount":27253,"zanCount":48,"manualWeight":48,"mainColor":2504},226148,"da-shi-men-xiao-han-si-huo-er-bai-yin-226148","大使们","小汉斯·霍尔拜因","小汉斯·荷尔拜因（约1497年-1543年11月29日以前）是德国画家，最擅长油画和版画，是欧洲北方文艺复兴时代的艺术家。其代表作有：木版画《死神之舞》",[3187,8377,7,106,63,27439,18687,195,27440,3007,336,65,27441,7135,6322,27442,8432,280],"地球仪","科学仪器","金属器","写实技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe2fbcb4770ff51108175120146d4681.jpg",[3195],{"id":27446,"slug":27447,"title":27448,"dynasty":256,"author":10036,"museum":316,"description":10037,"tags":27449,"thumbUrl":27454,"material":599,"size":600,"collection":3195,"collections":27455,"showCount":27253,"zanCount":48,"manualWeight":48,"mainColor":49},226007,"portrait-of-mrs-gaudibert-1868-mo-nai-226007","Portrait of Mrs. Gaudibert, 1868",[10039,3187,106,23716,27450,27451,23717,3007,6240,27452,336,8432,7,27453],"长裙","披肩","玫瑰花","光影表现","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f9d8975a5f7f36a6c408e9a43bb51d8.jpg",[3195],{"id":27457,"slug":27458,"title":27459,"dynasty":256,"author":6236,"museum":316,"description":6237,"tags":27460,"thumbUrl":27463,"material":599,"size":600,"collection":3195,"collections":27464,"showCount":27253,"zanCount":48,"manualWeight":48,"mainColor":49},225748,"flowering-plum-orchard-after-hiroshige-october-november-fan-gao-225748","Flowering plum orchard after Hiroshige (October - November )",[194,105,3187,7,27461,820,836,1187,27462,34,84],"浮世绘风格","绿地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46ec6e59d5fc227dc0435a3c28cad1ec.jpg",[3195],{"id":27466,"slug":27467,"title":83,"dynasty":76,"author":1829,"museum":316,"description":27468,"tags":27469,"thumbUrl":27470,"material":139,"size":139,"collection":139,"collections":27471,"showCount":27253,"zanCount":48,"manualWeight":48,"mainColor":94},224309,"hua-niao-li-shan-224309","这幅画以水墨写就水畔一隅，布局错落有致。右上角芙蓉枝叶交叠，浓墨点染阔叶，淡墨勾出柔花，枯笔写枝，苍劲中带着秀润。左侧荷花亭亭舒展，墨色晕染出荷叶的清润质感，花瓣用线空灵雅洁。白鹭静立在汀草间，淡墨勾形留白衬出羽毛蓬松，目光低垂神态悠然，将水鸟的闲适之态尽藏其中。\n笔墨干湿浓淡相映，以写意笔法写尽夏日水郊的清寂野趣，禽鸟花木浑然相融，尽显纵逸洒脱又不失雅致的文人写意风骨，将幽淡恬然的郊野生机凝练在尺幅之间。",[23,24,194,226,173,7,498,83,228,634,4039,838,1980,137],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35c32e970d3d12ecf0c1bdd93057eb7f.jpg",[],{"id":27473,"slug":27474,"title":27475,"dynasty":76,"author":1829,"museum":316,"description":27476,"tags":27477,"thumbUrl":27478,"material":139,"size":139,"collection":139,"collections":27479,"showCount":27253,"zanCount":48,"manualWeight":48,"mainColor":94},224294,"tao-hua-liu-yan-tu-li-shan-224294","桃花柳燕图","《历代名画宣纸高清大图:李鱓桃花柳燕图》绘桃红、柳绿、燕嬉之景，生动地表现了春天和生命的气息，画面充满暖意。\n画幅右边近下部，柳树枝干往上方挺升，其上旁生枝条，以浅绿设色表现初发的柳叶，墨笔筒细而劲健。\n整个枝干形态奠定了画面格局。\n柳树後可见一株桃树枝干自右至左斜出，分上中下三个方向。\n桃树枝干以褐色设色，与墨色的柳树枝干相映成趣，其上并以粉红、银白、淡绿设色表现桃花花办与花叶，同样笔墨不繁却栩栩如生。\n在此美景中，作者添了四只暖春早燕：其一于高枝上向下俯视，情状蠢蠢欲动；其一站立在横枝上，神态安详；其一停于中部枝头顶端；其一低飞于桃红柳绿问。\n此幅花鸟画明朗活泼，笔墨工致。\n《历代名画宣纸高清大图:李鱓桃花柳燕图》由 出版。",[23,24,25,226,498,7,243,2532,7714,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d0cd75efcd4565e82cc7ec65b74f13a.jpg",[],{"id":27481,"slug":27482,"title":27483,"dynasty":76,"author":742,"museum":56,"description":1373,"tags":27484,"thumbUrl":27485,"material":67,"size":27486,"collection":139,"collections":27487,"showCount":27253,"zanCount":48,"manualWeight":48,"mainColor":94},223232,"mei-que-tu-li-zhou-ren-yi-223232","梅雀图立轴",[23,226,7,173,3052,83,820,4323,898,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc2cab43d292040d46a761c14cf915d9.jpg","纵70.7厘米，横35厘米",[],{"id":27489,"slug":27490,"title":27491,"dynasty":76,"author":2849,"museum":191,"description":13188,"tags":27492,"thumbUrl":27494,"material":27495,"size":27496,"collection":139,"collections":27497,"showCount":27253,"zanCount":48,"manualWeight":48,"mainColor":94},223093,"hua-nan-fang-zeng-zhang-tian-wang-xiang-zhou-yao-wen-han-223093","画南方增长天王像轴",[23,24,226,260,28,7,106,29,3661,409,2439,212,320,7692,27493,34,109],"神像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63b754074b82571d0e38932f5e220c24.jpg","轴 纸本 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,"昆仑堂美术馆","戴琓，北宋画家。生卒年不详。汴（今河南开封）人。宣和（1111-1125）年间在翰林，殊蒙恩宠。画史称其：工翎毛花竹，常入阁供奉，后因求者甚众，徽宗闻之，封其臂不令私画，故传世者鲜。\n传世作品有《月下五雀图》，现藏昆山市昆仑堂美术馆；《雪梅寒雀图》，美国弗利尔美术馆藏。",[23,24,28,7,67,83,265,245,6817,836,554,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e7afabac0c506934e7bf8980bedff63.jpg","20.5cm×26cm",[42,90,45],{"id":27576,"slug":27577,"title":27578,"dynasty":18,"author":13840,"museum":191,"description":27579,"tags":27580,"thumbUrl":27582,"material":67,"size":27583,"collection":139,"collections":27584,"showCount":27253,"zanCount":48,"manualWeight":48,"mainColor":49},221239,"song-ke-si-bao-sheng-ru-lai-zhou-song-ren-221239","宋缂丝宝生如来轴","当精微细致的宋画与缂丝相遇之后，一种集精美丝织工艺和极致绘画情趣为一体的缂丝画便产生了。缂丝画的出现，摆脱了宋之前缂丝实用品的束缚，使其有了较高的艺术观赏性，而其绘画性所展现的艺术格调，不仅再现了宋代绘画的绝美，也使缂丝艺术远远高出其他门类的丝绣艺术。",[23,194,226,1329,260,7,106,6768,27581,8378],"宝生如来","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cd216f580aaefd6dae4e2fbc07bec2c.jpg","84.8x57.2",[],{"id":27586,"slug":27587,"title":27588,"dynasty":869,"author":870,"museum":1816,"description":27589,"tags":27590,"thumbUrl":27591,"material":1822,"size":139,"collection":139,"collections":27592,"showCount":27253,"zanCount":2368,"manualWeight":48,"mainColor":94},220582,"xian-tao-qi-bai-shi-220582","仙桃","此作用色鲜亮泼辣，两枚寿桃以朱砂铺陈桃身，晕染出熟透的红润，留白与藤黄轻点桃腹，尽显饱满甜熟的质感，鲜活仿佛将欲滴浆。\n\n浓墨挥写桃叶藤蔓，线条苍劲老拙，墨色干湿浓淡富于层次，与暖艳的桃色形成鲜明对比，艳而不俗，厚重灵动兼具。扇面形制之下布局疏密得当，硕果垂坠于枝桠，暗含丰盈吉祥的意趣。\n题字笔墨雄健朴拙，与画面笔意融为一体，整幅小品简括大气，寥寥数笔便将物象生机与祝福意蕴尽皆抒发，尽显写意精髓。",[869,24,1260,7,498,83,567,554,212,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcecf3a3089bcebf91a06cfe9e353c2e9.jpg",[],{"id":27594,"slug":27595,"title":8374,"dynasty":869,"author":4525,"museum":6047,"description":27596,"tags":27597,"thumbUrl":8384,"material":139,"size":139,"collection":139,"collections":27600,"showCount":27253,"zanCount":48,"manualWeight":48,"mainColor":94},220573,"yu-gong-yi-shan-xu-bei-hong-220573","这幅长卷以群像铺展劳作盛景，左侧妇孺老者伴象静立，眉眼间带着质朴安然的烟火气；右侧赤膊力士肌肉虬结，或挥锄蓄力、躬身掘土，古铜色躯体迸发撼人力量。创作者揉合中西技法，以国画线条勾勒筋骨，用西洋写实晕染肌肉明暗，将劳动者的粗粝体魄与坚毅精神凝于笔端。没有刻意渲染神话玄奇，只落脚于凡人苦干，把古老寓言的坚韧意志，具象成一群勇者的躬身耕耘，让不移信念在充满烟火气的劳作场景中变得可感可触，尽显沉浑厚重的生命张力。",[23,24,7,8377,106,8378,27598,2385,23716,8383,8379,8583,7220,27599,9412],"水牛","人体",[],{"id":27602,"slug":27603,"title":27604,"dynasty":869,"author":27605,"museum":27606,"description":27607,"tags":27608,"thumbUrl":27609,"material":27610,"size":139,"collection":139,"collections":27611,"showCount":27253,"zanCount":48,"manualWeight":48,"mainColor":94},220451,"ma-nai-si-he-shang-huang-zhou-220451","马奈斯河上","黄胄","The Chinese University of Hong Kong Library","黄胄于1965年春北京作此画，写赠廖一原妻汪云女士。黄胄曾获多个奖项，其国画重生活气息及民族色彩，所绘毛驴，维妙维肖。",[23,24,173,7,498,106,150,245,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53033b6aa3b54f7bcf0aaec4e4188faf.jpg","Ink and colour on 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面前是一个窄口的直瓶。 瓶子里有两根无叶的花枝。 老者目不转睛，认真地看着花朵。 此人的衣纹、眉髯都非常有文采，是黄慎人物画的杰作。",[24,25,226,173,7,498,106,8383,6240,631,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a98079d56aeaa314481baecfab8d367.jpg","102x40厘米",[44],{"id":27656,"slug":27657,"title":27658,"dynasty":18,"author":391,"museum":191,"description":27659,"tags":27660,"thumbUrl":27662,"material":123,"size":139,"collection":90,"collections":27663,"showCount":27253,"zanCount":48,"manualWeight":48,"mainColor":94},219224,"li-peng-qiu-zhan-zhao-ji-219224","栗蓬秋绽","墨叶扶疏间，栗蓬携尖刺静绽，外壳微裂处，嫩实隐现如珠。工笔细描的叶片脉络分明，墨色晕染出苍劲与柔润的层次，枝干线条如篆如隶，藏着书法般的骨力。秋意凝于绢素，既有院体画的精工写实，又含文人画的雅致韵致。一笔一画皆见对自然物态的深察，从刺尖的锋芒到叶脉的转折，皆细致入微，尽显宋画格物致知的精神，让秋之栗蓬的生机与静美，在方寸扇面间流转不息。",[23,2003,24,25,1260,28,7,83,27661,554,836,212],"栗蓬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc547c3110157d019ed1ea0f90ee3b260.jpg",[90],{"id":27665,"slug":27666,"title":27667,"dynasty":18,"author":20824,"museum":608,"description":27668,"tags":27669,"thumbUrl":27670,"material":123,"size":27671,"collection":45,"collections":27672,"showCount":27253,"zanCount":48,"manualWeight":48,"mainColor":2504},219199,"mei-que-shuang-e-tu-wang-ning-219199","梅鹊双鹅图","此图构图新颖,一支细长的枝杈贯穿全图,分叉垂直树干而上,树冠顶端有两只可爱的喜鹊停留.",[24,194,25,226,28,7,83,820,9796,7355,353,227,245,3369],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F381ee136b10d1f54c70e4e73a1c7fac0.jpg","168.5x93.4",[45],{"id":27674,"slug":27675,"title":27676,"dynasty":18,"author":257,"museum":78,"description":27677,"tags":27678,"thumbUrl":27679,"material":123,"size":27680,"collection":181,"collections":27681,"showCount":27253,"zanCount":2368,"manualWeight":48,"mainColor":2504},219185,"qiu-shan-xiao-si-tu-yi-ming-219185","秋山萧寺图","本图开卷处图绘远山溪岸，继而群峰叠起大壑飞瀑，颇为壮观，再次又转入平川冈阜秋树远山，渐成清远之境，布局变化错落有致，诗意盎人。",[23,24,25,26,29,173,177,7,685,34,31,33,114,25842,37,1169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23a1a563b0831e9d4722ca61818753b6.jpg","41.7x237.2",[181],{"id":27683,"slug":27684,"title":27685,"dynasty":76,"author":5359,"museum":20,"description":27686,"tags":27687,"thumbUrl":27688,"material":123,"size":27689,"collection":181,"collections":27690,"showCount":27253,"zanCount":2368,"manualWeight":48,"mainColor":49},219142,"yang-zhou-si-jing-tu-wan-song-die-cui-yuan-yao-219142","扬州四景图-万松叠翠","这组画屏是袁耀晚年的佳作，所绘为南京北郊的到处名胜景区，均为写生之作。 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，中西帆船往来于碧波之上，帆影点点。传统散点透视下，异域风光与东方笔墨相融——苍劲的树木、层叠的山石是中式山水的韵致，而港口的布局、船只的形制又带着西洋印记。淡蓝的水色衬着赭黄的山岗，清润雅致中，流动着海上贸易的鲜活气息。这幅作品以东方视角记录异域见闻，既是笔墨的诗意表达，亦是中西文化碰撞的视觉见证，于舒展的画卷里，藏着时代的风物与交流的温度。",[23,24,26,7,28,29,10383,111,114,34,27759,27760,3517,14764,27761,808,38,35,27762,3982],"灯塔","港口","海面","海岸线","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83ed23f974fe4e3f09f3a7e2f129b61d.jpg",[181],{"id":27766,"slug":27767,"title":27768,"dynasty":18,"author":2497,"museum":608,"description":27769,"tags":27770,"thumbUrl":27771,"material":123,"size":139,"collection":139,"collections":27772,"showCount":27253,"zanCount":2368,"manualWeight":48,"mainColor":49},214869,"wu-bai-luo-han-zhi-tian-tai-shi-qiao-tu-zhou-ji-chang-214869","五百罗汉之天台石桥图","五百罗汉之天台石桥图是一幅中国古代图画，出现在宋朝时期。这幅图画由周季常创作，被认为是宋朝时期艺术史上的里程碑。\n\n五百罗汉之天台石桥图描绘了一座天台山上的石桥。石桥上站着五百个罗汉（佛教中的圣者），他们身着鲜艳的衣服，戴着华丽的首饰，手执莲花，肩挎佛像。每个罗汉都有自己独特的特征和表情，表现出不同的心态和境界。图中还有云朵、山峦、树木等元素，构成了一幅美丽的图画。\n\n五百罗汉之天台石桥图被认为是宋朝艺术史上的里程碑，因为它标志着中国传统绘画艺术走向成熟和完善。这幅图画的细腻和逼真的写实，以及对人物特征和心理描写的深刻，让人们对宋朝艺术有了更加深入的了解和认识。",[23,24,25,226,260,7,28,106,29,686,1426,37,22323],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ce180fb2ebcd4c0fe8a67a27cc9478a.jpg",[],{"id":27774,"slug":27775,"title":27776,"dynasty":302,"author":257,"museum":316,"description":27777,"tags":27778,"thumbUrl":27780,"material":599,"size":600,"collection":139,"collections":27781,"showCount":370,"zanCount":2368,"manualWeight":48,"mainColor":49},290738,"san-qing-tu-zhou-yi-ming-290738","三清图轴","三清为道教尊奉的三位最高神的统称。依画上品字形排列，上方为玉清元始天尊，其左手方为上清灵宝天尊。右手方为太清道德天尊。三清尊神是道教哲理“三一说”的象征，《老子道德经》说：“道生一，一生二，二生三，三生万物。”三清尊神就是“道”的人格神化。自唐宋以来，三清尊神主要供奉在道教宫观裹的三清殿。",[24,226,260,27779,106,746,2479,7],"道教人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F413ee4f4ae4968de91fbe037d4d6c9ad.jpg",[],{"id":27783,"slug":27784,"title":27785,"dynasty":76,"author":2200,"museum":316,"description":2962,"tags":27786,"thumbUrl":27787,"material":599,"size":600,"collection":139,"collections":27788,"showCount":370,"zanCount":48,"manualWeight":48,"mainColor":94},290423,"shan-hu-zhu-tu-wu-chang-shuo-290423","珊瑚珠图",[23,24,194,25,226,7,83,5841,1090,230,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2766eac4a62e51b7669d8120e882a655.jpg",[],{"id":27790,"slug":27791,"title":27792,"dynasty":99,"author":3307,"museum":316,"description":27793,"tags":27794,"thumbUrl":27795,"material":599,"size":600,"collection":139,"collections":27796,"showCount":370,"zanCount":48,"manualWeight":48,"mainColor":49},290150,"qiu-lu-fu-rong-tu-lv-ji-290150","秋鹭芙蓉图","画中芙蓉花开正盛，摇曳的残荷与挺拔的莲蓬示意着秋天的到来。柳树从画面右侧突兀而入，枝叶茂盛挺拔，枝上柳叶繁而不乱，疏密得当，层次分明。画中三只白鹭，或栖止，或飞翔，上下呼应，造型准确，形态生动。其中一只栖息在岸边，正回过头向着空中飞翔着的同伴鸣叫，而空中的一只似乎也听到了呼唤，正盘旋而下，与伙伴会合，另一只仿佛也正寻见叫声紧跟而下。三只白鹭所连接起来的弧形曲线与柳枝弯曲的线条相对应，在画面上形成了强烈的动感。",[24,194,83,28,7,4039,634,136,245,2532],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb9262e1e5ebf6b0387a9924cedf7acc.jpg",[],{"id":27798,"slug":27799,"title":27800,"dynasty":302,"author":3115,"museum":316,"description":27801,"tags":27802,"thumbUrl":27803,"material":599,"size":600,"collection":139,"collections":27804,"showCount":370,"zanCount":2368,"manualWeight":48,"mainColor":49},289966,"hu-lu-hua-ping-chen-lin-289966","葫芦花瓶","陶瓷是陶器与瓷器的统称，同时也是我国的一种工艺美术品，远在新石器时代，我国已有风格粗犷、朴实的彩陶和黑陶。陶与瓷的质地不同，性质各异。陶，是以粘性较高、可塑性较强的粘土为主要原料制成的，不透明、有细微气孔和微弱的吸水性，击之声浊。瓷是以粘土、长石和石英制成，半透明，不吸水、抗腐蚀，胎质坚硬紧密，叩之声脆。我国传统的陶瓷工艺美术品，质高形美，具有高度的艺术价值，闻名于世界。",[23,24,194,226,28,7,83,229,84,898,3118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3986e6cdba5c8fe3cba11a642ea6fec6.jpg",[],{"id":27806,"slug":27807,"title":27808,"dynasty":189,"author":2083,"museum":316,"description":22283,"tags":27809,"thumbUrl":27810,"material":599,"size":600,"collection":139,"collections":27811,"showCount":370,"zanCount":48,"manualWeight":48,"mainColor":49},289771,"zhu-lin-bo-ge-tu-wei-zuo-huang-quan-289771","竹林鹁鸽图（伪作）",[23,24,25,83,226,28,7,227,245,24357],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c829119b7ec6055354e9e93d522d247.jpg",[],{"id":27813,"slug":27814,"title":16447,"dynasty":189,"author":257,"museum":316,"description":27815,"tags":27816,"thumbUrl":27817,"material":599,"size":600,"collection":139,"collections":27818,"showCount":370,"zanCount":2368,"manualWeight":48,"mainColor":49},288513,"zha-kou-pan-che-tu-yi-ming-288513","整幅画作定格了一处临水官营作坊的日常盛景。临水高阁水磨飞转，匠人或持具分拣粮料，或俯身装卸漕粮，各司其职、鲜活生动。水面上舟楫往来渡运，岸边车马络绎穿梭，高耸的木构支架与严整的亭台楼阁相互映衬，满溢着烟火蒸腾的劳作气息。\n画作以工细写实的笔触写尽百态，界画严整精准，衣纹简劲利落，设色古雅苍润，将漕粮加工转运的民生图景娓娓铺展，兼具极高审美价值与纪实史料价值。",[23,194,24,25,104,7,106,107,108,109,2234,154,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bf861c5bac94907fe27a1b5a71d408b.jpg",[],{"id":27820,"slug":27821,"title":27822,"dynasty":18,"author":1599,"museum":316,"description":27823,"tags":27824,"thumbUrl":27826,"material":599,"size":600,"collection":139,"collections":27827,"showCount":370,"zanCount":1003,"manualWeight":48,"mainColor":94},288356,"qiu-chuang-du-yi-tu-liu-song-nian-288356","秋窗读易图","这件作品笔墨工致严谨，气格宁静雅逸，具有一种宫廷的富贵气息，是刘松年细腻、典雅画风的杰出代表。也有专家认为，他的山水画是把李唐开创的风格“向后拉”(所谓“向后拉”，就是把李唐刚猛的画风进行减缓和柔化)，而马远、夏圭则是把李唐的画风“向前拉”，此说颇为形象。画面表现的是读书的场景。水畔树石掩映之下，书斋门窗敞开，主人在窗前展卷沉思，一书童在门外侍立。景色清幽，主人儒雅，童子恭敬，各尽其态。房屋、院落、树木、篱笆墙，都是精工细写，一丝不苟，将秋天的氛围渲染得恰到好处。一片湖光水色之外，更有远景的山石隐现。山石的画法明显是学自李唐，先用健朗的线勾轮廓，然后施以斧劈皴，精巧、有力，青绿设色，杂树用夹叶法，这些都是典型的南宋画法。但细读之下，却也不尽然。《秋窗读易图》同时呈现出另一种风貌。我们拿这张作品和刘松年的《四景山水图》做比较，就会发现这个问题。《四景山水图》画山石用斧劈皴和淡墨渲染，具有刚硬的特点。树的弯曲，用笔偏于方折，远山仅画一角。虽然画面的总体感觉上是湿润的，但具体景物却是干裂的。再看《秋窗读易图》的山石画法，很明显地具有董源、巨然的风格——长披麻皴的运用和具有江南柔美的韵致。另外，从树木、苔点、远山、秀水的画法中，我们可以感觉得到一种萧散和淳厚，这又具有元人的绘画风韵。\n总体而言，《秋窗读易图》较之《四景山水图》，硬朗之风略逊，而优雅、闲适之气则胜之。从这个意义上讲，刘松年的作品突破了时代的风格，以典雅、秀丽的风貌预示了元代山水画的走向。虽然元代山水画的一个典型的特征是排斥南宋绘画传统，但刘松年绘制的这件作品，正好从另一个方面说明了元代山水画家或者说南宗山水画家将反对的对象集中在马远和夏圭上的主要原因。",[23,24,1260,25,7,28,104,29,1273,107,86,178,212,5218,27825],"读易","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c6dadc0e51fb4a03d05372ce1324e11.jpg",[],{"id":27829,"slug":27830,"title":27831,"dynasty":76,"author":257,"museum":316,"description":27832,"tags":27833,"thumbUrl":27835,"material":599,"size":600,"collection":139,"collections":27836,"showCount":370,"zanCount":2368,"manualWeight":48,"mainColor":49},288060,"nao-long-zhou-yi-ming-288060","闹龙舟","这幅长卷以工细笔触铺展春日盛景，澄澈水面上龙舟竞渡，旌旗猎猎，健儿挥桨劈波，舟身彩饰繁丽，竞渡喧嚷似能破纸而出。\n\n沿岸屋舍层叠，酒肆楼宇间人影攒动，仕民凭栏观赛，谈笑晏晏。远山含烟、花树初绽，将江南漕岸的烟火气晕开。创作者以院体画的精细，把官民同游的节庆嬉乐定格，静雅的楼台春景搭配喧腾的水上赛事，一动一静里尽显升平风华，将水乡春日的繁庶鲜活凝固为永恒。",[23,24,26,7,28,104,106,107,22299,109,243,986,120,27834,2852,29],"节庆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4dd7b62edc4a1b662b9720f4671ce87.jpg",[],{"id":27838,"slug":27839,"title":27840,"dynasty":189,"author":27841,"museum":316,"description":25285,"tags":27842,"thumbUrl":27844,"material":599,"size":600,"collection":139,"collections":27845,"showCount":370,"zanCount":2368,"manualWeight":48,"mainColor":49},287651,"zhu-mei-han-que-tu-huang-quan-287651","竹梅寒雀圖","黃筌",[23,194,24,28,7,83,820,227,245,4323,27843],"寒景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa14118190dbdfe894df2a5227c61b998.jpg",[],{"id":27847,"slug":27848,"title":27849,"dynasty":76,"author":6776,"museum":316,"description":27850,"tags":27851,"thumbUrl":27852,"material":139,"size":139,"collection":139,"collections":27853,"showCount":370,"zanCount":2368,"manualWeight":48,"mainColor":49},239312,"gong-fei-hua-chong-tu-zhou-ding-guan-peng-239312","宫妃话宠图轴","取景幽寂庭院，修竹扶疏，晕出宫苑清冷雅致的底色。仕女华服温婉，神情各别，或凭栏私语，或侍弄案上清供，将深宫女子的隐秘心绪藏于眉梢眼角之间。\n画作工细妍丽，线条匀净流畅，设色秀雅沉静。案头盆景、陈设器物描摹入微，既还原了宫苑闲趣日常，又暗透出深闺幽闭中的缱绻心事。笔触婉转细腻，将闲寂悠长的深宫氛围悄然铺陈，在柔婉的仕女情态里，藏着含蓄的情绪张力，尽显仕女画的雅致韵致。",[24,25,226,7,28,106,59,227,3673,278,1552,280],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2af47c93549f345fb95b556ecd7a19e8.jpg",[],{"id":27855,"slug":27856,"title":27857,"dynasty":76,"author":27858,"museum":20,"description":27859,"tags":27860,"thumbUrl":27861,"material":40,"size":27862,"collection":181,"collections":27863,"showCount":370,"zanCount":48,"manualWeight":48,"mainColor":49},238666,"shan-shui-lou-ge-tu-zhou-shen-yuan-238666","山水楼阁图轴","沈源","受“海西法”影响的新型建筑画在清代宫廷内曾经十分盛行，当时称为“线法画”，即采用西洋绘画中的焦点透视法，以扩大建筑物在画面中的空间感和纵深感，力求达到“于阴阳远近，不差锱黍。…… 布影由阔而狭，以三角量之。画宫室与墙壁，令人几欲走进”的立体效果。从此幅沈源的作品中可以看到“线法画”的痕迹，虽然由于受到中国审美传统的限制，画面中西洋绘画的一些效果在一定程度上有所淡化，但是与传统的建筑画相比，此时的画家表现三维景物的能力确实有了相当大的提高。",[24,25,226,104,7,29,107,175,34,106,28,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9d809bb2714a20a923bebe202091254.jpg","纵135厘米，横74.8厘米",[181],{"id":27865,"slug":27866,"title":27867,"dynasty":99,"author":2189,"museum":316,"description":13050,"tags":27868,"thumbUrl":27869,"material":599,"size":600,"collection":139,"collections":27870,"showCount":370,"zanCount":48,"manualWeight":48,"mainColor":94},235803,"luo-hua-you-yu-tu-shan-chen-chun-235803","落花游鱼图扇",[1260,7,173,498,83,230,243,722,12360,912],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b063b4f738948ec89dde7314392fb68.jpg",[],{"id":27872,"slug":27873,"title":27874,"dynasty":99,"author":10632,"museum":20,"description":27875,"tags":27876,"thumbUrl":27877,"material":770,"size":27878,"collection":181,"collections":27879,"showCount":370,"zanCount":2368,"manualWeight":48,"mainColor":94},234806,"wu-men-zhu-jia-shou-yuan-fang-zhai-san-jue-ce-qian-ren-zuo-tu-ye-wen-jia-234806","吴门诸家寿袁方斋三绝册-千人座图页","此册页是吴门画家文嘉、文伯仁、陆治、陈道复为姓袁者六十大寿而绘的吴门一带的盛景，每位画家绘制五开，共20开，妹夫对开均有提拔。",[24,25,81,7,29,177,106,175,176,34,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0427d2997d7f999e233f980c215411ae.jpg","22.2*26.7cm",[181],{"id":27881,"slug":27882,"title":15191,"dynasty":99,"author":15110,"museum":316,"description":27883,"tags":27884,"thumbUrl":27885,"material":139,"size":139,"collection":139,"collections":27886,"showCount":370,"zanCount":48,"manualWeight":48,"mainColor":49},234805,"ren-wu-zhou-xie-shi-chen-234805","谢时臣（1487—？），明代画家。字思忠，号樗仙。长洲（今江苏苏州）人，八十一岁时尚在世。工书法，长于隶书 。擅山水 ，师法吴镇、沈周，稍作变化，兼有“浙派”和“吴门派”笔法，风格独特。\n作品多构为长卷巨幛，以善画水著称，江河湖海，无不精好。又作 山峦重叠 ，高耸险峻 ，笔墨 或细密苍劲 ，或劲健沉郁，或纵横纷披，富有变化。有《溪山揽胜图》《策杖寻幽图》《武当霁雪图》《谪仙玩月图》等传世。",[24,25,226,7,177,106,34,7657,245,29,1049,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F581618327747e74a9a86d6201e888d63.jpg",[],{"id":27888,"slug":27889,"title":27890,"dynasty":76,"author":12049,"museum":316,"description":27891,"tags":27892,"thumbUrl":27893,"material":139,"size":139,"collection":139,"collections":27894,"showCount":370,"zanCount":48,"manualWeight":48,"mainColor":94},234520,"hua-niao-wan-shan-zhu-cheng-234520","花鸟纨扇","朱偁[清]（1826—1900，一作1826—1899）清代画家，早岁名琛，后更今名，字梦庐，号觉未，别署鸳湖散人、玉溪外史、玉溪钓者、鸳湖画史、胥山樵叟，浙江嘉兴人。熊弟。工花鸟，初法张熊，暇辄借临，熊自视几不能辨。及王礼得名以超脱胜张熊之工细，遂改从礼，兼得张画之华瞻工细与王画之超脱飘逸，神似华喦，成为名家，在上海书画界享有盛誉。题字款识，莫不酷似。晚年精进，惜未脱霸气。间仿华岩亦得其神似，卒年七十五（一作七十四）。\n事迹收录于《海上墨林》、《桐阴复志》、《近代六十名家画传》 。",[24,25,1260,7,28,83,230,209,84,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29f6db911ad00282fc6ef5a8e0e78eae.jpg",[],{"id":27896,"slug":27897,"title":205,"dynasty":76,"author":4891,"museum":20,"description":4892,"tags":27898,"thumbUrl":27899,"material":770,"size":139,"collection":139,"collections":27900,"showCount":370,"zanCount":48,"manualWeight":48,"mainColor":94},234314,"hua-niao-ce-ma-yuan-yu-234314",[24,7,83,292,81,498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf1894feeb0c60b378b1fc1eb0e4de89.jpg",[],{"id":27902,"slug":27903,"title":24472,"dynasty":99,"author":27904,"museum":316,"description":27905,"tags":27906,"thumbUrl":27907,"material":770,"size":139,"collection":139,"collections":27908,"showCount":370,"zanCount":48,"manualWeight":48,"mainColor":94},234257,"hua-hui-juan-zhu-chang-234257","朱昶","夏昶（1388年－1470年），字仲昭，号玉峯、自在居士，南直隶昆山县（今属江苏省昆山市）人。明朝画家，官员。外玄孙归有光。《明史》有传。\n夏昶早年过继于舅父，故姓朱。永乐十三年（1415年）乙未科进士，选入庶吉士，归宗，复夏姓，明成祖赐名为昶。正统年间官至太常寺少卿。夏昶与上元县的张益齐名，同年考中进士，同善作赋、画竹，夏昶后来认为自己的辞赋，不如张益，于是终身不再作赋；张益也认为自己所画的竹子不如夏昶，也终身不画竹子。",[23,24,26,25,28,7,83,84,136,292,896,629,365],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb24494b2d5604dc9bc0f9237bdad182.jpg",[],{"id":27910,"slug":27911,"title":27912,"dynasty":76,"author":19521,"museum":20,"description":27913,"tags":27914,"thumbUrl":27915,"material":67,"size":139,"collection":90,"collections":27916,"showCount":370,"zanCount":48,"manualWeight":48,"mainColor":94},234108,"hua-hong-li-du-jiang-shi-yi-juan-zhang-zong-cang-234108","画弘历渡江诗意卷","张宗苍（1686-1756），字默存，江苏苏州人，画家。师承清代娄东画派的传人黄鼎。擅山水画，代表作有《吴中十六景》。\n公元1751年，乾隆皇帝南巡，张宗苍进献了画册《吴中十六景》，深得乾隆皇帝的欣赏，后来进入清宫廷画院供奉，为宫廷作画，是乾隆时期一位重要的宫廷画家。清代宫廷绘画在清代绘画史上有着重要的地位，特别是乾隆时期，设立了如意馆广收人才，创作了很多纪实、历史故事、宗教及装饰题材的作品，具有特殊的历史与艺术价值，在乾隆一朝的宫廷画家中，张宗苍是很重要的一位。张宗苍的山水画，画风苍劲，用笔沉着。山石皴法多以干笔积累，林木之间使用淡墨，干笔和皴擦的手法相结合，表现出了深远的意境和深厚的气韵，一洗宫廷画院惯有的甜熟柔媚的习气，特别被乾隆皇帝所喜爱\u2028 《石渠宝笈》收录了他的116幅作品，很多作品上都有乾隆皇帝的题诗。 初以主簿理河工事。善画，山水出黄鼎之门，用笔沈著，山石皴法多以乾笔积累，林木间亦用淡墨，乾擦凑合，神气颇觉葱蔚可观。乾隆十六年（一七五一）高宗南巡，以吴中十六景画册进呈，称旨。命入都祗候内廷。十九年（一七五四）授户部主事。年七十一卒於家。",[24,25,26,7,29,31,111,10383,1157,34,176,212,178,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa140c914ee1ce52abac214f62a6488a8.jpg",[90,181,45],{"id":27918,"slug":27919,"title":27920,"dynasty":18,"author":1033,"museum":20,"description":27921,"tags":27922,"thumbUrl":27923,"material":40,"size":27924,"collection":139,"collections":27925,"showCount":370,"zanCount":2368,"manualWeight":48,"mainColor":49},234009,"pu-tao-cao-chong-tu-ye-lin-chun-234009","葡萄草虫图页","图绘葡萄累累垂挂，蜻蜓、螳螂、蝈蝈、蝽象伏于藤蔓绿叶间，画家以小幅的画面抒写了一幅生机盎然的田园景致。昆虫以双勾填彩法绘制，用线刚柔相济，既准确地勾勒出秋虫或动或静的各种体态和神情，又将昆虫翅膀的轻薄或外壳的坚硬等不同的质感表露无遗，显示出作者敏锐的观察力和精于细节表现的绘画功底。在色彩上，敷色轻淡，深得造化之妙，葡萄藤的藤尖点染红色以示其新生初发之嫩，叶子的边缘略以褐色渲染，表明叶片饱经浓霜重露之貌。这种合乎自然规律的晕染与其求实写真的线条相得益彰，具有宋代院体工笔画的鲜明特色。",[24,194,25,83,1260,28,7,5942,483],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F749b5dc78e09cc13d321b8999ca74329.jpg","纵26.2厘米，横27厘米",[],{"id":27927,"slug":27928,"title":27929,"dynasty":18,"author":27930,"museum":316,"description":27931,"tags":27932,"thumbUrl":27933,"material":139,"size":139,"collection":139,"collections":27934,"showCount":370,"zanCount":2368,"manualWeight":48,"mainColor":2504},231022,"xia-shan-tu-qu-ding-231022","夏山图","屈鼎","此作以全景铺展夏景山水，层峦叠嶂间烟岚轻萦，将盛夏山野的湿润苍翠晕染开来。山脚林木蓊郁繁茂，涧水穿林漱石，奔涌有声；江面波平水阔，帆影悠悠漾开水乡清宁。\n笔墨兼南北之妙，山石以硬朗勾勒配浅淡皴擦，既塑出雄奇山势，又以水墨晕染衬出山岚水汽的空濛柔润。整体意境兼具山野深幽与江天开阔，将盛夏山林的蓬勃生机与静谧空寂相融，尽显山水间的诗意野趣，藏着宋画写实又写意的隽永意韵。",[23,194,24,25,26,173,7,29,30,34,31,174,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F923d6bb1796e097af3fbb0e3372b8990.jpg",[],{"id":27936,"slug":27937,"title":27938,"dynasty":76,"author":7555,"museum":316,"description":27939,"tags":27940,"thumbUrl":27941,"material":139,"size":139,"collection":139,"collections":27942,"showCount":370,"zanCount":48,"manualWeight":48,"mainColor":94},230257,"fang-lao-lian-pin-jiu-tu-gai-qi-230257","仿老莲品酒图","此作用笔细劲秀逸，设色柔雅清淡。画面之中，两位雅士对坐石上，一人持盏浅酌，神情悠然沉醉，一人拨弄酒器，专注雅致。仕女垂首侍立，温婉娟秀，仆从捧来瓶花，为雅集添上清隽意趣。\n整幅画作将文人品酒雅集的闲逸氛围铺陈开来，既有取法的古雅意韵，又融入独有的秀媚笔致，把文人士大夫诗酒风流的从容雅致尽显纸面，清雅悠然，韵致绵长。",[23,24,25,226,28,7,105,106,196,230,63,229,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c995a313ec5966c17d37672db050351.jpg",[],{"id":27944,"slug":27945,"title":27946,"dynasty":76,"author":329,"museum":316,"description":27947,"tags":27948,"thumbUrl":27949,"material":139,"size":139,"collection":139,"collections":27950,"showCount":370,"zanCount":48,"manualWeight":48,"mainColor":94},230207,"hong-li-guan-he-fu-qin-tu-zhou-lang-shi-ning-230207","弘历观荷抚琴图轴","《弘历观荷抚琴图轴》是 的一幅画。\n本幅无作者款识。\n随着明末清初的“西学东渐”之风，一些欧洲画家开始在清代宫廷供奉。\n一方面，他们接受中国传统绘画方式，采用中国笔墨颜料和纸绢作画，另一方面，他们依然坚持西洋绘画技法中的透视原则，在作品中着意表现物体的体积、质感、明暗、投影乃至倒影。\n此幅虽未署作者名款，实由意大利画家郎世宁主绘，中国画家补画山水背景。\n画中乾隆皇帝身着汉装，临湖抚琴，远处高山流水，喻其襟怀心境。\n作者不仅通过高超的技巧和精准的透视画法成功地表现出水边亭台的立体感和通透感，而且将建筑整体复杂的结构和各个构件的细部都交代得一清二楚，细腻的笔触与富于变化的色彩将原木立柱和屋顶青石瓦片的肌理与质感描绘得精微而生动。\n从此图中可以看到郎世宁运用焦点透视手法，按照一定的规律将所见到的屋宇移于画幅，成功地在二维平面画幅上真实地表现出多维空间，与传统中国界画描绘空间的手法完全不同。",[23,226,7,28,29,106,175,136,1133,60,195,379,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd20e9e842214efa4753ba1dbdbe1e410.jpg",[],{"id":27952,"slug":27953,"title":27954,"dynasty":76,"author":2162,"museum":419,"description":2163,"tags":27955,"thumbUrl":27956,"material":67,"size":2173,"collection":139,"collections":27957,"showCount":370,"zanCount":48,"manualWeight":48,"mainColor":94},230105,"hong-lou-meng-186-sun-wen-230105","红楼梦186",[24,25,28,7,104,106,59,107,115,34,795,1273,176,278,6710,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4501237256ff4155c35bcd53221f87ba.jpg",[],{"id":27959,"slug":27960,"title":27961,"dynasty":99,"author":857,"museum":316,"description":27962,"tags":27963,"thumbUrl":27964,"material":139,"size":139,"collection":139,"collections":27965,"showCount":370,"zanCount":2368,"manualWeight":48,"mainColor":49},228282,"fang-tang-ren-jiao-yin-shang-gu-tu-chen-hong-shou-228282","仿唐人蕉荫赏古图","苍劲芭蕉如墨云翻卷，衬着嶙峋古雅的玲珑湖石，辟出一方幽寂天地。宽袍高士踞坐案前，清癯眉眼凝注古物，沉静间漫溢追慕唐风的幽古意趣。侍立童子恭谨端持器物，朴拙身形与高士的沉静古雅相映成趣。\n\n全作用笔清劲凝练，设色古淡沉静，以奇逸高古的造型风格，将文人幽居赏玩的雅静襟怀晕染开来，简淡间尽是悠长的古雅余韵。",[23,24,25,226,7,28,352,106,6517,230,280,261,245,2428],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45a2a9d4591340b66ef93084f64ccfd1.jpg",[],{"id":27967,"slug":27968,"title":17921,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":27969,"thumbUrl":27971,"material":599,"size":600,"collection":139,"collections":27972,"showCount":370,"zanCount":48,"manualWeight":48,"mainColor":49},226489,"ku-yong-dao-ding-bu-yi-ming-226489",[511,260,7,352,106,3766,151,8170,27970],"建筑元素","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4891b46a78d4abcdaee6dc4824bd9eb.jpg",[],{"id":27974,"slug":27975,"title":27976,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":27977,"thumbUrl":27981,"material":599,"size":600,"collection":139,"collections":27982,"showCount":370,"zanCount":48,"manualWeight":48,"mainColor":94},226204,"ku-yong-dao-bei-pi-yi-ming-226204","窟甬道北披",[7230,511,7,11370,16781,7689,27978,5884,27979,27980,5890],"衣饰纹样","坐姿造像","佛造像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70e185d02dab18e576766ae9beadb0ce.jpg",[],{"id":27984,"slug":27985,"title":27986,"dynasty":76,"author":7596,"museum":539,"description":27987,"tags":27988,"thumbUrl":27989,"material":13631,"size":27990,"collection":181,"collections":27991,"showCount":370,"zanCount":48,"manualWeight":48,"mainColor":94},224463,"shui-ge-you-shan-tu-wang-hui-224463","水阁幽山图","作者称此图仿云西老人（曹知白）画法。曹知白工画山水，兼师宋李成、郭熙、董源、巨然诸古代大家。然此图并非具体临摹曹氏作品，乃是融合宋、元绘画的不同画法的创作。王翚曾言，以元人笔墨，运宋人丘壑，而泽以唐人气韵，乃为大成。该图正是典型作品之一",[23,24,29,177,173,7,12947,685,378,109,1426,686,1273,1171,809],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70e27b235c5ee9ec6af8ea24552f3e55.jpg","纵25cm，横236cm",[181,163],{"id":27993,"slug":27994,"title":27995,"dynasty":76,"author":4285,"museum":316,"description":27996,"tags":27997,"thumbUrl":27998,"material":27999,"size":28000,"collection":181,"collections":28001,"showCount":370,"zanCount":48,"manualWeight":48,"mainColor":49},224408,"shu-hua-shi-liu-kai-1-wang-shi-min-224408","书画十六开-1","王时敏（1592—1680），明末清初画家。江苏太仓人。王时敏一生寄情诗文书画，家藏历代法书名画甚多。他擅山水，主张艺术应施法古人，专师黄公望。其画在清代影响极大，王翚、吴历及其孙王原祁均得其亲授。与王鉴、王翚、王原祁并称四王，外加恽寿平、吴历合称“清六家”。开创了山水画的“娄东派”，艺术史上位居清初画家“四王”之首。",[23,24,25,81,7,177,29,30,1426,809,34,35,111,686,689],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4285d78bec5736d0c6c8df96ff8a6e9a.jpg","墨色绢本","48x32",[181,2065,45],{"id":28003,"slug":28004,"title":28005,"dynasty":76,"author":2837,"museum":316,"description":28006,"tags":28007,"thumbUrl":28008,"material":139,"size":139,"collection":139,"collections":28009,"showCount":370,"zanCount":48,"manualWeight":48,"mainColor":94},224377,"hua-hui-qi-shi-ce-shi-er-kai-7-ju-lian-224377","花卉奇石册-十二开-7","此帧小品清隽雅致，以淡墨皴写湖石，瘦透间带玲珑孔洞，苍朴石色晕染出经年古意，苔迹隐现似藏时光痕迹。石畔新抽的嫩株以没骨晕染，心形叶片从墨绿到浅碧过渡柔润通透，细劲叶脉勾勒出鲜活生机。\n\n两只丹红斑黑的瓢虫悄悄栖止，一在叶端一在石巅，静中生趣，将幽寂小景晕开鲜活意趣。全画笔简意足，设色秀雅柔和，把案头清供的恬然闲趣尽数铺陈，尺幅虽小，却将文人雅室的幽谧诗意凝于画面，尽显雅致侘寂的小帧佳韵。",[23,24,25,81,7,212,83,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6982ad98498646a071e78689c3bf1bf.jpg",[],{"id":28011,"slug":28012,"title":98,"dynasty":76,"author":27858,"museum":191,"description":28013,"tags":28014,"thumbUrl":28016,"material":1307,"size":28017,"collection":163,"collections":28018,"showCount":370,"zanCount":48,"manualWeight":48,"mainColor":94},224351,"qing-ming-shang-he-tu-shen-yuan-224351","此画以水墨为主，在用色上，只用赭色稍加勾染，充满清新淡雅之味。在画法上，明显借鉴了当时传入宫廷的西洋“线法画”，即采用西洋绘画中的焦点透视法，以扩大建筑物在画面中的空间感和纵深感，力求达到“布影由阔而狭，以三角量之”的立体效果。虽然受中国审美传统的限制，这种画法在图中有所淡化，但与传统的建筑画相比，三维景物的表现能力确实有了相当大的提高。",[23,194,24,26,173,7,10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陡斜平臺，數株佳樹展列，與其後堆疊向上的遠山，連成一氣，若有擎天之勢。畫中平臺所敷色料，似因年久變色，原色應較青綠。 此作山石樹法與北京故宮所藏趙左萬曆四十一年繪製的山水冊近似，疑為趙左代筆、董其昌題款的作品。",[23,24,25,226,173,7,177,29,34,176,31,35,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cc7b8372b4b3ac2ca482b3a013bba9b.jpg","12×48.7厘米",[181,45],{"id":28088,"slug":28089,"title":28090,"dynasty":869,"author":7975,"museum":11012,"description":28091,"tags":28092,"thumbUrl":28094,"material":139,"size":139,"collection":139,"collections":28095,"showCount":370,"zanCount":48,"manualWeight":48,"mainColor":94},220581,"shan-hu-shui-qing-qi-huang-bin-hong-220581","山湖水清气","此作用笔苍浑华滋，以焦墨积染绘近处茂林，层叠草木间晕开青绿淡赭，将山野蓬勃生机尽数铺展。水畔茅舍静立，泊岸小舟轻倚，行船渔者悠然划破水面，动静相生，把山居渔隐的闲逸揉入湖山之间。\n\n远景山峦以淡墨轻勾，朦胧清浅，与近景的浓郁苍郁形成虚实对照，留白处晕出水气氤氲的浩渺湖面，清润之意扑面而来。笔墨兼具浑厚与灵秀，将江南山湖的清寂温润凝于笔底，仿若踏入这幽宁天地，浸在清润山野气息中，漫品这份静谧悠然的林下意趣。",[23,24,173,7,177,29,34,31,174,28093,796],"屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5b60bc42a4857c41184dcc898aecd8d.jpg",[],{"id":28097,"slug":28098,"title":28099,"dynasty":869,"author":4525,"museum":6047,"description":28100,"tags":28101,"thumbUrl":28105,"material":139,"size":139,"collection":139,"collections":28106,"showCount":370,"zanCount":2368,"manualWeight":48,"mainColor":94},220571,"tai-ge-er-xiang-xu-bei-hong-220571","泰戈尔像","以写实笔意塑造文豪风骨，银丝覆顶，白髯垂胸，镜片后眼眸低垂凝注纸笔，握笔的手沉稳松弛，将他沉浸思绪的模样细腻铺陈。画作融贯中西，以国画的笔墨晕染衣袍温润质感，线条简练却尽显衣袂垂坠的自然意态；背景林木虬枝、枝头栖雀带着东方写意的雅致幽然，又以西画明暗之法塑出人物立体神态，形神兼备间尽显泰戈尔沉静儒雅的文人气度，在笔墨韵致中定格大师的沉静一瞬，尽显肖像创作的传神功力。",[23,24,7,106,245,353,18787,18687,28102,28103,28104,173],"白须","白发","眼镜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faac0d59a5f05e96478d43c7b175ae122.jpg",[],{"id":28108,"slug":28109,"title":28110,"dynasty":18,"author":257,"museum":7132,"description":7133,"tags":28111,"thumbUrl":28112,"material":7,"size":7137,"collection":139,"collections":28113,"showCount":370,"zanCount":2368,"manualWeight":48,"mainColor":49},220244,"rui-guang-ta-si-tian-wang-xiang-2-yi-ming-220244","瑞光塔四天王像2",[24,260,106,7,28,746,2439,226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb05475f86835101e8ca6e59527097d99.jpg",[],{"id":28115,"slug":28116,"title":28117,"dynasty":18,"author":257,"museum":7132,"description":7133,"tags":28118,"thumbUrl":28119,"material":7,"size":7137,"collection":139,"collections":28120,"showCount":370,"zanCount":2368,"manualWeight":48,"mainColor":49},220243,"rui-guang-ta-si-tian-wang-xiang-3-yi-ming-220243","瑞光塔四天王像3",[260,511,106,746,2439,7,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d6520b33166666ff109398c72410528.jpg",[],{"id":28122,"slug":28123,"title":28124,"dynasty":18,"author":3173,"museum":5488,"description":28125,"tags":28126,"thumbUrl":28128,"material":123,"size":28129,"collection":42,"collections":28130,"showCount":370,"zanCount":48,"manualWeight":48,"mainColor":49},220095,"liu-long-gu-che-guo-zhong-shu-220095","柳龙骨车","描绘我国传统的农具＂牛转翻车＂，写实地再现了龙骨车（翻车）的构造，为研究我国农业史、技术史提供了宝贵资料。此图收录于东京国立博物馆收藏的唐绘手鉴《笔耕园》中。\n翻车是一种古代中国劳动人民发明的用于排水灌溉的机械，也是世界上出现最早、使用最久的水车，因为其形状犹如“龙骨”，故又名“龙骨车”或“龙骨水车”。有时候也泛称为“水车”。\n用牛拽转的水车，称为“牛转翻车”，有的是借流水的力量推动，称为“水转翻车”。“牛转翻车”俗称“牛车”，是以牛为动力来拽动转盘，通过轮齿带动龙骨链刮水板，将水刮起的灌溉农具。",[23,18,24,25,104,7,2532,378,109,28127],"龙骨车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F051b462fa439b75c775dabdb35d1a7d7.jpg","24.5×26.8",[42],{"id":28132,"slug":28133,"title":28134,"dynasty":99,"author":1196,"museum":442,"description":28135,"tags":28136,"thumbUrl":28137,"material":2365,"size":28138,"collection":181,"collections":28139,"showCount":370,"zanCount":48,"manualWeight":48,"mainColor":94},219799,"xi-shan-cao-tang-tu-tang-yin-219799","西山草堂图","这幅手卷名为《西山草堂》。它描绘了暮色朦胧中的山水风光。河岸青山连绵起伏。在画面前方，一位学者坐在他的乡村小屋里，享受着乡村隐居生活。打开手卷，可以看到更多的山水景色。将手卷展开，从左方一弯水路映入眼帘。这幅画有唐寅的亲笔题词。乾隆皇帝曾经也拥有过这幅画，画上有乾隆皇帝在公元1751年的题词。在山水画的下方有后来的收藏者和鉴赏家留下的11段文字，他们对画作或画家进行了评论。",[24,26,173,7,29,3165,34,35,33,1169,177,178,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F412ecac14e5fb577bdedc689f4edd938.jpg","32x876.8cm",[181],{"id":28141,"slug":28142,"title":28143,"dynasty":18,"author":1350,"museum":8208,"description":28144,"tags":28145,"thumbUrl":28146,"material":88,"size":28147,"collection":42,"collections":28148,"showCount":370,"zanCount":48,"manualWeight":48,"mainColor":94},219697,"shang-shan-si-hao-tu-ma-yuan-219697","商山四皓图","《商山四皓图》绘秦末汉初隐居于商山（今陕西省商洛市境内）的四位高士之超迈风神。画中绘冈峦起伏、老树横斜之景，四位高士或策杖而立，或对弈酣战，俊逸磊落。全卷以水墨绘成，山石用马远标志性的“大斧劈皴”，笔法流畅淋漓，苍劲有力。即便该作并非马远亲笔，就其珍贵的艺术性和历史价值，仍应为世人所重。",[23,24,25,2003,28,7,106,29,34,686],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e4b037bb9f139acf9d6f48ab5a68345.jpg","纵33.0厘米 横307.3厘米",[42,44],{"id":28150,"slug":28151,"title":28152,"dynasty":99,"author":3774,"museum":78,"description":28153,"tags":28154,"thumbUrl":28155,"material":88,"size":28156,"collection":44,"collections":28157,"showCount":370,"zanCount":2368,"manualWeight":48,"mainColor":94},219413,"yuan-ye-yan-ji-tu-juan-lu-zhi-219413","元夜燕集图卷","陆治（1495-1576），字叔平，号包山，江苏苏州人。明代书画家，擅行、楷，尤精绘事。为祝允明、文徵明弟子。工写生，得徐、黄遗意。山水受吴门派影响，也兼取宋代院体和青绿山水之长，用笔劲峭，景色奇险，意境清朗。\n这幅画是陆治记录嘉靖二十六年丁未（1547）年元旦参加文徵明家元旦集会的纪实之作，卷后附诗并记其事。钤朱文“叔”、“平”连珠印。",[23,99,24,25,26,7,28,178,86,212,106,107,175,34,176,115,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef790692ba6b005ce05b71ce60c88a59.jpg","纵28厘米，横118.4厘米",[44,2065],{"id":28159,"slug":28160,"title":28161,"dynasty":302,"author":6965,"museum":2671,"description":28162,"tags":28163,"thumbUrl":28164,"material":123,"size":139,"collection":44,"collections":28165,"showCount":370,"zanCount":48,"manualWeight":48,"mainColor":2504},219396,"ce-ma-jiang-pan-tu-zhao-yong-219396","策马江畔图","赵雍，字仲穆，湖州人。赵孟頫次子。官至集贤待制、同知湖州路总管府事。书画承家学，擅山水，师法董源；尤精人马，得曹霸、韩幹法；兰竹则腴润洒落。书善正、行、草、篆，体势清劲。",[24,7,28,106,150,378,29,3884,912],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c44a61a340e34488548d8875de51ea0.jpg",[44],{"id":28167,"slug":28168,"title":28169,"dynasty":18,"author":17938,"museum":4901,"description":28170,"tags":28171,"thumbUrl":28172,"material":88,"size":28173,"collection":90,"collections":28174,"showCount":370,"zanCount":48,"manualWeight":48,"mainColor":49},219133,"pu-bian-you-lu-tu-ma-he-zhi-219133","瀑边游鹿图","瀑流如素练倾泻而下，溅起碎玉般的水花，山石间苔痕隐现。左侧枯树盘曲，枝桠似铁线勾勒，苍劲中藏清逸之姿。几只游鹿或低头饮泉，或侧耳听瀑，姿态悠然，与山林气韵相融。淡墨晕染山石，线条灵动婉转，将宋人的雅致与自然野趣揉合——无喧嚣纷扰，唯余水声潺潺、风声轻拂与鹿鸣低吟，仿佛能嗅到山林间湿润的草木气息。留白处似有云雾流转，拓展出深远意境，于方寸扇面间藏纳天地生机，尽显宋人对山水灵韵的极致捕捉，让观者心随画境，沉入这片静谧悠然的林泉之乐里。",[194,24,25,1260,7,29,746,5904,176,109,1426],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2f935cf5ded05b595572aec0df2933a.jpg","20.3x23.5cm",[90],{"id":28176,"slug":28177,"title":28178,"dynasty":302,"author":1977,"museum":132,"description":28179,"tags":28180,"thumbUrl":28181,"material":123,"size":28182,"collection":90,"collections":28183,"showCount":370,"zanCount":48,"manualWeight":48,"mainColor":49},218945,"yan-zhi-cong-shu-hua-he-bi-tu-zhao-meng-fu-218945","胭脂骢书画合璧图","朱红骏马静立柳下，鬃毛如缎顺滑，温顺随文人轻牵缰绳。文人素袍宽袖，神态悠然，似在林间暂歇。虬枝盘曲的老柳，枝叶垂落如帘，背景淡墨晕染的山石，更添静谧。左侧行书笔墨流转，诗句与画面相映，诗中意境与画里闲情交融，尽显书画合璧的雅致。整幅作品笔墨温润，色彩雅致，将文人与马的悠然瞬间定格，满溢古雅闲逸之趣。",[24,194,25,7,106,150,353,178,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5dbfc6d9b0280b6016d847fe99dffd2.jpg","26.5x63cm",[90],{"id":28185,"slug":28186,"title":28187,"dynasty":99,"author":1782,"museum":191,"description":28188,"tags":28189,"thumbUrl":28190,"material":123,"size":28191,"collection":90,"collections":28192,"showCount":370,"zanCount":2368,"manualWeight":48,"mainColor":49},218808,"wan-niu-tu-dai-jin-218808","纨牛图","中国人对于牛的情感不同于对待其他动物，这种感情是复杂且深厚的。这不仅是因为牛的性格敦厚老实，更主要的还是因为对于一个历史悠久的农业国家，牛在农耕文明中一直都担任着十分重要的劳动力角色，它几乎是每一个农村家庭不可缺少的伙伴。",[24,194,226,7,28,106,151,746,353],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2af2f1fd17bdb3ed688b14800f04d97.jpg","181x96.3cm",[90],{"id":28194,"slug":28195,"title":28196,"dynasty":302,"author":5007,"museum":191,"description":28197,"tags":28198,"thumbUrl":28199,"material":123,"size":139,"collection":139,"collections":28200,"showCount":370,"zanCount":1379,"manualWeight":48,"mainColor":94},218776,"qing-lin-cui-ai-tu-sheng-mao-218776","青林翠霭图","画面轻烟如纱，青林错落生姿，翠霭氤氲漫过山峦。近树以中锋勾出苍劲骨态，侧锋晕染枝叶润意；远山层叠似黛色屏障，皴擦笔触藏着山石厚重。霭气用淡墨晕出虚实，牵起远近景致呼应，让山林浸在朦胧里，似醒非醒。笔墨兼工带写，工致处见细节，疏朗处显逸气，凝住元代文人的林泉之趣。目光游走间，仿佛触到山间润凉，听见风过林梢轻响，心境随翠霭舒展，跌入烟霞缭绕的清幽之境。",[23,24,25,1260,7,29,34,108,109,37,176,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76dd3226144d3acd2cf8d656af4e3d72.jpg",[],{"id":28202,"slug":28203,"title":28204,"dynasty":189,"author":19089,"museum":191,"description":28205,"tags":28206,"thumbUrl":28207,"material":1319,"size":28208,"collection":181,"collections":28209,"showCount":370,"zanCount":48,"manualWeight":48,"mainColor":94},218706,"shan-ting-wen-dao-tu-ju-ran-218706","山亭问道图","这幅画描绘了一座问路的山，有巨大的岩石和树木，在小溪边有一个小茅草亭，虽然简陋，但里面一定有一个修道的师傅。",[23,24,25,173,7,29,175,685,34,686,37,177,1733],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa35c73daf4c527b29a12c205fd5defa.jpg","18.6x24cm",[181],{"id":28211,"slug":28212,"title":28213,"dynasty":18,"author":1046,"museum":191,"description":28214,"tags":28215,"thumbUrl":28218,"material":123,"size":28219,"collection":181,"collections":28220,"showCount":370,"zanCount":48,"manualWeight":48,"mainColor":94},218686,"yan-yu-jiang-fan-tu-guo-xi-218686","烟雨江帆图","这幅画描绘了秋雨中从泉水中升起的瀑布，一个撑着伞的行人，以及远处的河帆。这是郭熙图的一个更正式的版本，应该是明清两代的模仿对象。",[24,25,173,7,177,29,28216,17535,174,176,34,37,5903,1169,3561,28217],"烟雨","帆影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff4f60d63f6a7a645911e3539d415c2f.jpg","28.1x27.7cm",[181],{"id":28222,"slug":28223,"title":28224,"dynasty":18,"author":257,"museum":132,"description":28225,"tags":28226,"thumbUrl":28227,"material":123,"size":139,"collection":90,"collections":28228,"showCount":370,"zanCount":48,"manualWeight":48,"mainColor":49},218622,"dou-que-tu-yi-ming-218622","斗雀图","翅羽翻飞如墨染云团，喙爪相搏间迸出野性张力。两只雀鸟凝眸对峙，每根翎毛都透着较劲的劲儿——墨色浓淡勾绒羽之软，焦墨点染翅尖之利，连尾羽弧度都带着不甘示弱の倔强。旁侧野菊舒蕊，兰叶斜欹，石苔细点铺就，似能闻露水滴落轻响。静穆草木与躁动生灵相映，恰是宋代小品妙趣：笔墨简劲却藏入微观察，将小生灵瞬间酣斗定格为古绢上鲜活永恒。泛黄绢色里时光凝住，只留这场雀鸟嬉戏，在雅致构图中透出自然生趣与生命蓬勃。\n\n（注：此处の为日式助词？不，换回来，用“的”更合适。修改：连尾羽弧度都带着不甘示弱的倔强。）\n\n调整后：\n\n翅羽翻飞如墨染云团，喙爪相搏间迸出野性张力。两只雀鸟凝眸对峙，每根翎毛都透着较劲的劲儿——墨色浓淡勾绒羽之软，焦墨点染翅尖之利，连尾羽弧度都带着不甘示弱的倔强。旁侧野菊舒蕊，兰叶斜欹，石苔细点铺就，似能闻露水滴落轻响。静穆草木与躁动生灵相映，恰是宋代小品妙趣：笔墨简劲却藏入微观察，将小生灵瞬间酣斗定格为古绢上鲜活永恒。泛黄绢色里时光凝住，只留这场雀鸟嬉戏，在雅致构图中透出自然生趣与生命蓬勃。\n\n完美，符合所有要求。\u003C\u002Fthink_never_used_51bce0c785ca2f68081bfa7d91973934>翅羽翻飞如墨染云团，喙爪相搏间迸出野性张力。两只雀鸟凝眸对峙，每根翎毛都透着较劲的劲儿——墨色浓淡勾绒羽之软，焦墨点染翅尖之利，连尾羽弧度都带着不甘示弱的倔强。旁侧野菊舒蕊，兰叶斜欹，石苔细点铺就，似能闻露水滴落轻响。静穆草木与躁动生灵相映，恰是宋代小品妙趣：笔墨简劲却藏入微观察，将小生灵瞬间酣斗定格为古绢上鲜活永恒。泛黄绢色里时光凝住，只留这场雀鸟嬉戏，在雅致构图中透出自然生趣与生命蓬勃。",[23,194,24,25,28,7,83,4323,897,230,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba0aefe9c75944a321bf250100378bff.jpg",[90],{"id":28230,"slug":28231,"title":1383,"dynasty":302,"author":17434,"museum":191,"description":28232,"tags":28233,"thumbUrl":28234,"material":123,"size":28235,"collection":181,"collections":28236,"showCount":370,"zanCount":2368,"manualWeight":48,"mainColor":49},218462,"shan-shui-tu-tang-di-218462","岩石被涂成了小绿，而特写中通往房子的楼梯被涂上了边框，这是一种干净整洁的技术。桌椅的轮子上涂有红色的朱砂，与石头的绿色相映成趣，给人一种古老而优雅的感觉。",[23,24,194,29,27,7,106,107,353,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cb9e8dcf01ecc2b0641455fe02e2a43.jpg","114x57.5",[181],{"id":28238,"slug":28239,"title":15156,"dynasty":99,"author":257,"museum":442,"description":28240,"tags":28241,"thumbUrl":28242,"material":123,"size":28243,"collection":44,"collections":28244,"showCount":370,"zanCount":2368,"manualWeight":48,"mainColor":49},218368,"luo-han-tu-yi-ming-218368","这幅画与林廷珪、周继昌的《五百罗汉受虎贲图》是同一题材，其笔触和色彩也与宋代的画作相近。大英博物馆将这幅画归于明代，但如果我们参照台北故宫收藏的《十六罗汉双肩图》来看，我们可以认为它是在元代绘制的。",[24,7,28,260,106,227,5443,176,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01738ac3829421493eb90de1e7375c9f.jpg","170.5x88",[44],{"id":28246,"slug":28247,"title":28248,"dynasty":76,"author":5585,"museum":442,"description":5586,"tags":28249,"thumbUrl":28250,"material":123,"size":5589,"collection":139,"collections":28251,"showCount":370,"zanCount":2368,"manualWeight":48,"mainColor":94},218352,"shi-nv-tu-ce-3-li-ting-xun-218352","仕女图册-3",[24,25,81,28,7,106,59,63,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e79a6195bb4cd5fb18ae41f17f2c4cf.jpg",[],{"id":28253,"slug":28254,"title":28255,"dynasty":99,"author":1196,"museum":442,"description":3328,"tags":28256,"thumbUrl":28257,"material":123,"size":3331,"collection":139,"collections":28258,"showCount":370,"zanCount":2368,"manualWeight":48,"mainColor":49},218349,"ren-wu-gu-shi-ce-2-tang-yin-218349","人物故事册-2",[23,24,25,81,7,106,6582,230,353,838,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ca306525f4cf012010116dad3d5517c.jpg",[],{"id":28260,"slug":28261,"title":21899,"dynasty":99,"author":28262,"museum":132,"description":28263,"tags":28264,"thumbUrl":28265,"material":123,"size":28266,"collection":181,"collections":28267,"showCount":370,"zanCount":2368,"manualWeight":48,"mainColor":49},218309,"fang-huang-gong-wang-shan-shui-tu-ying-huang-218309","应黄","笔墨苍润清逸，承黄公望山水遗风。山峦以淡墨皴染，叠嶂起伏间见空灵之致；林木萧疏有致，或挺拔或欹侧，与山石相映成趣。屋舍隐于林泉深处，隐约可见，似藏幽居之境。画面气脉连贯，远近层次分明，淡赭底色更添古雅质感。虽为仿作，却于笔墨间流露自身心性，尽显文人画中寄情山水、追求清雅的雅致情怀，观之令人心生悠然之意。",[194,24,25,29,105,7,177,173,685,34,35,109,686,108],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe654dfe126da316ec152c9d55c386cf.jpg","35.5x24.9cm",[181],{"id":28269,"slug":28270,"title":28271,"dynasty":302,"author":257,"museum":78,"description":28272,"tags":28273,"thumbUrl":28274,"material":123,"size":28275,"collection":181,"collections":28276,"showCount":370,"zanCount":48,"manualWeight":48,"mainColor":49},218220,"xue-xi-mai-yu-tu-yi-ming-218220","雪溪卖鱼图","这是一幅带有民间生活情趣的山水小景。画面以渔舟上卖鱼的蓑翁与酒店里买鱼的食客为中心，著笔虽然不多，却将二人的形象动态表现得活泼有趣。其馀景物颇为简洁，远山尤为洗练概括，树木多用短直笔画，点划相间，追求一份简素之意。",[24,25,1260,173,7,29,34,35,106,722,2086,109,796,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fb9e36dd9d614a500c0ddfca9e4b48b.jpg","25.2x24.6cm",[181],{"id":28278,"slug":28279,"title":28280,"dynasty":99,"author":257,"museum":442,"description":28281,"tags":28282,"thumbUrl":28286,"material":123,"size":139,"collection":181,"collections":28287,"showCount":370,"zanCount":48,"manualWeight":48,"mainColor":49},217262,"jiang-nan-nong-shi-tu-yi-ming-217262","江南农事图","江南农事图是明朝时期的一幅著名图画，作者佚名。这幅图画描绘了江南农村的生活场景，包括农田耕作、收割、加工、运输、种植和养殖等内容。\n\n图画中有许多细节生动地展现了当时农村的生活方式。例如，图中的农夫们正在用牛耕地、用手提灌溉水桶灌溉农田，农妇们则在用手提筐采摘水果和蔬菜。图中还有农民们用手车运输农产品\n的场景。\n\n江南农事图还描绘了许多农村的建筑物，例如水井、磨坊、茅草屋等。这些建筑物是农民们生活中不可或缺的部分，在图中也得到了生动的展现。\n\n总之，江南农事图是一幅生动形象的作品，展现了明朝时期江南农村生活的精彩细节。它不仅是一幅艺术杰作，同时也是对历史的珍贵记录。",[23,24,194,7,15610,13428,151,106,28283,28284,28285,29,26211],"茅草屋","水井","磨坊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5364f4bcc6551cb321b7a8a08cdfe4ee.jpg",[181],{"id":28289,"slug":28290,"title":28291,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）一名贞吉，号南斋、陶然道人，长洲（今江苏苏州）人，画家沈周的伯父。工诗文，善绘事，山水取法董源，得元代诸家尤多，与其弟恒吉（沈周之父），诗词皆甚有名，互相唱酬，时谓“埙箴相映”。",[24,25,226,7,28,106,174,228,378,230,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc33d15d0ab56023439f09f62b240c241.jpg",[44],{"id":28380,"slug":28381,"title":28382,"dynasty":76,"author":658,"museum":316,"description":28383,"tags":28384,"thumbUrl":28385,"material":599,"size":600,"collection":90,"collections":28386,"showCount":28305,"zanCount":48,"manualWeight":48,"mainColor":94},238386,"dong-gao-tao-li-yi-shou-tu-xiao-ce-dong-gao-238386","董诰陶篱益寿图小册","董诰（1740—1818年），字雅伦，号蔗林，清浙江富阳人。乾隆二十八年（1763年）进士，官至内阁学士，充四库馆副总裁。甚得高宗、仁宗宠遇。朝廷编修，多有由其主持者。善画。谥文恭。著有《满洲源流考》、《高宗实录》等。",[24,25,81,7,28,83,897,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0eb8691a4eb4254aa7a1767cfe05698c.jpg",[90,45],{"id":28388,"slug":28389,"title":28390,"dynasty":76,"author":658,"museum":316,"description":8264,"tags":28391,"thumbUrl":28392,"material":599,"size":600,"collection":181,"collections":28393,"showCount":28305,"zanCount":48,"manualWeight":48,"mainColor":94},238331,"hua-hong-li-si-ji-lan-shi-yi-ce-dong-gao-238331","画弘历四季兰诗意册",[24,25,81,7,28,820,579,229,178,212,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9557078f5bed9b33308411e988eb0b40.jpg",[181,45],{"id":28395,"slug":28396,"title":6834,"dynasty":76,"author":28397,"museum":316,"description":28398,"tags":28399,"thumbUrl":28400,"material":139,"size":139,"collection":181,"collections":28401,"showCount":28305,"zanCount":48,"manualWeight":48,"mainColor":94},238137,"shan-shui-ce-yun-xi-238137","允禧","允禧字谦斋，号紫琼，亦作紫噊，别号紫琼崖道人、春浮居士等。康熙皇帝二十一子。善书画，该图层次分明，笔法老到，颇具文人画之风韵。",[24,7,29,177,81,795,35,108,109,176,32,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d89a59d4ebcdbd28b9133d9dda8babf.jpg",[181,45],{"id":28403,"slug":28404,"title":28405,"dynasty":76,"author":257,"museum":316,"description":9031,"tags":28406,"thumbUrl":28408,"material":139,"size":139,"collection":139,"collections":28409,"showCount":28305,"zanCount":48,"manualWeight":48,"mainColor":94},234590,"xu-liang-biao-zhong-kui-jia-mei-wan-shan-yi-ming-234590","许良标钟馗嫁妹纨扇",[24,25,1260,320,7,28,106,6927,28407,260],"轮车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ec5c85bb02e13742198d4579ee0569f.jpg",[],{"id":28411,"slug":28412,"title":205,"dynasty":76,"author":329,"museum":20,"description":10925,"tags":28413,"thumbUrl":28414,"material":40,"size":10928,"collection":139,"collections":28415,"showCount":28305,"zanCount":2368,"manualWeight":48,"mainColor":94},232972,"hua-niao-ce-lang-shi-ning-232972",[24,25,81,28,7,86,212,83,62,554,723,194],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb51a29033cad5a16e9df56e5c4465f8c.jpg",[],{"id":28417,"slug":28418,"title":14584,"dynasty":302,"author":303,"museum":132,"description":28419,"tags":28420,"thumbUrl":28421,"material":67,"size":28422,"collection":139,"collections":28423,"showCount":28305,"zanCount":2368,"manualWeight":48,"mainColor":49},232831,"xie-sheng-cao-chong-tu-juan-qian-xuan-232831","此卷设色典雅，用笔精微，一花一竹，一虫一鸟，皆细致入神，工中见意，精巧传神，一丝不苟，可谓写生妙手。\n钱选（1239-1299），宋末元初著名画家，与赵孟?等合称为“吴兴八俊”。字舜举，号玉潭，又号巽峰，霅川翁，别号清癯老人、川翁、习懒翁等，湖州（今浙江吴兴）人。山水师从赵令穰，人物师从李公麟，花鸟师赵昌，青绿山水师赵伯驹。继承苏轼等人的文人画理论，提倡士气说，倡导戾家画。",[23,24,25,26,7,28,566,83,483,553,554,84,568,264,212,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b6e400748db309145ac39941fe71144.jpg","34x310厘米",[],{"id":28425,"slug":28426,"title":28427,"dynasty":99,"author":257,"museum":316,"description":28428,"tags":28429,"thumbUrl":28430,"material":67,"size":28431,"collection":139,"collections":28432,"showCount":28305,"zanCount":1233,"manualWeight":48,"mainColor":49},232605,"zhu-zhi-tang-lang-tu-ye-yi-ming-232605","竹枝螳螂图页","古人认为，螳螂是饮风食露的草虫，于深秋产卵，在芒种初候阴气产生时破壳生长。",[24,7,28,227,874,230,212,83,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc943d63001ea01c7ad8a4d2c85125971.jpg","23×239cm",[],{"id":28434,"slug":28435,"title":28436,"dynasty":76,"author":11822,"museum":78,"description":28437,"tags":28438,"thumbUrl":28439,"material":67,"size":28440,"collection":139,"collections":28441,"showCount":28305,"zanCount":48,"manualWeight":48,"mainColor":49},231939,"zhan-yuan-tu-yuan-jiang-231939","瞻园图","在中国的传统山水画科中，有一种需要借助界笔、直尺来刻画线条以表现各种建筑物的画，称为“界画”。这种用界笔、直尺作画的方法适于表现帝王宫苑、庙宇寺观、亭台楼榭、舟车桥梁等等，体现古代建筑之美。界画尽精入微，耗时费力。画家不仅需要通晓建筑知识，还需要有高超的专业技术。所以，画界画就不能像文人戏墨那样酣畅淋漓、乘兴挥写，常被文人画家视为“其术近苦”，长期以来受到人们的贬抑和轻视。然而，钟情于界画、甘于寂寞之道、终有所成者代不乏人。清代画家袁江就是其中翘楚。\n《瞻园图》卷绢本设色，纵 51.5 厘米，横 254.5 厘米。瞻园原系明朝开国元勋徐达府邸的西圃，乾隆帝曾御题“瞻园”匾额。整幅画卷采用平展式的构图方式描绘物象。画面以一池湖水为中心，环湖有低山、树木、回廊、水榭、楼阁等。庭院内草木葱郁，柳树垂荫，奇花异卉争奇斗艳。楼屋、廊轩回环错落，分布有致。在一处挂有“一览楼”牌匾的高楼上，主人正在会见宾客。庭院中仆人洒扫、童子嬉戏，一派生气勃勃、安静祥和的生活气息。高高的院墙成为苑囿和外界的明显界限。墙垣外密集的民房，或冲出画面之外，或隐没于烟霭之中。远景的楼观、寺塔隐现于云雾之中，虚淡缥缈、扑朔迷离，给人以无限的遐想空间。卷尾画家楷书题写“袁江图”，下钤朱文印“文涛”和白文印“袁江之印”。在《瞻园图》卷中，画家注重对山石、树木外轮廓的描画以及用线的起伏变化。山石的皴法或雨点皴、或骷髅皴，皆卷曲玲珑。袁江精于晕染设色。据高其佩《指头画说》记载，高其佩的指画就曾得到袁江的秀笔妙染。\n袁江生活在一个文人画盛行的时代，因而他的画并不被当时的士人所重。有清一代，没有人专门为其写过传记，画史上记载其事迹也寥寥数语。袁江曾在山西太原姓尉的富商家里作画，“凡尉姓各家，无论堂、屏、卷、册、灯笼、槅扇之类，无不应有尽有，且每种多至若干幅”（李智超《界画的发展和界画构图的研究》）。袁江初学仇英，中年得无名氏所临画稿，遂画艺大进。对于“无名氏所临画稿”的解释，目前有两种：一种是陈传席先生根据袁江、袁耀的画风所推测的，是宋、元人的工笔山水楼阁画稿；另一种是王伯敏先生认为的，乃民间画工的画稿，因为民间画工的临摹稿一般都不落款，即所谓“无名氏”。袁江的画风工整严谨，继承了传统青绿山水的画法，同时又吸收了民间绘画的精妙，使其山水画呈现出峻异幽奇的境界，形成了自己独特的艺术风格。\n中国传统的界画，建筑物的表现手法不同于西洋绘画的焦点透视，而是采用了等角透视——向视平线延伸的各种直线呈平行状态而不交汇于灭点，这样物象就没有了近大远小的变化。而平行的四边形相对两角为等角，故而称之为等角透视。东晋顾恺之在其《魏晋胜流画赞》中说：“台榭一定器耳，难成而易好，不待迁想妙得也。”建筑物需要按照一定的规则结构来画，丝毫不能疏忽。由于这类画用笔、构图精致细密，所以容易见好。然而，要想真正画出建筑物严谨工巧、玲珑剔透的美感，却非易事。《瞻园图》卷中，画家采用“以大观小”的鸟瞰式描绘（这是传统界画所惯用的方法）。这种居高临下的观察方法和表现方式，易于把握景物全貌，能够同时体现建筑物的正、侧、顶三面，使物象更加完整、更加立体。在对秩序规整的建筑物的刻画上，袁江十分注重用线和用色的变化。如屋顶的外廓、台榭的立柱等所画的线条要粗一些，颜色也稍微重一些；而画瓦片、窗格等用线则相对细一些，颜色也淡一些。近处的建筑物整体用线较粗，远处的建筑物整体用线较细。画面中，物象精微准确，但又没有被绳墨所拘；粗细、浓淡、主次，对比协调统一，笔画匀壮，深远通透，增强了秩序感和空间感。\n袁江的《瞻园图》卷以真实的园林景色为依据，并融入自己丰富的想象。楼阁长廊、云雾缭绕，仿若仙境。名山大川、奇园异境经过画家画笔的夸张、变化，而出现异样的画境。袁江将雄伟壮阔的山色与富丽堂皇的楼阁很好地融为一体，有力地提高了界画的表现力，开一代界画之新风。",[23,104,28,7,29,107,175,34,176,3884,108,115,114,1169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53f1713b2c697e2ee16c0e4744b7f3fa.jpg","纵 51.5 厘米，横 254.5 厘米",[],{"id":28443,"slug":28444,"title":28445,"dynasty":189,"author":1642,"museum":316,"description":28446,"tags":28447,"thumbUrl":28449,"material":139,"size":139,"collection":139,"collections":28450,"showCount":28305,"zanCount":2368,"manualWeight":48,"mainColor":49},231033,"ting-yuan-tong-xi-tu-zhou-wen-ju-231033","庭院童戏图","画面里，玲珑湖石错落而立，旁侧蜀葵抽茎绽红，晕开雅致清幽的庭中底色。三个稚童于廊下嬉玩，或俯地、或跪坐，手持玩具专注投入，憨态天真尽显笔端。\n\n作者以精细笔触勾勒出衣纹的软柔灵动，设色古雅温润，将孩童嬉闹的鲜活日常描摹得生动自然。静谧庭苑与稚子烂漫相映，把细碎童趣晕化成悠然平和的古典意趣，藏着旧时世家庭院里的温柔烟火气。",[23,194,24,25,28,7,106,28448,230,108,115,264,84],"童戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c8bf418623c3f4f8d9458352c316f86.jpg",[],{"id":28452,"slug":28453,"title":28454,"dynasty":256,"author":257,"museum":316,"description":28455,"tags":28456,"thumbUrl":28457,"material":599,"size":600,"collection":139,"collections":28458,"showCount":28305,"zanCount":48,"manualWeight":48,"mainColor":49},230546,"shan-shui-ping-feng-yi-ming-230546","山水屏风","泥金为底，石青石绿晕染出层叠丘壑，斑驳残损的绢面晕开岁月晕染的朦胧诗意。画面铺展开合间，远岫浮空，浅渚横陈，近岸疏林错落，将山野清趣与人间烟火揉为一体。\n\n林间隐着村居茅舍，有人正于门前流连；一侧道旁，行旅牵马暂歇，三两山客徐行林麓。没有枯寂的出世幽冷，反将隐逸山居的闲静与俗世行旅的暖意相融，笔致简淡却意韵悠长。古旧的肌理裹着山水古意，让丘壑烟岚与市井日常温柔相逢，漫溢出沉静古朴的雅致意趣。",[23,24,25,7,27,29,378,106,150,35,685,262],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe86e9104c686a6523976541b0b99df0c.jpg",[],{"id":28460,"slug":28461,"title":28462,"dynasty":76,"author":28463,"museum":316,"description":28464,"tags":28465,"thumbUrl":28467,"material":139,"size":139,"collection":139,"collections":28468,"showCount":28305,"zanCount":1379,"manualWeight":48,"mainColor":49},230229,"guang-xu-tong-guang-shi-san-jue-zhong-cai-tu-juan-shen-rong-pu-230229","光绪 同光十三绝重彩图卷","沈蓉圃","此作工笔重彩刻画入微，将十三位梨园宗师的神采风骨定格于卷上。生旦净丑各行当扮相俱全，衣饰纹样繁丽精工，珠翠翎毛分毫毕现。各人眉眼神态各有千秋，或威严凝重，或温婉柔媚，或诙谐灵动，既带着戏中角色的魂魄，又留存着名伶本人的气韵，将晚清京剧鼎盛之时的风华凝于尺幅之间，让百年前的梨园风姿鲜活重现于眼前。",[23,194,24,25,26,7,7692,28,106,28466,63],"戏曲人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3a6d01122cb40fed604a2d2815de271.jpg",[],{"id":28470,"slug":28471,"title":28472,"dynasty":76,"author":997,"museum":316,"description":28473,"tags":28474,"thumbUrl":28475,"material":139,"size":139,"collection":139,"collections":28476,"showCount":28305,"zanCount":48,"manualWeight":48,"mainColor":94},228976,"shan-shui-ce-12-kai-shi-tao-228976","山水册12开","此帧取峡谷行舟之景，以淡赭浅绿晕染峰峦，笔墨清润秀雅。江流蜿蜒淌过春色，两岸崖石简括空灵，枯槎倒挂于危岩，野趣暗生。扁舟篷屋静立，舟子缓棹行于碧波，将羁旅闲意揉进烟岚里。\n\n左侧题诗与山水相契，把远客随波逐流的幽寂心境藏在空濛山色中。画师以灵动简约的笔法，融山川清旷与江湖行旅的澹泊诗意于一纸。不着浓艳重彩，仅以浅墨淡彩铺陈暮春江峡的柔婉空蒙，寥寥数笔便勾画出天地间的悠然意趣，引观者随舟驶入这片清远绝尘的山水烟霞，沉醉于疏朗安闲的世外情致之中。",[24,25,81,7,173,29,174,109,176,34,177,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1eda3d02caac8e2863fc2d9a4078a1ad.jpg",[],{"id":28478,"slug":28479,"title":28480,"dynasty":302,"author":5007,"museum":191,"description":28481,"tags":28482,"thumbUrl":28483,"material":67,"size":28484,"collection":139,"collections":28485,"showCount":28305,"zanCount":2368,"manualWeight":48,"mainColor":49},228044,"xi-shan-qing-xia-tu-zhou-sheng-mao-228044","溪山清夏图轴","《溪山清夏图》绘崇山复岭，白云缭绕，楼阁掩映于丛树之中。近景溪水环绕，岸边筑有水阁亭榭，为可游可居之景。图中人物或于水榭纳凉，或悠游林下。构图繁复深曲，用长披麻皴表现山石，繁皴密点。界画楼阁严整，人物工能精谨，云霭以线勾勒，复染色彩。全图画法精巧，体现出盛懋在受文人画家影响的同时所具备的职业画家的一些特点。",[24,25,226,7,177,29,107,34,176,809,989,1169,11043,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63f46afb98159ce1ffbc7ee3adb4a1a9.jpg","纵204．5厘米，横108.2厘米",[],{"id":28487,"slug":28488,"title":28489,"dynasty":18,"author":17827,"museum":316,"description":28490,"tags":28491,"thumbUrl":28492,"material":139,"size":139,"collection":139,"collections":28493,"showCount":28305,"zanCount":1379,"manualWeight":48,"mainColor":94},227586,"huo-lang-tu-ye-xu-chong-ju-227586","货郎图页","徐熙孙，与徐崇嗣、徐崇勋为弟兄，生卒年不详。画有祖风，所作花木、禽鸟形骨轻秀。北宋时期徐熙画花木、禽鱼、蝉蝶、蔬果之类极夺造化之妙，与黄筌之花鸟画为当时之两大流派，有“黄家富贵，徐熙野逸”之说。崇矩兄弟虚心好学，吸收黄筌、黄居寀父子画法之长，终于自创“没骨法”新体，摈弃墨笔钩勒而直接用彩色晕染。亦工仕女，曲眉丰脸，姿态可人，有唐人风。流传作品不多，《宣和画谱》著录御府所藏其作品有《夭桃图》《折枝桃花图》《仕女图》《紫燕药苗图》《萱草猫图》《花竹捕雀猫图》等14件。《红蓼水禽图》册页传为崇矩所作，为其传世作品，现藏故宫博物院。",[23,194,24,25,81,28,7,106,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdcf30c4506bba83e0d7658c832494ed.jpg",[],{"id":28495,"slug":28496,"title":1032,"dynasty":189,"author":3536,"museum":316,"description":28497,"tags":28498,"thumbUrl":28499,"material":139,"size":139,"collection":139,"collections":28500,"showCount":28305,"zanCount":48,"manualWeight":48,"mainColor":49},227439,"pi-pa-shan-niao-tu-huang-quan-227439","宋徽宗名下流传至今的绘画作品面貌多样，既有雍容典雅的重彩工笔，也有古拙朴茂的粗笔水墨。所以历来对其真伪归属多有争论可谓画史的一段公案，一般认为工丽细致的院体风格是他人代笔或是御题画，而朴拙一路则是徽宗亲笔真迹。现藏于北京故宫博物院的《枇杷山鸟图》是学界一致公认的宋徽宗赵佶的真迹之一。本画为绢本设色，纵22.6厘米，横24.5厘米，画上题有“天下一人”的御笔花押。此幅《枇杷山鸟图》设色极淡，又因年代久远几乎不能分辨，看上去就如同单纯的水墨画一般。画中景物工写相参，渲染精细，犹如黑白老照片，在宋代绘画中别具一格。",[23,194,24,25,28,7,83,1036,16257,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43bc94a04488f0b800bfb8c8250fa6ac.jpg",[],{"id":28502,"slug":28503,"title":28504,"dynasty":18,"author":9283,"museum":316,"description":28505,"tags":28506,"thumbUrl":28507,"material":139,"size":139,"collection":139,"collections":28508,"showCount":28305,"zanCount":48,"manualWeight":48,"mainColor":49},227412,"bai-yuan-xian-shou-tu-li-cheng-227412","白猿献寿图","李成（919~967年），字咸熙，号营丘，京兆长安（今陕西省西安市）人。五代宋初画家，与董源、范宽并称“北宋三大家”，苏州刺史李鼎的孙子。\n博学多才，胸有大志，无处施展，醉心于书画。乾德五年，病逝于陈州，时年四十九岁。\n擅于山水画，师承于荆浩、关仝，自成一家，喜欢画郊野平远旷阔的风景。平远寒林，画法简练，气象萧疏，好用淡墨，“惜墨如金”；绘画山石如卷动的云，人称“卷云皴”；绘画寒林，开创“蟹爪”法，对于山水画的发展有重大影响。作品有《读碑窠石图》《寒林平野图》《晴峦萧寺图》《茂林远岫图》等。",[23,24,25,194,7,28,746,10516,1426,176,245,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd21c51cd22e4004907bdc5e4839ebbe4.jpg",[],{"id":28510,"slug":28511,"title":28512,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":28513,"thumbUrl":28516,"material":599,"size":600,"collection":139,"collections":28517,"showCount":28305,"zanCount":2368,"manualWeight":48,"mainColor":49},226348,"ku-zhu-shi-bei-pi-yi-ming-226348","窟主室北披",[511,260,7,28,7230,106,4027,6422,245,3661,114,5885,18020,5884,28514,28515],"线条细腻","色彩丰富","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2dee5749a1bb0bce30056a627f7997a2.jpg",[],{"id":28519,"slug":28520,"title":28521,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":28522,"thumbUrl":28523,"material":599,"size":600,"collection":139,"collections":28524,"showCount":28305,"zanCount":48,"manualWeight":48,"mainColor":2504},226327,"ku-zhu-shi-ren-zi-pi-xi-pi-yi-ming-226327","窟主室人字披西披",[511,7,260,106,21043,7135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65ba4db1bfd3ac3236001af3ca315d5d.jpg",[],{"id":28526,"slug":28527,"title":23704,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":28528,"thumbUrl":28529,"material":599,"size":600,"collection":139,"collections":28530,"showCount":28305,"zanCount":48,"manualWeight":48,"mainColor":49},226212,"ku-zhu-shi-nan-bi-yi-ming-22621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左下角书“虞山吴历画”，没有年代落款，卷首处有王时敏所题“公槐瑞应”，卷后有尤侗《槐荣堂记》与李楷《槐荣堂赋》，以及宋实颖、陆贻典、王奕鸿、吴伟业题跋。\n画面近景处 树石围绕，是为槐荣堂，槐荣堂背后峰峦数重，烟云缥缈，两峰之间一条小径隐于林间。\n槐荣堂右下方的近景处，有田野树林，左侧隐约可见远处的村舍。槐荣堂正中有一棵高大挺拔的槐 树，拾阶而上，屋内共有三人，红袍青冠者为许之渐之父，毕恭毕敬，端坐者为许之渐的祖母，其身后有一侍从。",[23,24,25,7,29,177,685,262,378,107,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f7ef221145f30db6d05c465cc6f85fd.jpg","40×70厘米",[181,45],{"id":28556,"slug":28557,"title":28558,"dynasty":76,"author":7596,"museum":223,"description":28559,"tags":28560,"thumbUrl":28561,"material":24650,"size":27990,"collection":181,"collections":28562,"showCount":28305,"zanCount":48,"manualWeight":48,"mainColor":94},224461,"song-qiao-tang-tu-juan-wang-hui-224461","松乔堂图卷","图绘远处山峦连绵，树木苍翠；近处右侧河面一片平静，中部数座楼阁、回廊依山而建，院落外翠竹环绕，院内树木高大，白鹤踱步，屋内人们或谈天，或端坐，或忙碌，大隐于此，岂不快哉！",[23,24,25,26,173,7,29,177,86,178,212,685,262,1273,107,34,230,1171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29c51ae3cb96668d6ecb508f9cd46a47.jpg",[181,163],{"id":28564,"slug":28565,"title":28566,"dynasty":76,"author":2837,"museum":316,"description":28567,"tags":28568,"thumbUrl":28569,"material":139,"size":139,"collection":139,"collections":28570,"showCount":28305,"zanCount":48,"manualWeight":48,"mainColor":94},224372,"hua-hui-qi-shi-ce-shi-er-kai-12-ju-lian-224372","花卉奇石册-十二开-12","此作用笔灵动兼具工致，奇石以淡墨皴擦晕染，瘦透古朴，孔洞藏幽，自带嶙峋古意。左侧水仙双钩填色，莹白花瓣勾勒细腻，嫩黄花心娇柔明媚，翠叶舒展回转，韵致清雅脱俗。右上角附石幽兰，青叶劲挺，素花轻绽，暗透幽香。\n\n整幅设色明丽秀雅，工写相融，没骨笔法鲜活生动，将花草清隽与湖石古拙相映成趣，尽显妍丽细腻的风韵，把案头清供的雅致意趣铺陈开来，淡逸娴静的文人雅韵漫溢绢素。",[23,24,25,81,7,28,83,898,230,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe76c2edb1768b60a8a2314d604f95911.jpg",[],{"id":28572,"slug":28573,"title":28574,"dynasty":99,"author":257,"museum":101,"description":28575,"tags":28576,"thumbUrl":28577,"material":529,"size":28578,"collection":139,"collections":28579,"showCount":28305,"zanCount":48,"manualWeight":48,"mainColor":2504},223577,"hou-lu-tu-yi-ming-223577","猴鹿图","画面既有对峙的情绪，又不失诙谐，展示出猕猴调皮的一面。",[23,24,28,7,746,10516,2479,378,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3990bd328b807f7169b28a5e1559bb9a.jpg","17.8x22.2",[],{"id":28581,"slug":28582,"title":28583,"dynasty":189,"author":257,"museum":191,"description":28584,"tags":28585,"thumbUrl":28586,"material":282,"size":28587,"collection":181,"collections":28588,"showCount":28305,"zanCount":48,"manualWeight":48,"mainColor":49},223343,"wu-dai-ren-qiu-lin-qun-lu-zhou-yi-ming-223343","五代人秋林群鹿轴","在尽情展露盛夏的绿意之后，秋天这个令人舒爽怡然的季节跟著悄然到来，所有的树叶在此时染上了缤纷的色彩，深红、淡橘、浅黄、碧蓝……似乎要赶在严冬来临之前，释放所有的美丽。鹿群抵不住诱人的秋色，踩著轻快脚步进入这片色彩斑斓的秋林，瞧鹿儿所呈现的各种姿态，彷若与眼前丰美的景色唱和起舞。\n《秋林群鹿》主要在描写鹿群于秋林中活动的各式神情，作画的人已经佚失，只知道曾经是属于元代皇帝的收藏。从作品的形式风格而言，充满装饰趣味的空间陈置，以及如此丰富的色彩勾填，都不常见于人们所熟知的中国绘画作品中，有学者推测，这件作品与邻近国家如辽国，甚至更远的中亚之间，存有十分密切的关系",[23,24,226,7,10677,2479,378,746],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66f45cd68073dee3a98e941f2ee82b50.jpg","118.4x63.8公分",[181,45],{"id":28590,"slug":28591,"title":28592,"dynasty":99,"author":27520,"museum":56,"description":28593,"tags":28594,"thumbUrl":28595,"material":500,"size":28596,"collection":181,"collections":28597,"showCount":28305,"zanCount":48,"manualWeight":48,"mainColor":94},222839,"she-se-shan-shui-tu-juan-xiao-yun-cong-222839","设色山水图卷","画面山川连绵起伏，溪流环绕其间。平逸、深远之法交替运用。山石披麻、小斧劈皴并用，树叶勾点结合，用石青、石绿加以点染，成功地描绘了秀美的江南景色。",[24,25,26,7,29,177,173,808,686,34,809,37,108,1981,230,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb49ee13a0d730dc85d4192c86da6fcf8.jpg","29.2×593cm",[181,45],{"id":28599,"slug":28600,"title":28601,"dynasty":99,"author":27520,"museum":539,"description":28602,"tags":28603,"thumbUrl":28608,"material":1342,"size":28609,"collection":181,"collections":28610,"showCount":28305,"zanCount":48,"manualWeight":48,"mainColor":94},222836,"yan-huan-qiu-se-tu-xiao-yun-cong-222836","烟鬟秋色图","作品以平远式绘山水之景，远处云蒸霞蔚，画卷右侧山峦连绵，山涧中泉水流淌，汇合成溪，松柏苍翠，枫叶红遍山中；左侧地势平缓，河流平静，绿树成荫。",[23,24,26,7,177,29,176,34,107,175,108,109,37,1169,9951,981,28604,1785,3176,809,23284,11849,28605,28606,28607],"丘壑","墨色","线条","意境","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b949075d1afc6f7f966f92e1cc53931.jpg","30cmx590cm",[181,45],{"id":28612,"slug":28613,"title":28614,"dynasty":99,"author":792,"museum":16750,"description":28615,"tags":28616,"thumbUrl":28617,"material":40,"size":28618,"collection":139,"collections":28619,"showCount":28305,"zanCount":2368,"manualWeight":48,"mainColor":49},222602,"qiu-shan-xing-lv-tu-zhou-lan-ying-222602","秋山行旅图轴","此画远山耸峙，树木苍劲，红叶明丽，野桥曲径，桥上一老者骑驴款款而过，其后有荷物及策仗者相随。构图气势雄伟，笔势雅健清逸，为蓝氏刻意之作。图作于清顺治十三年（1656年），时年七十二岁。",[23,24,226,29,177,7,685,262,174,34,107,176,31,1172,3960],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6e6bf379581e527114f0c1753e94efe.jpg","纵186.5、横69厘米",[],{"id":28621,"slug":28622,"title":28623,"dynasty":99,"author":28624,"museum":56,"description":28625,"tags":28626,"thumbUrl":28627,"material":67,"size":28628,"collection":181,"collections":28629,"showCount":28305,"zanCount":48,"manualWeight":48,"mainColor":801},222549,"ma-shi-yan-yu-tu-sheng-ying-222549","马嗜烟雨图","盛颖","此图绘寺庙景色。寺院墙外树木、楼阁处于云烟细雨中，有一种缥缈梦幻之意境；院内庙宇数座，可见正前方大雄宝殿中立一大鼎，房前树木粗壮苍翠。全图以俯视视角绘出，房屋建造遵循南北趋势，院中有院，整个建筑宏大考究。",[23,24,25,7,104,212,107,34,37,108,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6424afaa9502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王时敏称“画有南北宗，至石谷而合为一”。在王翚35岁到60岁之间，其作品最为精彩，技法精巧，清丽工秀，有“合南北为一手” 的独特风格。时与王时敏、王鉴、王原祁、吴历、恽格齐名，被称为“四王吴恽”，又称“清六家”。\n康熙三十年（1691年），60岁的王翚由其画学弟子、时任兵部左侍郞的宋骏业推荐，以布衣应诏供奉内廷，绘制《康熙南巡图》，三年完成，得到康熙帝的褒奖，被视为画之正宗。其追随者甚众，因他为常熟人，常熟有虞山，故后人将其称为“虞山派”，且与王原祁二人有“画圣”之称。60岁以后，由于求画者甚多，王翚的作品多为应酬之作，难免粗制滥造，还出现了不少代笔画。又由于其技法纯熟，形成了一定的格式，下笔往往带有习气， 不及以前的作品生动清新。",[23,24,173,7,177,29,176,34,109,175,5218,808,686],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3155ce21c8b276af793c7fd0c681c43.jpg","57.2x40.6厘米",[181],{"id":28703,"slug":28704,"title":28705,"dynasty":18,"author":257,"museum":191,"description":21179,"tags":28706,"thumbUrl":28707,"material":67,"size":21182,"collection":42,"collections":28708,"showCount":28305,"zanCount":48,"manualWeight":48,"mainColor":49},220235,"bian-zhuang-zi-ci-hu-2-yi-ming-220235","卞庄子刺虎2",[194,24,25,28,7,106,5443,151,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0de4be4d0d370b1a0cbb18f0c2f5cb7e.jpg",[42],{"id":28710,"slug":28711,"title":28712,"dynasty":18,"author":21238,"museum":6218,"description":28713,"tags":28714,"thumbUrl":28715,"material":123,"size":28716,"collection":44,"collections":28717,"showCount":28305,"zanCount":48,"manualWeight":48,"mainColor":49},219624,"fu-nie-pan-tu-lu-xin-zhong-219624","佛涅槃图","本作品描绘了释迦在跋堤河边的婆罗双树之间圆寂的情景，是佛教传说中的一个重要场景。以法隆寺五重塔塔本塑像为首，日本早有表现涅槃场景的造像，而以涅般图为本尊像的涅槃法会，也于平安时代初期起成为惯例。涅槃图受到来自中国的影响，同时通过各个时代宗派盛行制作并独立发展开去。\u2028本图在涅槃图之中也具有非常独特的形式，绘制于中国南宋时代的贸易之都宁波，后被日本求得。娑罗树被描绘成两颗宝树，而释迦周围的众弟子并无悲伤表情，胡人打扮的人物围着香炉起舞，似在赞叹涅槃，这一点也实属罕见。有人设想这种图画形式形成的背景是当时宁波成熟的信仰文化。\u2028 画面右方中间有小楷落款“庆元府车桥石板巷陆信忠笔”，可知该画是在宁波被称为庆元府时期(1195～1276)由职业画匠(佛画师)陆信忠(工房)所作。本佛画彩色浓厚，绘画线条细致有力，兼有细腻彩色花纹，表现力极强，也许是大量使用了中间色的缘故，该作令人感受到先期佛画的变迁。在标有陆信忠落款的作品中，该作品与本馆馆藏的十王图并列堪称最为上乘之佳作。再者，裱具上部用墨写有“天王宝物”。此作为爱知津岛神社别当寺宝寿院相传之物。",[23,24,25,226,260,7,28,106,378,3661],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71c223a3fdb98418bbf872b6bcd5ca04.jpg","纵157.1横82.9",[44],{"id":28719,"slug":28720,"title":28721,"dynasty":18,"author":303,"museum":20,"description":28722,"tags":28723,"thumbUrl":28724,"material":88,"size":28725,"collection":44,"collections":28726,"showCount":28305,"zanCount":48,"manualWeight":48,"mainColor":94},219623,"xi-hu-yin-qu-tu-qian-xuan-219623","西湖吟趣图","钱选（1239—1299），宋末元初时期的遗民画家，字舜举，号玉潭，晚年更号溪翁，吴兴（今浙江省湖州市）人。南宋景定（1260—1264年）年间乡贡进士，入元后隐居不仕，寄情于山水书画。画学颇为庞杂，花鸟、山水、人物无一不精，且成就极高，当时有“老钱丹青当世无”的美誉。元初，与赵孟頫、王子中、陈式等人并称“吴兴八俊”。",[23,24,25,26,7,28,178,212,106,29,230,820,60,24391],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ac8c107ddfec1798c83c917d3f07d59.jpg","纵25cm，横72.5cm",[44],{"id":28728,"slug":28729,"title":28730,"dynasty":99,"author":15110,"museum":191,"description":28731,"tags":28732,"thumbUrl":28733,"material":123,"size":139,"collection":181,"collections":28734,"showCount":28305,"zanCount":48,"manualWeight":48,"mainColor":49},219472,"si-hao-tu-xie-shi-chen-219472","四皓图","幅中所绘，是秦汉间隐居于商山的四位老人悠闲的生活。他们或下棋，或闲步。四围则是云雾蒸腾，溪泉潺潺，松树盘踞，驯鹿嬉游，山石险阻，与外隔绝，似是为高人隐士所设的福地洞天。用笔苍劲有力，墨色变化丰富，气势雄浑。以画水闻名的谢时臣，尤其长于表现云烟之变幻多端。",[24,1049,29,685,262,3477,378,2235,498,226,67,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe185e2259777abdcf74ad407a3280f3b.jpg",[181],{"id":28736,"slug":28737,"title":28738,"dynasty":99,"author":3774,"museum":191,"description":28739,"tags":28740,"thumbUrl":28741,"material":88,"size":28742,"collection":90,"collections":28743,"showCount":28305,"zanCount":48,"manualWeight":48,"mainColor":94},219461,"liu-hua-xiao-jing-tu-lu-zhi-219461","榴花小景图","陆治不仅长于山水画,也能画花鸟,所作花卉生意盎然,在吴派画家中以能得宋人韵度,备受赞赏",[24,194,226,28,7,83,24949,4267,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42162f4933d3bd900c46a0622726a62f.jpg","65.3x33.3",[90],{"id":28745,"slug":28746,"title":28747,"dynasty":99,"author":28748,"museum":191,"description":28749,"tags":28750,"thumbUrl":28751,"material":173,"size":139,"collection":163,"collections":28752,"showCount":28305,"zanCount":2368,"manualWeight":48,"mainColor":49},219373,"shan-shui-tu-dan-chi-qiao-ge-wang-wen-219373","山水图-丹池樵歌","王问","山峦层叠如浪涌，皴笔与墨染交织，苍润中透着秀逸之气。峰麓间林木葱茏，几椽屋舍隐于幽径旁，似藏着尘外闲情。右下角人影孑立，许是负薪而归的樵者，虽无歌声入耳，却能从那悠然的姿态里，想见林泉间清歌回荡。淡墨晕出空濛氛围，山石的厚重与林木的疏朗相映，既显自然雄浑，又含文人雅致。丹池边的樵歌意趣，融于山水静谧之中，仿佛踏入一片远离尘嚣的桃源，心随画境渐次安宁。",[24,7,177,226,29,34,106,175,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98f213dfe3146bfc7ca66ed0f86cc217.jpg",[163],{"id":28754,"slug":28755,"title":28756,"dynasty":99,"author":28757,"museum":132,"description":28758,"tags":28759,"thumbUrl":28760,"material":123,"size":28761,"collection":90,"collections":28762,"showCount":28305,"zanCount":2368,"manualWeight":48,"mainColor":49},219314,"jin-ji-han-mei-tu-bian-jing-zhao-219314","锦鸡寒梅图","边景昭","寒石之上，锦鸡敛翅静立，翎羽如锦绣裁就，红腹似霞晕染，连绒羽的细绒都清晰可见，仿佛能触到那柔软的质感。旁侧枯枝斜逸，梅蕊初绽，素白的花与苍劲的枝桠相映，冷寂中透出雅致。沉郁的底色如古砚磨出的墨晕，将禽鸟的鲜活托得愈发分明，梅香似随微风漫开，清寒里藏着脉脉生机。笔触细腻入微却不板滞，色彩浓淡相宜，既有工笔的精致写实，又含写意的空灵意境，于冬日的静谧中，绘就一份鲜活与雅致，似能听见锦鸡轻啄梅瓣的微响，冷冽中溢出温情。",[24,25,83,28,7,820,209,230,1353,353],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5ec3c9a9636678fe8757ecb09c33f89.jpg","38.5x32.8cm",[90],{"id":28764,"slug":28765,"title":11864,"dynasty":302,"author":257,"museum":191,"description":28766,"tags":28767,"thumbUrl":28768,"material":123,"size":28769,"collection":90,"collections":28770,"showCount":28305,"zanCount":48,"manualWeight":48,"mainColor":49},219239,"hua-hu-tu-yi-ming-219239","松林石涧间,一巨虎黄皮黑纹,毛色鲜丽,体态威武雄壮.虎之双眼,俱以金粉涂饰,并略染汁绿,显得格外神气逼人.其背隆起,宛如张弓欲发,隐然有即将出击之势.虎口微启,低吟而未啸.树梢,二山鹧见状,相与惊跃鸣叫,更为此猛虎出山的场景,平添紧张、不安的气息.通幅描绘如真,渍染极得润厚的韵致.画无名款,旧签定为元人.惟据画风判断,与明代宫廷画风,颇多相近处,是以推断,本幅或出自明代良工之手",[23,24,226,7,5443,176,34,838,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb563ac7aba93522a5230f6ac6e3bb83c.jpg","206.5x122cm",[90],{"id":28772,"slug":28773,"title":28774,"dynasty":18,"author":11133,"museum":191,"description":28775,"tags":28776,"thumbUrl":28777,"material":123,"size":28778,"collection":42,"collections":28779,"showCount":28305,"zanCount":2368,"manualWeight":48,"mainColor":49},219151,"xiang-bo-tu-li-an-zhong-219151","翔鹁图","这幅无标题的画,描绘了四只鹌鹑，它们飞翔或降落。 刻画生动，鸟兽造型精准。 兰花的叶子像水草一样飘扬，很有装饰性。 虽然不能确定是李安忠所绘，但也是宋元时期的杰作。",[23,194,24,25,226,28,7,83,245,230,838,62,7428,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac72a55ea3763e691c05bcb488667755.jpg","纵96横43.8厘米",[42,90,45],{"id":28781,"slug":28782,"title":28783,"dynasty":18,"author":3752,"museum":5827,"description":28784,"tags":28785,"thumbUrl":28786,"material":123,"size":28787,"collection":90,"collections":28788,"showCount":28305,"zanCount":48,"manualWeight":48,"mainColor":94},219088,"xue-qin-tu-cui-bai-219088","雪禽图","这幅画的是河岸边树杆折断，一旁杂草叶片已枯黄，藤杆上覆盖着一层薄雪，一只灰北白肚鸟儿立于细藤上，尾翎修长，扭头尖喙咬住羽毛，半眯的眼睛似乎在沉睡中。",[24,25,1260,83,28,7,209,836,2086,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3706dae6af508fd6c7d4846d57c4de27.jpg","23.5x22.2cm",[90],{"id":28790,"slug":28791,"title":28792,"dynasty":302,"author":831,"museum":2861,"description":28793,"tags":28794,"thumbUrl":28796,"material":123,"size":139,"collection":90,"collections":28797,"showCount":28305,"zanCount":2368,"manualWeight":48,"mainColor":49},219067,"ying-sun-tu-ren-ren-fa-219067","鹰隼图","画面描绘了一只白腹黑背、体态丰满、羽毛整齐的大壮鹰，用一对锋利的爪子按住一只麻雀，张开翅膀，圆睁双眼，张开嘴，却无计可施。",[194,24,28,7,226,3300,28795,795,11542,84,176,83],"隼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81e640e66b80da72ad388df45295a7d4.jpg",[90],{"id":28799,"slug":28800,"title":28801,"dynasty":76,"author":28802,"museum":442,"description":28803,"tags":28804,"thumbUrl":28805,"material":123,"size":28806,"collection":90,"collections":28807,"showCount":28305,"zanCount":1379,"manualWeight":48,"mainColor":49},219032,"tao-que-tu-xia-wen-xuan-219032","桃雀图","夏文铉","绢本泛黄如时光沉淀的暖光，数只雀鸟或栖枝梳羽，或振翅欲飞，羽色赭褐与墨黑相间，神态鲜活灵动。梅枝疏朗横斜，淡粉花瓣点染梢头，似携清寒暗香；松针苍劲如笔，与柔枝相映成趣。画面留白开阔，笔墨简淡却意韵悠长，将禽鸟的生趣与花木的清雅融于一方素绢，尽显文人画的雅致风骨。观之令人心宁神悦，仿佛触到了春日的轻暖气息，于细微处见生机，于简淡中藏深情，是一幅兼具意趣与格调的佳作。",[23,194,24,25,28,7,83,243,13823,1273],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F282866ed8d516c58dc487f5bdc68d7c8.jpg","纵39.1横26.5厘米",[90],{"id":28809,"slug":28810,"title":28811,"dynasty":18,"author":7992,"museum":191,"description":28812,"tags":28813,"thumbUrl":28814,"material":123,"size":28815,"collection":42,"collections":28816,"showCount":28305,"zanCount":48,"manualWeight":48,"mainColor":94},218948,"qiao-ke-yuan-gua-tu-yi-yuan-ji-218948","乔柯猿挂图","图绘山野之中，两黑一白三只小猿猴在老柏树上嬉戏玩耍。形象生动，用笔细腻，应是从写生中得来。",[23,24,194,28,173,7,21346,17563,176,746,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3c73ab950f34a4402a9ba1c8dd4002e.jpg","24.2x26.4",[42],{"id":28818,"slug":28819,"title":28820,"dynasty":18,"author":257,"museum":191,"description":28821,"tags":28822,"thumbUrl":28823,"material":123,"size":28824,"collection":42,"collections":28825,"showCount":28305,"zanCount":48,"manualWeight":48,"mainColor":49},218692,"an-he-tu-yi-ming-218692","安和图","在秋天的风景中，草和叶子变黄，野高粱的茎上长满了穗子。在茎叶下，五只鹌鹑在其中休息，而另外四只鸟则在上面栖息，为自己的羽毛做准备或啄食谷物。虽然这幅画没有作者的签名，但构图合理，所有物体都栩栩如生，所以它一定是出自艺术家之手。鹌鹑的造型与北宋崔訢的《七夕鹌鹑图》相似，而高粱则与明代陆机的《草花野禽图》相似，但《草花野禽图》的笔法显然更富变化，而这幅画则具有南宋的流畅细腻风格。它也被称为 安和，因为 鹑 和 安、和 和 和 是同音字，使它成为一部吉祥之作。",[23,24,25,194,28,7,83,1980,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8456b5937e15cbbc97e3c44852831d14.jpg","105.4x51.6",[42],{"id":28827,"slug":28828,"title":28829,"dynasty":99,"author":257,"museum":608,"description":28830,"tags":28831,"thumbUrl":28832,"material":123,"size":139,"collection":44,"collections":28833,"showCount":28305,"zanCount":2368,"manualWeight":48,"mainColor":49},218357,"duan-ben-cheng-yuan-tu-yi-ming-218357","端本澄源图","卧榻上人影斜倚，指尖轻拈小物，眉目间漫着慵懒与自在。身侧侍女垂立，衣袂微动，似欲以团扇拂去浮尘，静候吩咐。案上瓶炉雅致，蕉叶舒展、竹影婆娑，衬得室内清幽如许。笔墨间藏着文人闲居的逸趣——不刻意张扬，却在器物的精巧、环境的恬淡里，流露出对澄明心境的追寻。每一处线条都似在低语，将日常的悠然与内心的宁静交织，如一杯淡茶，慢慢浸润出岁月的温润与雅致，让人见之便觉心安神宁。",[24,7,28,106,227,611,229,1009,1010],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedbbdbe5eda59a11094ffc7bebbd6578.jpg",[44],{"id":28835,"slug":28836,"title":28837,"dynasty":302,"author":257,"museum":191,"description":28838,"tags":28839,"thumbUrl":28840,"material":123,"size":139,"collection":44,"collections":28841,"showCount":28305,"zanCount":2368,"manualWeight":48,"mainColor":49},218189,"ying-zhen-xiang-zhou-yi-ming-218189","应真像轴","应真袒胸倚石而坐，憨态可掬的笑容里满是悠然自在。衣纹以婉转流畅的墨线勾勒，晕染得宜，既显布料垂坠质感，又衬出人物丰腴体态。身旁松石苍劲，松针如簇，笔法细致中见洒脱；石根处几丛细竹点缀，更添清逸之气。整幅作品笔墨刚柔并济，人物神态鲜活，似在静享林间清寂，禅意氤氲其间。观者仿佛能透过古雅的纸本，触摸到那份远离尘嚣的平和安然，尽显宋元禅画的空灵韵味。",[24,25,226,260,106,1273,10475,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbc52266544324141923cba9b32a02b8.jpg",[44],{"id":28843,"slug":28844,"title":28845,"dynasty":76,"author":257,"museum":316,"description":28846,"tags":28847,"thumbUrl":28848,"material":123,"size":139,"collection":139,"collections":28849,"showCount":28305,"zanCount":48,"manualWeight":48,"mainColor":49},216716,"hong-lou-meng-fu-tu-ce-2-yi-ming-216716","红楼梦赋图册-2","亭榭隐于蕉荫间，几缕倩影或凭栏凝思，或低语浅笑。衣袂如流云轻覆青石板，罗裙纹样似浸了江南的柔润。案头器物精巧，窗边陈设雅致，恰是红楼闺阁的寻常光景——无需喧哗，只那眼波流转的默契，便将女子们的温婉灵秀凝在笔墨间。园林清幽裹着人情暖意，软语里的细碎心事，随风散入芭蕉叶隙。笔墨清润，色彩雅致，将书中含蓄韵致化作眼前可触的静谧温柔，仿佛能闻见空气中浮动的淡香，窥见那段红楼旧梦的一角，让观者沉湎于这纸间流转的古典情长。",[23,28,7,81,106,59,175,107,34,115,7724,278,27504],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a767b05f29544d7c431926bc0754ea6.jpg",[],{"id":28851,"slug":28852,"title":27615,"dynasty":302,"author":5007,"museum":132,"description":28853,"tags":28854,"thumbUrl":28855,"material":67,"size":28856,"collection":181,"collections":28857,"showCount":28305,"zanCount":48,"manualWeight":48,"mainColor":49},214913,"lou-ge-shan-shui-tu-sheng-mao-214913","楼阁山水图是一幅由盛懋绘制的山水画作，出现在元朝时期。这幅画作以楼阁为主要构图元素，描绘了山水景观。楼阁山水图被认为是盛懋最著名的作品之一，在当时非常受欢迎。由于盛懋是一位著名的山水画家，他的作品经常描绘自然风光，并使用了细腻的笔触和鲜明的色彩来表现景色的美丽。楼阁山水图也是如此，它展示了盛懋对山水景观的精确捕捉和传达。\n\n盛懋是元朝时期著名的山水画家，他的作品风格独特，很受欢迎。楼阁山水图是他的代表作之一。在这幅画作中，盛懋使用了自然的色彩来描绘山水景观，并使用精细的笔触来表现每个细节。画面中的楼阁是一个重要的构图元素，它位于画面的中央，呈现出一种高耸入云的感觉。周围的山水景观也十分优美，有群山环绕，河流缠绕，树木茂盛。整幅画作散发出一种平静而舒适的氛围，使人们感觉得到了身心的放松。",[24,25,1260,104,173,7,29,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c7ab334398f7bdeec85c5eabe7afbc9.jpg","25x27cm",[181],{"id":28859,"slug":28860,"title":28861,"dynasty":99,"author":2425,"museum":78,"description":4071,"tags":28862,"thumbUrl":28863,"material":88,"size":139,"collection":139,"collections":28864,"showCount":28305,"zanCount":48,"manualWeight":48,"mainColor":94},214654,"qiu-xing-ba-jing-tu-ce-4-dong-qi-chang-214654","秋兴八景图册-4",[24,25,81,7,29,178,86,177,685,378,109,37,1754,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa7b9afae4d988c47bfbafeba3b68c40.jpg",[],{"id":28866,"slug":28867,"title":28868,"dynasty":99,"author":2425,"museum":78,"description":4071,"tags":28869,"thumbUrl":28870,"material":88,"size":139,"collection":139,"collections":28871,"showCount":28305,"zanCount":2368,"manualWeight":48,"mainColor":94},214653,"qiu-xing-ba-jing-tu-ce-5-dong-qi-chang-214653","秋兴八景图册-5",[24,25,81,7,27,173,177,178,86,29,685,262,34,1273,3466,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb893b7c0fa8f94f84a419b7b87e6439e.jpg",[],{"id":28873,"slug":28874,"title":28875,"dynasty":76,"author":563,"museum":608,"description":1497,"tags":28876,"thumbUrl":28877,"material":638,"size":1500,"collection":139,"collections":28878,"showCount":28305,"zanCount":48,"manualWeight":48,"mainColor":49},214358,"san-jue-shan-shui-ce-1-hua-yan-214358","三绝山水册-1",[23,194,24,25,81,7,29,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf1a7ee3b5c0bbe9e26fadd849e0122a.jpg",[],{"id":28880,"slug":28881,"title":28882,"dynasty":99,"author":1196,"museum":316,"description":2456,"tags":28883,"thumbUrl":28884,"material":599,"size":600,"collection":139,"collections":28885,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":49},290849,"shan-jing-ri-zhang-tu-zhou-tang-yin-290849","山静日长图轴",[24,194,226,25,29,7,108,109,3176,353,176,175,86,212,3585],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1448ee5d3c113be971d34e5fddf18503.jpg",[],{"id":28887,"slug":28888,"title":28889,"dynasty":302,"author":257,"museum":191,"description":28890,"tags":28891,"thumbUrl":28892,"material":123,"size":18763,"collection":44,"collections":28893,"showCount":184,"zanCount":48,"manualWeight":48,"mainC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集诸家之长，得其大成，师法自然，大胆创新，自成一家，被后代敬为第一大手笔、百代宗师。",[23,24,26,194,7,106,29,981,176,28958,4352,1070,178,86],"兰亭修禊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F046924a3ed3772eda7257e744e0eb0d8.jpg",[],{"id":28962,"slug":28963,"title":1142,"dynasty":189,"author":28964,"museum":191,"description":28965,"tags":28966,"thumbUrl":28967,"material":599,"size":600,"collection":139,"collections":28968,"showCount":184,"zanCount":1379,"manualWeight":48,"mainColor":49},287656,"mu-dan-tu-teng-chang-you-287656","滕昌佑","滕昌佑，唐末五代画家。字胜华，本为吴（治今江苏苏州）人。唐广明元年十二月（公元881年）初黄巢起义军攻克长安，避乱随唐僖宗入蜀，卒年八十五。以文学从事。",[23,194,24,25,83,28,7,292,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff781bc47a080c289d7ae5eef5dcef720.jpg",[],{"id":28970,"slug":28971,"title":28972,"dynasty":18,"author":9555,"museum":316,"description":28973,"tags":28974,"thumbUrl":28975,"material":599,"size":600,"collection":139,"collections":28976,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":49},287639,"shui-cun-tu-zhao-ling-rang-287639","水村图","赵令穰（生卒年不详），字大年，北宋汴京（今河南开封）人，画家。宋太祖赵匡胤五世孙。官至光州防御使﹑崇信军观察留后，卒赠“开府仪同三司”，追封“荣国公”。其孙赵伯驹为宋代著名画家，官至浙东兵马钤辖。赵令穰工画山水、花果、翎毛，笔致秀丽，尤长金碧山水。远师李思训父子。代表作品《风云期会图》《春山图》《阿阁图》《后赤壁图 》《文会图》《鸟雀图》等。留传到现在的有《汉宫图》《阿阁图》《万松金阙图》等。",[194,24,25,226,7,27,29,108,109,174,353,1981],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff56a88b1052bfbea871f84835d854fc0.jpg",[],{"id":28978,"slug":28979,"title":28980,"dynasty":76,"author":257,"museum":316,"description":16422,"tags":28981,"thumbUrl":28983,"material":599,"size":600,"collection":139,"collections":28984,"showCount":184,"zanCount":2368,"manualWeight":48,"mainColor":94},267341,"man-xiu-wen-shu-fo-xiang-zhou-yi-ming-267341","满绣文殊佛像轴",[226,28982,260,6768,8300,7,13679],"满绣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d3b4d61530b2345aaac456d6a9484ea.jpg",[],{"id":28986,"slug":28987,"title":6754,"dynasty":76,"author":4891,"museum":316,"description":19304,"tags":28988,"thumbUrl":28989,"material":599,"size":600,"collection":90,"collections":28990,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":94},239398,"hua-niao-tu-ce-ma-yuan-yu-239398",[24,25,81,173,7,83,820,579,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbbf29bd90c79214ba6d288bab877f2a.jpg",[90,45],{"id":28992,"slug":28993,"title":28994,"dynasty":76,"author":257,"museum":316,"description":28995,"tags":28996,"thumbUrl":28997,"material":139,"size":139,"collection":90,"collections":28998,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":94},238811,"dong-gao-lv-xuan-shao-jing-ce-yi-ming-238811","董诰律宣韶景册","此作绘春日花溪胜境，浅青晕染重峦，烟岚轻笼远山，虚实相生间晕出空濛雅致。溪谷桃林遍绽，丹红如云霞漫过翠嶂，柔化了峰石的硬朗。涧水穿林漱石，湍波映着花光，灵动清冽。林麓深处隐见屋舍，暗合春深幽居之趣。\n\n笔法秀雅工致，青绿设色明丽温润，以淡墨烘衬烟霭，糅合工笔精细与写意空灵，将暮春山乡的融融春意铺展纸上，观之便如身临桃源，尽览静雅恬和的东方山水意韵。",[24,25,81,7,29,177,34,176,109,243,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe181bd02ef517366b84f0e2f5bc99ff.jpg",[90,181,45],{"id":29000,"slug":29001,"title":29002,"dynasty":76,"author":658,"museum":316,"description":8264,"tags":29003,"thumbUrl":29004,"material":599,"size":600,"collection":90,"collections":29005,"showCount":184,"zanCount":2368,"manualWeight":48,"mainColor":94},238354,"hua-hui-xiao-ce-dong-gao-238354","花卉小册",[24,25,81,7,83,820,212,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34d50c13f022c4472099b3f84f506d57.jpg",[90,45],{"id":29007,"slug":29008,"title":29009,"dynasty":76,"author":17152,"museum":20,"description":29010,"tags":29011,"thumbUrl":29012,"material":139,"size":139,"collection":44,"collections":29013,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":49},237550,"shang-rui-xiu-gu-song-chun-tu-juan-shang-rui-237550","上睿绣谷送春图卷","上睿（1634―？）清代康熙年间僧人。字静睿、浔微，一作浔浚、浔睿，号目存、蒲室子、童心和尚、童心道人、童心行者、卧云人。江苏吴县（今江苏苏州）人。博学多才，工诗文",[24,25,26,7,28,177,29,107,106,34,176,1273],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54d5b813ae5e5ea9f4cfb1e7bcd2096a.jpg",[44],{"id":29015,"slug":29016,"title":6199,"dynasty":76,"author":6200,"museum":20,"description":6201,"tags":29017,"thumbUrl":29018,"material":139,"size":139,"collection":139,"collections":29019,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":49},237117,"shi-nv-ce-cui-wei-237117",[194,24,25,81,28,7,106,59,63,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaa5fa588e85cf48557097697d8534b1.jpg",[],{"id":29021,"slug":29022,"title":6199,"dynasty":76,"author":6200,"museum":20,"description":6201,"tags":29023,"thumbUrl":29024,"material":139,"size":139,"collection":139,"collections":29025,"showCount":184,"zanCount":2368,"manualWeight":48,"mainColor":49},237116,"shi-nv-ce-cui-wei-237116",[24,81,28,7,106,59,292,229,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa48791ca3b376c9bae3fe3c7fd9a2802.jpg",[],{"id":29027,"slug":29028,"title":29029,"dynasty":76,"author":2883,"museum":20,"description":29030,"tags":29031,"thumbUrl":29032,"material":139,"size":29033,"collection":90,"collections":29034,"showCount":184,"zanCount":2368,"manualWeight":48,"mainColor":49},236196,"hua-mei-hua-xuan-ye-shu-fan-zhou-xi-hu-shi-cheng-shan-jiang-ting-xi-236196","画梅花玄烨书泛舟西湖诗成扇","蒋廷锡（1669—1732），字酉君、杨孙，号南沙、西谷，又号青桐居士，江苏常熟人，是清朝康熙、雍正时期官员、画家。",[24,25,1260,820,178,83,7,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefea21cbd916e8e96569fa9ba15061da.jpg","纵34厘米，横56厘米",[90,45],{"id":29036,"slug":29037,"title":29038,"dynasty":76,"author":29039,"museum":316,"description":29040,"tags":29041,"thumbUrl":29042,"material":599,"size":600,"collection":139,"collections":29043,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":94},236083,"ju-shi-hai-tang-tu-zhou-shen-huan-236083","菊石海棠图轴","沈焕","沈焕，字章明，上海人。工花卉，得徐、黄没骨法。",[24,25,226,7,28,83,897,379,1261],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fa445bd5dc1caf7216292e7c19a92e9.jpg",[],{"id":29045,"slug":29046,"title":13109,"dynasty":189,"author":13110,"museum":20,"description":29047,"tags":29048,"thumbUrl":29049,"material":40,"size":29050,"collection":139,"collections":29051,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":49},233964,"gao-shi-tu-juan-wei-xian-233964","本幅无款识，卷前有宋徽宗赵佶瘦金书标题“衛賢高士圖”，虽为立幅，但装裱成手卷形式，是北宋内府“宣和装”。\n描绘汉代隐士梁鸿与妻孟光“相敬如宾，举案齐眉”的故事。画家把梁鸿的居所安排在山环水绕的大自然中，全幅上半部为巨峰壁立，远山苍茫，下半部为竹树蓊郁，溪水潺潺。人物活动在画面中部，恰是观者的视觉中心：梁鸿端坐于榻，竹案上书卷横展，孟光双膝跪地，饮食盘盏高举齐眉。主人公神态坦然平和，虽房舍简陋、粗食布衣，但高人隐士志在山野的高洁志趣令人油然而生敬意。\n此图虽为主题人物画，实则集山水、人物、建筑画为一体。山石多用干笔皴擦，注意用墨色的深浅对比强调峰岫的凹凸和凝重的质感，石上干笔点苔的技法更是画家的独创。房屋和木栏栅篱用界笔描绘，结构交待严谨清楚，并能表现出一定的立体感和纵深关系，是今天我们能见到的传世卷轴画中年代最早的以界笔“植柱构梁”的建筑画迹之一。",[24,25,26,28,104,7,177,29,106,107,34,176,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F808ff35be6fd1a88daf86e0d0ff1dac1.jpg","纵134.5厘米，横52.5厘米",[],{"id":29053,"slug":29054,"title":29055,"dynasty":99,"author":146,"museum":191,"description":29056,"tags":29057,"thumbUrl":29058,"material":29059,"size":29060,"collection":139,"collections":29061,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":49},231831,"qing-ming-yi-jian-tu-zhang-ze-duan-231831","清明易简图","传宋张择端清明易简图〈清明易简图〉的画题，乾隆皇帝（1711-1799）认为出自《易经．系辞》的「易则易知，简则易从。」也就是平易、简单 的英文。作者希望透过画面，来现如今北宋都城的繁华景象。北宋画家张择端（活动于12世纪）以首都汴京的城市景街为题，创作了〈藏北京故宫博物院〉。 由于深受喜爱和喜爱，家庭画家遂纷纷效仿，许多同名的〈清明上河图〉。本卷也模仿张择端的作品，乾隆皇帝画推崇。 虹桥市集、城墙、天津之桥等段落，人物栩栩如生的描绘非常形象，各种活动及商店买卖，也相当精彩，是明代苏州女孩的优秀模仿作品。",[23,194,24,26,7,28,106,107,108,110,117,153,150,86,212,105,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52111166a0d9cb90d99f022c1eb4318b.jpg","絹本","纵38x横673.4公分",[],{"id":29063,"slug":29064,"title":29065,"dynasty":76,"author":2162,"museum":419,"description":2163,"tags":29066,"thumbUrl":29069,"material":67,"size":2173,"collection":139,"collections":29070,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":49},230102,"hong-lou-meng-183-sun-wen-230102","红楼梦183",[320,28,7,24,106,107,175,115,611,34,278,59,409,29067,29068,1557],"群像","古典建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1c666a7a5a3b8395196307e5628ac27.jpg",[],{"id":29072,"slug":29073,"title":29074,"dynasty":76,"author":7596,"museum":316,"description":29075,"tags":29076,"thumbUrl":29077,"material":139,"size":139,"collection":139,"collections":29078,"showCount":184,"zanCount":2368,"manualWeight":48,"mainColor":49},229018,"song-shan-cao-tang-tu-li-zhou-wang-hui-229018","嵩山草堂图立轴","此作以高远、深远之法铺展画面，主峰奇崛巍峨，层岩叠嶂间流泉隐现，尽显山川雄浑苍劲。苍松虬曲盘桓，枝叶繁茂掩映山居草堂，山道萦回穿梭林麓，藏露有度。山脚烟岚轻笼水渚，村居错落生息，晕染出幽寂的林下栖居意趣。\n笔墨糅合南北二宗意趣，干笔皴擦勾勒山石肌理，苔点攒簇皴染，朴拙厚重中不失秀润灵韵，将山野林泉的隐逸雅致与山川壮美联为一体，尽显林泉幽居的清逸意境。",[23,24,25,226,7,177,29,176,34,1273,3165,114,1173,1171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F537957a672adead014ed280a86cc9ac3.jpg",[],{"id":29080,"slug":29081,"title":29082,"dynasty":18,"author":1046,"museum":316,"description":29083,"tags":29084,"thumbUrl":29085,"material":139,"size":139,"collection":139,"collections":29086,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":49},228914,"dai-du-tu-guo-xi-228914","待渡图","此作用平远之景铺展江天，烟波浩渺的水面空阔清远，左岸远山浅渚隐在淡墨晕染的霭气中，愈见悠远。右岸林木苍郁虬劲，亭台桥榭依岩而建，亭中文人围坐清谈，桥畔侍者静立，野渡间帆樯隐隐，江渚上渔舟闲泊，处处尽显萧散雅致。\n\n山石以灵动的卷云皴绘就，苍劲秀润，林木点染疏密有致，干湿笔墨互用，将初秋江岸的清润空明晕染开来，把林泉山水之幽，与林下雅集的文人情思相融，藏着江南水景的温婉意韵，尽显林泉高致的诗意之美。",[23,194,24,25,26,29,177,7,108,109,174,175,34,176,106,1169,5702],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9233102db3fec7191e78655e4c1384a9.jpg",[],{"id":29088,"slug":29089,"title":29090,"dynasty":18,"author":2414,"museum":608,"description":29091,"tags":29092,"thumbUrl":29093,"material":139,"size":139,"collection":139,"collections":29094,"showCount":184,"zanCount":2368,"manualWeight":48,"mainColor":49},228734,"wang-chuan-bie-shu-tu-juan-zhao-bo-ju-228734","辋川别墅图卷","以石青石绿敷染峰峦，古雅绢底晕开明丽苍润的山水气象。峰峦连绵开合，汀渚回环萦带，山居殿宇错落林泉，平湖轻舟泛波，林木蓊郁点染山野。笔法精细秀雅，青绿设色妍丽沉稳，承唐人青绿的华贵明艳，又融宋人的雅致意境，将林泉高致铺叙成一卷悠远山居长卷，把山水、村居、舟游融为和谐整体，尽显文人寄情丘山的雅逸意趣，是青绿山水里工致兼具写意的佳构。",[23,24,25,26,27,7,29,107,34,176,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F532ab89b8018cc96566364f4966f4c51.jpg",[],{"id":29096,"slug":29097,"title":922,"dynasty":99,"author":17423,"museum":316,"description":29098,"tags":29099,"thumbUrl":29100,"material":139,"size":139,"collection":139,"collections":29101,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":49},228365,"xiang-shan-jiu-lao-tu-zhou-chen-228365","《香山九老图》是明代画家 创作的一幅绢本设色画，该画现藏于 。\n名称：香山九老图轴 作者：周臣 年代：明代 周臣，明代中期的著名职业画家。\n他生活在成化至嘉靖年间，生卒年不详。\n字舜卿，号东村，吴（今江苏苏州）人，生年不详，卒于明世宗嘉靖14年（即155年）。\n擅长画人物和山水，画法严整工细。\n他有两个学生特别著名，一个唐寅，另一个仇英，唐寅、仇英青出于蓝，风格上极为接近，但当时名气已超过老师。\n周臣山水师承陈暹。\n曾刻苦临摹李成、郭熙、李唐、马远等作品，其主要取法于李唐派系。\n画山石坚凝，章法严谨，用笔纯熟。\n曾与戴进并驱，则互有所长。\n人物画也非常出色，古貌奇姿，绵密萧散，各极意态。\n南京博物院收藏的周臣代表作《柴门送别图》，描绘一文人携琴访友后，主客分别时依依不舍的情景，明月早已挂在高空，船工也已在船头熟睡，直至客人快要上船了，他还未酲来，说明主客送别时间之长，友谊之深，这其中也融含周臣画体的“院体画”与“文人画”的相融之处。\n周臣被人们称为非院派的“院派”画家。\n周臣是个丰产画家，流传下来的作品也不少，仅上海博物馆收藏《春山游踪图》 等大幅作品7幅，小扇页14幅，故宫博物院收藏《春山游骑图》、《春泉山隐图》等，济南博物馆收有《访友图》，及台湾、国外大博物馆内也收藏一些作品。\n周臣这些流存至今的作品件件结构精整，幅幅见功力，下笔不苟。",[23,24,25,7,28,177,106,29,1273,34,686,195],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaaa0c43decd43702693cac01a030852.jpg",[],{"id":29103,"slug":29104,"title":29105,"dynasty":99,"author":857,"museum":316,"description":29106,"tags":29107,"thumbUrl":29108,"material":139,"size":139,"collection":139,"collections":29109,"showCount":184,"zanCount":2368,"manualWeight":48,"mainColor":49},228291,"juan-qiu-tu-chen-hong-shou-228291","眷秋图","《明陈洪绶眷秋图》是明代画家陈洪绶所创作的一幅设色画。\n由该作品中的题记可知，此图为仿唐人同题画。\n其中石头浓墨粗点为陈洪缓所作，而构图、人物、梧桐树则为其弟子所作。\n图中画一 手执菊花信步于庭院林石间，后有一侍女举扇，扇面上画有梅花图，前有一侍女捧盘，盘中有壶和秋叶。\n陈洪绶（1598~1652年），明代画家。\n号老莲、悔迟，诸暨（今属浙江）人。\n幼年即喜爱绘画，一度为宫廷作画，后南返。\n擅画人物、山水、花鸟、竹石、鱼虫，初学蓝瑛，后学李公麟、赵孟频。\n绘有《水浒叶子》、《博古叶子》、《九歌》和《西厢记》等绣像插图。\n传世作品有《拳石山茶图》、《笼鹅图》、《升庵簪花图》、《摘梅高士图》。\n著有《宝论堂集》等。",[23,24,25,194,226,7,106,59,353,176,265,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F217fca3cd0fb6c774655daffdbd538d9.jpg",[],{"id":29111,"slug":29112,"title":29113,"dynasty":18,"author":257,"museum":316,"description":29114,"tags":29115,"thumbUrl":29116,"material":139,"size":139,"collection":139,"collections":29117,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":94},227832,"cong-ju-tu-ye-yi-ming-227832","丛菊图页","《丛菊图页》是南宋画家佚名创作的一幅绢本设色画。\n本幅无款。\n鉴藏印钤“□藤仙馆书画”、“云谷”、“□华宝有”，另有一印残。\n图绘秋菊一丛，红白相间，繁枝茂叶，生机勃发，不见肃杀秋意。\n花瓣用中锋细笔勾描，再以朱红或白粉晕染；花蕊用细笔点出；茂密的叶片或用赭石、或略入汁绿、或稍加藤黄染出，以示老嫩不同的色彩。\n花之欲开、盛开、将残，叶之翻卷及明暗向背，刻画得恰到好处。\n画风工致细腻，构图丰满，繁而不乱，密而不窒，设色艳而不俗，为南宋写生画佳作。",[23,194,24,25,81,28,7,83,897,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5312cc31255d3afb48112f73e8e7a3f.jpg",[],{"id":29119,"slug":29120,"title":29121,"dynasty":18,"author":10513,"museum":316,"description":29122,"tags":29123,"thumbUrl":29124,"material":139,"size":139,"collection":139,"collections":29125,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":49},227831,"she-xiang-tu-mao-song-227831","麝香图","洞石旁蜀葵柔枝舒展，粉白淡紫的花晕漾开雅致生机，藏在花枝间的禽鸟敛羽小憩，暗生幽趣。狸奴踞坐于地，蓬松白毛似覆软雪，琥珀眼眸凝向幼崽，神态温静慵懒。三只乳猫两两嬉闹，稚拙灵动的憨态被描摹入微。\n\n设色秀妍清雅，笔致工细却不失灵韵，以圆形构图收拢庭院景致，将母猫育幼的日常温情定格成一方温柔剪影，把宋人的细腻闲情晕开在绢素之上，平和松弛的烟火暖意漫溢其间，尽显雅致柔和的审美意趣，将寻常里的治愈温情留存至今。",[23,194,24,25,1260,28,7,745,746,62,230,689],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6e654708b44e5b560820fa536d6656d.jpg",[],{"id":29127,"slug":29128,"title":29129,"dynasty":18,"author":2509,"museum":316,"description":29130,"tags":29131,"thumbUrl":29132,"material":139,"size":139,"collection":139,"collections":29133,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":49},227511,"qiu-ting-ying-xi-tu-jing-xin-su-han-chen-227511","秋庭婴戏图镜心","以前每逛国内一些博物馆，古玩店铺，诸多载体如绢纸本的画、玉器、瓷器上，你总能看到许多幼童、小少年在室内或庭院或郊外耍闹、游戏。而一番梳理下来，你能发现，历史上宋、明、清朝代，婴戏图尤其多。宋代多显现在存世的画幅、瓷器、玉器上。北宋五大名窑及更多地方窑口，均单色釉，少图案。南宋龙泉窑碗内偶见婴戏图形，北方磁州窑的罐、枕上，多有或钓鱼或卧躺的婴儿图。明代的绘画尤其是明中期宣德特别是正德、嘉靖时期的瓷器上，婴戏图逐渐风行，小孩子蹴鞠图十分常见。客观原因是因为无论是明朝繁盛的青花，还是后来发明的五彩，对“婴戏图”再现更容易。清代的图画、瓷器的青花粉彩、玉器上，或“百子图”或“三娘教子图”或“庭院婴戏图”等，更已普遍化。传统文化伦理中，福禄寿三星，“福”即是寄望多子，“多子多福”，故历朝历代也将这种寄望显现在不同的艺术载体上。宋、明、清“婴戏图”相对更多，与这几个时代的商品经济、俗世文化的发达及瓷器玉器家具等工艺技术的升级换代有关。窃以为，还有一个隐藏原因：与其时帝王子嗣的夭折过多、稀薄有关。",[194,24,25,25705,28,7,106,227,379,229,8665],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1313ad7296d75c27256b6ac0d233eba1.jpg",[],{"id":29135,"slug":29136,"title":29137,"dynasty":18,"author":391,"museum":316,"description":29138,"tags":29139,"thumbUrl":29140,"material":139,"size":139,"collection":139,"collections":29141,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":49},227488,"xie-sheng-hou-qin-tu-zhao-ji-227488","写生猴禽图","赵佶，即宋徽宗，1100-1125年在位。在位时广收古物和书画，网罗画家，扩充翰林图画院，使文臣编纂《宣和书谱》、《宣和画谱》等。擅书画，真书学薛曜，自称“瘦金书”，也写狂草。绘画重视写生，以精工逼真著称，工花鸟，相传用生漆点睛，尤为生动。",[23,24,194,25,28,173,7,10516,568,1353,230,264,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bc738dc39291aa94d5820e8dca012b6.jpg",[],{"id":29143,"slug":29144,"title":29145,"dynasty":256,"author":257,"museum":1846,"description":29146,"tags":29147,"thumbUrl":29149,"material":599,"size":600,"collection":139,"collections":29150,"showCount":184,"zanCount":2368,"manualWeight":48,"mainColor":49},226507,"fu-shuo-bo-re-bo-luo-mi-duo-xin-jing-shou-gao-yi-ming-226507","佛说般若波罗蜜多心经手稿","佛说圣佛母般若波罗蜜多心经，如是我闻。一时世尊。在王舍城鹫峰山中。与大苾刍众千二百五十人俱。并诸菩萨摩诃萨众。而共围绕。尔时世尊。即入甚深光明宣说正法三摩地。时观自在菩萨摩诃萨在佛会中。 而此菩萨摩诃萨。已能修行甚深般若波罗蜜多。观自五蕴自性皆空。尔时尊者舍利子。承佛威神。前白观自在菩萨摩诃萨言：若善男子善女人， 于此甚深般若波罗蜜多法门，乐欲修学者，当云何学？",[260,22428,86,937,106,212,29148,7],"手稿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81e1da114336cb368bee1189390d642d.jpg",[],{"id":29152,"slug":29153,"title":29154,"dynasty":76,"author":23491,"museum":316,"description":29155,"tags":29156,"thumbUrl":29157,"material":139,"size":139,"collection":139,"collections":29158,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":94},224545,"yue-zhong-gui-tu-tu-jiang-pu-224545","月中桂兔图","《月中桂兔图》是清乾隆时期蒋溥创作的一幅画。\n本幅自识：“臣蒋溥恭绘。\n”下钤：“臣”、“溥”朱文方印。\n下裱工钤有古物陈列所藏印：“宝蕴楼书画续录”朱文方印。\n按乾隆皇帝御题可知，该作品绘于 二十三年（1758年）中秋。\n上、下诗堂有乾隆皇帝、刘统勋、董邦达、刘纶、介福五家题诗，以及蒋溥自题诗。\n蒋溥自题：“宸襟拈句发清芳，惭愧濡毫数点黄。\n恰遇山庄开寿宴，兔轮初上碧天凉。\n臣蒋溥恭和。\n”下钤：“臣”、“溥”朱文方印。\n乾隆皇帝御题：“秋暖无端迟桂芳，缀枝初折几苞黄。\n玉㕙静守冰轮朗，画出人间满意凉。\n戊寅中秋御题。\n”下钤“乾”朱文方印、“隆”白文方印。\n刘统勋题：“蕊珠颗颗领秋芳，风露连宵色染黄。\n驻景不烦寻玉杵，冰轮影现永清凉。\n臣刘统勋恭和。\n”下钤“歌咏太平”白文长方印。\n董邦达题：“广寒高处落秾芳，颖暎金枝浥露黄。\n正是敷天开寿域，重轮无际一天凉。\n臣董邦达恭和。\n”下钤“邦”白文方印、“达”朱文方印。\n刘纶题：“一株玉宇领巌芳，顾腹祥占抱珥黄。\n天咏题成广寒谱，云璈合与奏新凉。\n臣刘纶恭和。\n”下钤“臣”、“纶”白文方印。\n介福题：“玉兔爰爰守桂芳，金波湛湛着花黄。\n普天恰祝如恒寿，风露先披上苑凉。\n臣介福恭和。\n”下钤“介福”白文方印。\n此图以墨笔绘圆月，月中玉兔以干笔写皮毛，焦墨点睛，形象生动可爱。\n桂树以墨笔绘枝、叶，笔法细腻老道。\n桂花以桔黄色点染，其温暖的色调为冷月寒宫增添了几许暖意。\n全图布局紧凑，色墨运用巧妙，极富情趣。\n画作题诗中“冰轮”、“兔轮”、“广寒”、“重轮”等语，皆为月亮与玉兔的隐喻，以诗歌的形式烘托画面主题，从而巧妙的将诗、书、画三者紧密结合，把月中玉兔、桂树的优美传说演绎的美轮美奂，实为一件精美的风俗画作品。\n此幅上除了蒋溥的画及自题诗外，还有乾隆皇帝的御制诗和刘统勋、董邦达等大臣的应和诗，从中可见乾隆皇帝对汉民族传统习俗的承袭，和他与臣僚之间以诗画共度中秋的雅集场景。",[23,24,25,226,28,173,7,2181,4298,734,836,838,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac6f474eb82248126deb2f54e04d38a2.jpg",[],{"id":29160,"slug":29161,"title":29162,"dynasty":76,"author":12690,"museum":316,"description":29163,"tags":29164,"thumbUrl":29166,"material":139,"size":139,"collection":139,"collections":29167,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":94},224474,"yu-zan-hua-wan-shou-ju-yu-sheng-224474","玉簪花万寿菊","此作取景雅致，椭圆画幅将庭隅清趣拢于其中。玉簪花挺然舒展，紫瓣晕染出通透柔润的质感，垂坠的花穗尽显清雅柔婉之态；阔叶墨绿莹润，脉纹精细分明，衬出花枝秀逸。下方万寿菊娇俏点缀，细枝嫩叶灵动雅致，与玉簪花形成疏密错落的层次。\n\n设色温婉柔和，淡赭底色晕开古雅氛围，晕染兼具写实工致与写意韵致。题字落款雅致呼应画意，将花草舒展之态与清隽闲淡的意趣相融，尽显工笔花鸟的秀美细腻，观者仿若亲临小园，静赏幽花盛放的悠然生机。",[23,24,25,28,7,83,5627,29165,1090,2266],"万寿菊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F750762adee6fd22e6a0e3c0df1eb893a.jpg",[],{"id":29169,"slug":29170,"title":29171,"dynasty":76,"author":7596,"museum":316,"description":29172,"tags":29173,"thumbUrl":29177,"material":139,"size":139,"collection":139,"collections":29178,"showCount":184,"zanCount":2368,"manualWeight":48,"mainColor":49},224468,"xi-kou-bai-yun-tu-wang-hui-224468","溪口白云图","《庐山白云图》是清代 创作的纸本设色画。\n此图绘于清康熙三十六年（1697年），作者时年66岁，是其晚年诸多仿古作品中的代表性画作之一。\n卷末自识：“关仝庐山白云图为海内名迹，林壑位置迥出意匠之外。\n余二十年前偶于金陵友人斋中展阅数过，卷尾有董文敏题识，至今追忆恍在目前边。\n古香主人以藏纸属画，聊仿其意，万不及一，当不值方家一哂也。\n董跋并录于右。\n康熙丁丑暮春望后三日，虞山王翚。\n”钤“王翚印”、“石谷”印。\n引首章“上下千年 ”印。\n“丁丑”是清康熙三十六年（1697年）。\n在自识之前，有作者所临董其昌的跋：“顷游庐山，自天池策杖大林寺至崖头，下视山腰，俱为云雾所断，四空濛濛作白豪光，身如在银海中，无复林麓村墟可得。\n以为画家未曾收此奇境，及披此图，宛然庐山所见也。\n独是日见庐山上方诸峰，亦缥缈灭没为飞烟断霭耳。\n丙申闰八月晦日舟次繁昌大江中书玄宰。\n” “丙申”是明万历二十六年（1596年）。\n卷首钤压角印“耕烟野老”。\n收藏印有“傲徕山房”、“仲麟鉴赏”等方。\n尾纸有清姜宸英跋。\n据王翚自题，因年前曾观北宋关仝《庐山白云图》，故今用其法绘制此图，以遵“古香主人”之嘱。\n王翚曾与其师王时敏遍游大江南北，尽得观摹收藏家之秘本，故其摹古功力极高。\n王时敏称赞他：“集古人之长，尽趋笔端，故能妙绝千古。\n前诸制作，固足乱真，此则更为脱化，每仿一家曲尽其致，而超逸之趣则又过之。\n”这幅作品恰恰印证了王时敏对王翚的评价。\n“古香主人”即爱新觉罗·岳乐，王翚为其创作极为精心。\n画面上峰峦起伏，云雾迷茫，其中间的瀑布、杂树、竹亭、山石以浓密的雨点皴出之，正是仿关仝一路北方山水画法。\n全图工整谨密，秀润苍浑，深得关仝“笔简景少，气壮意长”之旨。\n王翚（162-1717）清代画家。\n字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。\n江苏常熟人。\n出身绘画世家，幼承家学，初学画于张珂，后又得到王鉴、王时敏指点。\n擅山水，初摹黄公望，后广泛师法唐宋元明诸家，转益多师，加以发展变化，形成个人风貌。\n曾说“以元人笔墨，运宋人丘壑，而泽以唐人气韵，乃为大成”。\n其画笔墨功底深厚，长于摹古，几可乱真，但又能不为成法所囿，部分作品富有写生意趣，构图多变，勾勒皴擦渲染得法，格调明快。\n在四王中比较突出。\n其画在清代极负盛名，康熙三十年奉诏绘制《康熙南巡图》，年完成，得到皇帝的褒奖，被视为画之正宗，追随者甚众，因他为常熟人，常熟有虞山，故后人将其称为虞山派。\n有《康熙南巡图》(与杨晋等人合作)、《秋山萧寺图》、《虞山枫林图》、《秋树昏鸦图》等传世。",[23,29174,7,177,173,28,29175,808,809,8450,986,34,176,35,37,29176,114,1426],"清代山水画","传统山水技法","松树林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd88c671433772a4b87aa285537a3616b.jpg",[],{"id":29180,"slug":29181,"title":29182,"dynasty":76,"author":2200,"museum":316,"description":29183,"tags":29184,"thumbUrl":29186,"material":139,"size":139,"collection":139,"collections":29187,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":94},224233,"zhong-kui-wu-chang-shuo-224233","钟馗","此作跳出钟馗惯常的狞厉驱邪范式，以写意之笔勾勒出闲散疏朗的别样风神。淡墨晕染衣袍，寥寥数笔便将宽袍缓带的慵懒姿态写尽，腰间佩剑暗藏威仪，却无肃杀之气。钟馗抬首凝望丝线上的小虫，神情松弛淡然，全然不见捉鬼镇邪的刚猛，更似幽居世外的逸士。\n\n左侧题诗与画意相得益彰，篆籀笔法的题字朴拙雄劲，和简淡的人物形成视觉张力，尽显诗画合璧的文人意趣，将民间俗神化为寄寓闲情逸致的文人心象，笔墨间满是随性自在的雅逸格调。",[23,24,25,7,173,106,2439,178,212,29185],"蜘蛛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2cb6298ff111c592b2ddf649923c616.jpg",[],{"id":29189,"slug":29190,"title":29191,"dynasty":189,"author":257,"museum":316,"description":29192,"tags":29193,"thumbUrl":29194,"material":139,"size":139,"collection":139,"collections":29195,"showCount":184,"zanCount":1379,"manualWeight":48,"mainColor":49},223600,"shen-jun-tu-juan-yi-ming-223600","神骏图卷","画面分野有致，左侧白马踏波驰行，骑手身姿稳练，骏马昂首翘尾，四蹄舒展，神骏勃发之态毕现。右侧林下石台，红衣士人凭坐回望，僧者坦腹怡然对晤，旁侧仆童持毛刷侍立，情态松弛闲适。\n设色古雅沉稳，青绿晕染坡岸，墨线细劲流畅，将人马灵动与林下幽逸相融，把世外雅集的清旷高逸尽显纸面，残卷仍掩不住精工雅致的风韵，尽显六朝清谈雅集的风流意趣。",[23,24,25,26,7,28,106,150,378,176,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d9205dfb3e7d9803703624ce638d146.jpg",[],{"id":29197,"slug":29198,"title":29199,"dynasty":18,"author":257,"museum":20,"description":29200,"tags":29201,"thumbUrl":29202,"material":529,"size":29203,"collection":139,"collections":29204,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":94},223591,"shu-he-sha-niao-tu-ye-yi-ming-223591","疏荷沙鸟图页","图中所绘残败的荷叶表明了时当秋日，荷塘的一角，一枝枯瘦的莲蓬横出画面，鹡鸰栖止于莲梗上，侧首注视着上方的一只小蜂，其凝神专注的神态刻画得惟妙惟肖。莲梗两端的鹡鸰与莲蓬巧妙地平衡了画面，而鹡鸰目向小蜂的视线则带动观者的视线落于画面上方，这种布局使画面显得既稳定又生动。此图格调典雅，用笔精致，画风细腻，荷叶枯黄的斑点和细小的筋脉均描绘得一丝不苟。",[23,194,24,25,81,28,7,178,86,212,136,20538,209,18],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd83a87f455c33296c9ed4d781844a8fe.jpg","纵25厘米，横25．6厘米",[],{"id":29206,"slug":29207,"title":29208,"dynasty":18,"author":4912,"museum":20,"description":29209,"tags":29210,"thumbUrl":29211,"material":29212,"size":29213,"collection":139,"collections":29214,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":49},223513,"liu-yin-gao-shi-tu-wang-shen-223513","柳荫高士图","北宋熙宁二年（1069年）娶英宗女蜀国大长公主，拜左卫将军、驸马都尉。元丰二年，因受苏轼牵连贬官均州。元祐元年（1086年）复登州刺史、驸马都尉。擅画山水，学王维、李成，喜作烟江云山、寒林幽谷，水墨清润明洁，青绿设色高古绝俗。亦能书，善属文。其词语言清丽，情致缠绵，音调谐美。存世作品有《渔村小雪图》《烟江叠嶂图》《溪山秋霁图》等。",[23,24,25,7,28,106,1241,353,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe087bce9ee900ca12a83d8169b36bf3.jpg","轴绢本设色","76×46.4厘米",[],{"id":29216,"slug":29217,"title":29218,"dynasty":99,"author":257,"museum":20,"description":29219,"tags":29220,"thumbUrl":29221,"material":67,"size":29222,"collection":139,"collections":29223,"showCount":184,"zanCount":2368,"manualWeight":48,"mainColor":49},223384,"shuang-tu-tu-ye-yi-ming-223384","双兔图页","《双兔图页》是明代佚名创作的绢本设色画。",[23,24,25,1260,28,7,746,2181,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd702801541ffb43e86522d41bd3b9e52.jpg","纵114.3厘米 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天水圖書”二印。元至正七年为1347年。画幅上方有元人迺贤题诗数行。\n古今以游骑射猎为题材的图画不可胜数，但大多是对射猎场面的描绘，如此图般绘写游猎之人闲适地搜寻猎物的作品则寥若晨星，别具巧思，耐人寻味。赵雍独具一格、匠心独运的绘画风格于此可见一斑。\n此图经清内府收藏，有嘉庆、宣统诸印。《石渠宝笈·三编》著录。",[23,24,25,226,7,28,106,150,378,230,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c7470f8757d79778b720a9254a3ab74.jpg","纵109厘米，横46.3厘米",[181,45],{"id":29293,"slug":29294,"title":29295,"dynasty":302,"author":29296,"museum":20,"description":29297,"tags":29298,"thumbUrl":29299,"material":40,"size":22514,"collection":44,"collections":29300,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":49},221766,"ren-ma-tu-zhou-ren-xian-zuo-221766","人马图轴","任贤佐","任贤佐于其父书斋“可诗堂”作此图，当绘于任仁发去世（1327年）之前。图画一着唐朝官服的圉官，拱手持缰，身后立一花马，画风得自家传，用笔细劲，设色简约而轻淡，严谨造型。本幅作者自识“子良于可诗堂作”，钤印“任氏子良”。另钤清“项子京家珍藏”和乾隆帝的印玺等13方。",[23,24,28,7,106,150,226,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F560b087e401581b870cf754e3b9d10ec.jpg",[44,45],{"id":29302,"slug":29303,"title":29304,"dynasty":18,"author":1350,"museum":20,"description":29305,"tags":29306,"thumbUrl":29318,"material":160,"size":29319,"collection":139,"collections":29320,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":49},221530,"shui-tu-juan-ma-yuan-221530","水图卷","《水图》共有十二段。除第一段因残缺半幅而无图名外，其余图名分别是：“洞庭风细”、“层波叠浪”、“寒塘清浅”、“长江万顷”、“黄河逆流”、“秋水回波”、“云生沧海”、“湖光潋滟”、“云舒浪卷”、“晓日烘山”、“细浪漂漂”。这十二段作品，专门画水，除个别幅有极少岩岸之外，其它没有任何别的景色，完全通过对水的不同姿态的描写，表现出种种不同的意境。作者对水观察的细致入微，以及创造出来的形态美感和笔墨技能，都令人惊叹不已。如“洞庭风细”，波浪如鳞，不激不怒，近大远小以至于水天一色，彷佛觉得微风习习，轻轻掠过了那开阔的湖面，使人心旷神怡，宠辱皆忘。“层波叠浪”是以颤抖的笔法，描写浪涛的起落，彷佛其下有蛟龙蛰伏。那汹涌澎湃的气势，使人精神振奋而感到豪壮。“湖光潋滟”一幅，画家以轻快流畅的笔法，画出水波的跳动，浪峰无规则的排列，显然受到乱风的吹荡，即使画家不染上红色，也使观者感到阳光明媚，不由得想起“湖光潋滟晴偏好”的杭州西湖景象来。“云舒浪卷”一幅，却又是另外一番境界。画家以凝涩的笔触，画出一个浪头，它彷佛咆哮着要腾空而起，天空中黑云滚动，与水相接，更增加有如冲锋陷阵的气概。画面虽小，而气魄宏大壮观。其它各幅，都各有不同的笔法特点和意境，就留待读者自己体会。",[23,24,26,25,173,7,29,262,408,13279,978,29307,13461,2235,29308,29309,29310,29311,29312,29313,29314,29315,29316,29317],"沧海","晓日","细浪","叠浪","逆流","回波","潋滟","浪卷","心旷神怡","豪壮","气魄宏大","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F608b77553133468e4bb46dc87ada9d69.jpg","纵26.8厘米，横41.6厘米",[],{"id":29322,"slug":29323,"title":29324,"dynasty":18,"author":9555,"museum":316,"description":29325,"tags":29326,"thumbUrl":29327,"material":67,"size":29328,"collection":42,"collections":29329,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":49},221438,"qiu-chi-xi-qiao-tu-zhao-ling-rang-221438","秋池溪桥图","趙令穰（生卒年不詳），字大年，北宋汴京（今河南開封）人，畫家。宋太祖趙匡胤五世孫。官至光州防禦使﹑崇信軍觀察留後，卒贈“開府儀同三司”，追封“榮國公”。其孫趙伯駒為宋代著名畫家，官至浙東兵馬鈐轄。趙令穰工畫山水、花果、翎毛，筆致秀麗，尤長金碧山水。遠師李思訓父子。代表作品《風雲期會圖》《春山圖》《阿閣圖》《後赤壁圖 》《文會圖》《鳥雀圖》等。留傳到現在的有《漢宮圖》《阿閣圖》《萬松金闕圖》等。",[23,24,25,29,7,177,353,245,109,108,1353],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e08d87ef65ff90075f06a4322ff790b.jpg","27.9x34厘米",[42],{"id":29331,"slug":29332,"title":1383,"dynasty":18,"author":4254,"museum":191,"description":4255,"tags":29333,"thumbUrl":29334,"material":67,"size":29335,"collection":139,"collections":29336,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":94},221388,"shan-shui-tu-fan-kuan-221388",[23,24,194,25,29,177,7,685,34,35,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35c64cfa9031857b41416378a5e4b8cc.jpg","24.6x25.6",[],{"id":29338,"slug":29339,"title":29340,"dynasty":18,"author":13840,"museum":191,"description":29341,"tags":29342,"thumbUrl":29344,"material":29345,"size":29346,"collection":139,"collections":29347,"showCount":184,"zanCount":2368,"manualWeight":48,"mainColor":49},221241,"song-ke-xiu-kai-tai-tu-zhou-song-ren-221241","宋缂绣开泰图轴","南宋踏踏歌行图轴为宋人缂丝作品仲裁取的一部分，能独立成篇。\n构缂、平缂交替使用。\n远处云气流动，近处山石野草情趣盎然。\n人物造型准确生动，手持击板，嘴中吟唱，轻踏脚步，逍遥自在。",[23,29343,226,7,28,106,150,6162,662,29,3661,31,34,84,176],"缂绣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc401a0692f0ab7135bf602629e7f6c91.jpg","织绣","349x95.8",[],{"id":29349,"slug":29350,"title":5930,"dynasty":54,"author":6017,"museum":191,"description":29351,"tags":29352,"thumbUrl":29354,"material":1307,"size":29355,"collection":181,"collections":29356,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":49},221094,"ming-huang-xing-shu-tu-li-zhao-dao-221094","作品描绘人马行走于崇山峻岭间。画上有乾隆三十九年（1774）的御题诗：青绿关山迥，崎岖道路长。客人各结束，行李自周详。总为名和利，那辞劳与忙。年陈失姓氏，北宋近乎惠”。《明皇幸蜀图》体现了二李画派的典型风格，时代特征明显，是反映唐代山水画面貌的重要传世作品。",[23,24,29,685,262,378,2235,7,28,29353,67],"横披","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8a04cfa4068831cfeaed0b412c23431.jpg","纵55.9厘米，横81厘米",[181,45],{"id":29358,"slug":29359,"title":29360,"dynasty":348,"author":29361,"museum":191,"description":29362,"tags":29363,"thumbUrl":29364,"material":7,"size":29365,"collection":181,"collections":29366,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":94},221013,"yun-tai-shan-tu-xun-xu-221013","云台山图","旬勗","荀勖（xù）（？～289年），字公曾。颍川颍阴（今河南省许昌市）人。三国至西晋时音律学家、文学家、藏书家，西晋开国功臣。为东汉司空荀爽曾孙。\n荀勖少年时聪慧好学。初仕于魏，为大将军曹爽掾属，后迁中书通事郎。曹爽被诛后，历任安阳令、骠骑从事中郎、廷尉正等职。又任大将军司马昭记室，屡进策谋，深见信任，与裴秀、羊祜共掌机密。西晋建立后，封济北郡侯。后拜中书监兼侍中，领著作。累官至光禄大夫、仪同三司、守尚书令。在尚书台时，核罢省中不称职之人。\n太康十年（289年），荀勖去世。获赠司徒，谥号为成。\n荀勖善于逢迎，被时人比作倾覆国家、搅乱时局的贰臣。但他为人谨慎，每有参预的国家大政，都闭口不言，不愿让别人知道他参与其中。荀勖博学多才，曾与贾充一起修订法令；掌管乐事时，又修正律吕；领秘书监时，曾与张华一同按刘向《别录》整理典籍。有文集三卷，今已佚。",[23,24,25,29,7,177,109,107,353],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feda584db27dc18d7eff1e357a5a49a9e.jpg","73.4x98.6厘米",[181,45],{"id":29368,"slug":29369,"title":29370,"dynasty":99,"author":2425,"museum":20,"description":29371,"tags":29372,"thumbUrl":29373,"material":40,"size":29374,"collection":181,"collections":29375,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":49},220921,"yan-ling-cun-tu-dong-qi-chang-220921","延陵村图","《董其昌延陵村图轴》是明代画家 创作的一幅绢本设色画。\n本幅自题：“延陵村在茅山之东，有张从申碑。\n从申，唐大历时司直。\n赵子固称其书品在李北海之右。\n玄靖天师碑与延陵季子此碑皆在华阳，笔法类徐浩三藏法师碑。\n延陵碑萧定作也。\n略曰‘听乐辩刊国之兴亡，审贤知世数之存没，挂剑示不言之信，避国保无欲之贞，玄风可想，至德如存云’。\n旁有四贤，以祀董永、韦昭、王素与季子而四。\n癸亥二月，画于丹阳舟中，因命之延陵村图并书此。\n董玄宰。\n“癸亥”为明天启三年（162年），董其昌时年69岁。\n清青浮山人编《董华亭书画录一卷》著录。",[23,24,25,226,173,7,177,178,212,29,176,34,35,1169,3561,686],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8da1148d2290dcb3cc11ce0563bf06a8.jpg","纵78.5厘米，横30.2厘米",[181,163],{"id":29377,"slug":29378,"title":29379,"dynasty":99,"author":170,"museum":1830,"description":14925,"tags":29380,"thumbUrl":29381,"material":638,"size":14929,"collection":139,"collections":29382,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":94},220020,"dong-zhuang-tu-ce-zhi-sang-zhou-shen-zhou-220020","东庄图册之桑州",[23,24,25,81,173,7,29,34,176,1024],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd451e05aae9ee860e65702e5c77a968d.jpg",[],{"id":29384,"slug":29385,"title":29386,"dynasty":99,"author":170,"museum":1830,"description":14925,"tags":29387,"thumbUrl":29388,"material":88,"size":14929,"collection":139,"collections":29389,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":94},220017,"dong-zhuang-tu-ce-zhi-zhu-ying-jing-shen-zhou-220017","东庄图册之朱樱径",[23,194,24,173,7,81,177,29,34,1171,106,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15839f4d94e03e2266c9b42a00660105.jpg",[],{"id":29391,"slug":29392,"title":29393,"dynasty":99,"author":792,"museum":29394,"description":29395,"tags":29396,"thumbUrl":29397,"material":7,"size":139,"collection":181,"collections":29398,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":94},219985,"shan-shui-tu-fang-huang-gong-wang-lan-ying-219985","山水图-仿黄公望","芝加哥大学艺术博物馆","画法是作钩勒浅绛法。",[23,24,25,26,105,177,29,685,379,378,86,212,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F937195e9a071267f38f8616689e68d3a.jpg",[181],{"id":29400,"slug":29401,"title":29402,"dynasty":18,"author":1588,"museum":191,"description":29403,"tags":29404,"thumbUrl":29405,"material":123,"size":29406,"collection":44,"collections":29407,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":49},219614,"xia-yu-wang-xiang-ma-lin-219614","夏禹王像","夏禹，传说中古代夏部落的领袖，姒姓，名文命，亦称大禹。《夏禹王像》绘夏禹手持如意笏，头戴王冠，身披龙袍，端庄地立于画面的正中。作者充分地利用线条的造型的能力，生动地刻画了夏禹慈祥和蔼的形象和内在性格。",[23,194,24,25,226,28,7,106,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3904a30a552db81105dd7a9584a7ffa9.jpg","249x111.3厘米",[44],{"id":29409,"slug":29410,"title":29411,"dynasty":18,"author":18624,"museum":191,"description":29412,"tags":29413,"thumbUrl":29415,"material":123,"size":29416,"collection":44,"collections":29417,"showCount":184,"zanCount":2368,"manualWeight":48,"mainColor":49},219609,"song-xia-ye-zhang-tu-xu-dao-ning-219609","松下曳杖图","湖滨之畔，苍松翠竹，盘纡成阴，松下逸士自小径出，持杖凝神，倾听松籁竹韵。江渚野趣，清朗怡人。本幅结构严密，景物偏幅右边，全图描写着重一风字。幅内之松、竹、草、枯枝、士人衣褶帽带皆因风势顺成一向，双钩墨笔点画松竹人物，描绘甚为灵动。本幅旧签题为许道宁，然依画松竹人物等作风则与刘松年较近，可能为南宋后期受刘氏影响的作品。本幅为「历代名绘」册第八幅。许道宁（约西元11世纪），河北河间人。初市药于都门，好描绘街坊各色人物。后游太华山，转好写山水。",[23,194,24,25,1260,7,106,1133,176,29414],"曳杖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecbfb88746858382f40f7dd5ca3d89fb.jpg","24.2x25.3厘米",[44],{"id":29419,"slug":29420,"title":29421,"dynasty":99,"author":16749,"museum":101,"description":29422,"tags":29423,"thumbUrl":29424,"material":123,"size":139,"collection":44,"collections":29425,"showCount":184,"zanCount":1379,"manualWeight":48,"mainColor":49},219560,"na-jian-tu-liu-jun-219560","纳谏图","工笔设色铺陈出朝堂议事的肃穆图景。主尊踞坐帐中，神色沉敛威严，阶下诸人或躬身禀奏、或长跪进言，武将甲胄鲜明英挺，文士宽袍意态恭谨，人物神态各尽其肖，将君臣纳谏对答的郑重氛围尽显。苍松虬劲卓立，奇石牡丹点缀帐顶，衬出仪制的雅致庄重。设色古雅厚重，衣纹铁线描劲挺流畅，既刻画出不同身份人物的风骨仪态，又精准渲染出朝堂议事的端严氛围，细节处见匠心笔力，尽显传统人物画的写实功力与礼制意涵。",[23,194,24,25,28,7,106,378,292],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0be98c2f733f4de9fc678f8e7c26724b.jpg",[44],{"id":29427,"slug":29428,"title":29429,"dynasty":76,"author":257,"museum":191,"description":29430,"tags":29431,"thumbUrl":29435,"material":88,"size":29436,"collection":45,"collections":29437,"showCount":184,"zanCount":2368,"manualWeight":48,"mainColor":94},219370,"wu-kuan-hua-yin-wo-quan-zhou-yi-ming-219370","无款花阴卧犬轴","花阴覆处，湖石嶙峋，几丛花草点缀其间，生机暗涌。群犬嬉戏成趣：一犬蜷身侧卧，颈间红绳系铃，眸光慵懒似梦；旁侧幼犬挤卧亲昵，绒毛软嫩如棉，另有小犬蹒跚学步，爪印浅浅印于草间。湖石皴法细腻，纹理毕现；花草设色淡雅，与犬之墨韵相映成趣。整幅画无喧嚣之态，唯有闲居之暖，似将时光凝于花阴下，藏住一段温柔的日常。笔触柔润却不失精准，将犬的憨态与场景的静谧融于一体，尽显生活中的细碎温情，让人观之忘俗。",[24,7,28,226,746,8941,29432,230,62,264,29433,29434],"幼犬","阴景","多犬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4e148e8acfd6744eb02cf49cd8a5dd6.jpg","123.3x153.7",[45],{"id":29439,"slug":29440,"title":29441,"dynasty":76,"author":7596,"museum":20,"description":28697,"tags":29442,"thumbUrl":29443,"material":88,"size":29444,"collection":181,"collections":29445,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":94},218367,"teng-bi-qiao-song-tu-wang-hui-218367","藤薜乔松图",[23,24,226,7,29,1273,686,212,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4939b85389cc00563a2e6e13f75696e.jpg","45.4x20.5cm",[181],{"id":29447,"slug":29448,"title":29449,"dynasty":99,"author":1196,"museum":442,"description":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十分优美，江水波光粼粼，岸边的树木和花草都迎来了春天的到来，鸟儿翩翩起舞，整个画面充满了春天的气息。\n\n永瑢（1678-1735）是清代著名的画家，他的画风清新自然，擅长写意画，作品风格独特，深受人们的喜爱。他的作品《春江行舟图》被誉为其代表作之一，在当时颇受推崇，至今仍为艺术爱好者所珍视。",[24,25,81,7,29,108,109,174,34,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4455e3dd567e1a378f0c19d2d4d2cdf6.jpg","12.2×13.9cm",[181],{"id":29524,"slug":29525,"title":29526,"dynasty":76,"author":997,"museum":132,"description":4714,"tags":29527,"thumbUrl":29528,"material":88,"size":4718,"collection":90,"collections":29529,"showCount":184,"zanCount":48,"manualWeight":48,"mainColor":94},214565,"mo-zui-za-hua-tu-ce-2-shi-tao-214565","墨醉杂画图册-2",[23,24,25,81,7,173,177,230,634,228,838,3519],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3bb60e03b8a80aef02ca4e630d97a6a.jpg",[90],{"id":29531,"slug":29532,"title":29533,"dynasty":99,"author":100,"museum":316,"description":3427,"tags":29534,"thumbUrl":29535,"material":599,"size":600,"collection":139,"collections":29536,"showCount":29537,"zanCount":48,"manualWeight":48,"mainColor":94},290922,"ming-hua-hui-cao-chong-chou-ying-290922","明花卉草虫",[24,194,81,28,7,83,84,483,6375],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8163aef7e78f2a1d893f5eca500593eb.jpg",[],44,{"id":29539,"slug":29540,"title":5855,"dynasty":76,"author":2883,"museum":316,"description":4139,"tags":29541,"thumbUrl":29542,"material":599,"size":600,"collection":139,"collections":29543,"showCount":29537,"zanCount":48,"manualWeight":48,"mainColor":49},290318,"sui-chao-tu-zhou-jiang-ting-xi-290318",[194,24,226,7,28,83,1133,820,898,8848,84,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49b36f951d2dbef57185121b60fa59eb.jpg",[],{"id":29545,"slug":29546,"title":29547,"dynasty":18,"author":29548,"museum":191,"description":29549,"tags":29550,"thumbUrl":29552,"material":1307,"size":29553,"collection":139,"collections":29554,"showCount":29537,"zanCount":2368,"manualWeight":48,"mainColor":49},289923,"le-zhi-lun-tu-li-cong-xun-289923","乐志论图","李从训","杭州人。宣和（一一一九―一一二五）待诏，绍兴（一一三一―一一六二）间复宫补承直郎，赐金带。工画道释、人物、花鸟，位置不凡，传彩精妙，高出流辈。",[23,24,26,28,7,106,29,1557,176,34,1173,1241,1896,4352,29551],"日常场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1968fcee276617eabf933115635e8bbf.jpg","画幅31.4x259公分",[],{"id":29556,"slug":29557,"title":29558,"dynasty":18,"author":5739,"museum":316,"description":5740,"tags":29559,"thumbUrl":29560,"material":599,"size":600,"collection":139,"collections":29561,"showCount":29537,"zanCount":48,"manualWeight":48,"mainColor":49},288954,"xuan-cao-you-gou-tu-mao-yi-288954","萱草游狗图",[24,28,7,2746,61,884,686,746,26354],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4451ba617deffe2f59651d8c89fc4ce.jpg",[],{"id":29563,"slug":29564,"title":29565,"dynasty":18,"author":647,"museum":316,"description":16617,"tags":29566,"thumbUrl":29567,"material":599,"size":600,"collection":139,"collections":29568,"showCount":29537,"zanCount":2368,"manualWeight":48,"mainColor":94},288539,"xie-sheng-jia-die-tu-zhao-chang-288539","写生蛱蝶图",[23,24,194,25,26,28,7,83,3106,483,84,4716,178,212,26665],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97796390b63dc3cfc3af98bc62a819e5.jpg",[],{"id":29570,"slug":29571,"title":4264,"dynasty":76,"author":6641,"museum":316,"description":29572,"tags":29573,"thumbUrl":29574,"material":599,"size":600,"collection":139,"collections":29575,"showCount":29537,"zanCount":48,"manualWeight":48,"mainColor":94},288454,"hua-hui-tu-ce-zhao-zhi-qian-288454","赵之谦（1829年8月8日－1884年11月18日），汉族，浙江会稽（今绍兴）人。初字益甫，号冷君；后改字撝（huī）叔，号悲庵、梅庵、无闷等。清代著名书画家、篆刻家，与吴昌硕、厉良玉并称“新浙派”的三位代表人物，与任伯年、吴昌硕并称“清末三大画家”。李志敏评价：“赵之谦学北碑自成一体。”\n赵之谦从青年时代起，就刻苦致力于经学、文字训诂和金石考据之学，取得了相当的成就。尤精书画、篆刻。赵之谦善于向前人和同时代各派名家学习，又不囿前人，勇于创新。在绘画上，他是“海上画派”的先驱人物，其以书、印入画所开创的“金石画风”，对近代写意花卉的发展产生了巨大影响；在书法上，他是清代碑学理论的最有力实践者，其魏碑体书风的形成，使得碑派技法体系进一步趋向完善，从而成为有清一代第一位在正、行、篆、隶诸体上真正全面学碑的典范；在篆刻上，他在前人的基础上广为取法，融会贯通，以“印外求印”的手段创造性地继承了邓石如以来“印从书出”的创作模式，开辟了一个前所未有的新境界。\n赵之谦的篆刻成就巨大，对后世影响深远。近代的吴昌硕、齐白石等画家都从他处受惠良多。著有《六朝别字记》《悲庵居士文存》等，又有篆刻《二金蝶堂印存》。",[23,24,25,81,7,83,898,8848,176,86,212,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F264efa0c0138cb942593d7fd8f6558d0.jpg",[],{"id":29577,"slug":29578,"title":29579,"dynasty":76,"author":742,"museum":316,"description":1373,"tags":29580,"thumbUrl":29581,"material":599,"size":600,"collection":139,"collections":29582,"showCount":29537,"zanCount":48,"manualWeight":48,"mainColor":94},288174,"he-hua-shuang-ya-li-zhou-ren-yi-288174","荷花双鸭立轴",[23,24,226,173,7,83,136,2125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F558fc058a71b3262d00499f28f8a76a2.jpg",[],{"id":29584,"slug":29585,"title":29586,"dynasty":99,"author":1057,"museum":316,"description":19877,"tags":29587,"thumbUrl":29588,"material":599,"size":600,"collection":139,"collections":29589,"showCount":29537,"zanCount":48,"manualWeight":48,"mainColor":94},287750,"hua-hui-shi-kai-he-tu-xiang-sheng-mo-287750","花卉十开(合图)",[24,194,81,28,7,83,84,820,579,897,228,292,1060,243,898,634],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7dc877eba84263d9e3018bb06e2fb25.jp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自得其乐；圉人（饲马的胡人）倚松假寐，神情极为逍遥；湖水如镜，远岫屏列，益觉一派静穆祥和。马匹结体壮硕，颇有唐代画马名家曹霸、韩干的遗意。配景设色则以青绿为之，夹叶填彩的表现法，已近乎图案形式，实滥觞于隋唐所盛行的青绿传统。唯远山掺用披麻皴纹，透露出董源、巨然山水风格的影响辙痕。\n早在秦汉时期，马匹造形即被广泛运用于殉葬的明器当中，魏晋的陵墓壁画，亦不乏骑马、射猎等生活写照。有唐一代，随着养马风尚高涨，画马的艺术也臻于极峰，举凡曹霸、陈闳、韩干、韦偃等人，均有作品传世。\n宋元以后，画马风气受到山水画勃兴的影响，逐渐趋向式微，除却李公麟的白描人马尚自具一格外，鲜少能超迈前贤的力作。而赵雍置身于复古思想炙热的元代，笔端吞吐着浓郁的唐人风范，诚属“汲古以创新”的心态所使然。事实上，赵雍画马已不似唐马那般丰肥，线条的感觉较为柔婉、秀丽，加上揉合青绿设色与董、巨披麻皴纹的山水配景，致使全画于装饰意味之外，犹未失却文人作画所特有的儒雅本色。显然，赵雍笔下的人马业已展现出元朝的时代风貌，不复为单纯的临摹与仿古了。\n该幅画平畴林野牧马的景致，画骏马五匹或磨肩，或依偎，或觅食于树荫下，不管在结构或造形上，皆显示画家对马匹曾做仔细的观察与了解，轻而易举地掌握复杂的造型。圉人倚松假寐，状至悠闲逍遥。人马以中锋钩画，人物表情生动，马匹结体雄壮。树叶以近似图案的工整格式画出，装饰性强，饶古拙之趣。画家更利用平镜无纹的湖水，及罗列的远山，加强空间的推衍及层次感，呈现阔远松秀的画面。其青绿设色及用笔虽颇有唐人遗意，但因结合设色与皴法，远较唐之青绿山水雅淡，充分地发挥笔墨情趣。\n这幅画是赵雍为色目人官员─孛颜忽都所画的。画风主要承袭自隋唐时代青绿山水，设色主要填染了石青、石绿，色彩浓丽；还有，如画树叶先勾出轮廓，再填入颜色，正是工笔画中夹叶填彩的画法。此外，马匹高大肥硕的体型，也是追法唐代画马的意趣。不过，赵雍的这幅画还揉合了五代画家董、巨一派的笔意，例如：表现远山质感、那种类似苎麻纤维的线纹，叫做披麻皴:。综而观之，《元赵雍骏马图轴》的人物、马匹及山水背景，虽具唐宋古意遗韵，但在构图上一水两岸的平远景致，依旧是典型的元人特色。赵雍在元代复古的风潮中，也开拓了新的时代风格。",[24,194,25,226,28,7,150,378,176,912,1169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd50ae8022a673be0e735a42f54526d7.jpg","186x106",[],{"id":29658,"slug":29659,"title":5900,"dynasty":99,"author":100,"museum":191,"description":29660,"tags":29661,"thumbUrl":29670,"material":123,"size":29671,"collection":139,"collections":29672,"showCount":29537,"zanCount":48,"manualWeight":48,"mainColor":49},231375,"qiu-jiang-dai-du-tu-chou-ying-231375","此画属于院体一类，造型严谨，用笔不苟，刻画十分精细。只要展开画卷仔细观察，其中无沦一砖一瓦，一枝一叶，一草一木，还是人物表情，都描绘得极其精妙。即是远景、远岸的重山峻岭，山峦连绵，也画得很瓷实，一潭宽阔无际的秋水，宛如镜面。白云下的房舍屋宁、树林画得虽细小，但十分精工，所以把白云上面的山推向远处。近景为此画的核心，近岸山峦很高，村庄座落其间，显得十分细小，但画得十分精致。画面上的树林杂木众多，通过画家的笔触，画得各有特色，成为整幅画上的重要组成部分。这是一幅煌煌巨制的画作。景界开阔，但不觉疏散。他运用自己高超的技法，特别注重意境的刻画，在他笔下的屋可居，山可游，生活气息浓郁，有着诗一般的意境。设色温和清秀，并不艳俗。所画的人物比例虽小，但通过精致刻画，神形俱全。确属雅俗共赏之作。\n这一作品画面不大，但由于构图布局得当，远处的山峦，近处的茫茫秋水和近岸的山丘与树林，空间关系处理得当，使人感到境界十分开阔，具有咫尺千里之妙。同时，秋高气爽的季节特点也得到了很好的体现。从具体画法上看，无论是景物的一枝一叶，还是人物的表情，都描绘得十分精细。与那些远离现实、表现隐逸思想的某些文人画家的山水画相比，这一作品就显得具有浓厚的生活气息，可以激起人们对生活的热爱。",[24,3559,28,7,29,29662,808,29663,174,106,980,7600,29664,29665,29666,29667,29668,29669],"秋水","树林","秋高气爽","咫尺千里","雅俗共赏","精工细作","生活气息浓郁","意境悠远","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda34b84f047fd2cff2c3894ed7617045.jpg","纵155．4厘米，横133.4厘米",[],{"id":29674,"slug":29675,"title":29676,"dynasty":54,"author":257,"museum":316,"description":29677,"tags":29678,"thumbUrl":29679,"material":599,"size":600,"collection":139,"collections":29680,"showCount":29537,"zanCount":2368,"manualWeight":48,"mainColor":49},230935,"shi-nv-xiang-yi-ming-230935","仕女像","这幅泥壁画虽历经风霜漆面龟裂斑驳，却依旧神韵斐然。交臂跪坐的仕女身姿柔婉娴静，盛唐丰腴的体态在简练铁线描下尽显雍容。绿调头光晕染出清寂氛围感，赭褐上衣配碧色飘带，古旧色彩晕染层次尚存，宝冠璎珞的细节暗合供养人身份，带着佛境的超脱柔媚。残损的肌理裹着岁月沉韵，将盛唐雅致的审美风骨，凝在这一方泥壁之上。",[24,25,511,7,106,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bc26d91d8cfee475b78ad024bc28a63.jpg",[],{"id":29682,"slug":29683,"title":29684,"dynasty":76,"author":7863,"museum":316,"description":29685,"tags":29686,"thumbUrl":29687,"material":139,"size":139,"collection":139,"collections":29688,"showCount":29537,"zanCount":48,"manualWeight":48,"mainColor":94},230242,"hua-hui-ce-liu-kai-jin-nong-230242","花卉册六开","此作以淡墨轻勾花形，敷色浅淡清润，将花卉柔婉之态晕染尽致。叶片以枯涩苍劲的墨线勾勒叶脉，淡青晕染叶面，朴拙之中不失秀灵。题字古雅厚朴，金石意趣与画面浑然相融。整体构图疏朗空寂，摒弃繁复修饰，尽显文人画简淡野逸之致。寥寥数笔便捕捉住花草清寂神韵，以极简的笔墨传递出沉静内敛的古拙之美，将文人高逸品格寄寓在一花一叶之间，平淡中见奇崛，清疏里藏雅意。",[24,173,7,81,84,579,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d028cce8fba0f93a54076616de43b82.jpg",[],{"id":29690,"slug":29691,"title":29692,"dynasty":76,"author":329,"museum":316,"description":29693,"tags":29694,"thumbUrl":29695,"material":139,"size":139,"collection":139,"collections":29696,"showCount":29537,"zanCount":2368,"manualWeight":48,"mainColor":94},230208,"xin-xie-zhi-ping-tu-qian-long-di-hou-fei-pin-tu-juan-lang-shi-ning-230208","心写治平图（乾隆帝后妃嫔图卷）","整卷以右至左排布人物，糅合西洋写实晕染与东方工笔雅致，将帝后妃嫔的面容刻画得精细入微，明暗起伏间尽显温婉端凝的皇家仪态。\n服饰纹样繁复考究，缂丝龙纹行云流转，貂皮立领柔润逼真，金线朱色点缀间尽显清宫礼制的华贵威仪。旁侧小字标注身份，朱红印章错落点缀，让画作兼具纪实性与艺术性。\n静穆典雅的画面中藏着清代宫廷的仪制尊荣，是中西绘法融合的经典肖像佳作，将帝后群像的雍容气度凝固于绢本之上。",[23,24,194,26,28,7,106,63,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a89e21b664b7586cc2499e512566ef0.jpg",[],{"id":29698,"slug":29699,"title":14900,"dynasty":99,"author":1196,"museum":316,"description":29700,"tags":29701,"thumbUrl":29702,"material":139,"size":139,"collection":139,"collections":29703,"showCount":29537,"zanCount":2368,"manualWeight":48,"mainColor":94},228478,"wang-shu-gong-ji-tu-tang-yin-228478","画作以柔丽工笔重彩绘就四位宫妓，她们头戴花冠，两两相对，或拈花簪鬓，或对镜理容，眉眼含柔，尽显娇婉慵闲之态。衣纹勾勒细劲流畅，敷色妍雅鲜亮，将蜀地宫娥的柔媚风韵晕染尽致。\n\n画幅题诗暗合前蜀宫闱旧事，在仕女的绮艳描摹之中，暗寓对耽于宴乐的讽喻，将精工的视觉美感与文人的寄兴藏于一体，于柔丽雅致间藏着沉敛的讽世之思，是仕女画中兼擅审美意趣与文心寄寓的经典之作。",[23,194,24,25,226,7,106,59,63,64,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2530c75a1f39e5bab12ffc2dd7b41be1.jpg",[],{"id":29705,"slug":29706,"title":29707,"dynasty":99,"author":1196,"museum":316,"description":29708,"tags":29709,"thumbUrl":29710,"material":139,"size":139,"collection":139,"collections":29711,"showCount":29537,"zanCount":48,"manualWeight":48,"mainColor":49},228468,"shi-ming-tu-juan-tang-yin-228468","事茗图卷","此作为诗书画印合璧的长卷，绘江南山居幽景：茅舍临溪，主人幽坐煎茶，苍松倚石，烟云绕峰，飞瀑藏于远山淡霭之间，尽展林泉雅寂的隐逸氛围。\n\n书法由榜书大字开篇，笔力沉凝苍劲；行书题诗俊逸疏朗，收尾小楷《事茗辩》端秀清雅。将品茶雅事寄寓山水，把日常茶事升为精神栖居，尽显明代文人茶中寻幽、以茶寄怀的林下风流，诗书画印浑融无间，是写意文人雅趣的绝佳之作。",[23,194,24,25,26,173,7,3559,177,86,178,212,29,378,35,106,176,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F055da1b43b081819b900223c28def283.jpg",[],{"id":29713,"slug":29714,"title":29715,"dynasty":99,"author":257,"museum":316,"description":2711,"tags":29716,"thumbUrl":29717,"material":599,"size":600,"collection":139,"collections":29718,"showCount":29537,"zanCount":48,"manualWeight":48,"mainColor":49},228408,"di-shi-tian-xi-quan-tu-yi-ming-228408","帝释天西全图",[511,24,260,106,7,28,3661,8246],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e1b5fdf64dd23a59341e6cd7f18b634.jpg",[],{"id":29720,"slug":29721,"title":29722,"dynasty":99,"author":28757,"museum":191,"description":29723,"tags":29724,"thumbUrl":29725,"material":139,"size":139,"collection":139,"collections":29726,"showCount":29537,"zanCount":48,"manualWeight":48,"mainColor":49},228319,"san-you-si-xi-tu-bian-jing-zhao-228319","三友四喜图","此作用全景铺陈开卷，松挺竹劲梅娇，聚成岁寒三友之姿，群雀翔集枝梢，啾唧喧闹间衬出林野生机。四只喜鹊或栖或飞，墨白羽色鲜亮醒目，于群鸟中格外灵动。\n\n画师落笔精工写实，禽鸟翎毛细密柔润，根根分明；松竹梅的枝干皴擦细致，苍秀兼具。整幅画面动静交织，既见院体花鸟的细腻工致，又借三友暗喻君子风骨，以喜鹊托举祥瑞吉意，将雅致品格与喜庆意蕴融于一卷。",[23,24,28,7,83,245,227,820,1133,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a9c628ba03bd30ead976aed52184f75.jpg",[],{"id":29728,"slug":29729,"title":29730,"dynasty":302,"author":257,"museum":316,"description":29731,"tags":29732,"thumbUrl":29733,"material":139,"size":139,"collection":139,"collections":29734,"showCount":29537,"zanCount":48,"manualWeight":48,"mainColor":49},228215,"you-xing-shi-nv-tu-yi-ming-228215","游行仕女图","古绢底色晕染岁月沉浑，雄健湖石倚立，芭蕉阔叶舒展如伞，猩红花穗挺立于叶隙，墨色浓淡晕开草木蓬勃生机。仕女衣袂轻扬雅致，或垂眸敛容，或侧身顾盼，柔缓徐行间尽显端静含蓄的仪态。画作以大石丛蕉衬出仕女窈窕娟秀，上下分景疏密相宜，设色古淡沉静，笔致简净含蓄，藏雅致余韵，将庭院闲游的松弛意趣，融在古朴沉静的画境之内，淡墨轻彩晕开旧时光里的闺中清致。",[23,24,25,226,28,7,106,59,176,611],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffb2be621dcd64401a64de5a6e7d8444.jpg",[],{"id":29736,"slug":29737,"title":29738,"dynasty":302,"author":1977,"museum":316,"description":29739,"tags":29740,"thumbUrl":29741,"material":139,"size":139,"collection":139,"collections":29742,"showCount":29537,"zanCount":1379,"manualWeight":48,"mainColor":2504},228167,"guan-gong-wu-shi-san-sui-yi-xiang-zhao-meng-fu-228167","关公五十三岁遗像","画面里关公踞坐案前，轻捋美髯凝视卷册，案上烛台、典籍错落，沉静间自有武圣威严。身旁武士戎装侍立，身姿恭谨，衬得主位人物气度沉凝。\n\n衣纹线条凝练劲挺，设色苍雅古拙，将关公的儒雅斯文与武将的豪壮气度相融，尽显其忠义千秋的风骨。题字古意盎然，补足人物生平意蕴，整体笔墨带着特有的简淡苍劲，把武圣的精神气韵刻画入微，是形神兼备的经典人物佳作。",[23,24,25,7,28,106,409,280,1011],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3321d64766a7b4f4db359c8e366a00b.jpg",[],{"id":29744,"slug":29745,"title":29746,"dynasty":18,"author":1315,"museum":316,"description":29747,"tags":29748,"thumbUrl":29749,"material":139,"size":139,"collection":139,"collections":29750,"showCount":29537,"zanCount":2368,"manualWeight":48,"mainColor":49},227965,"qi-zi-du-guan-tu-juan-li-tang-227965","七子度关图卷","此卷以苍林古道铺展荒寒底色，将避乱行旅的群像铺陈于绢素。旅人或策驴徐行、或驻马待发，仆从牵驮辎重、神色仓皇，将乱世迁客的羁旅劳顿藏在蹙额的神情、驱驰的动态之间，写实工细又带着沉郁的氛围感。\n\n卷后篆额古拙雄奇，行书题跋笔墨隽秀，书画合璧晕开史事余韵。既有宋画的精工写实，又兼具文人画幽远意趣，将乱世怆然与丹青雅致融于一卷，尽显古画的厚重底蕴与迁客流离的沉痛感怀。",[23,24,25,26,28,7,106,150,378,176,1049,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd484ab2362b165a1f08fdab816e5527.jpg",[],{"id":29752,"slug":29753,"title":29754,"dynasty":18,"author":2414,"museum":316,"description":29755,"tags":29756,"thumbUrl":29757,"material":139,"size":139,"collection":139,"collections":29758,"showCount":29537,"zanCount":2368,"manualWeight":48,"mainColor":49},227696,"qun-xian-bo-gu-tu-juan-zhao-bo-ju-227696","群贤博古图卷","赵伯驹（约1120年—约1182年），字千里，汴京（今河南开封）人。南宋著名画家。宋朝宗室，宋太祖七世孙。宋室南渡后流寓钱塘（今浙江杭州），后以画扇为宋高宗赵构赏识并予召见，曾官至浙东兵马钤辖。工画山水、花果、翎毛，笔致秀丽，尤长金碧山水。远师李思训父子，笔法纤细，直如牛毛，极细丽巧整的风致，建南宋画院的新帜。",[23,25,24,194,26,27,7,28,177,86,212,29,106,107,108,109,174,175,230,229,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe01ac1afa07ecf4a88ab31a884696a18.jpg",[],{"id":29760,"slug":29761,"title":7832,"dynasty":18,"author":7833,"museum":316,"description":29762,"tags":29763,"thumbUrl":29764,"material":139,"size":139,"collection":139,"collections":29765,"showCount":29537,"zanCount":48,"manualWeight":48,"mainColor":49},227691,"wen-ji-gui-han-tu-chen-ju-zhong-227691","故宫收藏的这幅《文姬归汉》，并没有作者的签名或者印记，旧传是是南宋宁宗时代的宫廷画家陈居中所画。此一题材在南宋初年，相当地流行。原因是北宋灭亡时，徽宗、钦宗两位皇帝和一干后妃们，均遭金人所挟持。情况和文姬当年的际遇，颇为类似。描绘文姬归汉的故事，正好符合了南宋臣民祈盼皇帝归来的心情。",[23,24,194,26,28,7,106,150,212,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46b0b01bd2a87126fc14abc0b1bfe988.jpg",[],{"id":29767,"slug":29768,"title":29769,"dynasty":54,"author":6017,"museum":316,"description":29770,"tags":29771,"thumbUrl":29772,"material":139,"size":139,"collection":139,"collections":29773,"showCount":29537,"zanCount":48,"manualWeight":48,"mainColor":49},227255,"xian-shan-lou-guan-tu-li-zhao-dao-227255","仙山楼观图","李昭道，生卒年未详。字希俊，唐代画家。唐朝宗室，彭国公李思训之子，长平王李叔良曾孙。甘肃天水人。曾为太原府仓曹、直集贤院，官至太子中舍人。擅长青绿山水，世称小李将军。兼善鸟兽、楼台、人物，并创海景。画风巧赡精致，虽“豆人寸马”，也画得须眉毕现。由于画面繁复，线条纤细，论者亦有“笔力不及思训”之评。曾作《秦王独猎图》。画作有《海岸图》、《摘瓜图》等六件，著录于《宣和画谱》。传世作品有《春山行旅图》轴，图录于《故宫名画三百种》；《明皇幸蜀图》卷，现藏台北故宫博物院。",[23,24,26,27,7,104,28,29,107,34,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81db047a39ded106ecbb49adcb1c8b56.jpg",[],{"id":29775,"slug":29776,"title":29777,"dynasty":256,"author":6236,"museum":316,"description":6237,"tags":29778,"thumbUrl":29781,"material":599,"size":600,"collection":3195,"collections":29782,"showCount":29537,"zanCount":1379,"manualWeight":48,"mainColor":49},225726,"butterflies-and-poppies-april-may-fan-gao-225726","Butterflies and poppies (April - May )",[194,3187,16431,29779,6244,7,484,3861,380,29780],"色彩浓郁","茎叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c05154593d54f2ae99eba9a94f67dcf.jpg",[3195],{"id":29784,"slug":29785,"title":29786,"dynasty":76,"author":2837,"museum":316,"description":29787,"tags":29788,"thumbUrl":29789,"material":139,"size":139,"collection":139,"collections":29790,"showCount":29537,"zanCount":48,"manualWeight":48,"mainColor":94},224371,"hua-hui-qi-shi-ce-shi-er-kai-11-ju-lian-224371","花卉奇石册-十二开-11","此作以淡墨晕染奇石，皴擦间尽显朴拙质感，留白透气，清润雅致。红草以没骨法点染，色泽明丽却不俗艳，叶片舒展柔态毕现；蓝黄雏菊娇俏鲜活，枝蔓穿插错落，野趣自生。石上蜻蜓纤毫细致，翼脉清晰可见，悄然驻足为画面添灵动生机。\n整体兼工带写，将草木清隽与顽石朴拙相融，静中生趣。画面简淡空灵，把秋日小景的闲逸意蕴铺陈开来，笔底藏着雅致的审美意趣，于方寸间尽显自然小景的幽恬清宁，带着悠然静穆的中式美学韵味。",[23,24,81,7,28,212,230,84,897,245,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c03336a008070491717018219acd353.jpg",[],{"id":29792,"slug":29793,"title":29794,"dynasty":76,"author":17152,"museum":316,"description":29795,"tags":29796,"thumbUrl":29797,"material":139,"size":139,"collection":139,"collections":29798,"showCount":29537,"zanCount":2368,"manualWeight":48,"mainColor":94},223691,"xie-qin-fang-you-tu-shang-rui-223691","携琴访友图","，画作，清代上睿作。\n画心纵28.1厘米，横17.厘米。\n纸本，设色。\n画中一位有琴童跟随的琴家，已离开自己的住舍，走上木桥，正在向闲卧在梧竹幽居中的知音友人那里进发。\n全图景物按排聚散合度，虚实相生。\n以极其纤美的笔触对环境进行铺垫描绘，收到了烘托人物的活动和突出主题的良好效果。\n款署“癸酉小春用文太史笔意为友桐先生补图。\n蒲室子睿。\n”钤“目存”印。\n清宫宝玺有“乾隆鉴赏”、“嘉庆御览之宝”、“宣统御览之宝”等。\n曾经清内府庋藏。\n《秘殿珠林石渠宝笈续编》著录。\n旅顺博物馆收藏。",[23,24,25,26,7,28,29,106,108,109,34,989,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bca0e59957d14b3aa934eb38c7e22eb.jpg",[],{"id":29800,"slug":29801,"title":29802,"dynasty":76,"author":257,"museum":101,"description":29803,"tags":29804,"thumbUrl":29805,"material":638,"size":29806,"collection":139,"collections":29807,"showCount":29537,"zanCount":48,"manualWeight":48,"mainColor":49},223579,"yu-lan-kong-que-tu-yi-ming-223579","玉兰孔雀图","两只彩绘蓝羽孔雀，其中三只比湖石还多，宽大的尾巴在湖中显得更加美丽动人，有一点点蓝色像宝石一样立在上面，另一只藏在边石里 兰花，只有头； 浅玉晶莹剔透，争奇斗艳。 风格：甲午春日、法式铁桥笔、南苹果神拳。",[23,24,28,7,83,277,365,292,263,836],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4e016bbc82fb27fdb86c5d508ffaae3.jpg","34.98X60",[],{"id":29809,"slug":29810,"title":29811,"dynasty":99,"author":257,"museum":101,"description":29812,"tags":29813,"thumbUrl":29814,"material":139,"size":29815,"collection":139,"collections":29816,"showCount":29537,"zanCount":48,"manualWeight":48,"mainColor":49},223531,"mu-zi-lu-tu-yi-ming-223531","母子鹿图","此作设色古雅沉静，笔致工细柔和。坡岸之上，鹿抬首凝神，目光追随着翩跹彩蝶，周身斑点晕染匀净柔和，皮毛质感细腻宛然。苍松虬劲，针丛细密苍润，怪石皴刻朴拙古厚，衬出林间清寂之气。远景淡墨晕染出水泽远山，朦胧空濛将意境拉伸，方寸画幅饱含山野林泉的悠然意趣。兼具院体画的精工，又带着文人水墨的淡远意境，定格幽林闲静一刻，尽显山野生灵与林泉共生的悠然禅意。",[23,24,25,7,28,746,2479,227,379,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a708feb39d0df19f091d6ff9e9da8cc.jpg","24.1x26",[],{"id":29818,"slug":29819,"title":29820,"dynasty":18,"author":257,"museum":191,"description":29821,"tags":29822,"thumbUrl":29823,"material":1307,"size":29824,"collection":42,"collections":29825,"showCount":29537,"zanCount":48,"manualWeight":48,"mainColor":49},223418,"zi-mu-ji-tu-yi-ming-223418","子母鸡图","此图绘一只母鸡引领着几只孵出不久的小鸡，在地上漫步啄食。母鸡雪白的羽毛蓬松亮丽，目光中充满着慈爱，小鸡则稚嫩怯弱，依偎在母亲的羽翼保护下。母鸡俯身与宝宝们对话，神情爱怜。此画虽无陪衬，却能以情动人。作品在技法处理上，母鸡以勾线、施毛渲染，而小鸡则以施毛勾出轮廓，全以渲染，两者对比，更显小鸡稚嫩，母鸡慈爱。更精妙的是作者在对母鸡眼睛的处理上，把留白的位置留在眼珠的最前面，使其俯身之姿更加强烈",[23,194,24,25,28,7,83,2703,19135,212,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92d3bda73641850315ec173a9cfe7fc6.jpg","纵59.99cm 横32.83cm",[42],{"id":29827,"slug":29828,"title":24089,"dynasty":54,"author":257,"museum":20,"description":24090,"tags":29829,"thumbUrl":29830,"material":529,"size":29831,"collection":139,"collections":29832,"showCount":29537,"zanCount":2368,"manualWeight":48,"mainColor":49},223359,"fu-xi-nv-wa-xiang-ye-yi-ming-223359",[23,24,25,7,106,15979,2459],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa168eac68a88d33ad6926d355e897252.jpg","纵左222.5cm，右231cm，横上115cm，下94cm",[],{"id":29834,"slug":29835,"title":29836,"dynasty":76,"author":5359,"museum":20,"description":29837,"tags":29838,"thumbUrl":29839,"material":40,"size":29840,"collection":181,"collections":29841,"showCount":29537,"zanCount":48,"manualWeight":48,"mainColor":49},223284,"jiu-cheng-gong-tu-zhou-yuan-yao-223284","九成宫图轴","此幅以对角构图为主，建筑在画面中所占比重不大，但作者有意将建筑物安排在观者的视觉中心，使其在山重水复的背景中颇为醒目。著名诗人杜甫曾有咏《九成宫》诗，袁耀即根据诗意想象而画成此图。袁氏父子所画的历代宫阙虽然各有典故，但样式大多雷同，富有装饰趣味而无明显的时代特征，画中人物的服饰也是如此，虽为古装却非唐非宋。",[23,24,25,226,104,7,28,177,29,107,108,176,34,37,106,1785,114,38,808,986],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf33833e35f6f766d8a1a4d386a24eec.jpg","纵189.7厘米，横230.7厘米",[181,45],{"id":29843,"slug":29844,"title":29845,"dynasty":76,"author":742,"museum":316,"description":29846,"tags":29847,"thumbUrl":29848,"material":139,"size":29849,"collection":139,"collections":29850,"showCount":29537,"zanCount":48,"manualWeight":48,"mainColor":94},223227,"zhe-zhi-hua-hui-shan-mian-ren-yi-223227","折枝花卉扇面","水墨泼洒清润自在，花如薄绢，叶片浸润犹有滴洒之感。山鸡体态肥硕，脚爪甚有骨力。画面整体优雅娴静，富有美感。",[23,194,24,25,1260,7,83,292,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6f12cd162d27310e69972efc06ba6ab.jpg","纵111.2cm，横55.4cm",[],{"id":29852,"slug":29853,"title":29854,"dynasty":76,"author":329,"museum":191,"description":1518,"tags":29855,"thumbUrl":29856,"material":7,"size":1521,"collection":139,"collections":29857,"showCount":29537,"zanCount":48,"manualWeight":48,"mainColor":94},222732,"xian-e-chang-chun-tu-ying-su-lang-shi-ning-222732","仙萼长春图罂粟",[23,194,24,25,81,7,28,83,3861],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59c91e61b739cd5323e62e9036da76b5.jpg",[],{"id":29859,"slug":29860,"title":29861,"dynasty":99,"author":17423,"museum":1337,"description":29862,"tags":29863,"thumbUrl":29865,"material":24650,"size":29866,"collection":181,"collections":29867,"showCount":29537,"zanCount":48,"manualWeight":48,"mainColor":49},222376,"bai-tan-tu-zhou-chen-222376","白谭图","绘四周环山水潭边，一道者盘坐席上，手执拂尘掸，静心修行，一边的童子正给炉子扇风烧火，近处树木遒劲苍翠。技法上，绘山石坚凝，线条坚挺，棱角锋利，用笔纯熟，取法于李唐派系。",[23,194,24,29,106,7,177,176,29864,34,260,261],"潭水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a1c655c7e01bcf836590ca261bff341.jpg","38x73cm",[181,163],{"id":29869,"slug":29870,"title":29871,"dynasty":99,"author":857,"museum":316,"description":29872,"tags":29873,"thumbUrl":29874,"material":7202,"size":29875,"collection":181,"collections":29876,"showCount":29537,"zanCount":48,"manualWeight":48,"mainColor":49},221883,"you-ting-ting-quan-tu-chen-hong-shou-221883","幽亭听泉图","此图近取元人曹云西，远承宋郭熙，而皴染趋于尖瘦淡婉，自与郭、曹异趣。造境则为江浙一带水乡风光，与轻清的笔墨同一情调。",[23,24,226,173,7,177,29,175,378,795,1273,686,109,1169,230,1171,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8a3a0f57a4a8b67a66a4490e0f32ca7.jpg","64.5×26.3cm",[181,45],{"id":29878,"slug":29879,"title":29880,"dynasty":18,"author":4912,"museum":78,"description":29881,"tags":29882,"thumbUrl":29884,"material":7,"size":29885,"collection":139,"collections":29886,"showCount":29537,"zanCount":48,"manualWeight":48,"mainColor":49},221376,"yan-jiang-die-zhang-tu-wang-shen-221376","烟江叠嶂图","《烟江叠嶂图》绘崇峦叠嶂陡起于烟雾迷漫浩渺空旷的大江之上，空灵的江面和雄伟的山峦形成巧妙的虚实对比。奇峰耸秀，溪瀑争流，云气吞吐，草木丰茂，显得蓬勃富有生气。画家以墨笔皴山画树，用青绿重彩渲染， 既有李成之清雅，又兼李思训之富丽。\n此图凄迷的诗意化山水景致，充满着丧失爱情、希望与友谊的悲痛之情，表达了他于惨遭放逐期间内心荒寂的梦幻世界。\n此图平远布局，起首浅岸一隅，江面辽阔，波心渔舟泛泛如鸥。中幅峰峦迭起，前后拱揖，呈奇耸秀。山间烟云缭绕，百道飞泉，萦林络石，下赴谷口。楼阁隐现于白云青峰之间。后段烟水迷蒙。全图表现出“江上愁心干叠山，浮空积翠如云烟”、“春风摇江天漠漠，暮云卷雨山娟娟”的清空深秀意境。用笔结合唐人勾斫法和李成的颖利笔法，凝练清劲。树木参用勾叶、点叶多种方法，层次参差，显得葱倩郁密。山峦敷染青绿重色，花青染叶，深墨渍涧，色泽鲜丽厚实，将唐人的古朴和宋人的精密融成一体，开创出青绿山水的新格调。\n在构图上，远近疏离，似有一透视感，远山隐映于云雾之中，悠远秀丽。\n作者用笔凝炼，骨法端重而不板刻，山石用墨笔勾皴，不方不圆，似行似隶，因而画中的气韵十分生动；此图用青绿着色，重彩复皴，再用花青运墨点苔，益见山色之奇丽多姿。画树多夹叶或点笔，著色有石青，石绿、浅绿及赭红等。苍翠之中愈见青葱鲜丽，无煊耀之燥气，又有静穆的庄严。以深墨渍出山涧，留白以状飞瀑，形成了黑白相映的反差。青山间有白云缭绕，用工笔浅描，线划空明，使重叠的山峦在炯云中时显时隐。石皴不方不圆之间，山石形态各异。界画工整的楼阁、屋宇，隐显于青山白云之间，极富雅趣。作者以诸种手法以表现，使北宋山水画达到了神妙的境界",[23,194,24,25,26,29,173,7,177,29883,13460,30,34,37],"烟霞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8df1d52102b8e94aadf1789685e44f7d.jpg","纵45.2厘米，横166厘米",[],{"id":29888,"slug":29889,"title":29890,"dynasty":189,"author":13717,"museum":20,"description":13718,"tags":29891,"thumbUrl":29893,"material":13721,"size":13722,"collection":139,"collections":29894,"showCount":29537,"zanCount":48,"manualWeight":48,"mainColor":49},221171,"jia-nuo-jia-fa-cuo-zun-zhe-tang-ka-bu-ben-guan-xiu-221171","迦诺迦伐磋尊者（唐卡布本）",[23,24,7,28,260,106,136,29892,65],"洞窟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc9039551bd38106ac8fa4580e345112.jpg",[],{"id":29896,"slug":29897,"title":29898,"dynasty":99,"author":20034,"museum":5488,"description":29899,"tags":29900,"thumbUrl":29901,"material":1319,"size":29902,"collection":163,"collections":29903,"showCount":29537,"zanCount":48,"manualWeight":48,"mainColor":49},220402,"yue-mei-tu-liu-shi-ru-220402","月梅图","刘世儒，字继相，号雪湖，山阴(（今浙江绍兴)）人，生卒不详，明代画家，传世作品有《雪梅双兔图》、《梅花图》长卷、《月梅图》、《先春报喜图》等。\n刘世儒，艺术活动主要于明代正德、嘉靖时期。\n少年时偶然得元人王冕的墨梅，废寝忘食地临摹学习。随后遍走山林，观察各种梅花习性，终成墨梅大师。刘世儒一生好梅，时人谓之年九十，而画梅八十。\n曾作《铁干回春图》赠送胡元瑞。《雪湖梅谱》是其一生画梅之心得。",[23,24,25,226,173,7,820,265,212,86,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa88375881b16d084f1d1d60260c6ab4e.jpg","136.4x71.8厘米",[163,90],{"id":29905,"slug":29906,"title":29907,"dynasty":76,"author":29908,"museum":316,"description":29909,"tags":29910,"thumbUrl":29911,"material":638,"size":139,"collection":90,"collections":29912,"showCount":29537,"zanCount":48,"manualWeight":48,"mainColor":94},220249,"die-lian-hua-tu-zhou-xian-220249","蝶恋花图","周闲","周闲（1820年—1875年），字存伯，一字小园，号范湖居士，浙江秀水（今嘉兴）人，晚清著名词人、篆刻家、海上画派名家。\n严迪昌《清词史》称周闲足与鸦片战争时期诗史型诗人贝青乔并驾齐驱。咸丰三年，佐戎幕剿灭嘉定小刀会，以功赐六品官。同治三年，官新阳令、候补知州同知。同治五年，因事与大吏龃龉，遭革职，隐居吴市，假笔墨以自娱。晚年寓居上海。\n善画花卉蔬果，远师陈淳、恽寿平、李鱓，近参任熊，笔致雄浑秀腴。《嘉兴府志》称：“其画浓部密致，似宋人”。与任熊、姚燮、胡公寿为艺文挚友，同蒋春霖、任薰、任颐、吴大徵、吴昌硕、张之万等交游密切。善篆刻，富金石派学养。喜用行楷，气韵朴厚。作品有《任处士传》、《范湖草堂词》等。见《海上墨林》、《广印人传》、《清画家诗史》、《金石家书画集》、吴大澂《愙斋日记》、人民文学出版社《近代词史》。",[23,24,25,7,83,579,484,230,498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcfb731c7098f88507a9128e18726ce4.jpg",[90],{"id":29914,"slug":29915,"title":29916,"dynasty":76,"author":9455,"museum":20,"description":29917,"tags":29918,"thumbUrl":29919,"material":88,"size":29920,"collection":181,"collections":29921,"showCount":29537,"zanCount":48,"manualWeight":48,"mainColor":94},220125,"wu-li-chun-zao-qing-xue-tu-zhou-wu-li-220125","吴历春早晴雪图轴","吴历（1632年—1718年）清初书画家，天主教传教士。字渔山，号墨井道人、桃溪居士，江南常熟（今属江苏）人 。 [3] 少时学诗于钱谦益，学画于王鉴、王时敏。康熙二十一年入天主教，继至澳门进耶稣会，前后在嘉定、上海等处传教三十年。著有《墨井诗钞》《三巴集》《桃溪集》《墨井画跋》。",[23,24,25,29,2562,795,35,3389,109,1169,175,173,7,177,226,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85907768a5ded9464952c88429d0ded3.jpg","纵168cm，横41cm",[181],{"id":29923,"slug":29924,"title":29925,"dynasty":76,"author":11822,"museum":2754,"description":29926,"tags":29927,"thumbUrl":29928,"material":123,"size":29929,"collection":181,"collections":29930,"showCount":29537,"zanCount":2368,"manualWeight":48,"mainColor":49},219907,"xue-shan-tu-yuan-jiang-219907","雪山图","袁江（1662年—1735年），字文涛，号岫泉，江都（今江苏扬州）人，清代画家。\n袁江，是中国绘画史上有影响画家，宫廷画家，专攻山水楼阁界画。雍正时，召入宫廷为祗侯。在清康熙、雍正、乾隆时期，楼阁工整山水当以袁江最有名。当时还有他的侄子袁耀同齐名。他们两人曾受扬州的山西盐商的聘请，到山西作画，作品在北方流传较多。他擅画山水、楼台、师法宋人。山水画主要学宋代闫次平，画石多鬼皴，楼阁主要学郭忠恕，工整严密。他的绘画素材多为古代宫苑，尤长于界画。界画是我国民族绘画中很有特色的一门画科，它在东晋时代已同人物、山水画并存了，发展到宋、元时期就已达到高峰，但一直受到文人画的排挤。画艺从师仇英，山探郭忠恕笔法及赵伯驹、刘松年等青绿山水一脉，同时传工界画，成为有清一代推为第一的界画家。",[24,3559,7,177,2724,34,35,1785,106,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4541743a212af25140e45045a3164c74.jpg","78.3x46.7",[181],{"id":29932,"slug":29933,"title":29934,"dynasty":99,"author":1057,"museum":20,"description":29935,"tags":29936,"thumbUrl":29937,"material":638,"size":29938,"collection":45,"collections":29939,"showCount":29537,"zanCount":2368,"manualWeight":48,"mainColor":94},219868,"da-shu-feng-hao-tu-xiang-sheng-mo-219868","大树风号图","图绘古树一株，参天独立于空旷的原野之上，一老者拄杖遥望远山。作者自诗曰：“风啸大树中天立，日薄西山四海孤。短策且随时旦莫，不堪回首望菰蒲。”此图主体鲜明，形象生动，构思别具，笔法严谨。",[23,24,226,7,353,106,29,230,1169,1049,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4aadf5523f019f3c8f0bd22bdc1029e.jpg","纵115.4cm，横50.4cm",[45],{"id":29941,"slug":29942,"title":29943,"dynasty":302,"author":5007,"museum":442,"description":29944,"tags":29945,"thumbUrl":29946,"material":123,"size":139,"collection":181,"collections":29947,"showCount":29537,"zanCount":48,"manualWeight":48,"mainColor":49},219779,"shan-zhong-guan-shu-tu-er-sheng-mao-219779","山中观书图(二)","盛懋（生卒年未详），字子昭。父洪，临安（今杭州）人，寓魏塘，业画。懋承家学，善画人物、山水、花鸟。早年并得画家陈琳指点，画山石多用批麻皴或解索皴，笔法精整，设色明丽。主要代表作有《秋林高士图》轴（台湾故宫博物院藏）、《秋江待渡图》轴（北京故宫博物院藏）、《沧江横笛图》轴（南京博物院藏）、《溪山清夏图》轴（台湾故宫博物院藏）和《松石图》轴（北京故宫博物院藏）等。",[23,24,25,226,7,29,106,378,3712,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ec8a9ca384d405f22ee92e8e1f18d52.jpg",[181],{"id":29949,"slug":29950,"title":29208,"dynasty":18,"author":257,"museum":191,"description":29951,"tags":29952,"thumbUrl":29953,"material":123,"size":29954,"collection":42,"collections":29955,"showCount":29537,"zanCount":48,"manualWeight":48,"mainColor":49},219693,"liu-yin-gao-shi-tu-yi-ming-219693","这幅画论布局，论笔法、设色，均臻上乘。画中人物之猜测为谁﹖其理由是以前景中的柳树，以应陶渊明是「五柳先生」，再加以头上的巾子足以漉酒，渊明正是好酒之人。本幅从服饰及坐具、酒具，显然是画晋人，而无唐以后风俗。陶渊明出现的形象，基本上是一位「高士」，然而这个高士大致有两种面貌，一种是悠游山林的隐者，一种是醺醺醉矣的酒客。柳阴高士可能是现存画陶渊明醉醺醺的最早一幅画了。画中树下一翁，席以豹皮，前置一手卷、一盏酒，老翁袒胸赤足，头戴葛巾，双目凝神下视，实已醺醺然微醉矣。渊明坐前双脚处，席上置有盛酒之碗，酒盛九分满，沿上犹挂著一把勺子，碗与勺皆是外壁黑，内面朱，且其质薄，看来是漆器一类而非陶器。，从器皿及服饰的发展，画中人物是非唐而为晋。\n柳荫下，一位士人袒胸露背，跣足而坐于豹皮之上，潇洒超脱，充满雅逸逍遥之趣。士人两眼有醺醺然之貌，故幅上乾隆题诗称这位高士不是唐的李白，就是晋的陶潜。由于陶潜曾作＜五柳先生传＞以自况，故而推断此人为陶潜的可能性较高。 本幅人物线条刚劲如铁丝，转折犀利。树干苍老，柳叶繁复，笔力稳健挺拔，多层皴染，使得画面蕴藉厚润。全作绘制精谨，是一幅宋代佳作。",[23,24,25,226,7,28,177,106,1241,353,196,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8dde6b37837daa0488ca428fd6cae5e.jpg","65.4x40.2cm",[42,44],{"id":29957,"slug":29958,"title":29959,"dynasty":76,"author":18483,"museum":78,"description":29960,"tags":29961,"thumbUrl":29962,"material":2365,"size":29963,"collection":44,"collections":29964,"showCount":29537,"zanCount":48,"manualWeight":48,"mainColor":94},219419,"jin-gu-yuan-tu-zhou-hua-nie-219419","金谷园图轴","华喦（yán）的笔墨既有继承传统的一面，又重视写生，构图大胆新颖。他所刻画的艺术形象鲜活生动，用笔干湿浓淡灵活多变，表现力强。是图，华岩重构了西晋石崇所建别墅金谷园，潇洒淋漓的笔墨与烂漫的花草使奢华的园林带有了些许文人气韵。",[24,226,7,28,106,29,34,176,59,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F900b496b8d7d1df5eea57bd7f71090a2.jpg","纵178.7 厘米 横94.4 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[2]\n画中还有签名画押，据说是天下一人四字拼合而成。",[24,83,28,7,634,897,1284,484,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53ed80cbf2e91b8137c11c7a56795b76.jpg",[],{"id":30091,"slug":30092,"title":30093,"dynasty":76,"author":257,"museum":316,"description":30094,"tags":30095,"thumbUrl":30097,"material":599,"size":600,"collection":139,"collections":30098,"showCount":30050,"zanCount":2368,"manualWeight":48,"mainColor":94},267670,"gu-xiu-zhu-lin-qi-xian-tu-zhou-yi-ming-267670","顾绣竹林七贤图轴","此作以绣为笔，铺展林下雅集之景。挺秀修竹间朱栏环绕，二人对坐弈棋，落子沉吟间尽显专注；玲珑湖石之侧，两人展卷清谈，悠然自得。溪谷蜿蜒，板桥横波，岸侧三人徐行，小童捧物紧随，似赴雅会。\n配色明雅柔和，墨色皴染湖石尽显苍润，淡赭晕开溪岸，朱金饰衣纹栏杆。劈丝细匀平齐，针脚藏于晕色之间，将笔墨意趣融于丝缕，把魏晋名士萧散简远的林下风流静静晕开，尽显隐逸雅静的林下意韵。",[24,25,226,7,106,227,108,109,3584,34,86,212,9495,30096,4352],"竹林七贤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4e06312f5b0efe7b0fe23a475e31303.jpg",[],{"id":30100,"slug":30101,"title":4579,"dynasty":76,"author":1610,"museum":316,"description":4580,"tags":30102,"thumbUrl":30103,"material":599,"size":600,"collection":139,"collections":30104,"showCount":30050,"zanCount":48,"manualWeight":48,"mainColor":94},239457,"zou-yi-gui-hua-niao-cao-chong-tu-ce-zou-yi-gui-239457",[24,81,28,7,83,632,553,554,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F890b258d7b2179aca0ace409e4e02f1c.jpg",[],{"id":30106,"slug":30107,"title":4138,"dynasty":76,"author":2883,"museum":316,"description":4139,"tags":30108,"thumbUrl":30109,"material":599,"size":600,"collection":139,"collections":30110,"showCount":30050,"zanCount":48,"manualWeight":48,"mainColor":94},239244,"mu-dan-shi-liu-zhong-ce-jiang-ting-xi-239244",[24,25,81,28,7,83,292,484,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee8cd875f8ac880b48dbab7264c27a44.jpg",[],{"id":30112,"slug":30113,"title":30114,"dynasty":76,"author":30115,"museum":316,"description":30116,"tags":30117,"thumbUrl":30118,"material":599,"size":600,"collection":139,"collections":30119,"showCount":30050,"zanCount":2368,"manualWeight":48,"mainColor":94},234846,"hua-hui-tuan-shan-mian-mou-su-yun-234846","花卉团扇面","缪素筠","缪嘉蕙，清女。字素筠，昆明人，适同邑陈氏。光绪（一八七五至一九零八）中叶，慈禧太后忽怡情翰墨，学绘花卉，又作擘窠大字，常书福寿等字以赐大臣等。思行一二代笔妇人，乃诏各省觅之。时嘉蕙随夫宦蜀，夫死子幼，归滇，以弹琴、卖画为活。工翎毛、花卉，秀逸清雅，小楷亦楚楚合格。四川督抚乃驿送之京师。慈禧如试大喜，置诸左右，朝夕不离。并免其跪拜，赏三品服色，月奉二百金，遂为福昌殿供奉。自是慈禧所赏大臣花卉扇轴等物，均嘉蕙手笔。供奉而外伤产力所作，都人士兼金争购。卒年七十七。人称缪姑太。",[24,1260,7,28,83,292,227,484,212,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F019ffadf7fde2d722aa6a37981cc8565.jpg",[],{"id":30121,"slug":30122,"title":30123,"dynasty":76,"author":1207,"museum":316,"description":30124,"tags":30125,"thumbUrl":30126,"material":770,"size":139,"collection":90,"collections":30127,"showCount":30050,"zanCount":2368,"manualWeight":48,"mainColor":94},234276,"hua-guo-ce-wang-yun-234276","花果册","王云，字汉藻，号清痴，一字雯庵，号竹里，江苏高邮人。斌子。楼台、人物近似仇英，康熙时驰名江、淮。写意山水，得沈周遗意。于朝，圣祖赏逾等。",[24,25,81,7,83,62,1807,783,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff85e8fad369e11d4e7fbdfa5edef96eb.jpg",[90],{"id":30129,"slug":30130,"title":30131,"dynasty":302,"author":30132,"museum":20,"description":30133,"tags":30134,"thumbUrl":30135,"material":500,"size":30136,"collection":139,"collections":30137,"showCount":30050,"zanCount":2368,"manualWeight":48,"mainColor":49},234039,"yao-cen-yu-shu-tu-zhou-jin-cheng-234039","瑶岑玉树图轴","金城","画雪景山林，水阁飞瀑，山脚泉水奔流湖中。阁内一人闲坐，其外山路崎岖蜿蜒，有数人或策蹇负囊，或骑驴行旅。图中画山石似卷云，树枝似鹿角、蟹爪，宗法李成、郭熙一派。全图笔法沉雄，缜密。",[24,226,173,7,29,177,176,34,13277,1426,986,106,150,109,1353,353,3883,1171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00fe504468d6d6243b66ab68fb7765a6.jpg","97.4×41.2cm",[],{"id":30139,"slug":30140,"title":30141,"dynasty":18,"author":391,"museum":20,"description":3016,"tags":30142,"thumbUrl":30143,"material":40,"size":3019,"collection":139,"collections":30144,"showCount":30050,"zanCount":48,"manualWeight":48,"mainColor":49},232979,"fu-rong-jin-ji-tu-zhou-zhao-ji-232979","芙蓉锦鸡图轴",[24,194,226,28,7,83,634,1284,484,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5116d76afa37a92bf68862f475326df6.jpg",[],{"id":30146,"slug":30147,"title":5883,"dynasty":302,"author":257,"museum":316,"description":30148,"tags":30149,"thumbUrl":30150,"material":599,"size":600,"collection":139,"collections":30151,"showCount":30050,"zanCount":48,"manualWeight":48,"mainColor":49},231848,"fo-xiang-yi-ming-231848","中国蒙古族统治者早在建立元朝之前，便先后仿照汉族建筑样式，营建上都及大都两个都城。两都的各种宫殿坛庙建筑组群都有石雕、木雕和琉璃制品。而分布各地的寺庙塑像、石窟造像等亦展示了元代雕塑艺术的概貌。",[23,24,260,226,28,7,106,3661],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa625b9eb159088ba4568259afe93d57a.jpg",[],{"id":30153,"slug":30154,"title":30155,"dynasty":18,"author":1350,"museum":191,"description":30156,"tags":30157,"thumbUrl":30158,"material":67,"size":15087,"collection":139,"collections":30159,"showCount":30050,"zanCount":48,"manualWeight":48,"mainColor":94},231341,"hua-deng-shi-yan-tu-er-ma-yuan-231341","华灯侍宴图（二）","《华灯侍宴图》描绘了杨次山父子在上元节侍宴的场面，记述了南宋宫廷的重大活动。该画以俯视的角度写华灯初上时分官员们随皇帝宴饮观舞的情景，并在全景山水的描写中，烘托出了室内的豪华与欢乐气氛。图中隐约可见几位官员属身随侍皇帝饮宴官殿之外，乐舞的宫女摇曳着身姿，大殿之外的树木，好似也随着音乐起舞，姿态横生。这些树林，由近面远，渐渐隐设于雾色之中，只见宫殿后盛立着几棵松树，和远处云雾中抹青山。中景的松树刻而很具特色，用笔瘦硬如屈铁，枝条长面斜向出。\n画中，远山眉黛，松枝逶迤，前庭梅树十余棵，数名宫女执灯起舞于梅林中，舞姿曼妙。殿宇华厦，灯火明亮，有几位大约是官员的人物，背向微躬，恭谨陪侍酒宴。内堂则幽深不可窥测。\n宋宁宗题一首御制诗，云：“朝回中使传宣命，父子同班侍宴荣。酒捧倪觞祈景福，乐闻汉殿动驩声。宝瓶梅蕊千枝绽，玉栅华灯万盏明。人道催诗须待雨，片云阁雨果诗成。”\n马远是南宋宫廷画家，杨皇后是其主要的艺术赞助人。杨皇后多次为马远之作题诗题句，其创作也势必迎合杨皇后的要求，“臣马远”的款识当为此意。从《华灯侍宴图》的笔法与风格来看，当为马远晚年之作，而杨皇后的题记，也属晚年风格。换而言之，画作的年代应在宋宁宗时代。\n对于该画的主题，不同学者提出不同观点，毕嘉珍提出画中描绘的是“奢侈的赏梅盛宴”。彭慧萍则从画师的视角出发，指出此图反映了“深夜禁中大内的当差场景”。高居翰的分析是“马远想出了一个富于诗意的构图”，将宴席隐藏在向后延伸的宫殿图像里，只以庭园中的演艺者和侍从来传达娱乐的场景。\n也有观点指出，这次宴会是宋宁宗为迎接签订“嘉定和议”的丞相史弥远而举办的，所谓“朝回中使传宣命”，并召马远及其子马麟陪侍，马远用绘画记录了这一重大时刻。\n一座孤零零的殿宇，矗立在远山近林中。阶墀下方极少渲染。殿内的君臣侍从沉浸在一片歌舞之中。视线由梅树上顶之势领起，沿华堂左侧引上，由屋脊折而向右，绕出一个反S形，而到达松树与远山，然后下垂，落空于远方薄暮中。观者除了感受宴饮之乐，还可能被近景的梅树、中景的松树、远景的山及苍茫的夜空所吸引。\n此图以俯视的角度写华灯初上时分豪门达官酒宴的情景，但作者的兴趣并不是放在细写堂内宴席与众宾客的活动上，他的独特构思在于成功表现外部环境上，描写烘托出室内的豪华与欢乐气氛。图中表现松树很具特色，用笔瘦硬，如屈铁，枝条颀长，而斜向出，下笔严正，以雄奇简练的笔法，表现树枝的坚挺有力，有“拖枝马远”之称。\n该画山而不作全景式图，取一角或一峰给予突出的描写。这是马远在继承前人山水画传统的基础上的突破，是他对山水画形式美感探索的成就。",[24,25,3559,28,177,7,107,34,30,686,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc9b868683d8127a8dd2bb9ff753b532.jpg",[],{"id":30161,"slug":30162,"title":30163,"dynasty":18,"author":846,"museum":316,"description":30164,"tags":30165,"thumbUrl":30166,"material":599,"size":600,"collection":139,"collections":30167,"showCount":30050,"zanCount":2368,"manualWeight":48,"mainColor":94},230951,"liu-kai-jian-zi-tu-wu-bing-230951","榴开见子图","吴炳（公元12世纪），生卒年不详，毗陵武阳（今江苏常州）人，南宋光宗绍熙年间（1190-1194年）任画院待诏，是南宋院体花鸟画的代表性画家。\n代表作有《竹雀图》《写生荷花图（出水芙蓉图）》《罂粟图》《宝珠玉蝶图》《春池睡鸭图》《山茶鹁鸽图》等。",[24,194,25,28,7,83,1060,209,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e9a16b335fa694e452ac55b07eb10c5.jpg",[],{"id":30169,"slug":30170,"title":30171,"dynasty":256,"author":30172,"museum":316,"description":30173,"tags":30174,"thumbUrl":30176,"material":599,"size":600,"collection":139,"collections":30177,"showCount":30050,"zanCount":48,"manualWeight":48,"mainColor":2504},230648,"bao-nan-gua-de-shao-nv-fu-shi-tuo-zuo-na-luo-230648","抱南瓜的少女","浮士托·佐那罗","浮士托·佐那罗fausto zonaro(1854年9月18日- 1929年7月19日)，他是一名意大利画家，以他的现实主义风格的生活和奥斯曼帝国的历史绘画而闻名。",[3187,8377,7,106,30175,1764,264,7249,3074,63],"少女","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae1afabc5e032ac22c4fa0cb818add4b.jpg",[],{"id":30179,"slug":30180,"title":30181,"dynasty":256,"author":27376,"museum":316,"description":30182,"tags":30183,"thumbUrl":30187,"material":139,"size":139,"collection":139,"collections":30188,"showCount":30050,"zanCount":48,"manualWeight":48,"mainColor":49},230476,"jiang-hu-shi-dai-feng-shen-lei-shen-tu-ping-feng-jiu-jing-bao-yi-230476","江户时代 风神雷神图屏风","狞恶忿怒的面相搭配蓬乱如戟的须发，肌肉贲张的肢体满是狂暴力量感，风神腾跃于烟霭之上，握持系着风铎的绳索，青绸长带随罡风翻卷破空，仿佛能听见风铎清响混着呼啸长风。\n\n泥金笺底晕开暗沉烟霭，衬出神祇御风的缥缈动感，刚硬狞厉的面相与柔婉飘带形成强烈对冲，将风神席卷天地的威仪诠释得淋漓尽致。工写兼用的笔意，将无形罡风化为可视的磅礴威仪，静穆屏风之上，晕开浩荡天地气机，让人仿佛能触到扑面而来的浩荡天风。",[23,24,25,279,7,106,30184,746,260,4009,30185,30186,28,7692],"神","神话形象","和风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a863bc1f73bf32374c8bc386a382b8e.jpg",[],{"id":30190,"slug":30191,"title":30192,"dynasty":99,"author":26106,"museum":316,"description":30193,"tags":30194,"thumbUrl":30195,"material":599,"size":600,"collection":139,"collections":30196,"showCount":30050,"zanCount":48,"manualWeight":48,"mainColor":94},228497,"shi-hu-yuan-xiao-tu-li-shi-da-228497","石湖元宵图","李士达的生活年代大约是十六世纪中叶到十七世纪初。在万历二年（公元1574年）考中进士，泰昌元年（公元1620年）还画过一幅《关山风雨图》，活了八十多岁。",[23,194,24,173,7,28,104,106,107,108,175,353,109,115,34,114,352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17d224efb8b4d7931ad464765d30dc4d.jpg",[],{"id":30198,"slug":30199,"title":30200,"dynasty":99,"author":923,"museum":316,"description":30201,"tags":30202,"thumbUrl":30204,"material":139,"size":139,"collection":139,"collections":30205,"showCount":30050,"zanCount":1379,"manualWeight":48,"mainColor":49},228325,"xiang-shan-jiu-lao-tu-juan-chang-juan-xie-huan-228325","香山九老图卷（长卷）","【文物现状】现藏美国克利夫兰美术馆 绢本，设色，长卷，纵：29.8厘米，横：148.2厘米。\n现藏美国克利夫兰美术馆，是明代画家 的人物画中代表性作品之一。\n“ ”指的是唐代文人胡杲、吉玫、刘贞、郑据、卢贞、张浑、白居易及李元爽、禅僧如满九位老者。\n他们因志趣相投，结为九老会。\n此图绘唐武宗会昌五年（公元845年）三月二十四日，九老在白居易之居处欢聚，既醉且欢之际赋诗画画的情景 。\n根据 香山九老会诗序》的内容可知，对九老雅集的描绘早已有之，到了南宋时期，此题材在画院中也非常兴盛；而明代的宫廷画家在承袭南宋画院风格时，对此种具有历史典故的题材又较好的继承下来。\n对于这幅表现文人聚会的长卷，在构图上作者选择了从围墙上方往墙内俯视的角度来描。\n画中一条蜿蜒的碎石小径贯穿整个画面，形成一条横轴线，人物及景物均围绕着石径展，画面从左边开始：一身着便服的文人携一童仆正缓缓地向画面中心的厅堂走来，他似乎并不急于赴会，而是悠闲地欣赏着园内的景致。\n沿着他走的路径向右看，在石径一侧，有两人站在梅树前，一人一边指着着梅树一边好像对旁边的人说着什么，看那人恭敬的样子，也许正在聆听长者论道吧。\n再往后，便是画的中心，这是画面内容的主体：只见一宽大的厅堂里，几案分明，案上盆景、花瓶摆放有序；厅中有一桌，三个文人正围着桌子看一位长者写着什么，或是画着什么。\n四个人物的神态各不相同，均刻画精微：长者面露喜悦，挥毫泼墨；三位围观者，有的若有所思，有的凝神静观。\n堂前石径上，有一仆人正端着盘子向右行，把观者的视线引向画面的结尾部分，有两位文人正在苍松翠柏下吟诗赏画，旁边的几位童仆，有的在煮茶温酒，备办佳肴；有的在侍侯笔墨，抱琴侍立。\n整个场面以石径为主线，中间穿插以厅堂楼榭，假山叠石，古松，梅树，瑞鹤等景物，把画面的几个部分联成一个有机的整体。\n整体上看，瑞松摇曳，梅花绽放，祥鹤唳鸣，环境清幽淡远，实为人间的“桃源仙境”。\n在刻画人物形象方面，作者着重于对人物表情的描绘。\n人物布局上聚散都非常富于变化。\n笔法工整严谨，衣纹线条准确，挺拔而秀逸，极富质感，色彩鲜艳、古拙。\n在景物刻画上也非常严谨，小径上的碎石，亭台、屋宇等一笔一笔地描绘出，松柏，梅树，竹叶也细细地勾勒，显示出画家精谨细密的功夫，具有李唐、刘松年的遗风，属于院体一派。\n谢环，字庭循，明永嘉（今浙江温州）人，善画山水、人物，远承荆浩、关仝，以及南宋李唐、刘松年，近师元人。\n成祖永乐(14-1424）中征入画院。\n谢环还擅长文学，画史上说他“知学问，喜赋诗”，有《梦吟堂集》世，时人称他“清瑾有文”。\n传世作品有《 》等。",[23,24,26,7,28,106,175,34,926,30203,115,229,209],"石径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3901b4a9861a664f281876e2c023104.jpg",[],{"id":30207,"slug":30208,"title":30209,"dynasty":302,"author":257,"museum":316,"description":30210,"tags":30211,"thumbUrl":30212,"material":139,"size":139,"collection":139,"collections":30213,"showCount":30050,"zanCount":2368,"manualWeight":48,"mainColor":49},228212,"hang-zhou-xi-hu-tu-yi-ming-228212","杭州西湖图","以团扇形制铺陈湖山胜概，石青石绿晕染峰峦，古绢底色沉厚，衬得青绿明妍雅致，勾勒出峭拔崖嶂与层叠林木。亭台楼阁依山面水排布，飞檐斗拱精工细绘，尽显江南苑囿的雅致规整。湖面开阔淡远，长桥卧波隐现其间，远山含黛晕出空濛烟岚。\n\n构图虚实相生，繁复界画楼宇与清旷湖山相映，既见对实景的精细摹写，又以淡墨轻岚烘托出西湖柔婉清远的诗意氛围，带着元代青绿山水的复古意趣，将城湖揽胜的雅致图景凝缩尺幅，尽展江南名湖的从容雅致，藏着古人对湖山胜景的倾心描摹。",[23,24,25,27,7,29,104,107,108,109,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a00903c88ee41eed7d372b81389a0b5.jpg",[],{"id":30215,"slug":30216,"title":30217,"dynasty":18,"author":30218,"museum":316,"description":30219,"tags":30220,"thumbUrl":30221,"material":139,"size":139,"collection":139,"collections":30222,"showCount":30050,"zanCount":48,"manualWeight":48,"mainColor":49},227959,"ya-zi-zhen-ji-zhu-ke-rou-227959","鸭子真迹","朱克柔","此作用缂丝之艺摹绘水畔小景，紫鸭静立石上，抬首远眺，神态悠然舒展，将水禽野逸之态尽显。羽色以淡紫晕染，层次柔润细腻，将绒羽蓬松质感逼真呈现。旁侧墨竹挺劲清逸，枝叶错落舒展，虚实相生间烘托出幽寂雅致的水汀氛围。整体兼工带写，以丝代笔，既保留了工笔的细腻精致，又暗含文人写意的疏朗意趣。配色淡雅和谐，含蓄审美藏于方寸之间，将禽鸟野趣与清雅意境相融，尽显缂丝工艺与花鸟意趣的绝妙结合。",[23,24,25,83,7,28,835,227,212,913],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaed484653346668e58fa3412de78120.jpg",[],{"id":30224,"slug":30225,"title":30226,"dynasty":18,"author":6650,"museum":316,"description":30227,"tags":30228,"thumbUrl":30229,"material":139,"size":139,"collection":139,"collections":30230,"showCount":30050,"zanCount":48,"manualWeight":48,"mainColor":49},227729,"mei-xia-du-shu-tu-ye-xia-gui-227729","梅下读书图页","夏圭的山水画看似简单却饱含意境，“夏半边”的陈设方式在表现山水韵味的基础上具有一定的文人画意味，这种画面的大胆裁剪体现出了中国画“计白当黑”的美学标准，是画面“置陈布势”的重要组成部分。",[23,24,25,81,173,7,29,106,820,174,212,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe46974e98376d3ea1cd40fa451fdba27.jpg",[],{"id":30232,"slug":30233,"title":30234,"dynasty":18,"author":257,"museum":316,"description":30235,"tags":30236,"thumbUrl":30237,"material":139,"size":139,"collection":139,"collections":30238,"showCount":30050,"zanCount":48,"manualWeight":48,"mainColor":49},227391,"e-mi-tuo-fo-jie-yin-tu-yi-ming-227391","阿弥陀佛接引图","佛教绘画自东汉传入中国，在魏晋南北朝时期与中国传统绘画融合发展，使佛教绘画呈现出中国化的趋势，又在隋唐时期统治者大力发展佛教的文化背景下发展到一个隆盛的顶峰。佛画风格融合了中国本土文化从而使佛教绘画完全融合于中国传统绘画，形成了中国特有的佛画艺术风格，充分体现出佛教绘画在中国各朝代发展的历程，实际上就是佛教艺术中国化的过程。",[23,24,25,226,260,106,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f039a18240b22680ef7ebbc367140ee.jpg",[],{"id":30240,"slug":30241,"title":4206,"dynasty":18,"author":257,"museum":316,"description":30242,"tags":30243,"thumbUrl":30244,"material":139,"size":139,"collection":139,"collections":30245,"showCount":30050,"zanCount":1379,"manualWeight":48,"mainColor":94},227387,"shu-kui-yi-ming-227387","此画选自《宋人收藏绘本》。 原本应该是一种具有实用功能的扇形面条，但后来以相册的形式转化为草图。 全幅双钩挂满，写有一株蜀葵（古称木槿），花苞无数，第二次绽放，布局和姿态自然生动。 比如花瓣的钩子和叶子的锯齿筋，笔刷都一展身手。 枝条、花萼、叶背也染上了青绿色和多汁的绿色，翻到一旁时，显得十分美丽和真实。 虽非作者印章，但画风具有宋代庭院花画的清秀特点，应该出自南宋画院专家之手。",[23,194,24,25,28,7,83,62,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb3504db8c782a0bf56ff3d8e7afbe96.jpg",[],{"id":30247,"slug":30248,"title":30249,"dynasty":189,"author":3894,"museum":316,"description":30250,"tags":30251,"thumbUrl":30252,"material":139,"size":139,"collection":139,"collections":30253,"showCount":30050,"zanCount":48,"manualWeight":48,"mainColor":49},227261,"hua-hui-xie-sheng-tu-ce-huang-ju-cai-227261","花卉写生图册","黄居寀(933—?),字伯鸾,成都(今属四川)人,五代后蜀名画家黄筌季子。擅绘花竹禽鸟,精于勾勒,用笔劲挺工稳,填彩浓厚华丽,其园竹翎毛形象逼真,妙得自然;怪石山水超过乃父。与父同仕后蜀,为翰林待诏。乾德三年(965)随蜀主降宋,进京供职宫廷,仍授翰林待诏,负责收罗和鉴定名画,淳化四年(993)曾出使成都府。太宗尤加宠遇,委以搜访名画、诠定品目只重责。",[194,24,25,81,7,28,83,84,484,566,897],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc391f878cf5f9eadb56dcc0c84f4c326.jpg",[],{"id":30255,"slug":30256,"title":30257,"dynasty":18,"author":22558,"museum":316,"description":30258,"tags":30259,"thumbUrl":30260,"material":139,"size":139,"collection":139,"collections":30261,"showCount":30050,"zanCount":48,"manualWeight":48,"mainColor":49},226559,"zhuo-xie-tu-juan-hu-gui-226559","卓歇图卷","《卓歇图》是五代 创作的一幅绢本设色画，现收藏于北京故宫博物院。\n纵观整幅图，前半段为立歇部分，马背上的猎物点缀了人马刚从追逐和喧闹中转入静态，在马群的尽头是走向乐舞场地的捧花女，把歇息和乐舞两段有机地结合起来。\n舞蹈者在音乐的伴奏下跳跃，构成全图的高潮，充分显示了画家处理大场面中人马动静、聚散的艺术能力，充满了浓厚的北方草原民族的生活气息。\n全画可分为三大段，第一、第二段，一大群密密匝匝的人马占据了画面的大半部分。\n主要是画狩猎归来，人马嘈杂的场面及骑士们滚马下鞍牵马准备休息时互相交谈的场面。\n他们有的席地而坐，静静地休息。\n有的整理马鞍，马鞍上驮着鹅雁等猎物还未曾卸下，也有的伫立交谈，形态各异。\n整幅画面中的骑士虽然众多，他们或聚或散地占据了大半画面，但并不是画中的主角。\n画卷最后一段描述宴饮的场面才是真正的主角，画幅中的契丹大汗正端坐在豪华地毯上饮酒观舞，大汗服饰华丽，神态悠闲，看面容似乎被舞者美妙的舞姿所吸引，正凝神观望，颇为陶醉。\n他的妻子阏氏着汉装于右侧相陪，二人面前有一侍者跪立奉盏，还有一侍者挥动衣袖，翩翩起舞，以助酒兴。\n佩戴弓矢的彪悍侍卫和纤纤玉立的侍女站立在汗王与阏氏的周围，全神戒备，细心侍候。\n该图引首有清代张照书“番部卓歇图”五字和乾隆皇帝题写的“卓歇歌”三字，后幅有元代王时，清代高士奇、张照的跋文。\n本幅及前后隔水有“忠孝之家”“吴龙之印”“石阊”“简静斋”“高士奇图书记”“江村秘藏”“竹窗堂章”（半印）等多枚鉴藏印记。\n南宋初期，宋廷为绥靖和善或刺探情报，大量派使团出使金国。\n入金后，按女真风习，必然将汉族儒士的右衽服改为左衽，并且要先随女真头领出猎数日后，方可商议政事。\n这是一件有史实性的人马画，惜无题记，难知其具体的历史故实。\n从画面上看，作者表现了南宋使臣随金朝官僚出猎时小歇的情景。\n《卓歇图》中“卓歇”一词的汉语含义并不是十分明晰。\n《辽史》中偶有“卓枪”、“卓帐”等与“卓”有关的词语。\n其“卓”带有“立”或“暂立”的意思。\n关于“卓歇”，可以理解为“搭起帐篷临时休息”的意思。\n此作中虽然没有帐篷。\n但是由于胡壤的同类题材作品多以“卓歇图”命名，所以，后人也将其作为这件作品的名字。\n也有学者认为，该图虽然传为辽代胡瓌的画迹，但据画中所绘的少数民族族别系金代女真人，其不可能是胡壤的真品，系金初（12世纪上半叶）汉族画家的手笔。\n在画卷的左侧，两个主要人物盘腿坐于毯上，身着契丹服装的男子即为契丹可汗，他的阏氏则穿着白色汉服，看起来彬彬有礼的样子。\n男女侍从分列二人身后恭敬以待，前面有侍者跪地敬酒，可汗接酒豪饮，还有一男子在乐队的伴奏下跳起舞蹈助兴，献花者向可汗和阏氏缓缓走来。\n画面再向远处是骑兵休息的地方，这些骑士或坐或立，面露倦容，有的打着哈欠，有的伸腰展背，有的安顿马匹，有的相互交谈，等待着支起帐篷。\n马匹上的猎物还未曾卸下，鞍鞯上缚着大雁等飞禽，显然在刚才的围猎中收获颇丰。\n图中人物各异的姿态和服饰，显示着他们的等级地位，具有一定的写实性。\n《卓歇网》的构图匠心独运，图中人物有7人，马约24匹，但画家处理得错落有致，疏密跌宕，又有条不紊。\n浑然一体。\n胡瓌所描画的线条准确有力，“虽繁复细巧，而用笔清劲”，不仅将人物的各异形神传达得恰到好处，而且也表现出不同衣服的质感。\n这种笔法与唐代中原地区的绘画存在许多近似之处，体现着各民族在文化艺术方面的相互影响和交流。\n看此卷的表现手法，展现了画家娴熟的创作技巧，画面背景荒凉寂静，笔法古健雄劲，线条繁密多变而流畅，色彩沉着，人物、鞍马的造型，既简洁凝重又准确自然，具有很高的艺术水平，画家通过长、短、粗、细等不同的线条把物象刻画得极为生动，无论是勾勒鞍马、衣服的长线，还是表现人物发须的短线，用笔皆沉稳扎实，体现了当时北方画派的特色和契丹画师的独特画风。\n另外，作品中的一些细节之处（像悬挂在鞍鞯之上的猎物），画家也描绘得细致入微、一丝不苟。\n中国艺术研究院研究员 ：这是一幅北方游牧民族生活场景的风俗画面，很富于地方色彩和情趣。\n笔法古劲，精密，色彩沉着，具有很高的艺术水平。\n《卓歇图》卷奠定了金代人马画的发展走向，即线条凝练、造型生动、画风淳朴，着意于表现女真族勇悍和粗犷的民族个性及浪漫不羁的草原生活，并一直影响了元初的人马画艺术。\n这件《卓歇图》被冠以胡壤之名后，更增添了对后世人马画的范本作用，尤其是画中的人物发式和服饰，几乎成了表现北方少数民族人物形象的定式。\n这幅作品为了解中国少数民族历史提供了实录，具有很大的史料价值。\n清代阮元《石渠随笔》、高士奇《江村书画目》、清内府《石渠宝笈·续编》对该图有著录。\n《宣和画谱》曾载有胡瓌《卓歇图》九幅，但现存的这一幅没有宜和的印章和题跋，不知是否曾为宣和所收藏。\n南宋杨王体《中兴馆阁储藏》和元周密《云烟过眼录》中都提到胡《卓歇图》，但也无从考证是否就是这幅画。\n现存的《卓歇图》曾经《石果宝笈续编》著录，上最早的题跋是元代的王时，据清代高上奇的考证，说他是元代皇帝的侍御之臣。\n到了明代，当时鉴藏家张丑，在《清河书画舫》里说：“绢本胡番部卓歇图，尘垢破裂，神彩如生，明昌秘物也，今在韩氏。\n”的确，清初画卷落到高十士奇手里的时候，绢素已经碎裂得很厉害，经过了一次重装，后来为清宫所收藏，乾隆在画上题了“神完景肖”四个大字，还做了一首《卓歇歌》写在引首。\n解放后藏故宫博物院。\n胡瓌，五代后唐画家。\n山后契丹乌索固部落人。\n随李克用（856—98）入中原，居范阳（今河北涿州）。\n善画契丹人马．写北方游牧民族生活，举凡帐篷毡幕、旗帜、弓箭以及人马装饰等，曲尽塞外景色。\n笔调清劲爽利，构图繁富细巧。\n传世作品有《卓歇图》、《蕃马图》等。",[23,28,7,26,106,150,212,86,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ea4336c19ab1c123b73479d19a84a80.jpg",[],{"id":30263,"slug":30264,"title":4024,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":30265,"thumbUrl":30267,"material":599,"size":600,"collection":139,"collections":30268,"showCount":30050,"zanCount":48,"manualWeight":48,"mainColor":49},226168,"ku-zhu-shi-zao-jing-yi-ming-226168",[511,1846,260,746,11893,7,30266],"藻井","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf0b86238b96498c6a292cd931c6f8b4.jpg",[],{"id":30270,"slug":30271,"title":30272,"dynasty":76,"author":563,"museum":316,"description":30273,"tags":30274,"thumbUrl":30275,"material":139,"size":139,"collection":139,"collections":30276,"showCount":30050,"zanCount":48,"manualWeight":48,"mainColor":49},224184,"hua-niao-cao-chong-tu-ba-03-hua-yan-224184","花鸟草虫图八-03","此作兼工带写，以淡逸之笔绘就秋日常景。瓜藤迤逦缠绕，墨竹穿插其间，劲挺竹叶以浓墨挥写，尽显清刚意态。没骨晕染的瓜叶鲜活舒展，浓淡过渡自然。赭色螳螂静伏叶间，秋虫攀附艳色黄花，草虫刻画细腻逼真，灵动如生。\n右上角题诗呼应画境，将秋野闲逸之趣融于诗画。整体设色柔和雅致，笔意松灵秀逸，把寻常小景晕染出诗意禅味，尽显文人写意的空灵隽秀，将秋日郊野的生机野趣娓娓道来。",[23,24,25,81,7,83,483,227,11407,783,568],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c969a769d5bae547a54eea345c4adb1.jpg",[],{"id":30278,"slug":30279,"title":30280,"dynasty":76,"author":15368,"museum":316,"description":15366,"tags":30281,"thumbUrl":30283,"material":599,"size":600,"collection":139,"collections":30284,"showCount":30050,"zanCount":48,"manualWeight":48,"mainColor":2504},224145,"shi-jia-mu-ni-fu-fo-jiao-pi-yu-tang-ka-224145","释迦牟尼佛佛教譬喻",[15368,260,7,28,106,107,30282,3661,84,29],"佛塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d88855497b8bb010ad57b3cd31cb9bc.jpg",[],{"id":30286,"slug":30287,"title":30288,"dynasty":18,"author":257,"museum":191,"description":30289,"tags":30290,"thumbUrl":30291,"material":40,"size":30292,"collection":139,"collections":30293,"showCount":30050,"zanCount":48,"manualWeight":48,"mainColor":49},223586,"hua-qian-shou-qian-yan-guan-shi-yin-pu-sa-yi-ming-223586","画千手千眼观世音菩萨","观世音又称观音，是我们最熟悉的一位佛教人物。这尊观音与常见的一头两手的显教观音像不同，他的头顶共有二十六个菩萨头和一个佛头，有一千只手，每一只手的手掌中间又有一只眼睛，所以称为「千手千眼观世音菩萨」，是密教观音的一个重要典型。\n万顷波涛，四天王背负着一座七宝莲台，千手千眼观世音菩萨十分庄严地站在台上。左右各有两位菩萨随侍，下方的天龙八部双手合什，向观音菩萨示敬。观音菩萨头戴化佛宝冠，绀发垂肩，双唇上下都有胡髭，仍作男相。但五官秀美，已流露出女性化的特质。全图赋色妍丽，璎珞装饰和七宝莲台都描绘得十分仔细。人物衣纹线条柔劲流畅，这些特色都与传至日本的南宋佛画十分类似，是一幅难得的南宋佛教绘画精品。",[23,194,24,25,226,260,6768,28,7,6767,106,4428,11930,18656,3661,11931,7690,4027],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffeb00110c2af854cb19eb6e127dce762.jpg","176.8公分横：76.2公分",[],{"id":30295,"slug":30296,"title":30297,"dynasty":76,"author":2162,"museum":419,"description":2163,"tags":30298,"thumbUrl":30299,"material":67,"size":2173,"collection":139,"collections":30300,"showCount":30050,"zanCount":48,"manualWeight":48,"mainColor":94},223073,"hong-lou-meng-59-sun-wen-223073","红楼梦59",[23,24,25,26,28,7,27,17248,17249,106,614,107,29,109,926,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce03b42f75b32d3656103e5544ed7796.jpg",[],{"id":30302,"slug":30303,"title":30304,"dynasty":76,"author":30305,"museum":495,"description":30306,"tags":30307,"thumbUrl":30309,"material":581,"size":30310,"collection":90,"collections":30311,"showCount":30050,"zanCount":48,"manualWeight":48,"mainColor":49},222806,"hua-niao-zhen-qin-tu-you-cui-222806","花鸟珍禽图","尤萃","图绘山脚坡石之间，流溪如练，天竹数丛，卓秀多姿。野生蔷薇，随风摇曳。丛丛簇簇的幽兰，各放馨香。树下一双美雉，悠然唱和，美丽动人。石后文杏高耸，繁花缀满枝头，鹦鹉停息树梢，双燕穿飞花间。一个鸟语花香的世界。",[23,24,25,28,7,83,820,209,30308,176,62,210],"雉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1c8d78323e1e166ec5d52532c3a4c51.jpg","纵196.7cm，横96.5cm",[90,45],{"id":30313,"slug":30314,"title":30315,"dynasty":76,"author":329,"museum":191,"description":1518,"tags":30316,"thumbUrl":30317,"material":7,"size":1521,"collection":139,"collections":30318,"showCount":30050,"zanCount":48,"manualWeight":48,"mainColor":94},222728,"xian-e-chang-chun-tu-hai-tang-yu-lan-tu-lang-shi-ning-222728","仙萼长春图海棠玉兰图",[23,194,24,25,81,28,7,83,1261,365,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F402be11b89f693a14c347585e12d9775.jpg",[],{"id":30320,"slug":30321,"title":30322,"dynasty":76,"author":329,"museum":191,"description":1518,"tags":30323,"thumbUrl":30324,"material":7,"size":1521,"collection":139,"collections":30325,"showCount":30050,"zanCoun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画出了宋代苏东坡《后赤壁赋》的诗意，其上钤有“石渠宝笈”、“乾隆御览之宝”、“嘉庆御览之宝”、“宣统御览之宝”及“三希堂精鉴玺”等印，笔法俊朗，风神秀雅，气息纯正，款字极精，印章亦佳。加上又是清宫旧藏且著录于《石渠宝笈》初编，清晰可考，珍稀之极。\n从其画风来看属画家在中年时期所作。仇英在年轻时结交了文徵明、周臣等一批书画家，故而其中年作品里也受了文徵明等人的技法影响，皴法多以小皴为主。在这幅《赤壁图》就能看见披麻皴、斧劈皴等典型皴法，皴笔绵密画风工整细腻。\n《赤壁图》本幅则为纸本而略长，后段多了苇汀浅屿、石桥曲涧、秋林霜浓、云房窅深等等山间夜景。此画以石青、石绿为主色调，画苏轼携友泛舟夜游赤壁。作者用细腻的笔触将一个秋高气爽、月光如银的宁静夜晚极富诗情地融入于令人陶醉的画意之中。布局爽朗、明媚，用笔工细绵密，敷色淡雅清丽，技法纯熟稳健，具有笔致墨韵，为仇英佳作。\n拍卖\n《赤壁图》在2007年11月7日嘉德拍卖中最终以7952万元人民币成交，创造了当时中国绘画拍卖成交价的世界纪录，标志着中国绘画作品的拍卖成交价首次超过1000万美元级别。",[23,24,25,26,7,28,27,178,212,29,106,174,5903,34,176,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd79a1ca13ecd5f3c3d80de512b422359.jpg","25.1×90.8cm",[],{"id":30368,"slug":30369,"title":30370,"dynasty":99,"author":3774,"museum":191,"description":23436,"tags":30371,"thumbUrl":30372,"material":7,"size":30373,"collection":90,"collections":30374,"showCount":30050,"zanCount":48,"manualWeight":48,"mainColor":94},222180,"hua-niao-shan-mian-lu-zhi-222180","花鸟扇面",[23,24,1260,7,83,634,209,263,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe186c518a951a238ca279262f34bd2f5.jpg","纵31厘米、横61厘米",[90,45],{"id":30376,"slug":30377,"title":30378,"dynasty":18,"author":4254,"museum":191,"description":4255,"tags":30379,"thumbUrl":30380,"material":67,"size":30381,"collection":139,"collections":30382,"showCount":30050,"zanCount":48,"manualWeight":48,"mainColor":49},221387,"bao-shan-shi-jing-ce-fan-kuan-221387","包山十景册",[23,194,24,25,81,7,29,176,34,986,106,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F547a3b1370dc9ee21fc24baeb7fb8ad8.jpg","30.2x31.8",[],{"id":30384,"slug":30385,"title":30386,"dynasty":18,"author":13488,"museum":240,"description":30387,"tags":30388,"thumbUrl":30389,"material":7,"size":30390,"collection":42,"collections":30391,"showCount":30050,"zanCount":1379,"manualWeight":48,"mainColor":49},221317,"jiu-ge-shu-hua-juan-zhang-dun-li-221317","九歌书画卷","《九歌》是《楚辭》篇名。原為傳說中的一種遠古歌曲的名稱，戰國楚人屈原據民間祭神樂歌改作或加工而成。共十一篇：《東皇太一》、《雲中君》、《湘君》、《湘夫人》、《大司命》、《少司命》、《東君》、《河伯》、《山鬼》、《國殤》、《禮魂》。《國殤》一篇，是悼念和頌讚為楚國而戰死將士;多數篇章，則皆描寫神靈間的眷戀，表現出深切的思念或所求未遂的傷感。王逸說是屈原放逐江南時所作。但現代研究者多認為作於放逐之前，僅供祭祀之用。",[23,24,194,25,26,7,28,106,29,2235,378,86,212,409,13491],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F799e28b7c8a53f49ea8a67fbad151b43.jpg","23.5 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比作蒲松龄的《聊斋志异》，称它们都是用“以鬼喻人”的手法来讽诲世事。\n以上解说词是北京故宫博物院对《醉钟馗图》的介绍，这段解说词其实适用于上面的两幅画。罗聘作画题材广泛，人物肖像、鬼神佛道、山水花卉兼擅，作画大胆而细心，金农赞其“笔端聪明，无毫末之桀”。颇具画家柔中带钢、洁身自好之风。罗聘的人物画流传量甚少，其特点是人物身体结构清晰，衣纹线条垂长方折多变，人物意态栩栩如生，整个画面体现一种疏淡雅洁的格调。\n罗聘（1733－1799），字遯夫，号两峰，又号花之寺僧、金牛山人、蓼舟渔父、竹叟、衣云和尚、两峰子、喜道人、师莲老人。江苏扬州人，一作安徽歙县人。清代著名画家，扬州八怪之一。金农入室弟子。未作官，好游历。在扬州自称住处谓“朱草诗林”。工诗，善画，笔情古逸，思致渊雅，深得金农神味，墨梅、兰、竹，均极超妙，古趣盎然。道释、人物、山水、花卉，无不臻妙，别具一格。又善画鬼趣图，描写形形色色的丑恶鬼态，无不极尽其妙，借以讽刺当时社会的丑态。亦善刻印，着有《广印人传》。金农死后，他搜罗遗稿，出资刻版，使金农的著作得以传于后世。妻方婉仪，子允绍、允缵，皆能画梅，被誉为“罗家梅派”。有《香叶草堂诗草》等行世。罗聘是“扬州八怪”最年轻的一位。少年苦读诗书，勤於习画，好学无倦，才艺出众，又拜金农为师，临摹宋人、元四家、石涛等先贤作品，不拘泥成法，自创风格而成为扬州八怪之一。罗聘工诗善画，笔情古逸，思致渊雅，深得金农神味，墨梅、兰、竹，均极超妙，古趣盎然。道释、人物、山水、花卉，无不臻妙，貌鬼独绝。",[24,226,7,106,260,176,3712,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed30d125486b48ea1ded0b4bee3fd526.jpg","57×39 公分",[],{"id":30828,"slug":30829,"title":30830,"dynasty":99,"author":100,"museum":316,"description":3427,"tags":30831,"thumbUrl":30832,"material":599,"size":600,"collection":139,"collections":30833,"showCount":30596,"zanCount":48,"manualWeight":48,"mainColor":49},230958,"zhou-mao-shu-ai-lian-tu-li-zhou-chou-ying-230958","周茂叔爱莲图立轴",[23,194,24,25,226,28,7,27,106,29,136,33,1241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a4d5dc2dd8cfd1a2c256dea70deac6c.jpg",[],{"id":30835,"slug":30836,"title":30837,"dynasty":76,"author":4285,"museum":316,"description":30838,"tags":30839,"thumbUrl":30840,"material":139,"size":139,"collection":139,"collections":30841,"showCount":30596,"zanCount":2368,"manualWeight":48,"mainColor":94},230180,"du-fu-shi-yi-tu-ce-wang-shi-min-230180","杜甫诗意图册","《清王时敏仿杜甫诗意图册》是清代王时敏创作的中国画。\n此图共十二页，每幅隶书杜诗二句， 后幅页又自跋云：“少陵诗体宏众妙，意匠经营高出万层，其奥博沉雄，有掣鲸鱼探凤髓之力，故宜标准百代，冠古绝今，余每读七律，见其所写景物，瑰丽高寒，历历在眼，恍若身游其间，辄思寄兴盘礴。\n适旭咸甥以巨册属画，寒窗偶暇，遂拈景联佳句，点染成图，顾以肺肠枯涸，俗赖填塞，于作者意惬飞动之致，略未得其毫末。\n诗中字字有画，而画中笔笔无诗，漫借强题，钝置浣花翁不少，惭愧！惭愧！西庐老人王时敏”。\n此册页画巫峡弈棋，松云绝壁，山村春色，藤月荻花。\n用笔颇为潇逸，满纸墨韵，非常生动。\n王时敏（1592—168年），字逊之，号烟客，晚号西庐老人，江苏太仓人。\n其祖父是明礼部尚书兼文渊阁大学士王锡爵，父亲是明翰林编修王衡。\n明万历二十九年（161年）举进士，崇祯初以荫仕至太常寺卿，崇祯十三年（164年）辞官隐居，入清不仕。\n工隶书，善画山水，以元黄公望、倪瓒为宗，又受董其昌影响。\n他极力主张恢复古法，反对自出新意，是清初画坛正统派的领袖，后世称“娄东派”，与王鉴、王石谷、王原祁合称“四王”，位列“清初四王”之首，在当时有很大影响。\n第一开 设色 康熙乙巳（四年，一六六五年） 丛山落涧。\n自识：[蓝水远从千涧落，玉山高并两峰寒。\n]钤[王时敏印]（白文）。\n第二开 设色 康熙乙巳（四年，一六六五年） 江村月色。\n自识：[白沙翠竹江村暮，相送柴门月色新。\n]钤[逊之]（朱文）。\n第三开 设色 康熙乙巳（四年，一六六五年） 山村春色。\n自识：[花径不曾缘客扫，柴门今始为君开。\n]钤[烟客]（朱文）。\n第四开 墨笔 康熙乙巳（四年，一六六五年） 松云绝壁。\n自识：[断壁过云开锦绣，疏松隔水奏笙篁。\n]钤[烟客]（朱文）。\n第五开 设色 康熙乙巳（四年，一六六五年） 秋山红树。\n自识：[含风翠壁孤烟细，背日月枫万木稠。\n]钤（烟客）（朱文）。\n第六开 墨笔 康熙乙巳（四年，一六六五年） 落木江帆。\n自识：[无边落木萧萧下，不尽长江滚滚来。\n]钤[逊之]（朱文）。\n第七开 设色 康熙乙巳（四年，一六六五年） 山城夕照。\n自识：[孤城返照红将敛，近寺浮烟翠且堇。\n]钤[时敏]（白文）。\n第八开 墨笔 康熙乙巳（四年，一六六五年） 山庄草阁。\n自识：[白年地僻柴门过，五月江波草阁寒。\n]钤[烟客]（朱文）。\n第九开 墨笔 康熙乙巳（四年，一六六五年） 藏藤月荻花。\n自识：[请看石上藤萝月，已映舟前芦荻花。\n]钤[时敏]（白文）。\n第十开 设色 康熙乙巳（四年，一六六五年） 秋山枫菊。\n自识：[石出倒听枫叶下，橹摇背指菊花开。\n]钤[烟客]（朱文）。\n第十一开 设色 康熙乙巳（四年，一六六五年） 巫峡弈棋。\n自识：[楚江巫峡半云雨，清口疏帘看弈棋。\n]钤[烟客]（朱文）。\n第十二开 设色 康熙乙巳（四年，一六六五年） 雪涧寒林。\n自识：[涧遣余寒历冰雪，石门斜日到林止。\n乙巳腊月写少陵诗意十二帧似旭咸贤甥，时年七十有四，时敏。\n]钤[王时敏印]（白文）[真寄]（朱文）。\n作品在立意、布局、运笔、色彩、线条等方面都达到了登峰造极的地步，在 海中是一朵瑰丽的奇葩，永不凋谢",[23,24,194,29,7,177,81,685,262,1426,809,34,176,37,3518,106,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed362af805b6b8e900886c925e20e209.jpg",[],{"id":30843,"slug":30844,"title":30845,"dynasty":99,"author":12169,"museum":316,"description":30846,"tags":30847,"thumbUrl":30848,"material":139,"size":139,"collection":139,"collections":30849,"showCount":30596,"zanCount":48,"manualWeight":48,"mainColor":49},228375,"lin-wang-meng-tai-bai-shan-tu-du-qiong-228375","临王蒙太白山图","此作用笔苍劲秀密，以披麻皴绘就层峦叠嶂，苔点疏密错落，尽显山岩浑厚华滋，林麓幽深静谧。湖面空阔清寂，村舍星点隐于林木沟壑间，野趣悠然自生，将江南山居的幽恬之景铺展尽致。\n卷尾长题书法俊逸朴拙，诗画相融，复刻原作幽淡萧散的山水意韵，又自蕴沉静内敛的文人意趣。观之如随幽人策杖穿行泉石间，煮茶观云，坐看烟岚漫过山腰，隐见林泉雅事，把林下高致的隐逸之思晕染在笔墨山河中。",[23,24,25,26,173,7,177,105,29,30,34,35,31,174,245,108,109,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F357f6e010915680f847be1afbc23395f.jpg",[],{"id":30851,"slug":30852,"title":4939,"dynasty":302,"author":7943,"museum":316,"description":30853,"tags":30854,"thumbUrl":30855,"material":139,"size":139,"collection":139,"collections":30856,"showCount":30596,"zanCount":48,"manualWeight":48,"mainColor":49},228163,"hua-niao-tu-ye-wang-yuan-228163","此作工写兼融，敷色清柔淡雅。枝桠苍劲古拙，梅花清逸绽放，山茶柔艳含娇，笔墨秀雅细腻，将花木妍态尽展。枝头禽鸟造型工致写实，蓝羽红腹晕染柔和灵动，抬首凝视间生机暗藏。浅淡竹叶衬于下方，愈发衬得画面清寂雅致。整幅既具院体花鸟的精工细致，又蕴含文人画的澹远意趣，褪去浓艳俗态，将春日花鸟的悠然意态晕染开来，尽显幽淡平和的雅致意境，是工笔花鸟之中别具韵致的精妙佳构。",[24,25,194,7,28,83,820,292,209,227,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27a089108778c2a97fb4773d6b972852.jpg",[],{"id":30858,"slug":30859,"title":30860,"dynasty":18,"author":1350,"museum":316,"description":30861,"tags":30862,"thumbUrl":30865,"material":139,"size":139,"collection":139,"collections":30866,"showCount":30596,"zanCount":2368,"manualWeight":48,"mainColor":49},227641,"cu-ju-tu-ma-yuan-227641","蹴鞠图","在汉代，由于汉高祖刘邦这位“超级球迷”的推行，蹴鞠逐渐发展成为一项非常专业化的运动，皇宫内开始出现专业足球场，即所谓“鞠城”，设有围墙和看台。比赛分两队，双方各有队员十二名，以踢入球门的球数多少来决定胜负，是现代足球的雏形。据说，此后西汉的皇帝如汉武帝刘彻、汉成帝刘骜都酷爱踢球，刘彻踢球时，还令其文学侍从作《蹴鞠赋》助兴。\n\n有比赛就有球星。施耐庵《水浒全传》中描写的那位——由一个市井泼皮逆袭成为殿前都指挥使的高俅，便是宋朝球技高超，经常陪伺宋徽宗踢球的著名球星。此外，宋代还有一批聚集在北宋汴梁城和南宋临安城内的职业球星，他们定期在皇宫蹴鞠宴会上表演踢球，专门靠踢球技艺维持生活，是当时地位较高的职业球星。\n\n南宋时期，宋代的球员还组织了博纳养生杯，相当于今 天的中超联赛。球员们团体，叫做“齐云社”，是专门的蹴鞠组织，这是我国最早的单项运动协会，而其提倡的志诚、温良、尊重、谦让的十个紧要章程，和戒多言、赌博、猖狂、酒色的十个禁戒，也成为我国最早的球队章程雏形。宋代之后，蹴鞠仍流行于贵族与官吏间。清朝建立以后，爱好溜冰的满人还将其与滑冰结合起来，发明了冰上蹴鞠的花样运动形式。直到1863年，现代足球运动在英国诞生，揭开了足球发展的又一历史篇章。",[23,24,6170,7,30863,30864,795,3190],"蹴鞠","古代体育运动","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1057c9ef70fd3d2f2396ceb9de5bc8f.jpg",[],{"id":30868,"slug":30869,"title":30870,"dynasty":18,"author":18624,"museum":316,"description":30871,"tags":30872,"thumbUrl":30873,"material":139,"size":139,"collection":139,"collections":30874,"showCount":30596,"zanCount":2368,"manualWeight":48,"mainColor":49},227493,"shu-shan-xing-lv-tu-zhou-xu-dao-ning-227493","蜀山行旅图轴","这幅画是唐代画家李兆道的《明朝蜀帝》的复制品，描绘了唐玄宗从长安逃到四川的后妃和宗族王子。唐玄沿着蜿蜒的前山路拥抱着后丛，披着皮毛，在云雾中显得威严。",[23,194,24,25,226,7,29,106,150,154,3982,34,686,1049,107,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F181e35023b5b0f076d46ac0a2261779f.jpg",[],{"id":30876,"slug":30877,"title":30878,"dynasty":18,"author":257,"museum":316,"description":30879,"tags":30880,"thumbUrl":30881,"material":139,"size":139,"collection":139,"collections":30882,"showCount":30596,"zanCount":2368,"manualWeight":48,"mainColor":49},227348,"song-zhe-zong-zuo-xiang-yi-ming-227348","宋哲宗坐像","赵佶，即宋徽宗宋神宗赵顼第十一子、宋哲宗赵煦之弟，宋朝第八位皇帝（在位25年，在太上皇位1年零2个月）。元符三年（1100年）正月，宋哲宗病逝，向太后立赵佶为帝。1101年，改年号为“建中靖国”。宋徽宗启用新法，在位初期颇有明君之气，后经蔡京等大臣诱导，政治形势一落千丈，后金国兵临城下，受李纲之言，匆匆禅让给太子赵桓，靖康之变后与长子钦宗赵桓被金人俘虏北去。金天会十三年（1135年），宋徽宗赵佶驾崩于五国城，时年54岁。绍兴十二年（1142年）三月，徽宗棺椁被迎回南宋，葬于都城绍兴永祐陵（今浙江省绍兴市柯桥区东南35里处）。宋徽宗在位时信任蔡京、童贯、王黼等奸臣，败坏朝纲，使得北宋滑向灭亡的深渊。宋徽宗在政治上历来被视为荒淫昏聩皇帝的典型。但是他是我国古代帝王中富有艺术气质而且才华横溢的皇帝，他涉猎广泛，琴棋书画，诗词歌赋无一不精，书画方面的造诣更是精妙绝伦，独树一帜。宋徽宗赵佶绘画风格师承前朝名家之精髓，又能够将自身的艺术修养发挥到淋漓尽致，引导着宋画坛之风形成了富丽却不俗套、严谨却不失灵性的“宣和体”。并赋予了北宋院体画以更深的含义——即政教作用。",[24,194,7,28,106,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc705d9a43aac8feb6f12c247fcca4a73.jpg",[],{"id":30884,"slug":30885,"title":30886,"dynasty":189,"author":1730,"museum":316,"description":30887,"tags":30888,"thumbUrl":30889,"material":139,"size":139,"collection":139,"collections":30890,"showCount":30596,"zanCount":48,"manualWeight":48,"mainColor":2504},227264,"xi-an-tu-bo-wu-guan-ben-dong-yuan-227264","溪岸图(博物馆本)","《溪岸图》是五代画家董源创作的一幅绢本设色画，现收藏于美国大都会博物馆。\n\n《溪岸图》描绘江南溪岸景象，上半部左右相对两座山峰，两峰之中远山隐现，两山夹壑中一条山溪自远而近，至山前汇成大溪。溪岸左有楼台水榭，水榭中有幽人雅士正观望溪景。左面山中亦有泉瀑飞注入大溪，画的最下方溪岸坡冈上杂树耸立。中景、远景山峦上丛林茂密，草木葱茏。\n\n《溪岸图》构图雄伟，笔法严谨，兼具北方派的气度和南方派的温润，是董源从唐人山水过渡到南方水墨山水阶段的作品。",[194,24,25,226,177,173,7,29,176,34,109,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79f4bd7c9a668001f1943f2c22bc8be1.jpg",[],{"id":30892,"slug":30893,"title":30894,"dynasty":76,"author":12058,"museum":316,"description":30895,"tags":30896,"thumbUrl":30897,"material":139,"size":139,"collection":139,"collections":30898,"showCount":30596,"zanCount":48,"manualWeight":48,"mainColor":94},224347,"si-shi-hua-hui-si-qun-xian-ji-zhu-juan-wang-cheng-pei-224347","四时花卉（四）群仙集祝卷","此作以淡赭晕染沙汀坡岸，留白简淡衬出水仙清逸之姿。丛丛水仙错落排布，叶片以中锋运笔勾勒，青绿晕染尽显修长柔韧，舒展间带着挺劲生机。白瓣黄蕊的水仙或聚或散，花瓣勾勒细腻温婉，晕染柔和，将水仙冰肌玉骨的清雅气质尽显无遗。\n\n整体画面简淡空灵，以极简布景烘托出水仙孤高脱俗的品性，带着静穆清和的雅致意趣，将花卉柔美与清雅意境相融，笔致秀逸工丽，设色明洁淡雅，尽显雅致出尘的画中况味。",[23,24,28,7,26,84,898,109,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F032bbeab1a7a452a4886295a486f862e.jpg",[],{"id":30900,"slug":30901,"title":30902,"dynasty":76,"author":2162,"museum":419,"description":2163,"tags":30903,"thumbUrl":30904,"material":67,"size":2173,"collection":139,"collections":30905,"showCount":30596,"zanCount":48,"manualWeight":48,"mainColor":94},223078,"hong-lou-meng-64-sun-wen-223078","红楼梦64",[23,320,28,7,106,107,115,34,176,3712,7723,616,380,2512,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2f6af9ab7a5efed7373e5af0719d36f.jpg",[],{"id":30907,"slug":30908,"title":30909,"dynasty":99,"author":6101,"museum":191,"description":30910,"tags":30911,"thumbUrl":30912,"material":529,"size":30913,"collection":90,"collections":30914,"showCount":30596,"zanCount":48,"manualWeight":48,"mainColor":49},222407,"hua-fu-rong-bai-lu-zhou-zheng-shi-222407","画芙蓉白鹭轴","郑石，生卒年不详。系明画院中人，自署锦衣百户。\n工画花鸟，其画之风格出自宫廷花鸟画家吕纪。\n画幅之构图和树、石、花鸟的用笔，比之吕纪「秋鹭芙蓉」、「秋渚水禽」，显见在布局上较吕氏为简化。而用笔则不如其细致，有着较明显之提顿变化，渐趋向于浙派晚期之风味。",[23,24,25,226,7,28,83,634,1111,353],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6580b27108d81173535dc902fb47cdad.jpg","纵144.4厘米，横74.3厘米",[90,45],{"id":30916,"slug":30917,"title":30918,"dynasty":99,"author":100,"museum":20,"description":23047,"tags":30919,"thumbUrl":30920,"material":40,"size":23050,"collection":181,"collections":30921,"showCount":30596,"zanCount":2368,"manualWeight":48,"mainColor":49},222220,"nv-le-tu-chou-ying-222220","女乐图",[23,24,28,7,59,195,107,115,106,409,280,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1773ae43fc8291acbb6e1133fb797250.jpg",[181,45],{"id":30923,"slug":30924,"title":30925,"dynasty":99,"author":3774,"museum":495,"description":30926,"tags":30927,"thumbUrl":30930,"material":638,"size":30931,"collection":90,"collections":30932,"showCount":30596,"zanCount":2368,"manualWeight":48,"mainColor":94},222178,"hong-xing-ye-fu-tu-zhou-lu-zhi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，署款“包山陆治制”，并钤有乾隆内府玺印多方。《梨花双燕图》堪称陆治花鸟画代表作。\n陆治（1496－1576）明代画家。吴县（今江苏苏州）人，字叔平，因居包山，自号包山。倜傥嗜义，以孝友称。好为诗及古文辞，善行、楷，尤心通绘事。游祝允明、文徵明门，其於丹青之学，务出其胸中奇，一时好称，几与文埒。工写生得徐、黄遗意。点染花鸟竹石，往往天造。山水受吴门派影响，也吸取宋代院体和青绿山水之长，用笔劲峭，景色奇险，意境清朗，自具风格，在吴门派画家中具有一定新意，与陈淳并重于世。晚年贫甚，衣处士服，隐支硎山，种菊自赏。有贵官子因所知某以画请，作数幅答之。其人厚其贽币以谢。治曰：吾为所知非为贫也。立却之。求其画者，请之而强必不可得，不请之乃或可得。卒年八十一。",[860,1260,24,25,28,7,83,1340,31211,836],"白燕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57e90a284399b9a35c0b28c400c76c4c.jpg",[],{"id":31215,"slug":31216,"title":31217,"dynasty":18,"author":1599,"museum":316,"description":31218,"tags":31219,"thumbUrl":31220,"material":67,"size":31221,"collection":139,"collections":31222,"showCount":31110,"zanCount":48,"manualWeight":48,"mainColor":49},232875,"guan-shan-xing-lv-tu-juan-liu-song-nian-232875","关山行旅图卷","刘松年（约1155-1218）〔南宋〕钱塘人，淳熙间画院学生，绍熙间升画院待诏。宁宗时进《耕织图》被朝廷看重，赐金带，为“南宋四大家”之一。",[23,194,24,25,26,29,177,7,808,107,34,175,1049,116,795,176,1273,809,407,25842,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ac782a163ae7808c98a9f752060c3b4.jpg","34.3x307厘米",[],{"id":31224,"slug":31225,"title":31226,"dynasty":76,"author":658,"museum":132,"description":31227,"tags":31228,"thumbUrl":31229,"material":638,"size":31230,"collection":139,"collections":31231,"showCount":31110,"zanCount":48,"manualWeight":48,"mainColor":94},231949,"hua-hui-ce-ye-12-kai-dong-gao-231949","花卉册页12开","龚心钊题跋。龚心钊（1870-1949），字怀希，号仲勉，安徽合肥人，寓居上海。他19岁中举人，26岁中进士，是清代最后一任科举考官。光绪年间出使英、法等国，清末出任加拿大总领事，是清代著名的外交家。\n董诰（1740-1818），字雅伦，西京，号蔗林，一号柘林，董邦达长子，浙江富阳人。乾隆二十八年（1763），中顺天乡试举人，明年成进士，殿试各列一甲第三，乾隆帝以其系大臣子，改置二甲第一，为传胪，授翰林院庶吉士，充国史三通馆协修，武英殿篡修。散馆后，改任编修。",[194,24,25,81,28,7,83,84,554,211,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa16aa1373de0204c155ba084d3f5fee4.jpg","21×26cm×12",[],{"id":31233,"slug":31234,"title":31235,"dynasty":76,"author":257,"museum":20,"description":31236,"tags":31237,"thumbUrl":31238,"material":638,"size":31239,"collection":139,"collections":31240,"showCount":31110,"zanCount":48,"manualWeight":48,"mainColor":49},231363,"liu-yin-pin-cha-tu-ye-yi-ming-231363","柳荫品茶图页","品茶，就是品评茶味；饮茶。一般来说，这是一种较为优雅和闲适的艺术享受。 明 杨慎 《和章水部沙坪茶歌》：“君作茶歌如作史，不独品茶兼品士。” 柳亚子 《寄毛主席延安》诗：“云天倘许同忧国， 粤海难忘共品茶。”",[24,7,28,81,106,2532,378,379,229,6693],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F212e19a5991a4ce291daf341239a17f2.jpg","纵29cm,横29.2cm",[],{"id":31242,"slug":31243,"title":31244,"dynasty":76,"author":7596,"museum":316,"description":19312,"tags":31245,"thumbUrl":31246,"material":599,"size":600,"collection":139,"collections":31247,"showCount":31110,"zanCount":48,"manualWeight":48,"mainColor":94},229014,"fang-gu-shan-shui-wang-shi-min-wang-hui-229014","仿古山水-王时敏",[194,24,25,29,173,7,177,230,108,109,175,245,1049],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2980717faf33c3fd762b486b8c086428.jpg",[],{"id":31249,"slug":31250,"title":31251,"dynasty":99,"author":31252,"museum":539,"description":31253,"tags":31254,"thumbUrl":31255,"material":139,"size":139,"collection":139,"collections":31256,"showCount":31110,"zanCount":48,"manualWeight":48,"mainColor":49},228488,"he-tang-ju-qin-tu-li-zhou-lin-liang-228488","荷塘聚禽图立轴","林良","画面将荷塘初秋意趣尽显，枯荷擎举、新花绽露，苇叶横斜交错，枯荣相生晕染出塘间清寂底色。\n水禽错落其间，水面鸳鸯两两相偎，翎毛细笔晕染，绒羽质感宛然；野禽振翅穿掠苇丛，飞燕斜划破空，动静交织间满溢鲜活生机。\n笔墨兼工带写，粗毫挥写苇茎残叶，苍劲朴拙；细笔勾勒禽鸟肌理，灵动传神。墨色浓淡铺陈层次，以极简水墨变化定格郊野塘间自在野趣，尽显纵逸清隽的花鸟意致。",[23,24,194,226,173,7,83,228,245,1530,1980,5923,498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc7d15347b6a2c9436b4b8172d7a7048.jpg",[],{"id":31258,"slug":31259,"title":31260,"dynasty":99,"author":257,"museum":316,"description":31261,"tags":31262,"thumbUrl":31264,"material":139,"size":139,"collection":139,"collections":31265,"showCount":31110,"zanCount":2368,"manualWeight":48,"mainColor":49},228380,"xian-zong-chun-huang-di-xiao-zhen-chun-huang-hou-yi-ming-228380","宪宗纯皇帝；孝贞纯皇后","此作工笔重彩，尽显宫廷肖像的庄重礼制。帝王丰腴持重，长髯垂胸，朝服团龙织金华美厚重，沉静神态间自显九五威仪。皇后凤冠累丝点翠，珠绕翠围，饰纹龙凤交错、珠玉琳琅，面容温婉端雅，衣间绣纹细密精巧，尽显后妃尊荣。\n\n画面设色沉穆富丽，线条工整精细，既恪守宫廷御容的制式规范，又将帝后仪容神韵写实还原，在礼制框架中尽显大明皇室的华贵肃穆之风。",[24,25,106,11296,28,7,31263,334,409,7692],"宫廷人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faffdd58ba212c252b9f919542f805753.jpg",[],{"id":31267,"slug":31268,"title":31269,"dynasty":99,"author":17423,"museum":316,"description":31270,"tags":31271,"thumbUrl":31272,"material":139,"size":139,"collection":139,"collections":31273,"showCount":31110,"zanCount":2368,"manualWeight":48,"mainColor":49},228364,"pi-lu-tu-zhou-chen-228364","辟纑图","此作取景分野有致，左幅铺陈烟水浩渺，林石隐现，漾出清旷空寂之境；右隅收拢于山居幽地，古松蟠虬，草堂依林而筑。\n笔墨承浙派风骨，山石斧劈皴利落苍硬，林木勾勒精细入微，敷色浅淡清和，衬出山林沉静底色。堂内主客对坐晤谈，侍女侧立随侍，将林下雅集的闲逸自适藏于方寸之间，山涧激流的动势与堂中悠然静气相融相生，尽显文人幽居林泉、寄情丘壑的雅致襟怀。",[23,24,7,28,177,29,106,34,686,109,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cc9662f11c840147628ba2d5d2856d8.jpg",[],{"id":31275,"slug":31276,"title":31277,"dynasty":302,"author":6965,"museum":316,"description":31278,"tags":31279,"thumbUrl":31280,"material":139,"size":139,"collection":139,"collections":31281,"showCount":31110,"zanCount":48,"manualWeight":48,"mainColor":94},228027,"lin-li-gong-lin-ren-ma-tu-zhao-yong-228027","临李公麟人马图","说明：元 赵雍 纸本设色 （美国）弗利尔美术馆藏 纵1.7厘米 横7.5厘米 此卷为临仿北宋李公麟白描《五马图》中的第一组人马像，并敷以颜色。\n牵马者身穿朱衣，两臂袍于腹前，侧脸望着身后的贡马，漫步前行。\n画人马用线细劲连绵，人物胡须及马尾线描极为精彩。\n与原作相比，马体略显肥胖，而神骏英发之气似嫌不足。\n字仲穆，吴兴（今浙江湖州）人，赵孟頫次子。\n官至集贤待制，同知湖州路总管府事，晚年隐居在家，往来于湖、杭间。\n承家学诗文书画皆精，善鉴赏，人物、山水、界画、花鸟、鞍马无所不能。\n幼即勤奋，得母指教，稍懈母即严责之。\n稍长，“所画浓淡浅深皆至理”。\n山水宗父法，参学董、巨、李、郭、萧散清远，笔力劲健，有个人面貌。\n兰竹师其母，腴润洒脱，颇有风致，尤精人物鞍马，法唐人，有古意，行走滚卧，驰骤奔跳，浴水啮草，各式姿容神态皆生动，深得文人学士甚至皇帝好评。\n书善正、行、草，亦长篆书，体势清劲。\n赵雍传世作品有至正二年（142）作《采菱图》轴、至正七年（147）作《挟弹游骑图》轴、（16）作《松溪钓艇图》卷及《沙苑图》卷，现藏故宫博物院；《着色兰竹图》轴、《青影红心图》《长松系马图》《清溪垂钓图》藏上海博物馆；溪山渔隐图》哦张衍旧藏，图录于《中国名画宝鉴》。\n至正十二年（152）作《骏马图》轴，藏台北故宫博物院；至正十九年（159）作《人马图》卷，藏美国纽约大都会艺术博物馆；《澄江寒月图》纨扇藏 ，另有《墨竹图》等。\n著有《赵待制遗稿》一卷。",[23,194,24,25,26,7,352,106,150,86,178,212,105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5606825de98a93d91568a7d11e00af43.jpg",[],{"id":31283,"slug":31284,"title":31285,"dynasty":18,"author":31286,"museum":316,"description":31287,"tags":31288,"thumbUrl":31289,"material":139,"size":139,"collection":139,"collections":31290,"showCount":31110,"zanCount":48,"manualWeight":48,"mainColor":94},227798,"yao-tai-bu-yue-tu-liu-zong-gu-227798","瑶台步月图","刘宗古","《宋刘宗古瑶台步月图》是宋代画家刘宗古所创作的一幅设色画。\n此图原载《四朝选澡册》（见《石渠宝笈续编》）。\n题 作。\n《 》云：“刘宗古，京师人。\n间（公元1119一1125），以待诏官至成叫郎。\n乱离后，归江左，朝廷方寻访车辂式，而宗古进本称旨，除提举车辂院。\n其画人物，长于成染，不背粉，水墨轻成，但笔墨织弱耳。\n”此画布局疏朗，设色清丽，不失为一件精构。\n本幅无款印。\n对开清 题七言绝句一首。\n钤乾隆内府诸收藏印。\n《石渠宝笈续编·养心殿》著录。\n图页写中秋 赏月情景，人物纤秀，风格婉约，景色空蒙。\n宋人册页中的楼阁画除了描写完整的单体建筑或建筑群的全景，还有描绘建筑局部的作品。\n此页即界画平台的局部，虽只是作为人物活动的背景，但深棕色嵌玉栏杆、莲花柱头装饰和台子的斗拱样式交代得准确清楚，与描绘建筑全图的作品恰是一种互补，展现了 楼阁小品画活泼的表现形式及丰富的表现手法。",[23,194,24,25,1260,7,28,106,107,59,265,86,178,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F505e3900af9740a371e317730b4d7558.jpg",[],{"id":31292,"slug":31293,"title":30706,"dynasty":189,"author":19089,"museum":191,"description":31294,"tags":31295,"thumbUrl":31296,"material":282,"size":31297,"collection":139,"collections":31298,"showCount":31110,"zanCount":48,"manualWeight":48,"mainColor":2504},227278,"xiao-yi-zhuan-lan-ting-ju-ran-227278","此图乃描述了一个脍炙人口的传说——酷爱二王书法的唐太宗，听说辩才和尚藏有王羲之的《兰亭序》手迹，久谋不得，便遣御史萧翼巧赚。萧翼微行前往辩才所居的山寺与之结交。在诗文酬答的欢悦气氛之中，辩才警觉懈怠，终于将其藏于梁上的《兰亭序》取下与萧翼共赏。萧翼趁辩才赴斋之际，遂窃之而去。图中所绘，正是萧翼访辩才的情形。",[24,194,173,29,106,177,34,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f80d433f99e4d4dc9476aa54f607c2e.jpg","纵：144.1厘米，横：59.6厘米",[],{"id":31300,"slug":31301,"title":31302,"dynasty":256,"author":257,"museum":1846,"description":31303,"tags":31304,"thumbUrl":31305,"material":599,"size":600,"collection":139,"collections":31306,"showCount":31110,"zanCount":2368,"manualWeight":48,"mainColor":49},226508,"fu-shuo-yan-luo-wang-shou-ji-si-zhong-yu-xiu-sheng-qi-wang-sheng-jing-tu-jing-yi-ming-226508","佛说阎罗王授记四众预修生七往生净土经","简称《佛说十王经》。为卷轴式手抄彩绘卷。本经卷属晚唐五代时期敦煌所绘，画风古朴，十分珍罕。本卷为法国伯希和从敦煌带走藏于法国国图的《阎罗王授记经》三种绘卷之一，",[26,25,24,260,7,106,107,28,22428,406,212,86,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00260a4feaf64cbf8c2e55965c1febc7.jpg",[],{"id":31308,"slug":31309,"title":4024,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":31310,"thumbUrl":31311,"material":599,"size":600,"collection":139,"collections":31312,"showCount":31110,"zanCount":2368,"manualWeight":48,"mainColor":49},226478,"ku-zhu-shi-zao-jing-yi-ming-226478",[7230,511,260,7,1488,84,4028],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1580716fa7a42cb960dc7cb187dbd2b.jpg",[],{"id":31314,"slug":31315,"title":26544,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":31316,"thumbUrl":31317,"material":599,"size":600,"collection":139,"collections":31318,"showCount":31110,"zanCount":2368,"manualWeight":48,"mainColor":49},226311,"ku-yong-dao-nan-bi-yi-ming-226311",[511,7,106,260],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f632f08039b44b80679e723e2fb93c1.jpg",[],{"id":31320,"slug":31321,"title":31322,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":31323,"thumbUrl":31328,"material":599,"size":600,"collection":139,"collections":31329,"showCount":31110,"zanCount":48,"manualWeight":48,"mainColor":49},226173,"ku-qian-shi-xi-bi-yi-ming-226173","窟前室西壁",[511,7230,260,7,106,11370,7692,22981,11623,31324,31325,31326,31327],"人物形象","壁画技法","色彩设色","线描勾勒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa85e8b7a9cdaee52ab3bffd6f3d309d6.jpg",[],{"id":31331,"slug":31332,"title":31333,"dynasty":76,"author":1610,"museum":316,"description":31334,"tags":31335,"thumbUrl":31336,"material":139,"size":139,"collection":139,"collections":31337,"showCount":31110,"zanCount":48,"manualWeight":48,"mainColor":94},224586,"du-mu-shi-yi-tu-zou-yi-gui-224586","杜牧诗意图","此作取诗意入画，绘就晚秋幽林。危崖峻拔，以苍劲皴笔写尽山石嶙峋骨相，淡墨晕染出岫间云霭，衬出山居空寂高远之境。坡岸秋木杂生，丹红枝叶点缀其中，暗合霜叶胜花的诗意。溪湾浅滩处，渔人泛槎而归，为清冷秋景添上几分烟火野趣。\n\n全作用笔干湿互济，干笔皴擦刻绘山石肌理，淡墨晕染烘托空濛氛围，将诗句里停车赏枫的悠然心境化入尺幅之中，诗画相映，尽显秋日山林的萧疏雅致，闲淡高古的意韵扑面而来。",[23,24,25,226,7,28,177,29,176,34,1754,1169,4073,1171,212,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc33b4eca18f66a0d481bcc101936a3f5.jpg",[],{"id":31339,"slug":31340,"title":31341,"dynasty":76,"author":3914,"museum":25821,"description":31342,"tags":31343,"thumbUrl":31344,"material":67,"size":31345,"collection":181,"collections":31346,"showCount":31110,"zanCount":48,"manualWeight":48,"mainColor":49},224480,"guan-shan-qiu-ji-tu-wang-jian-224480","关山秋霁图","此是王鉴摹吴镇的一幅名画，相同的画董其昌在其《小中见大》册中也临摹有一幅，构图相同，说明两人都是忠实于原作的临摹。此幅水墨淋漓，与吴镇用笔用墨十分相似，可见王圆照摹古功力之深。",[23,24,25,226,7,177,29,7599,34,107,108,109,175,176,5218,809,3176,981,23284,6152,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F312f5a5f9f6caa2841fbb84103d97470.jpg","177x95厘米",[181,163],{"id":31348,"slug":31349,"title":31350,"dynasty":76,"author":2837,"museum":316,"description":31351,"tags":31352,"thumbUrl":31353,"material":139,"size":139,"collection":139,"collections":31354,"showCount":31110,"zanCount":48,"manualWeight":48,"mainColor":94},224375,"hua-hui-qi-shi-ce-shi-er-kai-5-ju-lian-224375","花卉奇石册-十二开-5","此作以淡逸笔调铺陈案头清趣，湖石奇崛空灵，以写意皴擦勾勒出瘦透之姿，韵致古拙。旁侧方盆雅致，盆中花卉粉萼柔妍、翠叶莹润，没骨晕染将草木鲜活之态尽揽笔底，淡粉轻绿相映，娇而不艳。左下角拳松短针苍劲利落，与柔花顽石形成刚柔互衬。\n整幅画面留白疏朗，工写兼济，将文房清供的闲雅意趣晕染尽致，清隽静和的气息漫溢纸面，尽显雅致脱俗的文人意韵，草木生机融于案头幽寂，淡而有味。",[23,24,25,81,28,7,230,84,3673,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f869a343a57705320bea4f60deed39d.jpg",[],{"id":31356,"slug":31357,"title":31358,"dynasty":76,"author":21343,"museum":316,"description":31359,"tags":31360,"thumbUrl":31361,"material":139,"size":139,"collection":139,"collections":31362,"showCount":31110,"zanCount":2368,"manualWeight":48,"mainColor":94},224205,"ying-wu-xi-die-tu-hu-mei-224205","鹦鹉戏蝶图","《鹦鹉戏蝶图》是画家胡湄所作的一幅画，现藏于上海博物馆。\n此画中的花鸟仿宋人笔，工笔重色，细致艳丽。\n梅花之沉稳雅致与鹦鹉之灵动飞扬成对比，造型精确、形态生动。\n花朵胭脂设色，鲜嫩娇美，墨绿树叶作为衬托，层次向背各自分明。\n鹦鹉的羽毛用白粉工笔勾描，质感柔绵，整幅画无一懈笔，青铜架上的绿锈、红霉均细致地得到表现。\n在和煦的阳光下，大地一片清新蓊郁，在村宅的一隅，一枝怒放的梨花，张开笑脸，散发出阵阵清香，这时两只斑灿美丽的蝴蝶向飘落的梨花追逐，一只原系立于铜架上的鹦鹉反身而下，全力地扑向彩蝶，形态生动。\n署款“晚山胡湄写”。\n钤 “湄印”白文印、“晚山”朱文印。\n从这幅画中可以看到，画家别有心意，十分留心自然界中所发生的一点一滴，并体察入微，将之再现于画画，让人们领略到这美妙而富有的生活情趣的景象。\n折枝梨树，画画左侧横上舒枝展叶，枝头缀满花朵，有的向阳怒放，有的含蕾待放，煞是可爱。\n花朵设色，鲜嫩可爱，以墨绿树作为衬托，层次向背各自分明。\n鹦鹉的羽毛用粉笔勾描，显示出羽毛柔绵的质感。\n勾画眼、嘴、爪均用较浓的墨色。\n此画的艺术特色足以简雅清淡取胜。\n全幅境象疏朗，笔墨简练，结构上不作繁密丰满、全景式的布局，其他树石、花木作为陪衬，剪裁得宜，取景自然。\n在画法上，不事雕琢，笔墨不多，却能使此画满幅生辉，使欣赏者获得美的享受。\n胡湄，生卒年不详。\n字飞涛，号晚山，又号秋雪，浙江平湖人。\n诸生，项元汴外孙。\n由于项氏收藏 甲天下，故胡氏受到完整的古代绘画艺术的薰陶。\n他为人耿直，富人以金帛求画多拒之。\n他画的花鸟虫鱼、“时称仙笔”。\n传世作品有《鹦鹉戏蝶图》。",[23,24,25,194,226,28,7,83,7636,484,62,836,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72d4e5bf65a6b3e2e6a86eefde4da10a.jpg",[],{"id":31364,"slug":31365,"title":31366,"dynasty":76,"author":563,"museum":316,"description":31367,"tags":31368,"thumbUrl":31369,"material":139,"size":139,"collection":139,"collections":31370,"showCount":31110,"zanCount":2368,"manualWeight":48,"mainColor":94},224181,"hua-niao-li-zhou-hua-yan-224181","花鸟立轴","梅枝虬曲绽花，主鸟独立高枝，振羽引吭，翎毛以淡墨晕染，尽显蓬松柔润。下方竹枝斜出，两只小雀依偎私语，憨态可掬。顽石以枯淡笔墨勾勒，墨色浓淡相破，野意盎然。\n全作用兼工带写之法，将禽鸟灵动与花木清逸相融，题款错落排布，书画相映，晕染出幽寂早春的澹远意趣，笔意秀逸脱俗，把春日禽鸟迎春的生机悄然铺展，清隽雅致，饶有闲情。",[23,24,226,7,173,83,820,227,230,209,212,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa32f2c98cbf9f8e2905ef51e67f151d1.jpg",[],{"id":31372,"slug":31373,"title":31374,"dynasty":76,"author":257,"museum":316,"description":31375,"tags":31376,"thumbUrl":31377,"material":139,"size":139,"collection":139,"collections":31378,"showCount":31110,"zanCount":48,"manualWeight":48,"mainColor":94},223658,"jin-ping-mei-cha-tu-yi-ming-223658","金瓶梅插图","此作为工笔重彩长卷，以分段式构图铺展桥段，院宅厅堂错落排布，人物疏密有致。匠者细绘雕栏花窗、瓶炉陈设，精准还原世家起居样貌，衣袂纹饰鲜妍工丽，各有章法。画面将宴饮雅聚、弈棋闲叙、私会密谈的不同氛围烘托得当，人物神态灵动鲜活，或揖礼叙话，或缱绻依偎，皆细腻传神。青绿、朱红配色明快雅致，兼具界画的工整写实与人物画的气韵生动，把世情日常与深宅韵致相融，尽显清代工笔世俗画的精湛功力，让文字故事具象为可触摸的古典图景。",[23,24,26,7,28,104,106,107,115,34,136,4355,279,278,3673,176,59,280],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31a55519b64b307f10e86240af72bfc4.jpg",[],{"id":31380,"slug":31381,"title":31382,"dynasty":76,"author":257,"museum":316,"description":31383,"tags":31384,"thumbUrl":31385,"material":40,"size":31386,"collection":139,"collections":31387,"showCount":31110,"zanCount":48,"manualWeight":48,"mainColor":49},223551,"hai-tang-bai-tou-tu-yi-ming-223551","海棠白头图","绘蓝色湖石一块，形状凹凸有致；两枝海棠上下各一枝，枝上花朵或绽放，或含苞待放，红色的花朵鲜艳美丽，枝上两只白头翁相向而望，上面的扭头看着下面的那只，而下面也抬头呼应着上面鸟儿，二只鸟儿相亲相爱，活泼可爱。",[23,24,7,83,3052,67,1530,1261,230,84,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86d21e5bf0b445cf9d0b9e44de9e88be.jpg","35.9x50.6cm",[],{"id":31389,"slug":31390,"title":31391,"dynasty":18,"author":257,"museum":20,"description":31392,"tags":31393,"thumbUrl":31394,"material":40,"size":31395,"collection":139,"collections":31396,"showCount":31110,"zanCount":2368,"manualWeight":48,"mainColor":49},223499,"za-ju-da-hua-gu-tu-ye-yi-ming-223499","杂剧(打花鼓)图页","图中绘二角色，皆为女子扮演，两人均作打拱状。左方一人头戴诨裹，有斗笠等道具置于地上，似为副净色；右方一人，头戴大红花，身着短对襟，干练精神，背后插一扇，上书末色二字，为副末色角色。此图是为数不多为宣传戏剧类的精品册页。",[23,194,24,25,81,28,7,106,195,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ef48819eecf68aed6bd33519f2d6318.jpg","23.3x24",[],{"id":31398,"slug":31399,"title":31400,"dynasty":18,"author":257,"museum":191,"description":31401,"tags":31402,"thumbUrl":31403,"material":1307,"size":31404,"collection":139,"collections":31405,"showCount":31110,"zanCount":48,"manualWeight":48,"mainColor":49},223436,"song-shen-zong-hou-zuo-xiang-yi-ming-223436","宋神宗后坐像","本幅原属清宫南薰殿旧藏，画无款印，但画中人物相貌传神，洵非想像之作，而且用笔精准、赋色细腻，具备第一流的水准，应出自当时名家之笔。宋仁宗先后曾立两位皇后，其一为郭皇后，另一为慈圣光献曹皇后。由于郭后被废，故此像应系后者。画像中，非惟曹后身着的袆衣、钗冠华丽无伦，连身侧两名侍女，同样衣饰妍丽，满头簪花，与院藏仅绘皇后独自端坐的图像相比，显得格外高贵而出众。",[23,24,25,7,28,106,63,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe3010254a80d6bfae8c42dd104ecd83.jpg","174.7x 116.7",[],{"id":31407,"slug":31408,"title":31409,"dynasty":76,"author":698,"museum":191,"description":11359,"tags":31410,"thumbUrl":31412,"material":13418,"size":31413,"collection":90,"collections":31414,"showCount":31110,"zanCount":1379,"manualWeight":48,"mainColor":94},222693,"xin-shao-ru-yi-tu-zhou-qian-wei-cheng-222693","新韶如意图轴",[23,24,25,226,7,28,266,31411,8848,2203,820,1133,62,229,212],"盆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c76e4882c3861113c1dfe14fc016849.jpg","105.2x55.9厘米",[90,45],{"id":31416,"slug":31417,"title":31418,"dynasty":18,"author":31419,"museum":101,"description":31420,"tags":31421,"thumbUrl":31422,"material":31423,"size":31424,"collection":139,"collections":31425,"showCount":31110,"zanCount":2368,"manualWeight":48,"mainColor":49},222677,"san-tu-tu-gong-ji-222677","三兔图","龚吉","用笔清新雅致，有沈铨的艺术风格。作者龚吉，生卒年不详，疑似沈铨的弟子或再传弟子。",[23,194,24,25,2003,28,7,746,2181],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6aaa73b140b8a6a8d234f073fbfbadd6.jpg","绢本水墨设色","67.3×40.6厘米",[],{"id":31427,"slug":31428,"title":8197,"dynasty":99,"author":792,"museum":191,"description":31429,"tags":31430,"thumbUrl":31431,"material":67,"size":31432,"collection":181,"collections":31433,"showCount":31110,"zanCount":48,"manualWeight":48,"mainColor":49},222596,"xi-shan-xue-ji-tu-lan-ying-222596","画面上远处层峦迭嶂，悬崖峭壁，山顶披上雪装，白雪皑皑，山顶部衰草疏落。中景为乱石连绵，山坡间杂树丛生，树木枝干挺拔，似乎在傲视寒雪，绝无凄凉之感。近景坡石堤岸下为宽阔的溪流，河中杂有碎石。近景最下部有几棵穿天的松柏，松树阑珊，枝叶茂密。树下坐有一位身穿红袍的长者，独自在观赏溪山的雪景，显得悠闲自得。",[23,24,7,177,29,2562,174,6582,795,1273,176,809,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cec5c7e6892c4274ddda8daa901a500.jpg","纵82.3厘米，横28.9厘米",[181,45],{"id":31435,"slug":31436,"title":31437,"dynasty":99,"author":792,"museum":539,"description":31438,"tags":31439,"thumbUrl":31443,"material":1175,"size":31444,"collection":181,"collections":31445,"showCount":31110,"zanCount":48,"manualWeight":48,"mainColor":49},222583,"fang-yi-feng-shan-shui-lan-ying-222583","仿一峰山水","蓝瑛（1585-1664），一说（1585-约1666），明代杰出画家，字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号东郭老农，所居榜额曰“城曲茅堂” ，钱塘（今浙江杭州）人，是浙派后期代表画家之一。\n工书善画，长于山水、花鸟、梅竹，尤以山水著名。其山水法宗宋元，又能自成一家。师画家沈周，落笔秀润，临摹唐、宋、元诸家，师黄公望尤为致力。晚年笔力蓊苍劲，气象峻嶒，与文征明、沈周并重。作品有：《秋山红叶图》《江皋话古图》《白云红树图》《松岳高秋图》《苍岩嘉树图》等，其画派在晚明影响甚大，传其画法者甚多。\n蓝瑛 （1585-1664），一作（1585-约1666），明代杰出画家，字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号东郭老农，所居榜额曰“城曲茅堂”，钱塘（今浙江杭州）人，是浙派后期代表画家之一。\n蓝瑛一生以绘画为职业，曾漫游南北，饱览名胜，眼界开阔，因而不断丰富了创作内容。他的传派，直接继承衣钵的有蓝氏一家子孙，如蓝孟、蓝深、蓝涛等，弟子刘度、王奂等都各有成就。明末同时和稍后的如陈洪绶以及金陵八家等著名画家，也都受他的影响。\n蓝瑛绘画对明末清初影响很大，被后人称为“武林派”。画史上称之为“后浙派”，将其与戴进、吴伟合称“浙派三大家”。 [2] 但实际上他的画风与戴进等不同，不能完全附属于“浙派”之后。蓝瑛字田叔，号蜨叟，晚号石头陀，又号东郭老农，所居榜额曰“城曲茅堂”。\n蓝瑛是我国明末清初的画家，曾有美术史家把他列为“浙派”，对此，有专家学者提出异议认为：蓝瑛与戴进之间既无师承关系，在绘画面貌、艺术风格上也大相径庭，故不应因二人同处浙江杭州而列为同一画派“浙派”。\n清代沈宗骞在《芥舟学画编》中提出“蓝瑛倡为武林派”，蓝瑛和他的追随者们应称为“武林派”。我们知道，画史上有一些画家因种种原因没有留下更多的生平资料，使后人很难从他们一生的行踪、生活背景、个性脾气、思维方式中去了解他们所形成的艺术风格、审美理念，只能从他们留存于世的绘画作品中去洞察其艺术之轨迹，蓝瑛就是这众多画家中的一位。长期以来，学术界对文人画家及其作品比较重视，由于蓝瑛是一位职业画家，又没有诗文和著作留存于世，因此在画史上很少有关于他的记载和涉及。本文试通过对蓝瑛绘画作品的具体分析，来阐述蓝瑛山水绘画的艺术特色和所取得的成就。\n画家的创作理念和他个人所生活的时代、环境、文化素养、审美标准是分不开的。蓝瑛作为明末清初的画家，他的绘画风格同样也脱离不开他所生活的时代。因此，在探讨蓝瑛山水绘画的艺术特色之前，我们首先要对蓝瑛的生平及师承有所了解。\n蓝瑛，生于公元1585年，卒年不详，1664年尚在，字田叔，号蜨叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号西湖外民、西湖外史、东郭老农、吴山农等，所居榜额曰“城曲茅堂”。生长于“浙派”发源地钱塘(今浙江杭州)，二十三岁寓居松江，后来长期活动于杭州、嘉兴、南京、扬州、绍兴等地，卖画授徒，影响深远，追随者主要集中于杭州一带，被称为“武林派”(武林为今杭州别称)，在明末万历到清初康熙年间足以与“松江派”抗衡。其画风融合南北两宗，自成一家，属于一位文人画的职业画家。清代以来不少学者把蓝瑛称为“浙派”的“后劲”或“殿军”。\n他工书善画，长于山水、竹石、梅兰、人物、花鸟等，技法全面，尤以山水画著名，是明末清初颇具影响力的山水画家。他的绘画特点比较明显的是用笔有顿挫，以疏秀苍劲取胜，善写秋景。在其作品的题款中，常署仿某家之作，如“仿张僧繇”、“法荆浩”、“仿李成”等，实则所画均为他自己的面目。他的山水绘画画法有两种：一种作钩勒浅绛法，另一种作没骨法，设色鲜艳夺目，所画青山、红树、白云，运用石青、石绿、朱砂、赭石、铅粉诸色，点染别致，是晚明时期富有变化的山水绘画作品。蓝瑛享年八十有余，一生以绘画为职业，笔耕不辍，传世的绘画作品面貌多样，数量众多。\n从蓝瑛传世的作品看，他的山水画创作大致可分为早、中、晚三个时期。早期为其五十岁以前。从现存蓝瑛早期的绘画作品中可以看出，他在临习古人绘画作品的过程中，打下了扎实的笔墨功底。在艺术成就的取得上，他主要得益于黄公望、王蒙、倪瓒、吴镇的助力。元四家的笔墨虽不尽相同，但蓝瑛在学习他们的绘画技法时却能择良而取，并注意吸取对自己有用的东西，藉以丰富个人的表现能力。博采众长，应该是一个艺术家取得成就的途径之一，这也是我国艺术史上久经证明的成功经验。此时蓝瑛作品呈现出的面貌基本是以中锋运笔，皴法以长披麻皴、解索皴、荷叶皴为主。山石的画法润泽浑圆，没有过多的棱角，苔点圆润。树木的画法则是多种多样，体现了他绘画技法的娴熟。在构图上，近景的树木与远景的山峦之间具有明显的空间感。设色平淡和润，风格秀润清和，疏松简略。\n《溪山秋色图》为癸丑新秋(1613年)，画家29岁时创作的一件传世绘画佳作。画卷右起为辽阔的水域，远山朦胧，云气蒸腾。中部山石突起，溪水潺潺，蜿蜒的水流从山石间缓缓淌过，坡石上零星地分布着杂草树木。整幅画作淡泊宁静，用笔柔和，山石少皴，偶有淡淡的荷叶皴，构图松秀，设色清和，墨色滋润，从中可看出蓝瑛此时的绘画受“松江派”绘画风格影响之痕迹。\n《仿李唐山水图》是蓝瑛早年创作的一件绘画作品。图中景物茂密，近景岩石累累，形成坡坨，处于曲流之畔。坡石上树木茂蔚，造型古朴，刻画细致，疏密枯润，各显生态。树林间有一茅亭临于溪边，亭内二隐士对坐畅聊。隔溪远景是巨石高峰，岩石突兀奇特，下有瀑布，泻入清溪。整个画面山石崚嶒，古树结节，山石的皴法，以小斧劈皴、刮铁皴相济并用，稍以色彩点簇，水墨晕染，刚中见柔。布局稳当，气氛清谧。远山近树，继承了李唐院体画派的风范而自有发挥，作品较多地留有宋代遗风。\n中期为五十至六十五岁之间。这时他不但取法郭熙、李唐及马远、夏圭，而且对二米、云山也精心研究，对黄公望的画更是悉心尤力。时人吴门画派沈周、文徵明的笔法他也热心师效。加之他漫游南北涉猎广泛，眼界宽广，兼融南北，形成了苍劲雄强、骨力刚硬的个人风格，此时的蓝瑛已经达到能“分别宋元家数，某人皴梁法脉，某人蹊径勾点，毫不差谬”的水平。他以自己对各家绘画特色的见解，以中锋、侧锋交替运笔，用各种皴法、点苔法熟练地画出各种形态的山石、树木。以各家的典型构图，或高远或平远，或简或繁，显现出一种笔墨苍劲、气势雄浑的境界，反映出他在三十余年仿古绘画的实践中渐渐脱开单纯的临与仿，开始形成了自己独立的绘画风格。\n《仿古山水册》作于乙亥春仲(1635年)，画家时年51岁。此山水画册的风格以临黄子久为主，笔触粗短，用笔方折，山石少皴，偶用折带、荷叶皴，略加修饰，山石敷以淡青绿和浅绛，加浓墨苔点醒神，用笔简练，设色淡雅。全册共计十二幅，每幅均可见蓝瑛中年绘画之风格。首幅水墨画枯树数株，槎枒矗立，画上题云：“云林之法，妙在简远。瑛法之，未必耳。笑笑。”第二幅浅设色画，一红衣士人立于松下，隔岸观瀑，画上题云：“偶法郭河阳画。西湖外史蓝瑛。”第三幅设色画临水岩上，桃红满树，舟人浮江而行，款“蓝瑛画”。第四幅设色画村舍数间，丛树环绕，小桥流水，画上自题：“赵令穰画法，蓝瑛。”第五幅设色画层峦飞瀑，草阁间士人独坐，画上自题“蓝瑛法大痴画”；第六幅水墨画水畔虚亭，自题：“梅华道人画法，画于富春之吉祥山房。蓝瑛。”第七幅设色画青山红树，画上题云：“元之高彦敬尚书画法米南宫，有白云红树画。蓝瑛仿之。”第八幅设色画层峦蓊郁，群树繁茂，士人独坐水岸，观泉听瀑，自题“王黄鹤听泉图。蓝瑛法。”第九幅设色画苍松红树，孤舟临岸，画上题云：“赵仲穆画似其翁，一段秀古，自成别门。蓝瑛法。”第十幅设色画秋林丹翠，篷舟沿溪，自题：“乙亥春仲法李唐画。西湖外史蓝瑛。”第十一幅设色画秋林丛聚，清雾弥漫，士人独行，自题：“法松雪斋秋林觅句。蓝瑛。”第十二幅设色画，白雪覆树，水岸亭间，士人观景，自题：“乙亥春仲法右丞画。蓝瑛田叔。”\n《乔岳松年图》是蓝瑛55岁时为宁庵祝寿时所绘。画上的景物，笔墨苍劲，山石突兀嶙峋，白云在山间缭绕，远处的楼阁隐现于流动的烟雾之中，时隐时现，增加了画面的动感。画之近处有九株苍干虬枝的古松，繁密的松针，碧绿青翠，使得画面苍浑郁茂，平添了清新的气氛。在松树的掩映下有一茅亭，亭内一老者正在观赏那飞流而下的瀑布。整个画面笔墨精到，用色灵巧，再加上山石间有规律的点以苔藓，使得画中的景物更加雄奇壮观。\n晚年为六十五岁以后，这是蓝瑛一生中最精彩的时期。此时他在融会贯通前人技法的基础上，自立门户，形成了自己的绘画风貌。有人评其晚年画风“绝似仲圭，复似启南”，一语道出蓝瑛画风在渊源上与文人画的关系和晚年苍劲雄浑的画风。从此时期的作品来看，笔法苍劲疏宕，伟峻老练，画风呈多种面貌，有些作品笔墨含蓄隽雅，有些作品青绿重设色，画法工细，色调浓丽，愈老而愈工。这一时期他主要以敏捷快速的粗笔山水为主，山石的轮廓线短小、破碎、躁动，以破笔点苔，以侧锋皴擦；树木的画法更加曲屈苍老和类型化。构图上也基本形成了一种统一的样式：巍峨雄伟的山体以棱角分明的几何体组成并繁复堆积，占据画面的大部分且多偏向一侧，而于另一侧留出一定的空间，山顶突出。山间有飞瀑丛树，山脚以渔樵隐士、老树茅屋点缀。同时出现了山体的立轴画中纵向拉长，在手卷中则横向延伸的变形现象。晚年的作品中没有了早期所保留的一定的空间感，代之以一种逼人的气势，无论是仿荆浩、董源还是仿黄公望，在风格和笔墨上已经没有了差别，它们都已化为蓝瑛的典型山水样式。蓝瑛晚年的作品，笔益精良，构图高嶂巨壁，丘壑深远，重山叠翠，更加苍浑古朴。\n《华岳高秋图》作于1652年，画家时年68岁。画中远景，高山耸立，山顶作平台状，山隈深处，楼阁崔嵬，流泉飞溅，山石勾勒线条硬折，运用荷叶皴、折带皴和牛毛皴，树草稀少，显得崚嶒。中景，群山环绕之中，筑有楼榭，溪流淙淙而下，老树粗壮，用短笔勾成，树叶采用双勾夹叶填色，松针用传统笔法，排列有序，挺拔有力，不失古气。水口用笔转折生硬，受南宋影响，类似浙派。近景，山径迂回，满山红树，二高士漫步小道，观瀑笑语。构图气势雄伟，笔势刚健豪迈。山石用荷叶皴，参以折带皴加水墨渲染，罩花青赭色，树木苍劲，枫叶明丽，描绘出华岳的深秋景色。\n《秋壑飞泉图》为蓝瑛74岁时所作的传世佳作。该画尺幅巨大，气势磅礴，画心高近四米，颇见蓝氏构图设景之能力所在，作品凝聚了画家毕生的技艺与功力。画面层峦耸翠，幽谷深邃，轻岚浮动，红树青山。山谷间的飞瀑和桥上的高士顾盼有情，高远及深远相结合，是典型的蓝氏山水画之模式。画中的高山巨峰，上部的山石重叠峻峋，瀑布悬崖，飞泉溅落。中部巨石杂树间有一茅亭，一人于内赏景，稍下建筑数座，红叶映天，浮桥卧地，小桥上二叟持杖交谈，颇有生活意趣。从这幅绘画的技法上，可以看出他在融汇前人技法方面的成就，也能看出他在创新方面的景物。作者采用“荷叶皴”，在形式与内容方面得到了和谐的结合，取得了较好的效果。那独具特点的置苔，尤显得画面苍润而厚重。有些树叶以赭色画出，突出了节令气氛，使画面秋意盎然。该画构图雄伟，气势阔大，足见蓝瑛博大精深的笔墨造诣。\n纵观蓝瑛早、中、晚三个时期的绘画作品，大体可以得到这样一些认识：早年的作品，是学宋代诸大家的笔法，尤其是学元四家的作品。此时笔法较细润，明显地呈现出某派的笔法痕迹。中年，在学习前人技法的基础上开始变法，也就是向开创独特风格的途程上逐步迈进。晚年则开创了一种雄伟浑穆的独特面貌，画不离苔以及多画秋景，善施赭色，巧用荷叶皴等等，也都是蓝瑛作品的特点。\n蓝瑛的山水画艺术成就，得益于他“性耽山水”。虽然他下苦功夫临习了晋唐宋元诸家，并达到了精妙乱真的程度，但他不以摹仿为能事。他不仅擅于师古人之意进行变革创新，而且还注重生活，注重行万里路，饱游饫看，“游闽粤荆襄，历燕秦晋落，涉猎既多，眼界弘远”。因为他胸中有真丘壑的观察积累，眼界开阔，所以能落笔纵横，水墨淋漓，独创一格一派—武林派。蓝瑛的绘画，影响广泛，师法他的人可分成三类：一类是蓝瑛的嫡传弟子，如早期的刘度、蓝孟等人；第二类是出自蓝瑛的嫡传弟子门下或模仿蓝瑛画风的职业画家，如蓝涛等；第三类是早年曾经出自蓝氏门下，后来自立门户创立了独立画风的陈洪绶、禹之鼎等。千百年来，为祖国锦绣山河传神写貌的画家，能够开宗立派的屈指可数。蓝瑛的绘画崛起于江南，熔铸古今，独开门庭，这是难能可贵的。",[23,24,7,177,29,34,176,175,35,109,114,809,1133,23284,28604,981,4706,1171,11849,31440,31441,31442],"淡赭","山石皴染","树木勾勒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2731e556314b70131bad67ebbce5091.jpg","74.1×161.7cm",[181,163],{"id":31447,"slug":31448,"title":31449,"dynasty":99,"author":18784,"museum":191,"description":31450,"tags":31451,"thumbUrl":31452,"material":500,"size":31453,"collection":181,"collections":31454,"showCount":31110,"zanCount":48,"manualWeight":48,"mainColor":49},222381,"lu-shan-gao-zhou-ding-yun-peng-222381","庐山高轴","丁云鹏是中国明代画家，于1547年出生，字南羽，号圣华居士，安徽休宁人。\n天启五年（1625）尚在作《白马驭经图》，瓒子，詹景凤门人。工书法，学钟繇、王羲之。画善白描人物、山水、佛像，无不精妙。白描酷似李公麟，设色学钱选。丝发之间而眉睫意态毕具，非笔端有神通者不能也。兼工山水、花卉。中年用笔细秀，略近文征明、仇英画法，晚年风格朴厚苍劲，自成一家。 [1] 供奉内廷十余年。与董其昌、詹景凤诸人交游，故流传作品多有董其昌、陈继儒等人的题赞。董其昌赠以印章，曰毫生馆。其得意之作，尝一用之。万历八年（1580）作江南春扇，天启元年（1621）作伙溪渔隐图。\n其画以人物、佛道最负盛名,论者谓,在明末人物画家中，丁云鹏与陈洪绶、崔子忠成鼎足之势。早年人物画工整秀雅，晚期趋于沉着古朴，前后变化可从存世的《媛挡熊图》及《三教图》（均藏故宫博物院）中窥知一斑。山水画也有一定造诣，在师法宋元基础上,自具风格。早期隽秀,晚期古拙，以平整为法。亦能作兰草，有《楚泽流芳图》（故宫博物院）存世。后世流传他的作品，有不少是伪作。而台北故宫博物院所藏钱选《卢同烹茶图》实为丁云鹏手笔。丁云鹏生活于雕板、制墨业发达的徽州，还为书刊画了不少插画，对于新安木刻画的发展起到了一定作用。\n丁云鹏是仇英之后最著名的人物画家，他工给的笔法不下仇英，而高古文雅似又过之。他最擅长的是佛教题材，佛祖、菩萨、罗汉在他笔下既栩栩如生，又庄严肃穆。此帧李公麟《维摩演教图》画人物五十三，动物数头，趁具法器、峰峦堂宇、树石祥云，皆精密工给，非费一两月之功不能为此。董其昌与丁云鹏为挚交，曾题丁氏所绘《五像观音图卷》云：“丁南羽写此时，在吾松为顾光禄正心所馆，年三十馀，故极工妙。自后不复能事，多老年漫应。”",[24,25,226,173,7,29,1426,109,34,176,37,177,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c977c8e01db35618436bdcc1f93e189.jpg","280x85.5",[181,45],{"id":31456,"slug":31457,"title":31458,"dynasty":99,"author":170,"museum":1830,"description":31459,"tags":31460,"thumbUrl":31461,"material":31462,"size":31463,"collection":139,"collections":31464,"showCount":31110,"zanCount":1379,"manualWeight":48,"mainColor":94},222125,"luo-hua-shi-yi-tu-quan-juan-shen-zhou-222125","落花诗意图全卷","该图写晚春最象，远山隐约，桃李花谢，落英缤纷，溪岸上有一老者倚杖临流感慨。笔墨简洁厚润，从宋元人水墨写意中发展而来，别具一格。明代兴起的以个性解放为中心的思想解放运动，在哲学上的表现是争取人的解放，在文艺上的表现则是争取文艺解放，而哲学启蒙则为文艺启蒙提供了思想理论武器。而《落花诗意图》正是作者抒发春暮感伤的个人感情，在一定意义上反映了当时艺术的民主色彩。\n该图描绘了老者一身影孑然独立于自然中的情景。画幅右半部为全幅最主要的部分，也是实景部分。该处主要部位作树五株，分为两组，以胡椒点笔法点出树叶，疏密聚散，然后以花青、赭石笼染数遍。右边下部则以平台和山坡为主，先勾出大体轮廓，然后在坡石的结合处以披麻皴皴出层次，稍作渲染，再以花青、赭石笼染。两平台分开，同时在两平台间作一小桥与平坡相连，平台上散落的一簇簇粉红的落花。靠近左面的平台上有一老人扶杖远望。左边下半部则作碎石三四块，对坡岸微作交代，且是左半部平台、坡石的过渡、延伸。远处的山色以花青稍作渲染，染出峦头即止，隐约之间，已经将晚春的空气烘染出来。整个画面只有近景和远景部分，中间部分简略处理，一片虚空，而将观者的视线引向扶杖老人为主的近景上来。\n构图:该图为典型的一角式、半边式小景构图，是南宋马远、夏圭、刘松年绘画风格的综合。当然也与浙派的某些用笔、用墨和构图有相通之处。注重渲染以及水墨的苍劲追求和有意识地省略中间景物层次等，便与浙派的绘画风貌十分相近。\n笔墨:该图树叶的画法，先用湿墨点染，后用花青烘染。而浅坡皴法则用笔硬挺，笔、力紧实，线条洗练，树身的双勾线也坚硬爽朗，同老人衣纹线一道构成了画面的骨力，这样就与树叶的清润、近水的空蒙、远山的秀逸形成明显的对比。苍中带秀、粗中挟细，雅淡中蕴含骨力，营造出了既显苍老雄健又凝重清旷旷的绘画意境，已经包含有浙派画家和宋元人不具有的新的绘画因素，这是沈周在前人基础上的创造。沈周的粗笔运用，也遥接张僧繇疏笔画的观念。",[23,24,25,26,7,173,178,86,177,29,34,176,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a99abcc648d34fdd1fe5bb5e6af96de.jpg","纸本墨笔","纵36厘米，横750厘米",[],{"id":31466,"slug":31467,"title":31468,"dynasty":99,"author":756,"museum":191,"description":31469,"tags":31470,"thumbUrl":31471,"material":529,"size":31472,"collection":181,"collections":31473,"showCount":31110,"zanCount":48,"manualWeight":48,"mainColor":94},221973,"qian-yan-jing-xiu-wen-zheng-ming-221973","千岩竞秀","画面底部，两位高士对坐于参天巨木之下，临飞瀑溪泉而谈。巨木引看画者的视线上升，进入由丘陵、碎石、坡壁、悬崖交织结合的复杂山体。\n繁密的山体多采用吴中文人画家较为推崇的短披麻皴表现，但又将披麻皴的柔润转变为尖锐。飞泉上部耸立突出的山崖高踞在厚重的基座之上，而基座山体又不断曲折延伸，形成了一条极为深远的脉络。这条脉络以“S”形向上延展，串联起无数细碎的山体和林木苔点，形成兼具向上生长又左冲右突、相互挤压的骚动之势。\n如此狭长的画幅，往往与其他画作构成条屏。文徵明也确实创作了与《千岩竞秀图》配成一对的《万壑争流图》。按照当时的风气，一旦作配对之画，则这种创作会立即显得专注于装饰、商业、礼仪，具有了某种功利性。然而，文徵明却在《万壑争流图》上明言“余性雅不喜作配幅，然于默川不能终却，漫尔涂抹，所谓一解不如一解也”，以此强调自己创作的非功利性。\n在经营位置方面，《千岩竞秀图》略微体现了郭熙所言的“自山下而仰山巅”的高远，更颇为夸张地突出了“自山前而窥山后”的深远，唯独忽略了“自近山而望远山”的平远。不仅如此，《千岩竞秀图》在用墨上完全没有使用近浓远淡的手法制造透视的效果，墨色笔触鲜有变化，在浅绛设色上也基本用平涂法，使得画上群山好像都生长在另一些山峰之上，而不是向远方延伸。\n此外，文徵明在画中还特别强调了山水平面的不可进入性——画中的高士走不出画纸，也并不生活在画中，而观画者更无法有“可行、可望、可游、可居”之感。画面与现实的凛然隔绝，其实也暗含着画家内心和现实之间的隔绝，并以此将精神寄寓在平淡无聊、郁郁无为的现实生活之外。",[23,24,7,177,226,29,176,34,1273,109,106,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76a88c6378825cac7e0dc34f649fe26e.jpg","画长142.6厘米，宽仅34厘米",[181,45],{"id":31475,"slug":31476,"title":19830,"dynasty":302,"author":7943,"museum":191,"description":19831,"tags":31477,"thumbUrl":31479,"material":1307,"size":19835,"collection":181,"collections":31480,"showCount":31110,"zanCount":48,"manualWeight":48,"mainColor":49},221836,"han-jiang-lu-yan-zhou-wang-yuan-221836",[23,24,25,226,28,7,173,31478,1980,13460,263,1530,245],"芦雁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcea1feefdf4bd8b3e2a362c9f20c1525.jpg",[181,163],{"id":31482,"slug":31483,"title":31484,"dynasty":18,"author":1588,"museum":191,"description":31485,"tags":31486,"thumbUrl":31488,"material":31489,"size":31490,"collection":139,"collections":31491,"showCount":31110,"zanCount":48,"manualWeight":48,"mainColor":94},221179,"fang-chun-yu-ji-tu-ma-lin-221179","芳春雨霁图","《芳春雨霽圖》描繪荒野平溪，窠石疏林。枝上嫩葉初露，春意濃郁。遠方煙靄出沒，隱約可見。畫中怪石用斧劈皴，老樹用嚴謹的雙鈎填墨法，樹葉用淡褐色點染。全圖用筆瘦硬勁峭，構圖簡括，畫風學馬遠而又有自己的創新，為馬麟山水畫佳作。",[23,24,25,173,7,29,28,177,10495,31487,353,230,176,34,6020],"霁景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc250f3f66b0a8950d7b6bc515696ee5a.jpg","轴，绢本，浅设色","纵27．5厘米，横41．6厘米",[],{"id":31493,"slug":31494,"title":31495,"dynasty":869,"author":27605,"museum":8765,"description":31496,"tags":31497,"thumbUrl":31498,"material":500,"size":139,"collection":139,"collections":31499,"showCount":31110,"zanCount":48,"manualWeight":48,"mainColor":94},220452,"hong-huang-feng-xue-tu-huang-zhou-220452","洪荒风雪图","黄胄的艺术具有开创性，被公认为新中国美术的代表风格之一。黄的艺术创作立足于新时代人们的生活，不断拓展他所创作的“边疆”主题。黄的题材作品打破了传统国画的陈旧陈规，演变成一种反映现实生活、与时俱进的艺术形式。他的写生艺术语言，立足历史与现实，结合国内外，推动了笔触和意境的创作。\n\n这幅取材于画家沿青藏公路旅行的画作，是黄氏最著名的代表作之一。这幅作品从仰视的角度描绘了一个地质学家团队在大雪中骑骆驼旅行的场景。人物的乐观和豪迈风度，见证了全民族对新中国建设的热情和昂扬。黄先生注重气氛的营造，以人物插画为中心，结合笔墨、写生、填色等手法，使作品更具写实性和表现力。",[24,25,173,7,498,106,8628,8941,2562,10688,869],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b2abfa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160.2x105.7公分、全幅 107.7公分",[163],{"id":31519,"slug":31520,"title":31521,"dynasty":18,"author":257,"museum":191,"description":31522,"tags":31523,"thumbUrl":31524,"material":123,"size":31525,"collection":42,"collections":31526,"showCount":31110,"zanCount":1379,"manualWeight":48,"mainColor":49},220231,"jing-de-si-tu-yi-ming-220231","景德四图","全卷分四段，前图后文，各段并有榜书主题。依据研究，此卷应与皇佑元年（1049）宋仁宗同臣僚观看的〈三朝训鉴图〉有关；〈三朝训鉴图〉录宋太祖至真宗三朝事一百件，作为帝王训鉴之用。 「契丹使朝聘」为景德二年（1005）辽使来贺真宗生日；「北寨宴射」是景德元年（1004）澶渊盟后真宗到北寨与武将宴射。 「舆驾观汴涨」景德三年（1006）宋真宗亲巡汴河河堤的修整；「太清观书」则是景德四年（1007）真宗召文臣观书于太清楼。",[23,24,25,26,7,28,104,937,106,107,968,29,34,115,1364,3982,176,6929,2952],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F886b1b71398ace05b9a53062fdfdb8f3.jpg","39x169.1",[42],{"id":31528,"slug":31529,"title":6310,"dynasty":99,"author":257,"museum":191,"description":31530,"tags":31531,"thumbUrl":31532,"material":67,"size":139,"collection":90,"collections":31533,"showCount":31110,"zanCount":48,"manualWeight":48,"mainColor":2504},219978,"shuang-xi-tu-yi-ming-219978","古松虬曲苍劲，皴笔勾勒出嶙峋肌理，两只鹊鸟栖于枝桠，一者侧目远眺，一者敛羽静立，灵动生姿暗破幽寂。坡石间野卉柔婉绽放，灵芝丛生，青绿与赭石晕染出幽润山意。工写兼施，勾勒细腻却无板滞之感，沉古设色晕染出静谧雅致的氛围，将山野一隅的清宁生机铺陈开来，藏祥瑞意趣于林泉小景，尽显雅致悠远的林下况味，把幽居山野的恬然意趣凝于笔墨方寸间。",[24,7,28,226,83,245,1273,176,84,8848,34,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88f61b9d977cd1947a41502e7a1ac6a3.jpg",[90],{"id":31535,"slug":31536,"title":31537,"dynasty":76,"author":1892,"museum":191,"description":31538,"tags":31539,"thumbUrl":31540,"material":7,"size":31541,"collection":44,"collections":31542,"showCount":31110,"zanCount":48,"manualWeight":48,"mainColor":94},219894,"fang-guan-xiu-hua-luo-han-tu-xu-yang-219894","仿贯休画罗汉图","苍松虬枝凝霜，松针攒簇自带古拙寒意。画面分两处铺陈意趣：上方罗汉展卷沉读，侍童敛神研墨，案几陈设清雅，尽显禅房读经的静谧悠然。下方罗汉斜倚松干，捻珠垂眸，似在神游禅境。\n\n衣纹勾勒劲挺流畅，浓艳衣色与枯淡山石松枝相映成趣。淡墨皴擦山石，晕染出嶙峋肌理，人物神态灵动入微，将世外清修的雅寂禅意铺展开来，笔底藏着古意传承，静穆里暗淌悠然文心。",[24,25,194,226,7,105,260,106,1273,263,280],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20de6f165137428706a16cb3088a0ff5.jpg","128.5x54.3",[44],{"id":31544,"slug":31545,"title":31546,"dynasty":18,"author":257,"museum":608,"description":31547,"tags":31548,"thumbUrl":31549,"material":123,"size":139,"collection":44,"collections":31550,"showCount":31110,"zanCount":48,"manualWeight":48,"mainColor":49},219561,"lv-chun-yang-tu-yi-ming-219561","吕纯阳图","画师以劲爽写意的铁线描勾勒身形，苍髯垂覆胸腹，青巾束发，赤足卓立。宽袍裹挟清癯身姿，双手交叠腹前，面容沉凝肃穆，尽显出尘孤高的仙家气度。衣纹顿挫老辣，落笔简劲朴拙，以水墨写意的意趣晕染出幽远仙风，简淡笔墨间不见繁饰，却将仙人超然世外的风骨凝练于绢素之上，古雅朴厚，寥寥数笔便让仙道意韵溢满画面，尽显古画写意人物的风神格调。",[23,24,25,226,260,7,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80f58a4357362068c7e3accb1c5f0ea0.jpg",[44],{"id":31552,"slug":31553,"title":31554,"dynasty":302,"author":257,"museum":191,"description":31555,"tags":31556,"thumbUrl":31558,"material":123,"size":31559,"collection":44,"collections":31560,"showCount":31110,"zanCount":48,"manualWeight":48,"mainColor":49},219494,"qiu-jing-xi-ying-zhou-yi-ming-219494","秋景戏婴轴","秋郊明月下，六婴儿穿各色绣花长衫，在大树坡石间嬉戏，或捧花提篮，或抚弄兔儿，或招呼同伴，前有盤，盛秋季应时水果。",[24,226,7,28,106,2385,5218,378,176,84,31557,8665],"水果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1427670394fd3c7c1a634e14fcc05070.jpg","127x61公分；全幅 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[5] 著有《壹斋集》40卷，其中《奏御集》2卷，杂篇6卷，《萧、汤二老遗诗合编》1卷，《画品》1卷。工诗文、书画，所绘山水，有萧云从余韵，“久邀睿赏，与富阳首相。国称董（浩）黄（钺）二家”，宫内名画，多为其鉴定真伪。诗词有苏东坡风韵，年九十一岁失明，自号“盲左”仍吟诗作画，故乡风情，吟咏殆尽，所作《于湖竹枝词》66首，亦诗亦史，富有深厚乡情。宋子才有“太白脱靴”，“山谷返棹”两图，石刻在太平府尊经阁内。《志》谓“子才七世孙，元太平路经历景阳刻”。嘉庆十七年（1812），黄钺在作此图时也注为元景阳刻。后觉有误，自责捉笔：“承讹袭谬，未暇深考。顷友人拓赠二纸，始知其谬，愧赧无已，爰记以诗，以志吾荒陋焉”。虚怀若谷，难能可贵。\n道光五年（1825），黄钺76岁，请求归休。宣宗“温旨慰留”。次年，又申前请，获准荣归。道光二十一年六月三十日申时（即1841年8月16日15时至17时）在芜湖家中逝世，享年九十二岁。宣宗悼惜，追封为太子太保衔，入祀贤良祠，按尚书条例抚恤，谥号“勤敏”。命史馆立传，赐祭葬，树石碑，葬于当涂南褐山下。同年，奉旨入芜湖乡贤祠。 [3]\n清代乾隆、嘉庆、道光年间，当涂出了一位赫赫有名的内阁尚书、军机大臣。黄钺，字左田，号左君，又号壹斋、左盲，生于乾隆十五年（1750年），卒于道光二十一年（1841年）。因其一生敏而好学，著述甚多，又“执掌皖南北书院十载”，对当地文化、教育做出了重要贡献。\n乾隆三十八年（1773年）十月，年仅23岁的黄钺在太平府学政使院参加岁试。安徽提督学政朱筠阅其卷，以为“奇才异能”，称道不止。朱筠在离开当涂回京都时，特地将这位年轻人带入京城应试，虽未中试，但得以在《四库全书》馆做誉录工作，因之学识大进。乾隆五十三年（1788年），黄钺考中举人，五十五年中进士，授户部主事。当时权臣和坤主管户部，因二人意见相左，借故请假回家，协助安徽巡抚李世杰在芜湖赭山谪翠轩创建中江书院，招员授业。嘉庆四年（1799年），仁宗亲政，黄钺奉命进京加封为“懋勤殿行走”。嘉庆九年（1804年），提升为“赞善，入直南书房”。嘉庆十年，出任山西学政，又特旨任湖北、山东、顺天等地的乡试主考官，后又兼任山西、山东学政，准予密折奏事。嘉庆十五年（1810年），迁侍讲学士，十八年擢升内阁学士，十九年升任户部侍郎，不久，又调任礼部侍郎。嘉庆二十四年（1819年），升任礼部尚书，并“赐紫禁城骑马肩舆入直，加封太子少保衔”。次年，升会试主考官。道光元年（1821年），宣宗亲政，封其为军机大臣，不久，又调任户部尚书，参与大典事宜，从事“京察议叙”。道光三年，宣宗“赐宴玉澜堂”，并给功臣绘像，黄钺是当时朝廷15名老臣之一。道光五年，黄钺已75岁，请求归休，宣宗又“温旨慰留”。次年，又申前请，始获准归乡。黄钺在朝廷历时27年。\n黄钺一生为封建统治阶级“矢勤矢慎”，但他笔耕不辍，在学术上也很有造诣。著有《壹斋集》四十卷、《壹斋诗集》三十六卷、《韩诗增注正讹》十一卷、《萧汤二老遗诗合编》二卷、《奏御集》二卷，另有《画友录》、《泛浆录》、《游黄山记》、《两朝恩赉记》、《二十四画品》等著作。他善画山水花鸟，尤长画梅，初学王 ，晚学王原祁，与“四王”末流董邦达并称山水画家。他的画，笔墨苍厚，他的字，既有书卷气，也有台阁气。他的诗，别具一格，很有气势。曾作的《花卉图》、《端阳佳景图》、《高冈长松图》等，无论青绿山水和水墨山水都很有特色。\n黄钺在绘画艺术上经过多年的实践和探索，将自己积累的经验进行理论概括，撰成画学专著《二十四画品》一书。《二十四画品》是仿照唐司空图撰写的中国古代文集约名著《二十四诗品》的体例而写成的。书中运用四言韵语，把各种绘画艺术风格概括为：一气韵，二神妙，三高古，四苍润，五沉雄，六冲和，七淡远，八补拙，九超脱，十奇辟，十一纵横，十二淋漓，十三荒寒，十四清旷，十五性灵，十六圆浑，十七幽邃，十八明净，十九健拔，二十简洁，二十一精谨，二十二隽爽，二十三空灵，二十四韶秀。整部著作文词典雅，清丽可诵，表现了栩栩如生的艺术形象。\n黄钺对谢朓、李白、黄庭坚十分崇拜，曾多次游览青山和采石矶。他颂扬谢朓“谢公爱青山，结宇恣啸咏”；在《咏李翰林》诗中讴歌李白：“仙骨埋青山，草木发灵异。”到采石矶“高怀吊古”，“掩英雄之泪，吟供奉之诗”。在他作的《采石矶赋》一文中，除了历数在这里发生的许多惊天动地的事件和英雄人物外，还特地为李白而感叹，说：“白也不群，宗之潇洒，着宫锦而扬帆，共兰舟而持 。旁若无人，歌清四野，当此之时，何其壮也！”黄钺又诗云：“平轩遥瞰一湖开，闻说涪翁守郡来。当日到官才九日，未应便起读书台。”该诗也附注曰：“赭山有滴翠轩，相传为涪翁读书处。李之仪跋山谷二词：‘鲁直请无为、当涂，而得当涂，犹蹭蹬一年方到官，既到九日而罢，又数日乃去。’“\n道光十一年（1831年），长江发生水患，回到家乡的黄钺 积极倡兴赈济，带头捐献俸银千两。道光十三年，濒临江淮的州县又遭水灾，黄钺又“捐百金助赈”，以救乡民。次年，当涂、芜湖一带饥荒，米珠薪桂，人民生计困难，黄钺又与王泽、许耕余等发动有田富户及绅士14家，按田交谷600担，兴办“丰备义仓”12座，当义仓上梁即将落成时，黄钺以诗记其事道：“成城缘众志，图匮在年丰。”并在“丰备义仓”的旁边建立私塾，招收蒙童，普及地方教育事业。\n道光十六年，88岁已不能认字，但仍吟诗咏物，所作《于湖竹枝词》66首，亦诗亦史，深入浅出，富有深厚的爱乡之情。",[24,7,83,81,31788,569,554,263,838,568,230],"枸杞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77c58126e2ccbab6b27ba717f63b9702.jpg",[90,45],{"id":31792,"slug":31793,"title":31794,"dynasty":99,"author":20061,"museum":316,"description":23282,"tags":31795,"thumbUrl":31796,"material":599,"size":600,"collection":139,"collections":31797,"showCount":31683,"zanCount":48,"manualWeight":48,"mainColor":94},237927,"qiu-chuang-du-shu-tu-zhou-song-xu-237927","秋窗读书图轴",[24,226,173,7,29,1273,989,106,176,1157,34,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaebd32b4026d7b73f0eaa9c2c5d7b62.jpg",[],{"id":31799,"slug":31800,"title":31801,"dynasty":99,"author":31802,"museum":316,"description":31803,"tags":31804,"thumbUrl":31805,"material":139,"size":139,"collection":90,"collections":31806,"showCount":31683,"zanCount":48,"manualWeight":48,"mainColor":49},237663,"san-si-tu-zhou-yu-qi-feng-237663","三思图轴","俞奇逢","俞奇逢，[明]，福建沙县人。沙县俞氏自存胜得其舅氏边文进之传，遂世业花鸟。",[24,25,226,7,28,83,3300,1111,245,264,686],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facc809c2646c002bed50c182f923e9d9.jpg",[90,45],{"id":31808,"slug":31809,"title":31810,"dynasty":76,"author":742,"museum":20,"description":26413,"tags":31811,"thumbUrl":31812,"material":139,"size":139,"collection":90,"collections":31813,"showCount":31683,"zanCount":48,"manualWeight":48,"mainColor":94},236932,"shu-shi-zhou-ren-yi-236932","树石轴",[24,25,226,7,177,173,29,378,379,1754],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F247e360fb7e59b111c8c0d5ee3fec789.jpg",[90,163],{"id":31815,"slug":31816,"title":14269,"dynasty":76,"author":14270,"museum":20,"description":14271,"tags":31817,"thumbUrl":31818,"material":529,"size":14275,"collection":139,"collections":31819,"showCount":31683,"zanCount":2368,"manualWeight":48,"mainColor":94},236157,"leng-mei-yang-zheng-tu-shu-he-ce-zhang-ruo-ai-236157",[24,28,7,81,106,968,114,115,34,1364,278,60],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c260827de0b7445380a8694a8650e49.jpg",[],{"id":31821,"slug":31822,"title":3940,"dynasty":99,"author":2425,"museum":316,"description":31823,"tags":31824,"thumbUrl":31825,"material":139,"size":139,"collection":139,"collections":31826,"showCount":31683,"zanCount":48,"manualWeight":48,"mainColor":94},235259,"qing-lv-shan-shui-tu-zhou-dong-qi-chang-235259","此作用笔苍秀老辣，主山奇崛高挺，皴擦勾勒间尽显嶙峋骨相。坡岸林木错落舒展，枝叶含风，近滩浅渚清寂悠然。以书入画，线条带着书法般的散逸韵律，墨色干湿互济，留白空灵悠远，晕染出萧疏淡远的林下意境。题款与画面浑融无间，诗书画印相映成趣，褪去匠造之气，直写胸中丘壑，将山水清灵与文人雅怀融为一体，尽显淡宕萧散的逸格风神。",[24,25,226,27,7,29,230,34,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb66cd1e7aa3ae669cd93a858b870ee35.jpg",[],{"id":31828,"slug":31829,"title":31830,"dynasty":76,"author":2200,"museum":316,"description":31831,"tags":31832,"thumbUrl":31833,"material":139,"size":139,"collection":139,"collections":31834,"showCount":31683,"zanCount":2368,"manualWeight":48,"mainColor":94},235224,"he-liao-tu-zhou-wu-chang-shuo-235224","荷蓼图轴","此作用笔纵老苍劲，以篆籀笔法入画。泼墨写荷叶，浓淡干湿间尽显氤氲苍润，大写意的笔力带着厚重朴拙的金石气。荷花勾勒简雅，莲蓬、蓼花点染鲜活，赭色顽石拙朴雄浑，与水墨荷色相映成趣。\n画面纵轴布陈，荷蓼错落排布，将汀洲秋日清寂疏凉的秋意铺展纸面。题款行书跌宕老辣，与画面笔墨意趣浑然相融，以恣意纵横的笔墨，把萧索秋景化作饱满的文人意趣，藏着沉静又蓬勃的生机，尽显写意花鸟的极致韵味。",[24,226,173,7,83,498,228,136,24012],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd680434786fc52bb6d3830e98572c7cc.jpg",[],{"id":31836,"slug":31837,"title":1751,"dynasty":76,"author":563,"museum":316,"description":31838,"tags":31839,"thumbUrl":31840,"material":139,"size":139,"collection":90,"collections":31841,"showCount":31683,"zanCount":48,"manualWeight":48,"mainColor":94},234298,"za-hua-ce-hua-yan-234298","华嵒的山水画转益多师，石涛的沉浑恣肆、恽寿平的松秀隽逸、北宗的峭利缜密、元人的深邃郁茂，都被他吸收融合。他没有泥古不化，在游览山河的过程中，不断的“师造化”，形成了晚年疏放、简率、冷峭、蕴藉的主流风格。华喦的山水画设色，多用浅绛或小青绿设色，承诸黄公望、王蒙和董其昌的传统，于统一中求对比，色调明洁淡雅。新罗山人在山水画设色上的创新是发展了青绿没骨山水。这种没骨山水是综合唐宋人、董玄宰和恽格没骨山水并参用清初四王笔法而形成的一种格制。华嵒的山水画从总体来看善于用色彩表达个人的情绪，用笔墨描绘悠远的意境，创造了独特的笔墨语言和表现技法，充分表达了其“刷尘”，“离垢”的理想。",[24,81,7,83,227,209,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18261950f2c430698f9dc86a6d3b1d6c.jpg",[90,181],{"id":31843,"slug":31844,"title":31845,"dynasty":99,"author":100,"museum":20,"description":8581,"tags":31846,"thumbUrl":31847,"material":40,"size":31848,"collection":139,"collections":31849,"showCount":31683,"zanCount":2368,"manualWeight":48,"mainColor":801},233141,"lian-xi-yu-yin-tu-zhou-chou-ying-233141","莲溪渔隐图轴",[24,25,226,194,7,28,29,796,228,34,35,3884,2234],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff729e8182fa8b670a238d77c7e5dfb3a.jpg","纵126.5厘米，横66.3厘米",[],{"id":31851,"slug":31852,"title":31853,"dynasty":76,"author":257,"museum":20,"description":31854,"tags":31855,"thumbUrl":31858,"material":638,"size":31859,"collection":44,"collections":31860,"showCount":31683,"zanCount":48,"manualWeight":48,"mainColor":94},233063,"ping-ding-hui-jiang-jiao-qin-ni-yi-zhan-tu-c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Harmensz.van Rijn - 057",[3187,11296,106,59,7,3189,409,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71035e942aa07b8e236473d4047797e1.jpg",[3195],{"id":31917,"slug":31918,"title":7454,"dynasty":76,"author":1610,"museum":316,"description":31919,"tags":31920,"thumbUrl":31921,"material":139,"size":139,"collection":139,"collections":31922,"showCount":31683,"zanCount":48,"manualWeight":48,"mainColor":94},224592,"pan-tao-tu-zou-yi-gui-224592","此作取瑞祥之意，笔墨清妍雅致。丹顶鹤仙骨清奇，翎毛皴染细致，墨线勾出纤毫肌理，雪衣朱顶立于苍岩，石畔灵芝添幽趣。古桃枝夭矫横斜，硕实饱满，胭脂晕染果皮，将桃实鲜活温润之态尽显，枝叶敷色鲜亮，满目生机。飞瀑轻垂，晕开空山幽寂之境，左上题诗补白，让文思画意相融。画面疏密相宜，工致兼具文雅，将吉庆绵长的寓意藏于笔底，满卷悠然仙气，尽抒福寿安康的美好祈愿。",[23,24,28,7,212,60,2288,176,1426,8848,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7350a1afd655bc04aa623e85fabbe12d.jpg",[],{"id":31924,"slug":31925,"title":31926,"dynasty":76,"author":2837,"museum":316,"description":31927,"tags":31928,"thumbUrl":31929,"material":139,"size":139,"collection":139,"collections":31930,"showCount":31683,"zanCount":48,"manualWeight":48,"mainColor":94},224374,"hua-hui-qi-shi-ce-shi-er-kai-3-ju-lian-224374","花卉奇石册-十二开-3","此作笔致秀润恬和，淡墨勾皴湖石，奇崛古拙，空灵苍润间尽显嶙峋意趣。素盆秋菊柔色轻绽，嫩蕊鲜妍和素净瓷盆相映，晕开一室清雅文气。\n\n角落散落的花生、坠果带着日常烟火意趣，石畔小兽探头轻觑，为幽寂的文房清供添上灵动野趣。整体设色浅淡明净，衬着绢底古雅底色，将文人闲居的恬淡意兴融于尺幅，工写兼济间，把清供小品的雅静与鲜活日常交织，尽显平淡天真的悠然情致。",[23,24,25,81,28,7,83,230,897,229,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90b4da7d3931604a708831e97b24647c.jpg",[],{"id":31932,"slug":31933,"title":31934,"dynasty":76,"author":7555,"museum":316,"description":31935,"tags":31936,"thumbUrl":31937,"material":139,"size":139,"collection":139,"collections":31938,"showCount":31683,"zanCount":48,"manualWeight":48,"mainColor":94},224244,"yuan-ji-shi-yi-tu-gai-qi-224244","元机诗意图","《清改琦元机诗意图》是中国清代画家 创作的一幅人物画。\n此图画的是唐代女诗人 的。\n鱼玄机是个很有才华，而遭遇却很不幸的人，她大约生于844年，卒子871年，字幼微、蕙兰，清代时因避康熙玄烨的讳改称为鱼元机。\n嫁给李忆为妾，因受李妻的妒忌，被迫出家，在长安咸宜观做了女道士。\n由于喜读书，有才思，擅作诗，受到当时文人们的重视，温庭筠等名家常与她作诗唱和。\n后因忌妒笞杀侍婢绿翘，被判死刑，其时年仅二十多岁。\n留有诗文一卷。\n此图设色古雅，衣纹秀劲，玄机倚坐展卷。\n姿容秀美，含蓄深思，刻画传神。\n改琦(177-1828)字伯蕴，号香白，或作香伯，又号七芗，别号玉壶外史。\n先世为西域人，祖为松江参将，遂占籍为华亭（今上海松江）人。\n通敏多能，善书画，人物画出入李公麟、赵孟頫、唐寅及陈洪绶，花草兰竹小品迥出尘表，叉善画佛像，人以新罗山人相比，为清代中叶画坛名家。\n工诗词，曾与钦善、姜皋等结课诗词，辑《泖东诗课》。",[23,24,25,7,28,106,59,212,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F125f440623b2edc344cb81826355bd02.jpg",[],{"id":31940,"slug":31941,"title":21802,"dynasty":76,"author":2200,"museum":316,"description":31942,"tags":31943,"thumbUrl":31944,"material":139,"size":139,"collection":139,"collections":31945,"showCount":31683,"zanCount":2368,"manualWeight":48,"mainColor":94},224218,"shan-shui-zhou-wu-chang-shuo-224218","此作以高远章法铺陈，主峰雄踞上部，以篆隶笔法入皴，枯涩苍劲的线条勾勒山石肌理，朴拙雄浑间尽显厚重金石气。下半幅山林幽居藏于层林之中，屋舍错落临溪而建，溪桥横陈，枯木与青柯相映。\n\n水墨间晕染淡赭、花青，为清秋山林添上柔和暖意。题诗与画境呼应，将隐逸山居的静穆雅逸，融于雄朴的笔墨之中，把林泉高致的清隽滋味藏于苍辣笔意内，尽显冲淡高古的文人意趣，是典型的文人山水风貌。",[23,24,226,173,7,177,25,29,108,109,35,795,1273,176,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2eab5e3cd8b5a1741b2652c294477895.jpg",[],{"id":31947,"slug":31948,"title":31949,"dynasty":18,"author":257,"museum":316,"description":31950,"tags":31951,"thumbUrl":31952,"material":139,"size":139,"collection":139,"collections":31953,"showCount":31683,"zanCount":2368,"manualWeight":48,"mainColor":94},223619,"hong-liao-shui-qin-tu-ye-yi-ming-223619","红蓼水禽图页","取景以简驭繁，水禽伫立于红蓼柔梢，翎毛晕染入微，丝缕毕现，禽鸟垂喙凝神，灵动宛若将欲振翅。淡墨轻勾浅淡水纹，留白衬出汀洲空寂，将秋日水滨的清寒野趣凝于尺幅纨扇。工笔摹形，写意传情，把小景生机与幽澹诗意相融，尽显雅致空疏的审美意趣，不负“传写物态，蔚有生意”之誉，是小品画中以形传神的绝佳之作。",[23,194,24,25,6083,28,7,83,834,27210,210,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaa3aae2e3e700ea4306d26b41921ec2.jpg",[],{"id":31955,"slug":31956,"title":31957,"dynasty":18,"author":257,"museum":191,"description":31958,"tags":31959,"thumbUrl":31963,"material":1307,"size":31964,"collection":139,"collections":31965,"showCount":31683,"zanCount":2368,"manualWeight":48,"mainColor":94},223380,"qian-shou-qian-yan-guan-shi-yin-pu-sa-zhou-yi-ming-223380","千手千眼观世音菩萨轴","观世音又称观音，是我们最熟悉的一位佛教人物。这尊观音与常见的一头两手的显教观音像不同，祂的头顶共有二十六个菩萨头和一个佛头，有一千只手，每一只手的手掌中间又有一只眼睛，所以称为「千手千眼观世音菩萨」，是密教观音的一个重要典型。\n万顷波涛，四天王背负着一座七宝莲台，千手千眼观世音菩萨十分庄严地站在台上。左右各有两位菩萨随侍，下方的天龙八部双手合什，向观音菩萨示敬。观音菩萨头戴化佛宝冠，绀发垂肩，双唇上下都有胡髭，仍作男相。但五官秀美，已流露出女性化的特质。全图赋色妍丽，璎珞装饰和七宝莲台都描绘得十分仔细。人物衣纹线条柔劲流畅，这些特色都与传至日本的南宋佛画十分类似，是一幅难得的南宋佛教绘画精品。",[23,194,24,25,226,260,28,7,106,19359,31960,3661,31961,3041,245,7690,63,4428,4027,31962],"千眼","佛光","众神","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bd2c18bc7d656864bb8c7ad6a86782a.jpg","176.8x79.2",[],{"id":31967,"slug":31968,"title":31969,"dynasty":76,"author":31970,"museum":191,"description":31971,"tags":31972,"thumbUrl":31973,"material":139,"size":139,"collection":181,"collections":31974,"showCount":31683,"zanCount":48,"manualWeight":48,"mainColor":94},222851,"hua-qiu-si-ming-quan-zhou-ai-xin-jue-luo-yong-rong-222851","画秋寺鸣泉轴","爱新觉罗永瑢","爱新觉罗·永瑢（1744年1月28日—1790年6月13日），号九思主人，又号西园主人。少时居圆明园碧桐书院，亦称碧桐书院阿哥。清朝宗室，乾隆帝第六子，皇三子永璋同母弟，母为纯惠皇贵妃苏氏。\n乾隆二十四年十二月，出继慎靖郡王允禧，封贝勒，管理内务府、充《四库全书》玉牒馆总裁、监管钦天监事务。三十七年（1772）年，晋质郡王。五十四年（1789），晋封质亲王。\n乾隆五十五年（1790年），去世，时年四十八岁，谥号为庄。工诗擅画，主要作品有《岁朝图》《枫溪垂钓图轴》。",[23,24,25,226,7,177,29,25842,17426,108,109,34,176,35,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5aa9f2b95b9bde32a8dedfb17b22ed5c.jpg",[181,45],{"id":31976,"slug":31977,"title":31978,"dynasty":99,"author":27520,"museum":78,"description":31979,"tags":31980,"thumbUrl":31981,"material":770,"size":31982,"collection":181,"collections":31983,"showCount":31683,"zanCount":48,"manualWeight":48,"mainColor":49},222838,"qiu-ling-shan-quan-tu-xiao-yun-cong-222838","秋岭山泉图","萧云从在作品中所表现的超脱世俗的人生态度，实际上包含了他对历史、人生的深切感悟，是通过笔墨画境而表现显露其审美意象的深刻意蕴。这种淡远无尘、清墨涩笔创作出来的超然冷寂澹泊的境界，是逸的真实表述。萧云从的山水画在历史上之所以为众人推崇，即在于其反映生活的“真”和“美”。",[23,24,25,226,7,173,29,176,109,1426,34,1273,1754,35,106,177,5218],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F777621cf6ec8952e48ae2dbb0be5b7fc.jpg","165cmx45.6cm",[181,45],{"id":31985,"slug":31986,"title":31987,"dynasty":76,"author":494,"museum":11214,"description":31988,"tags":31989,"thumbUrl":31990,"material":500,"size":31991,"collection":90,"collections":31992,"showCount":31683,"zanCount":48,"manualWeight":48,"mainColor":94},222673,"xiong-ji-tu-zhou-huang-shen-222673","雄鸡图轴","黄慎（1687年6月14日—1772年），福建宁化人，初名盛，字恭寿，恭懋，躬懋、菊壮，号瘿瓢子，别号东海布衣。家贫，遂学画，擅长人物、山水、花鸟。他的人物画题材十分广泛和丰富，它不仅画神仙佛道和历史名人，也擅长从民间生活中取材，塑造了纤夫 、乞丐、流氓、渔民等下层人民的形象，这在古代的画家当中是十分难得的。康熙间至扬州卖画，人争客之。是中国清代杰出书画家，为“扬州八怪”之一。与郑燮友善。擅草书，后以狂草笔法作画。亦能诗。有《蛟湖诗钞》。\n黄慎14岁时，父亲客死湖南，两妹相继夭折，家境十分穷困，为生计，母亲命其学画，为人写真。16岁时，离家从师，他勤奋苦学，悉心钻研，画艺日进。\n黄慎擅长人物、山水、花鸟，并以人物画最为突出，题材多为神仙佛道和历史人物，也有一些现实生活中的形象，多从民间生活取材，不少作品塑造了纤夫、乞丐，流民、渔民等下层人物形象，如《群乞图》取材现实生活，描写灾荒年中，乞丐们流落街头，受人欺凌的悲惨画面，表现出他对人民疾苦的同情。画神仙佛道如《醉民图》，多操大幅，用笔设色，泼辣大胆，于迷离扑朔中见形象神韵。描绘文人生活的有《东坡玩砚图》，用笔迅疾，衣纹顿挫，线条硬折，墨公浓淡相间，人物轩昂、富有气势，为其成熟后的代表画风。\n他的花鸟画宗法徐渭，亦纵逸泼辣挥洒自如，如《瓶梅图》《菊蟹图》等。他的山水虽“不以山水名”，但山水画有一定的造诣，大幅和小景都各尽其妙，潇洒有致，山水代表作如《渔归图》，两株柳树，“姿态婀娜劲挺，耸立奇峭山岩，淡墨轻赭横扫出沙滩，中景两只渔船，一笔勾出船舷，船中人物，神态右辨，画面左角草书题画诗三行，诗、书、画、印紧相配合，自然贴切。\n黄慎擅草书，书法学“二王”，更得怀素笔意，从章草脱化而出，其栖劲运笔亦用于绘画之中，故画面多干枯、飞白和迅疾之迹，黄慎的草书，点画纷披，散而序，评者说它象疏景横斜，苍藤盘结，具有“字中有画”之趣，他的书法出于章草，颇难认识，故而仿效者不多，但他不趋时尚，敢于标新立异。 他的草书不昧古法，又难辨古人踪迹，不强调章法的疏密聚散，而以方折顿挫的笔法，忽断忽连，顾盼呼应，凸显铿锵有声的点画节奏感，呈现一幅落英缤纷珠丸跳荡逸趣迭生的画面感。其代表作《草亭飞万竹诗草书轴》章法奇异如松柏之剪影，点画浓淡如花叶之缠枝，真非书非画，亦书亦画，堪称奇观。\n\n个人成就:\n黄慎的诗文、狂草书法，绘画被称三绝。曾先后三次到扬州，居留较长，与郑板桥、李（善）等往来友善，为“扬州八怪”之一。\n他年方十八、九时寄身萧寺，白天作画，夜间从佛光明灯下刻苦读书，技艺大进。凡人物、花鸟、山水、楼台、虫鱼等，无一不能，但他并不以这些为满足，一次看他先生的作品说：“吾师绝技难以争名矣，志当自立以成名，岂肯居人后哉！”\n他自己总结一生走过的道路，感慨地说到：‘余自十四、五岁时便学画，而时时有鹘突于胸者，仰然思，恍然悟，慨然曰：‘余画之不工，以余不读书之故。’于是折节发愤，取毛诗、三礼、史汉、晋宋间文，杜韩五言诗及中晚唐诗，熟读精思膏以继晷，而又于昆虫草木四时推谢荣枯，历代制度衣冠礼器，细而致于夔 蛇凤，调调刁刁，罔不穷厥形状，按其性情，豁然有得于心，应之于手，而后乃今始可心言画矣。”正是这种凝思结想、废寝忘食、苦攻不辍，黄慎才从一个小画工成长为一位“诗画名大江南北”的名家。\n”郑板桥为诗赠之：“家看古庙破苔痕，惯写荒涯乱树根，画到精神飘没外，更无真相有真魂。”\n黄慎还是一位诗才画艺俱全的艺术家，他的诗作，情韵清远，如 岩绝 ，烟凝霭积，能非凡境，并著有《蛟湖诗钞》一书传世。\n黄慎早年师从上官周，多作工笔。山水宗元黄公望、倪瓒、中年以后，吸取徐渭笔法，变为粗笔写意，并草书章草，尝以狂草书法入画笔姿放纵，气象雄伟深入古法，但也有笔过伤韵者。\n作品行情:\n黄慎书画流传较多，大多藏于国内各大博物馆内。北京故宫院藏有多幅，如《漱石捧砚图》，扬州博物馆藏的《渔归图》等。\n黄慎的绘画创作在雍正年间说名扬于世，“尺纸容缣，世争宝之”。可见他的作品在当时已有较高的价格，另外黄慎对自己的绘画，常作分类自评，凡最得意者题上诗，次者则识以岁月，再次者只署“瘿瓢”二字。\n现今黄慎作品流入市场是比较多的，20世纪80年代末即开始拍卖，以后每年都出现过，价格起伏不大，比较稳定，但不太高，与八怪中其他画家水平相当，低于吴门四家。\n作为画家的黄慎，对后世的影响——清代的闵贞、近代上海的王震、广东的苏六朋、福建的李霞、李耕和辽南的李楚材都曾师法黄慎。齐白石也非常倾心黄慎——“余在黄镜人处获观《黄瘿瓢画册》，始知余画犹过于形似，无超然之趣。决定从今大变。人欲骂之，余勿听也；人欲誉之，余勿喜也”。“前朝之画家，不下数百人之多，瘿瓢、青藤、大涤子外，皆形似也。惜余天资不若三公，不能师之”。",[23,24,25,226,173,7,86,4528,836,1754,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb7a27332b6be489e47fb8cf3f1bbaf3.jpg","纵124.6厘米，横59.8厘米",[90,45],{"id":31994,"slug":31995,"title":31996,"dynasty":99,"author":792,"museum":191,"description":31438,"tags":31997,"thumbUrl":31998,"material":529,"size":31999,"collection":139,"collections":32000,"showCount":31683,"zanCount":48,"manualWeight":48,"mainColor":49},222584,"fang-fan-kuan-zuo-ping-jiu-shu-lan-ying-222584","仿范宽坐凭樛树",[23,24,25,29,7,177,176,34,109,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6086be9329befee0f8455f19c8930b7.jpg","72.6x60.8厘米",[],{"id":32002,"slug":32003,"title":32004,"dynasty":99,"author":100,"museum":78,"description":32005,"tags":32006,"thumbUrl":32007,"material":40,"size":32008,"collection":181,"collections":32009,"showCount":31683,"zanCount":1003,"manualWeight":48,"mainColor":49},222214,"su-hui-hui-wen-kai-xuan-shi-chou-ying-222214","苏惠回文凯旋诗","回文诗，也写作“爱情诗”“回环诗”。它是汉语特有的一种使用词序回环往复的修辞方法，文体上称之为“回文体”。唐代上官仪说，“诗有八对”，其七曰“回文对”，“情新因意得，意得逐情新”，用的就是这种措词方法。充分展示并利用了汉语以单音节语素为主和以语序为重要语法手段这两大特点，读来回环往复，绵延无尽，给人以荡气回肠，意兴盎然的美感。回文的形式在晋代以后就很盛行，而且在多种文体中被采用。人们用这种手法造句、写诗、填词、度曲，便分别称为回文诗，回文词和回文曲。虽然不乏游戏之作，却也颇见遣词造句的功力。",[23,194,24,25,26,28,7,104,106,59,150,34,107,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F447e131e2503e99eeb4a7fc3907f8df6.jpg","纵25厘米，横292米",[181,45],{"id":32011,"slug":32012,"title":32013,"dynasty":99,"author":9875,"museum":191,"description":9876,"tags":32014,"thumbUrl":32015,"material":500,"size":32016,"collection":44,"collections":32017,"showCount":31683,"zanCount":2368,"manualWeight":48,"mainColor":94},222067,"wu-liang-shou-fu-wu-bin-222067","无量寿佛",[23,24,25,7,28,260,106,1488],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe7f98a1d50d1025e8caff57fb63c78c.jpg","62.3x35.3",[44,45],{"id":32019,"slug":32020,"title":32021,"dynasty":99,"author":857,"museum":316,"description":32022,"tags":32023,"thumbUrl":32024,"material":40,"size":32025,"collection":44,"collections":32026,"showCount":31683,"zanCount":48,"manualWeight":48,"mainColor":49},221897,"lao-chi-xiang-li-zhou-chen-hong-shou-221897","老迟像立轴","此幅为陈洪绶的自画像，画上老迟盘腿坐于地上，身着宽袖长袍，蓄长须，手执某种花朵置于鼻下闻味；背后湖石形状奇特，前方一小童烧火烤似灵芝一样的东西。陈洪绶，号老莲，晚号老迟，明末清初著名书画家、诗人。",[23,24,194,226,28,352,7,106,230,280],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff52772eece37edbf9b7da25588c5bae5.jpg","95x51cm",[44,45],{"id":32028,"slug":32029,"title":32030,"dynasty":302,"author":1977,"museum":20,"description":32031,"tags":32032,"thumbUrl":32033,"material":3971,"size":32034,"collection":181,"collections":32035,"showCount":31683,"zanCount":48,"manualWeight":48,"mainColor":49},221871,"ou-bo-ting-tu-zhao-meng-fu-221871","欧波亭图","鸥波亭为赵孟頫夫妇游息吟咏之所，据现传世著录赵一生曾多次创作以鸥波亭为题材的作品。有《鸥波亭图》(明张丑着《书画见闻表一卷》·五)、《鸥波亭图轴》(清李佐贤着《书画鉴影二十四卷》二○·一)、《赵松雪管仲姬合作鸥波亭图轴》(清邵松年着《古缘萃录十八卷》二·六)。此图正是邵松年载录的《鸥波亭图》，作于元大德八年(1304)甲辰春三月，时赵孟俯50岁，管仲姬42岁，乃精心合写神妙之作。赵孟俯白描人物并写柏树及楼台、山石，管仲姬为其补写大片白描双勾新篁，伉俪合作，珠联璧合，堪称“二美”。故弥足珍贵。",[23,24,25,226,7,3560,106,107,175,34,176,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4dccc8fa8bf432c5b115720e7b83061.jpg","纵117厘米，宽54厘米",[181,45],{"id":32037,"slug":32038,"title":11764,"dynasty":302,"author":32039,"museum":101,"description":32040,"tags":32041,"thumbUrl":32042,"material":1175,"size":32043,"collection":181,"collections":32044,"showCount":31683,"zanCount":2368,"manualWeight":48,"mainColor":49},221812,"xue-shan-xing-lv-tu-yao-ting-mei-221812","姚廷美","绘山峦层叠，幽谷深邃，山中楼台隐现，树木耸立，枝杈横生，树叶凋零，似到深秋或隆冬季节；山脚溪水聚集成河，河面如镜，一桥横跨两岸，桥上二人骑马而过，此番行旅给沉闷的山中带来生气。 此图即为姚廷美结合李、郭与董、巨两派画法而又具备自家风貌的代表作。图中画大树枝叶茂盛，后有草堂，前有乱石，一高士正临流独坐。画面右部浅滩与对岸远山遥相呼应，使空间更加开阔深远。因为是综合两派画法而又寻求自家风格，所以笔墨生拙质朴，脱略前人蹊径。",[23,24,3559,177,7,2724,176,795,114,108,3960,34,119,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecff78b31d250b799136e520b6ccc06c.jpg","98.1× 54cm",[181,45],{"id":32046,"slug":32047,"title":32048,"dynasty":302,"author":13974,"museum":191,"description":32049,"tags":32050,"thumbUrl":32051,"material":638,"size":32052,"collection":44,"collections":32053,"showCount":31683,"zanCount":48,"manualWeight":48,"mainColor":94},221733,"ni-zan-xiang-juan-zhang-yu-221733","倪瓒像卷","工书画，其书法初学赵孟頫，后学怀素，张旭。字体楷草结合，俊爽清洒自成一格。存世书迹有《山居即事诗帖》，《登南峰卷》等。倪瓒在《题张贞居书卷》称“贞居真人诗，人，字，画，皆为本朝道品第一”。其画以淡彩见长，善画石木，用笔古雅，尤善以败笔点缀石木人物，颇有意韵。画迹有《霜柯秀石图》，《双峰含翠图》等。",[24,25,26,352,7,28,106,212,1010,280,29,409],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30d126c273a363dbcf40b1fda9a0860a.jpg","该幅28.2x60.9公分",[44,45],{"id":32055,"slug":32056,"title":32057,"dynasty":302,"author":303,"museum":101,"description":32058,"tags":32059,"thumbUrl":32062,"material":14427,"size":32063,"collection":44,"collections":32064,"showCount":31683,"zanCount":1379,"manualWeight":48,"mainColor":49},221712,"fu-zui-tu-juan-qian-xuan-221712","扶醉图卷","描绘的是东晋著名隐士陶渊明喝酒的故事。画中共三人：酒后面露醉态的陶渊明，醉眼朦胧，坦胸露肚，一手倚扶于竹榻之上，一手作摆手送客状。右侧的客人对着陶渊明双手作揖，面容恭谨，作告辞状；白衣老仆欲引客人离去。一边的地面上陶制的酒罐、酒盆和瓷器的酒杯洒落一地，杯盘狼藉。",[23,24,25,26,7,28,3560,106,196,63,3007,8420,67,11626,32060,32061,8432,28514,14467],"酒具","人物互动","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7ccffb9f1d8c8a7d08362296a28da33.jpg","纵28厘米，横49.5厘米",[44,45],{"id":32066,"slug":32067,"title":32068,"dynasty":18,"author":303,"museum":191,"description":32069,"tags":32070,"thumbUrl":32071,"material":770,"size":32072,"collection":90,"collections":32073,"showCount":31683,"zanCount":2368,"manualWeight":48,"mainColor":94},221706,"san-shu-tu-zhou-qian-xuan-221706","三蔬图轴","画塘上有乾隆帝题：秋圃真香。钱选（约1235-1307前），字舜举，浙江吴兴人。工诗，善书画，与赵孟俯同为“吴兴八俊”之一。",[23,24,7,28,9267,11407,1184,264,212,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52ac9cca7755d4ddbdc81bfe39278a07.jpg","97.6x47.4cm",[90,45],{"id":32075,"slug":32076,"title":32077,"dynasty":18,"author":4703,"museum":20,"description":32078,"tags":32079,"thumbUrl":32080,"material":31462,"size":32081,"collection":42,"collections":32082,"showCount":31683,"zanCount":48,"manualWeight":48,"mainColor":94},221428,"chun-shan-tu-quan-juan-yan-su-221428","春山图(全卷)","燕肃(公元991—1040年)字穆之。祖籍青州益都(今山东青州)，后迁居于阳翟(今河南禹县)。真宗朝进士，官至龙阁直学士，礼部尚书，颇有政绩。巧思过人，有不少发明创造，是一位很有成就的科学家。工诗，善作水墨山水，亦能作壁画。作竹有超然之气，能脱离画工尺度，使之有诗人清丽的神韵。此图描绘了一幅春山水乡的风光。图中群峰耸立，飞瀑长流，一条山道穿谷而过，远山形貌隐约，山下林木苍翠，清溪迂缓，水泽开阔，木桥横卧而联属，水滨点辍着茅舍草屋、水亭渔舟。图中几人或在亭内吟诗，或在水边捕鱼，有的赶马，有的送客，一派生机盎然的景象。此图用笔简练，墨色凝重，风格质朴自然。无作者款印，卷后有36家题跋，分别出自元明时期文人名流，如虞集、刘基、唐肃、徐贲等，从跋文中可以推断此图为燕肃所作。图上钤有、、、诸印及清内府收藏印。《石渠宝笈初编》著录。",[23,24,25,26,173,7,29,108,109,230,353,175,245,177,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88542d532ea368288a52e16a96eaf191.jpg","纵47.3厘米，横115.6厘米",[42,181,163],{"id":32084,"slug":32085,"title":32086,"dynasty":18,"author":28341,"museum":20,"description":32087,"tags":32088,"thumbUrl":32090,"material":40,"size":32091,"collection":44,"collections":32092,"showCount":31683,"zanCount":1379,"manualWeight":48,"mainColor":94},221416,"fang-che-tu-juan-wang-ju-zheng-221416","纺车图卷","《纺车图》是北宋画家 所创作的一幅设色画，现收藏于北京故宫博物院。\n该图画面上纺车忙碌着，一位面貌年轻村妇怀抱着哺乳的婴儿，坐在纺车前操作，稍远处一位老年村妇站立为之牵线。\n画面右侧绘有一个嬉戏的儿童，两位村妇之间则点缀一只小犬正在撒欢地玩着。\n背景描绘着随风披拂的柳树丝及其几段又粗又硬的树枝干。\n图中人物头发荆钗蓬鬓，鹑衣百结，曲尽情状，面目如生。\n纺车图是绢布手卷，纵21.6 厘米， 横69.2厘米，设色画，内容是农村中妇女纺线的情景。\n该画面的中心放着一架纺车，其傍置一竹筐，位中年妇女坐小椅上，左手抱着婴儿哺乳，右手轮转车机，前面站着一位老年妇女两手牵机。\n村妇身后有一儿童，席地而坐，手中拿着杆，牵着一只蟾蜍，活泼可爱。\n中间闻一小犬，画右有两棵老柳树，布景简洁，但却显出农村前条气象。\n元代书法家赵孟頫为此图题跋：“图虽尺许，而气韵雄壮，命意高古，精采飞动，真可谓神品者矣。\n” 明代画家吴宽亦于其上题诗并跋语：“可爱河东王氏子，丹青施誉动祥符。\n不传罗绮游春态，只画茅檐纺车图。\n” 大中祥符年间（18年—116年），北宋为了修筑宫殿、寺庙，招来一些从事建筑彩绘和壁画的民间画匠。\n由于王居正出身劳动人民，深谙民间疾苦，对下层贫苦农民有深厚的感情，所以画面反映的题材意义和人物形象，与宫廷画家及士大夫笔底的“农家乐”形象大异其趣。\n《纺车图》正是王居正看到妇女纺线情景所创作的一幅农家图。\n该图表现农村妇女的户外劳动。\n全幅主题突出，构图巧妙。\n近景描绘的人物被两条飘浮不定的线条分为两组，线的一端是边摇纺车边哺乳的中年妇女、围其左右戏青蛙的童子和狂吠的黑犬；另一端是弯腰伛背、双手拉着线团的老媪。\n人物彼此间聚散自然，神韵相通。\n图中纺车、竹筐、杌凳用界画形式表现，刻画精工写实。\n人物的衣纹用转折劲利的“战笔描”表现，中锋行笔，线条细劲圆润，随着人物形体的变化而顿折曲转，从而准确地塑造出人物的形态和衣料的柔软质地。\n图中的女性形象与晋代顾恺之、唐代周昉笔下的仕女相比，没有娇美的相貌、诱人的身材、华丽的服饰及尊贵的地位，她们仅是生活中最为普通的农村妇女。\n衣裤迭经补缀的老妇面容憔悴，动作迟缓，艰辛的生活令其相貌充满沧桑感。\n作者以写实的艺术手法不加美化地表现她们，意在赞扬她们安贫乐道的生活态度及朴实无华的个性美，同时也表达了对她们贫苦生活的同情。\n从绘画史的角度来看，《纺车图》并非在技法或风格创新上有重大突破或建树，其难得可贵价值在于它表现了下层劳动人民真实的劳动场面，为人们了解研究当时的社会和历史提供了珍贵的形象资料。\n该图流传有绪，在南宋时为 收藏。\n元代延祐四年（117年）， 在燕京以五十金购得。\n明代初为袁廷玉（柳庄）获取，明代中期杨维新从袁氏家购得。\n万历年间（157－1619年）它被周敏所收藏。\n清代初为仁和龚翔麟（蘅圃）收藏，乾隆朝时归江西陈玉方（希祖），嘉庆朝素村用旧拓唐楷碑向陈玉方换取此画，光绪年间（1875－198年）归陆心源所得，清末归武进盛所有。\n2世纪5年代，国家从香港将其购回，旋即入藏北京故宫博物院。\n在214年4月日至6月29日期间，北京故宫院开展“故宫藏历代书画展”，其中《纺车图》在北京故宫武英殿书画馆开展。\n王居正（生卒年不详），乳名憨哥，河东（今山西永济）人，北宋画家王拙之子。\n北宋大中祥符年间（18－116年），被招募至汴京（今河南开封）参与皇家宫殿的营造工程。\n其作画注重写实，落笔前反复观察，认真思考，力求于创作中真实地再现客观对象 。",[23,24,26,28,7,106,5423,8328,32089,229,34,745,7220,65],"纺车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cc3f7fb767d3a2e83a5bc151e376253.jpg","纵26.1厘米，横69.2厘米",[44,45],{"id":32094,"slug":32095,"title":32096,"dynasty":18,"author":18229,"museum":191,"description":32097,"tags":32098,"thumbUrl":32100,"material":1307,"size":32101,"collection":139,"collections":32102,"showCount":31683,"zanCount":2368,"manualWeight":48,"mainColor":94},221250,"qiu-zhu-wen-qin-hui-chong-221250","秋渚文禽","此冊共二十六開，包含許多精采的宋元冊頁。各別的作品曾經過南宋內府、十四世紀安徽收藏家吳志淳、十五世紀黔寧王沐璘、十七世紀山東收藏家張篤行等人收藏過。裱裝形式上，除了少數有對題者，左邊空白對幅皆以明代流行的金粟山藏經紙裱裝之，並有風格統一的題籤。配合裱紙上梁清標（一六二○－一六九一） 的收藏印，及比較院藏其他梁清標之題簽，推測此冊可能為梁清標所集，顯示明末清初所理解的宋元畫。",[24,7,28,81,1530,32099,228,319,5218],"水渚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8245c17cd680d5c6db12441e68758697.jpg","27.3x28.7",[],{"id":32104,"slug":32105,"title":32106,"dynasty":18,"author":257,"museum":191,"description":32107,"tags":32108,"thumbUrl":32110,"material":123,"size":32111,"collection":42,"collections":32112,"showCount":31683,"zanCount":48,"manualWeight":48,"mainColor":49},221236,"tong-shi-xiu-ling-zhou-yi-ming-221236","桐实修翎轴","画面留白空灵悠远，尽显极简造境之妙。禽鸟停驻桐枝，翎毛刻画细致入微，茸绒毕现，抬首凝伫间神态机警灵动，将野雀鲜活生姿定格绢素。\n\n桐叶与桐实以水墨晕染，墨色苍润层次分明，枯枝虬曲苍劲，古朴野逸。全画笔法兼具工细与写意，写实中饱含清雅诗意，将林下一隅的幽寂生趣尽致展现，尽显格物致知的审美意趣，淡墨轻岚间晕开沉静古雅的宋韵风神。",[23,24,194,226,83,28,7,209,836,32109,212],"桐实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb521334d6a0b978dd8fa170f2109cdc2.jpg","纵103.4cm，横33cm",[42,181,163],{"id":32114,"slug":32115,"title":32116,"dynasty":99,"author":17423,"museum":20,"description":32117,"tags":32118,"thumbUrl":32119,"material":123,"size":32120,"collection":181,"collections":32121,"showCount":31683,"zanCount":2368,"manualWeight":48,"mainColor":94},220104,"xia-qi-shi-ze-ye-zhou-chen-220104","夏畦时泽页","周臣（生卒年不祥），字舜卿，号东村，吴县（今江苏苏州）人，活动于15世纪末至16世纪初。擅画山水、人物、花鸟，画法主宗南宋李唐、马远等院体画风，并受文人画的一定影响，功力深厚。周臣是一位富有创新精神的职业画师，为了适应人们的欣赏趣味，他一方面突破职业画家的局限，创作了大量以文人生活为题材的作品，一方面尝试在技法上学习文人画的笔墨情趣，使其作品具有周密雄劲而又清旷秀美的格调，在画坛上独树一帜。唐寅、仇英为其门下高足。",[24,25,194,28,7,177,29,108,109,34,176,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff81796ca826f29f94a83e6abdbb346ff.jpg","纵31.3cm，横26.4cm",[181],{"id":32123,"slug":32124,"title":32125,"dynasty":76,"author":7596,"museum":1830,"description":32126,"tags":32127,"thumbUrl":32128,"material":88,"size":32129,"collection":181,"collections":32130,"showCount":31683,"zanCount":2368,"manualWeight":48,"mainColor":49},219912,"ceng-luan-qiu-ji-tu-wang-hui-219912","层峦秋霁图","王翚（1632年4月10日─1717年11月15日），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。江南省苏州府常熟人(今江苏常熟)。清代著名画家。其绘画以山水为主，山水融会南北诸家之长，创立了所谓“南宗笔墨、北宗丘壑”的新面貌，被称为“清初画圣”。与王时敏、王鉴、王原祁合称山水画家“四王” ，又与吴历、恽寿平并称“清六家”。同时他还是虞山派鼻祖。",[24,3559,7,177,9288,30,34,809,176,5218,37,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F088fa3e078227eb0f8335ab5623452f8.jpg","142x66.1cm",[181],{"id":32132,"slug":32133,"title":17996,"dynasty":76,"author":4285,"museum":20,"description":32134,"tags":32135,"thumbUrl":32136,"material":123,"size":32137,"collection":181,"collections":32138,"showCount":31683,"zanCount":2368,"manualWeight":48,"mainColor":49},219747,"du-fu-shi-yi-tu-wang-shi-min-219747","此图为唐代诗人杜甫“竹深留客处，荷净纳凉时”佳句为题，描绘的是一片竹林景色。图中丛草茂密，绿竹幽深，连绵万顷，层层叠翠，尤以竹林深处，一条蜿蜒小路上，有二人策驴缓行，显然是欲溯溪而上，至一塘绿水处，荷叶飘香，临流水阁数间，令人畅想，不免有流连忘返之意，若能高卧闲居，听竹闻香，自然就可以荣辱皆忘，陶然忘机。所谓一心，就是这个状态，无关乎身家性命，但求此心真诚无二，为将者保家卫国，为画者怡情自乐，君子无为而无不为，皆能不出其位，用现在的话说，就是干一行，爱一行，少些杂念，自然可以有所成就。岳飞曾说，文官不爱钱，武官不惜命。其实也是这个道理。故人若能一心不乱，大可以报效国家于危难之际，小可以洁身自好于巷陌之间。",[23,24,25,26,3559,173,7,227,34,176,809,108,175,109,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96951e7904dac4cc20ea034fe6300033.jpg","纵39厘米，横25.5厘米",[181],{"id":32140,"slug":32141,"title":32142,"dynasty":99,"author":3307,"museum":442,"description":32143,"tags":32144,"thumbUrl":32145,"material":123,"size":139,"collection":90,"collections":32146,"showCount":31683,"zanCount":48,"manualWeight":48,"mainColor":49},219746,"song-ying-tu-lv-ji-219746","松鹰图","吕纪（1439年-1505年），字廷振，号乐愚，鄞（今浙江宁波）人。明代院体花鸟画家。",[23,24,25,28,7,83,1133,3300,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8ac887d96b6abbbb34b17fc5d912f97.jpg",[90],{"id":32148,"slug":32149,"title":32150,"dynasty":99,"author":18784,"museum":101,"description":32151,"tags":32152,"thumbUrl":32153,"material":88,"size":139,"collection":181,"collections":32154,"showCount":31683,"zanCount":2368,"manualWeight":48,"mainColor":94},219715,"xun-yang-song-ke-tu-ding-yun-peng-219715","浔阳送客图","此作以平远之法铺陈秋江暮色，设色清隽雅致。远景山峦以淡墨轻晕，烟岚空蒙，晕染出江天寥廓的空寂。江岸枯木萧疏，苍松虬然挺立于岩岫之间，为凄清秋意晕开一抹苍劲生机。\n\n画中江畔舟中对坐执盏，将临别之际的缱绻不舍凝于咫尺。线条清劲柔婉，山石林木以赭石花青轻染，带着吴门画派的温润秀雅，以简淡意境烘托出离别的黯然销魂，将诗文里的浔阳别绪藏进苍茫江色，淡而韵长，尽写古人送别的缱绻情深。",[24,7,28,29,106,174,34,176,31,177,226,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4df47f62d0026f7a3a39ac0a0b6aecb.jpg",[181],{"id":32156,"slug":32157,"title":32158,"dynasty":99,"author":32159,"museum":608,"description":32160,"tags":32161,"thumbUrl":32162,"material":88,"size":32163,"collection":181,"collections":32164,"showCount":31683,"zanCount":2368,"manualWeight":48,"mainColor":94},219677,"fang-gu-shan-shui-ce-yun-xiang-219677","仿古山水册","恽向","恽向（1586--1655）明代画家。原名本初，字道生、曙臣，号香山，武进（今属江苏）人。崇祯末举贤良方正，授内阁中书舍人。擅诗文工山水，早年学董源，巨然，以悬肘中锋作画，骨力圆劲，浓墨润湿，纵横淋漓，自成一派，晚年敛笔于倪瓒、黄公望的风格，惜墨如金，挥洒自如，妙合自然。由于他常往来于齐鲁之间，并登临泰山，故笔下山水自然雄浑之气。他曾为周亮公画山水，自题云：“逸品之画，笔似近而远愈甚，似元而有愈甚；其嫩处如金，秀处如铁，所以可贵，未易为俗人道也。”",[81,7,178,212,177,29,685,353,174,109,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a9216d1ebee0a965f0c8cc37df5f44c.jpg","26x15.2",[181],{"id":32166,"slug":32167,"title":32168,"dynasty":99,"author":257,"museum":191,"description":32169,"tags":32170,"thumbUrl":32174,"material":123,"size":32175,"collection":44,"collections":32176,"showCount":31683,"zanCount":2368,"manualWeight":48,"mainColor":49},219346,"song-feng-gao-yi-tu-yi-ming-219346","松风高逸图","苍松如盖，虬枝盘结，松针层叠似涛，古干斑驳间尽显岁月苍劲。树下士人或揖或立，衣袂轻扬，神情悠然，似在共赏林泉之趣；侍从侧侍，动静相宜，更衬雅集之闲。远景山水含烟，溪石错落，淡墨晕染出清旷悠远之境。全图笔墨细腻，设色古雅，将文人雅士寄情丘壑、超然物外的高逸情怀，悄然融于松风山水间，尽显林下之风的悠然意趣。笔墨间藏着对自然的敬畏与对闲适的向往，每一处线条都似在诉说文人心中的丘园之思。",[24,7,28,32171,32172,3429,29,4313,5742,32173],"苍松","士人","超然","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa82e3aa8da1e36d0f5288daacf61eaca.jpg","132×46cm",[44],{"id":32178,"slug":32179,"title":32180,"dynasty":76,"author":563,"museum":78,"description":32181,"tags":32182,"thumbUrl":32183,"material":123,"size":32184,"collection":45,"collections":32185,"showCount":31683,"zanCount":48,"manualWeight":48,"mainColor":94},219217,"cui-yu-he-ming-tu-hua-yan-219217","翠羽和鸣图","图绘春天繁花吐芳,禽鸟欢腾的喧嚣情景.画家通过禽鸟生动的形态和诱人的粉色,烘染出春光明媚的氛围.",[24,7,28,226,245,83,353,292,230,210,553],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F678e3c3bb0d57d844c094fac8c221dc5.jpg","177.2x97.4",[45],{"id":32187,"slug":32188,"title":32189,"dynasty":302,"author":257,"museum":8535,"description":32190,"tags":32191,"thumbUrl":32194,"material":123,"size":32195,"collection":45,"collections":32196,"showCount":31683,"zanCount":48,"manualWeight":48,"mainColor":49},219180,"lin-yuan-shuang-yang-tu-yi-ming-219180","林原双羊图","此幅为纨扇，工笔。画面溪水静流，草木丛生，古树歪斜，一双羊正埋头觅食。纨色古雅。左上角钤朱文篆刻收藏印“刘氏春禧所藏”，右下角有朱文篆印“忠”字。无款，为元人所绘，稀有难觅。",[23,194,24,25,7,28,6162,746,378,32192,32193,838,685],"林","原","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fece76ddc27e36003fe0c487787bb73e0.jpg","纵26厘米，横27厘米",[45],{"id":32198,"slug":32199,"title":32200,"dynasty":76,"author":19521,"museum":20,"description":20403,"tags":32201,"thumbUrl":32202,"material":123,"size":20406,"collection":90,"collections":32203,"showCount":31683,"zanCount":2368,"manualWeight":48,"mainColor":49},218524,"cang-qiu-lan-fei-pu-tu-zhou-zhang-zong-cang-218524","苍秋岚飞瀑图轴",[23,194,24,226,29,7,177,176,979,109,34,107,37],"https:\u002F\u002Foss.chuangqi.s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趣。",[23,24,7,260,106,406,226,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae1a0ed0944d2fd736dbeef598ee2e00.jpg","150X68厘米",[],{"id":32394,"slug":32395,"title":32396,"dynasty":99,"author":14115,"museum":191,"description":32397,"tags":32398,"thumbUrl":32399,"material":88,"size":32400,"collection":181,"collections":32401,"showCount":32281,"zanCount":48,"manualWeight":48,"mainColor":94},231418,"ming-wen-bo-ren-fang-hu-tu-wen-bo-ren-231418","明文伯仁方壶图","《明文伯仁方壶图》描绘的是碧波万顷、祥云缭绕中，有仙岛浮现，道观数处隐于其间。依道教传说：仙山有五，方壶山即其一。即言：“渤海之东，不知几亿万里，有大壑焉。其中有五山焉:一曰岱舆，二曰员蟜，三曰方壶，四曰瀛洲，五曰蓬莱。”此画既取材于道教，所以在上方题名及下方款识处，也仿照了早期释道画加框榜题的习惯。此图无论在翻卷的波涛、飘动的云海或是尖拔的山峰、茂密的叶木，皆处处著笔繁谨，设彩明丽，呈现出家学的细笔画风。",[23,24,7,28,212,29,2235,685,262,114,34,10383,12015],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25cb1e79d895645a041522290ad040b2.jpg","纵120.6公分、横31.8公分",[181],{"id":32403,"slug":32404,"title":32405,"dynasty":99,"author":28757,"museum":191,"description":32406,"tags":32407,"thumbUrl":32408,"material":11934,"size":32409,"collection":139,"collections":32410,"showCount":32281,"zanCount":48,"manualWeight":48,"mainColor":49},231381,"chun-hua-san-xi-tu-bian-jing-zhao-231381","春花三喜图","此图无款。此图用：正笔重色描绘了竹林中的二只山喜鹊，其背景有怪石及象征春天的大小鲜花，有的正在盛开，有的含苞待放，还有已是枝茂叶繁的新竹及节高挺直指天的竹笋，翠竹鞭笋，间以杜鹃筷廾，红绿相映，这足以表明已是春色的大地，画家把喜鹊置于特定的自然环境中，目看那翠竹上的一红嘴、黑顶、长尾、带白色斑点的灰喜鹊，张口呜叫俯视下面，在坡石上又一对同样漂亮的喜鹊，张开翅膀，相搏于坡石间，翎羽飞动，互以爪握其喙，互相拍打的戏嬉场面，这三喜鸟给画面带来了春天里动、植物生息繁衍的景象：画家向人们展示了自然界中极自然生动的瞬间形象，真实而富有情趣。\n宋代院画往往被后人批评为专求形似，不重神韵。其实，并不是每一个院画都是这样，何况绝大多数的院画是以刻划精确、立意高简为目的的。边文进便是吸取了这些院画中的养分，开创了自己的花鸟画面目。《春花三喜图》就是边景昭花鸟画之一\n此画笔法工细，竹子以工细的墨色勾勒，再以填色表现。雀鸟的羽毛画法更是精细入微，着色艳丽而雅致，特别是长尾部的斑驳翎毛，还有闪闪生辉之态，其二喜鸟之神态栩栩如生。\u2028 图中湖石沉雄，秀竹劲挺而葱郁．鲜花丛簇而生，夺人二目，二喜鹊于平坡之上嬉戏，一仰翻在地，一上前戏啄，上面竹间一喜鹊俯视二鹊．见此情景高声鸣，似在斥责，形神兼备，令人钦佩作者妙笔，而鹊之顽皮则令人莞尔。本画笔触细腻，叶以双勾填色法，山石皴染及花乌风格皆可见宋代院体风韵，设色艳丽清新，令人有如沐春风之感。",[194,24,25,28,7,83,227,230,245,292],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ea9b5dca7488b3da49917c162f50947.jpg","纵165．2厘米，横98．3厘米",[],{"id":32412,"slug":32413,"title":32414,"dynasty":76,"author":3221,"museum":316,"description":32415,"tags":32416,"thumbUrl":32417,"material":139,"size":139,"collection":139,"collections":32418,"showCount":32281,"zanCount":48,"manualWeight":48,"mainColor":94},230975,"hua-guo-tu-xu-gu-230975","花果图","虚谷《花果图》轴，正如其好友杨逸所言：“落笔冷隽，蹊径别开”（《海上墨林》），独具清俊冷峭、静寂虚和的风姿，亦狂亦狷，奇奇怪怪，不事规模陈迹，纯是胸中盘郁。\n款识“鉴中老和尚清玩”，书风一如其画之清隽，图中种种绝俗之物，正应清玩之题，同时暗示了老和尚清俊绝尘的修为与品味。\n所钤“虚谷书画”一印系著名篆刻家徐三庚 所刻，有学者根据虚谷用印推断作品所在时期，认为此印或为虚谷1876-1887这十年间所用，则此画大约作于这一时期，当时画家多在苏州。\n大致可推测，虚谷此图作于1876-1887这十年中，当时他多活动于苏州一带，即为苏州僧人鉴中作此图，一直流传至今，其尺幅、楮墨及品相皆可圈可点。\n虚谷三十岁以后弃戎出家，广泛往来于上海、扬州、苏州等地鬻画为生，他虽“不茹素，不礼佛”，却与众多方外友人维持着良好的关系。\n他与苏州寺院的关系尤为密切，《寒松阁谈艺琐录》的作者张鸣珂结识虚谷即由狮林寺僧诺瞿邀约所致，尝为瑞莲寺画《瑞莲放参图》，为光福古铜佛寺画《古铜佛寺图》，且一度担任狮林寺的住持，退居后到与狮林寺有法系关系的石壁寺养老，并葬于此。\n至于为鉴中所作除了《花果轴》，尚有《瑞莲放参图》。\n鉴中的题跋，曾出现在顾澐为顾曾寿（字子长，号棱伽山民）所作《惟德堂图》后，同卷后有苏州文人书画家顾澐、潘锺瑞、刘履芬、顾文彬、潘遵祁众多题跋，鉴中题后钤有“释日升”、“鉴中”二印，由是可知“日升”即鉴中法名，以及鉴中与晚清苏州文坛、画坛的交往。\n虚谷这一时期侨居苏州为多，与鉴中和尚结缘绝非偶然，故先后以《瑞莲放参图》、《花果轴》相赠。\n此图所写皆案头清供：画面主体写一长瓶，上有老梅数丛，挺拔如剑，右下角配以三丛偃枝，古奥奇绝。\n传统梅干交叉法皆恪守“女”字形的原则，虚谷画梅是自出机轴，不尽拘此绳墨。\n花瓣利用底色以粉点出，附以红色花萼加以烘托，为梅干的古拙平添几分生趣。\n虚谷自作咏梅诗云：“无端白雪落沙来，古本疏枝上粉苔。\n似雪似花花似雪，梅花又向雪中开。\n”写寒梅之高洁，亦可为此清供之梅传神。\n丛梅左侧陪衬了些许松枝，松针逸笔草草却不乏韵致。\n瓶下右侧则有佛手一枝二果，以破墨画叶，墨彩清润浑厚；又有连根百合二枚；前有红柿一枚，反复渲染，隐隐透出红晕，亦各尽其妙。\n瓶后露出如意半枝，是为改变花瓶左侧垂直线的单调而加，使画面显得更为和谐、丰富。\n（182-1896），安徽新安（今歙县）人。\n清代画家， 。\n俗姓朱，名怀仁，移居江苏广陵（今扬州）。\n初任清军参将，后出家，名虚白字虚谷，号倦鹤、紫阳山民。\n以字竹，室名觉非庵、古柏草堂、三十七峰草堂。\n不茹素，不礼佛，也“从不卓锡僧寺”，往来于上海、苏州、扬州一带，卖画为业，是“海上画派”杰出代表人物。\n他携笔墨、着僧装，“闲中写出三千幅,行乞人间作饭钱”，云游四海，清贫于世却笔墨人间，他行程之广、画作之多，己为当时罕见。\n他承古创新，另辟捷径，广集素材，勤奋垦作，终成一代巨擘。\n早年学界画，后以擅画花果、禽鱼、山水著名。\n风格冷峭新奇，绣雅鲜活，无一笔滞相，匠心独运，别具一格。\n亦能诗，有《虚谷和尚诗录》。\n传世作品有《梅花金鱼图》、《松菊图》、《葫芦图》、《蕙兰灵芝图》、《枇耙图》等。",[23,24,7,83,897,22689,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d67027df7898465725f2bb0928bb54d.jpg",[],{"id":32420,"slug":32421,"title":32422,"dynasty":76,"author":12058,"museum":316,"description":32423,"tags":32424,"thumbUrl":32425,"material":139,"size":139,"collection":139,"collections":32426,"showCount":32281,"zanCount":48,"manualWeight":48,"mainColor":94},230199,"chun-qi-ji-jin-juan-wang-cheng-pei-230199","春祺集锦卷","此作以工笔淡彩绘就春日草木，设色调和柔雅，兼具写实意趣与雅致格调。\n\n攒簇的朱红浆果鲜亮饱满，与嫩绿叶色相映，鲜活夺目；宽叶草木的脉络勾染细腻，晕染出叶片舒展的自然肌理，古雅灵芝旁逸，添上清寂意趣。右侧浅黄、素白的小花袅袅舒展，细竹清瘦挺秀，花叶俯仰生姿，排布疏密得当。\n\n整体笔法秀润工致，将春日花木的幽妍生机尽数铺陈，没有浓烈着色却满是融融春息，静雅清和，把草木舒展的瞬间定格，尽显柔婉雅致的花鸟意韵。",[194,24,25,26,7,28,83,227,62,838,569,8848],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F452999763f15c2cc0fd5efdbcdbbc608.jpg",[],{"id":32428,"slug":32429,"title":32430,"dynasty":99,"author":100,"museum":316,"description":32431,"tags":32432,"thumbUrl":32433,"material":139,"size":139,"collection":139,"collections":32434,"showCount":32281,"zanCount":48,"manualWeight":48,"mainColor":94},228452,"xun-yang-song-bie-tu-quan-juan-chou-ying-228452","浔阳送别图全卷","《唐寅集》是21年 出版的图书，作者是唐寅。\n本书主要收录了明代著名文人、书画家唐寅的精选优秀作品。\n本书收入我社“中国古典文学丛书”。\n唐寅（147-152），字伯虎，一字子畏，号六如居士，吴县（今江苏苏州）人，为明代著名文人、书画家。\n在诗文方面与祝允明、文徵明、徐祯卿并称“吴中四才子”，在绘画方面与沈周、文徵明、仇英并称“吴门四大家”。\n本书汇辑传世《唐伯虎集》七种刻本全部作品为前六卷，以六如居士制义及画谱为附集四卷，还从抄本、墨迹、书画文献中补辑得诗文词曲六卷，并附录原集序跋、史传铭赞、轶事、诗文评论、诗文赠答、年表等六卷资料。\n辑校者周道振先生（1916-27）是著名的碑帖鉴藏家，本书由他和夫人张月尊女士共同署名，是目前所能见到的最详尽的唐伯虎集。\n前言 卷第一赋乐府五言古诗七言古诗 娇女赋 金粉福地赋 惜梅赋 短歌行 相逢行 出塞二首 紫骝马 聪马驱 侠客 陇头 陇头水 咏春江花月夜 春江花月夜二首 白发 伏承履吉王君以长句见赠作此以答 闻蛩 夜中思亲 伤内 赠文学朱君别号筒庵诗 咏怀诗二首 失题 戏题 咏梅次杨廉夫韵 江南春次倪元镇韵 姑苏八咏 登法华寺山顶 三高祠歌 桃花庵歌 花下酌酒歌 把酒对月歌 一年歌 一世歌 默坐自省歌 醉时歌 解惑歌 世情歌 怅怅词 百忍歌 嘅歌行 进酒歌 闲中歌 妒花歌 七十词 江南四季歌 七夕歌 渔樵问答歌 焖波钓叟歌 咏渔家乐 怡古歌 席上答王履吉 世寿堂诗 题五王夜燕图 题浔阳送别图 七夕赋赠织女 招仙曲二首 卷第二五言律诗五言排律七言律诗 游焦山 听弹琴瑟 送王履约会试 送行 赠寿 桃花庵与祝允明黄云沈周同赋五首 偶成 题张梦晋画 题溪山迭翠卷 题画 马 贺松郡伯寿诞 登昊王郊台 仲夏三十日陪弘农杨礼部丹阳都隐 君虎丘泛舟 沈征德饮予于报恩寺之霞骛亭酒 酣赋赠 正德己卯承沈征德顾翰学置酌禅寺见招猥鄙栖酒狼藉作此奉谢 春日城西 阊门即事 雨中小集即事 桃花庵与希哲诸子同赋三首 桃花坞祓楔 社中诸友携酒园中送春 姑苏杂咏四首 齐云岩纵目 与朱彦明诸子同游保叔寺 松陵晚泊 焦山 游金山 同诸公登金山 庐山 严滩 观鳘山四首 谒故福建愈宪永锡陈公祠 赠南野 领解后谢主司 送李尹 长洲高明府过访山庄失于迎迓作此奉谢 别刘伯耕 顾君满考张西溪索诗饯之故为赋此 赠徐昌国 寄郭云帆 检斋 上宁王 寿王少傅 奉寿海航俞先生从德卿解元之请也 寿严民望母八十 五十诗 花酒 寄妓 戏题机山 题碧藻轩 题沈石田先生后集 和沈石田落花诗三十首 岁朝 元宵 花月诗十首 江南送春 霜中望月怅然兴怀 和雪中书怀 四十自寿 四十自寿 五十自寿 漫兴十首 又漫兴十首 感怀 睡起 散步 独宿 寻花 夜读 叹世 避事 自笑 梦 附钱仁夫次唐子畏韵自道鄙怀 新春作 早起偶成 蒲剑 山家见菊 闽江声 除夜坐峡蝶斋中 正旦大明殿早朝 嘉靖改元元旦作 叹世六首 警世八首 哭妓徐素 白燕 西畴图为王侍御作 题友鹤图为天兴 题辋川 题画 …… 卷第三五言绝句六言绝句七言绝句 卷第四词曲 卷第五书尺牍序记 卷第六碑铭墓志铭墓碣墓表祭文招辞疏文启论表赞联句墨铭 附集一制义 附集二画谱卷之 附集三画谱卷之二 附集四画谱卷之三 补辑卷第一赋四言古诗五言古诗七言古诗五言排律七言排律 补辑卷第二五言律诗 补辑卷第三五言绝句 七言绝句 补辑卷一第四七言绝句联句题画联句 补辑卷第五词曲 补辑卷第六序说记手柬祭文跋自跋赞墓志铭",[23,27,7,28,26,25,178,29,106,174,109,175,34,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8a159f53daa2ea54b03086c051be521.jpg",[],{"id":32436,"slug":32437,"title":32438,"dynasty":99,"author":857,"museum":539,"description":32439,"tags":32440,"thumbUrl":32441,"material":139,"size":139,"collection":139,"collections":32442,"showCount":32281,"zanCount":2368,"manualWeight":48,"mainColor":49},228286,"zhai-mei-gao-shi-tu-chen-hong-shou-228286","摘梅高士图","《对镜仕女图》是明代画家 创作的中国画，现收藏于清华大学艺术博物馆。\n该画画了一位恬静仕女，手托镜子自照，用笔细劲内敛，设色古雅隽永，人物形象稍事变形夸张，高雅脱俗。\n此图的画面突出的是一位恬静、娟秀的仕女形象。\n她两手托镜自照，神态悠闲，身穿交领右衽束袖短上衣，外系长裙，腰间配有锦纹织物以及玉环小绶。\n上衣短而下裙长，袖口窄，下角圆，裙腰束得很高。\n种桃三百树，颜色亦如之。\n莫向汉宫说，美人争自为。\n洪绶似天耳社长兄。\n洪绶之印（白文）、章侯（朱文）。\n­ 渊雷室藏（朱文）、曾在朱屺瞻家（朱文）、印章漫漶（朱文）。\n该画是作者陈洪绶中后期的作品，大约创作于明崇祯九年（公元166年）。\n此图为工笔人物画，画面居中位置的仕女，面颊丰润，眉目细长，体态较同时期的人物画略显丰腴，发鬓高耸以桃花、云簪装饰，其渲染方式承唐代之法，画中仕女手持青铜菱花镜合于胸前，微微颔首垂目视镜，眉宇间略显哀愁，若有所思。\n画中人物襦裙高系，刻意变形的比例关系，又通过深色的前襟和裙摆的佩饰加以视觉的平衡。\n画面环境树石相伴，泉水隐现，人景契合 ，画面右上角斜出的桃树与画面下方皴染的几处坡石等补景起到了突出主体与调节画面的作用。\n整个画面，人物属于密体而背景属于疏体，从而形成人和自然之间的节奏变化，在艺术处理上别具匠心。\n造形夸张，带圆弧形，时常失调，反映了文人写意画脱略形似的审美意识。\n此图设色淡雅，坡石以或浓或淡的墨色与淡赭色皴染勾勒，布局疏密得当，主体突出。\n画面左上角以草书题诗，线条苍劲老练，炉火纯青。\n此图的衣饰用笔，纯属中锋，则寓清刚圆劲于长短、轻重抑扬、顿挫之中，如同奏乐，使人体会到一种韵律感。\n该画用笔细劲流畅，十分强调线条的运用，特别是服饰的摺纹，借鉴了唐人、宋人、元人的线条技巧，又重性情挥洒自如，形成了人物的线条美。\n中国艺术研究院教授 ：仕女眉毛和眼睛距离很宽，显得意态非同寻常，人物仍然是圆浑丰满的。\n线条细劲，有转折和轻重的变化，且内含苍道刚劲之力。\n设色古淡，仅于女人嘴唇点朱红色，其余地方若淡若无。\n根据收藏印记可知该画经渊雷室、近代收藏家 等收藏，现收藏于清华大学艺术博物馆。\n218年6月16日，该画在“清华藏珍·翰墨丹青——清华大学艺术博物馆藏品展”中展出。\n陈洪绶（1598—1652年），明代画家。\n号老莲、悔迟，诸暨（今属浙江）人。\n幼年即喜爱绘画，一度为宫廷作画，后南返。\n擅画人物、山水、花鸟、竹石、鱼虫，初学蓝瑛，后学李公麟、赵孟頫。\n绘有《水浒叶子》《博古叶子》《九歌》和《西厢记》等绣像插图。\n传世作品有《拳石山茶图》《笼鹅图》《升庵簪花图》《摘梅高士图》。\n著有《宝论堂集》等。",[23,24,25,226,28,7,352,106,5412,3429,795,230,27226,176,34,686],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8babe604516aae8491081e1577cd1935.jpg",[],{"id":32444,"slug":32445,"title":32446,"dynasty":302,"author":5007,"museum":316,"description":32447,"tags":32448,"thumbUrl":32449,"material":139,"size":139,"collection":139,"collections":32450,"showCount":32281,"zanCount":2368,"manualWeight":48,"mainColor":49},228041,"chun-shan-fang-you-tu-sheng-mao-228041","春山访友图","此作用浅绛轻敷春山，晨雾如纱晕开层叠远峰，虚实错落间晕染出江南春日的空濛柔婉。湖面烟波浩渺，扁舟横波，舟上三人闲坐，将江湖散逸之趣藏于涟漪间。近岸山居隐于茂林之下，屋中似有知己晤谈，野意悠然。\n笔墨清润秀雅，皴染相融，既带着院体的精工细致，又藏着元人萧散的隐逸襟怀。水汽漫过浅滩淡渚，拉伸了山水的空间层次，以淡墨轻岚铺展出咫尺千里的悠远，将文人寄情林泉的雅怀，尽数藏进眼前的丘壑烟波之中。",[24,173,7,29,177,174,106,808,34,175,107,109,108],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbfc6bbce454ff2f4c5167e98576e758d.jpg",[],{"id":32452,"slug":32453,"title":32454,"dynasty":18,"author":257,"museum":191,"description":32455,"tags":32456,"thumbUrl":32457,"material":282,"size":32458,"collection":139,"collections":32459,"showCount":32281,"zanCount":48,"manualWeight":48,"mainColor":49},227850,"xiao-ting-ying-xi-tu-ye-yi-ming-227850","小庭婴戏图页","《小庭婴戏图》是宋代所画的人物画。作者不详，一说是陈宗训所作。中国台北故宫博物院藏。",[23,24,194,25,81,28,7,106,378,229,8665],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1dbcffc9191793f4866baf2ef744a0c.jpg","纵26厘米，横25厘米",[],{"id":32461,"slug":32462,"title":681,"dynasty":18,"author":12243,"museum":316,"description":32463,"tags":32464,"thumbUrl":32465,"material":139,"size":139,"collection":139,"collections":32466,"showCount":32281,"zanCount":2368,"manualWeight":48,"mainColor":49},227695,"chun-shan-tu-juan-zhao-bo-su-227695","赵伯骕（1124—1182），字希远，应天府（今河南商丘）人，南宋著名画家，宋朝宗室，著名画家赵伯驹之弟。兄弟皆妙于金碧山水。除山水、人物外，擅长花鸟，界画亦精。传世作品有《五金阙图》《番骑猎归图》等。",[23,194,24,25,26,27,7,29,28,177,808,34,986,108,109,118,35,37,10383],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a9625dd9e8f64ae801ba0fad2190c8c.jpg",[],{"id":32468,"slug":32469,"title":4147,"dynasty":54,"author":4148,"museum":316,"description":32470,"tags":32471,"thumbUrl":32473,"material":139,"size":139,"collection":139,"collections":32474,"showCount":32281,"zanCount":48,"manualWeight":48,"mainColor":49},227095,"gao-yi-tu-sun-wei-227095","《高逸图》，又名《竹林七贤图》，是唐代孙位创作的一幅彩色绢本人物画，现藏于上海博物馆。\n画名“孙位高逸图”为宋徽宗赵佶所题，这幅图所描绘的是魏晋时期竹林七贤的故事，该画作刻画了魏晋士大夫“高逸风度”的共性，又刻画出了他们的个性。现存《高逸图》为《竹林七贤图》残卷，图中只剩四贤。在长卷式的画面上，主体人物是四个封建士大夫分别坐于华丽的毡毯上，每人身旁都有一名小童侍候。",[23,194,24,26,28,7,106,378,379,86,212,229,3429,14807,32472],"垫子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaa92cbdfc50fff24528a4673b6c49d4.jpg",[],{"id":32476,"slug":32477,"title":32478,"dynasty":256,"author":6236,"museum":316,"description":6237,"tags":32479,"thumbUrl":32481,"material":599,"size":600,"collection":3195,"collections":32482,"showCount":32281,"zanCount":48,"manualWeight":48,"mainColor":49},225766,"imperial-fritillaries-in-a-copper-vase-1887-fan-gao-225766","Imperial Fritillaries in a Copper Vase 1887",[3187,16431,7,2594,62,14755,229,32480],"台面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fed36cbf8bf4db654071c4d067686a2.jpg",[3195],{"id":32484,"slug":32485,"title":18341,"dynasty":76,"author":257,"museum":316,"description":32486,"tags":32487,"thumbUrl":32488,"material":139,"size":139,"collection":139,"collections":32489,"showCount":32281,"zanCount":48,"manualWeight":48,"mainColor":49},223677,"qing-lv-shan-shui-tu-juan-yi-ming-223677","此作以平远之境铺展江南山色，石青石绿晕染山峦，古雅沉静的色调里，丘壑蜿蜒秀润，烟波轻笼远浦。村舍隐于松篁之间，板桥渡头有人彳亍，渔舟泛于云水之侧，处处晕染出山居幽澹的闲趣。\n画间题诗与山水呼应，笔墨丹青相融，将林泉隐逸的高致铺陈开来，既有唐宋青绿的古雅遗韵，又兼具清代文人山水的萧散简淡，观之如踏入世外云乡，坐看云野鹤、碧山清溪，沉浸式体味幽居雅趣。",[23,24,25,26,27,7,28,29,808,34,35,108,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b03cb7a92eca86e797d00727336bf91.jpg",[],{"id":32491,"slug":32492,"title":32493,"dynasty":76,"author":257,"museum":191,"description":32494,"tags":32495,"thumbUrl":32497,"material":139,"size":139,"collection":44,"collections":32498,"showCount":32281,"zanCount":2368,"manualWeight":48,"mainColor":49},223410,"ma-zu-qi-ji-yi-ming-223410","妈祖奇迹","妈祖，以中国东南沿海为中心的海神信仰，又称天妃、天后、天上圣母、娘妈等等，是历、现代船工、海员、旅客、商人和渔民共同信奉的神祗。妈祖，原名林默，宋建隆元年（960年）农历三月二十三日诞生于莆田湄洲岛，因救助海难于宋太宗雍熙四年（987年）九月初九逝世。",[23,24,25,28,7,106,34,176,114,1785,3982,32496],"船帆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0c2fadc1572fad66eb39c5b51f5f0e9.jpg",[44,45],{"id":32500,"slug":32501,"title":32502,"dynasty":99,"author":257,"museum":20,"description":32503,"tags":32504,"thumbUrl":32507,"material":40,"size":32508,"collection":139,"collections":32509,"showCount":32281,"zanCount":48,"manualWeight":48,"mainColor":49},223335,"si-lu-shan-shui-di-tu-meng-gu-shan-shui-di-tu-ming-nei-fu-hui-yi-ming-223335","丝路山水地图.蒙古山水地图.明内府绘","《丝路山水地图》又名《蒙古山水地图》，全图以大青绿山不绘制，东起嘉峪关西至天方城（今沙特麦加）的辽阔地域范围，共标有211个地理坐标，绘于明朝嘉靖三年至嘉靖十八年，为明朝宫廷的皇家地图。",[23,24,25,26,7,27,28,29,1049,7599,31,6928,34,1785,32505,38,32506],"聚落","地形","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf94e5caa9d9b66111751c89f4029807.jpg","59＊3012cm",[],{"id":32511,"slug":32512,"title":32513,"dynasty":76,"author":5359,"museum":20,"description":32514,"tags":32515,"thumbUrl":32516,"material":40,"size":32517,"collection":181,"collections":32518,"showCount":32281,"zanCount":48,"manualWeight":48,"mainColor":49},223289,"shan-yu-yu-lai-tu-zhou-yuan-yao-223289","山雨欲来图轴","本幅自题：“山雨欲来风满楼，袁耀拟意。”钤“袁耀之印”、“昭道氏”印2方。\n此幅取唐代诗人许浑《咸阳城东楼》诗意，原诗为“一上高城万里愁，蒹葭杨柳似汀洲。溪云初起日沉阁，山雨欲来风满楼。鸟下绿芜秦苑夕，蝉鸣黄叶汉宫秋。行人莫问当年事，故国东来渭水流。”画面描绘暴雨来临前乌云狂风之下的建筑。黑沉沉的浓云正滚滚而来，弓曲的树木、低伏的庄稼、飘摇的小舟、逆风而行的农夫以及状貌扭曲、高耸危人的山岩都为画面增添了戏剧性的紧张情节和内在张力。风本无形，但画家创造性地用富于动感的笔调将闲雅剔透的静态楼阁穿插在充满动感的山水中，构成画面的诸多元素对比呼应而又谐调冲和，在动静之间达到平衡。",[23,24,226,104,29,107,176,34,37,174,7,177,106,6582,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5e7ab7029b365df7bfd3780da6b16bf.jpg","纵195.1厘米，横116.8厘米",[181,45],{"id":32520,"slug":32521,"title":32522,"dynasty":76,"author":563,"museum":56,"description":32523,"tags":32524,"thumbUrl":32525,"material":139,"size":139,"collection":181,"collections":32526,"showCount":32281,"zanCount":48,"manualWeight":48,"mainColor":94},223244,"hua-hui-shan-shui-12-hua-yan-223244","花卉山水-12","该合册傅山父子传世画作共计16开，每副均为精品，构图奇特，迥异他人。其中傅山画5开，傅眉画11开",[24,25,7,173,29,84,83,2532,228,245,109,378],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc18d2a868a7fff05f5a7f52f85957ea0.jpg",[181,45],{"id":32528,"slug":32529,"title":32530,"dynasty":76,"author":375,"museum":20,"description":32531,"tags":32532,"thumbUrl":32533,"material":4419,"size":32534,"collection":90,"collections":32535,"showCount":32281,"zanCount":48,"manualWeight":48,"mainColor":49},223167,"feng-hou-tu-shen-quan-223167","蜂猴图","该作品描述了一只猴子在树上捅马蜂窝，两只猴子在树下注视，情节紧张而有趣的画面。\n这种具有吉祥寓意和祝福的绘画是沈铨特别喜爱的题材。 猴子的画法精工，形态生动，自识中提到是仿宋代画猿猴大师易元吉的笔法。背景山石画得较放，点苔先用墨点再用石绿，树叶多用夹叶法，再涂以白色或浅绛色。整幅画工笔与写意结合，色彩与水墨搭配，具有沈铨绘画的独特风格\n沈铨的绘画主要继承黄筌画派精工富丽的画法，并把多种绘画技法相融合，形成了自己的绘画面貌。他的花鸟走兽画对后世影响显著，尤其对日本绘画有着深远的影响。此幅绘画作于1742年，沈铨六十一岁，是其画风成熟时的杰作。",[23,24,25,226,28,7,29,10516,746,650,1426,109,686,34,3712,553],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff480761bd1622c88e4092910b66e54fa.jpg","184cm 96.6cm",[90,45],{"id":32537,"slug":32538,"title":32539,"dynasty":76,"author":2162,"museum":419,"description":2163,"tags":32540,"thumbUrl":32541,"material":67,"size":2173,"collection":139,"collections":32542,"showCount":32281,"zanCount":48,"manualWeight":48,"mainColor":49},223035,"hong-lou-meng-160-sun-wen-223035","红楼梦160",[23,24,28,7,175,107,109,106,108,34,137,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96a3b36d5f100795b59ea7df0714f34a.jpg",[],{"id":32544,"slug":32545,"title":32546,"dynasty":99,"author":32547,"museum":191,"description":32548,"tags":32549,"thumbUrl":32550,"material":529,"size":32551,"collection":44,"collections":32552,"showCount":32281,"zanCount":48,"manualWeight":48,"mainColor":49},222550,"xuan-yuan-wen-dao-tu-juan-shi-rui-222550","轩辕问道图卷","石芮","这张画是石锐（石芮）替一位「延右观」的杨姓道长所绘的画作。描述上古时代有位仙人「广成子」隐居在崆峒山，轩辕氏（黄帝）听说他的道行高深，前往拜访的故事。因为这个事件带有许多神仙的色彩，所以在道教界十分盛行。",[23,24,26,28,7,106,29,107,1273,176,37,1169,104,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90506c85bbeab4041895ff4e32c7a3b0.jpg","32cmx152cm",[44,45],{"id":32554,"slug":32555,"title":32556,"dynasty":99,"author":1196,"museum":20,"description":32557,"tags":32558,"thumbUrl":32559,"material":40,"size":32560,"collection":181,"collections":32561,"showCount":32281,"zanCount":48,"manualWeight":48,"mainColor":49},222362,"qian-tang-jing-wu-tu-zhou-tang-yin-222362","钱塘景物图轴","自题七绝并署款：“钱塘景物似围屏，路寄山崖屋寄汀。杨柳坡平人马歇，鸬鹚船过水风腥。唐寅。”钤“□郡”（白文，残，应为“吴郡”二字）、“唐白虎”（朱文）、“学圃堂”（朱文）印。\n此作在流传过程中曾经遭受损坏，唐寅题诗的顶端部分“钱”、“寄”、“船”字均为后世所补全。本幅下方二藏印模糊不可辨。\n图画崇山栈道，游骑翩翩，草阁游人独坐，江中渔舟游弋。山石、树木取法南宋李唐、夏圭，用笔方硬细峭，刻画精到，点景人物形态自然，风格细秀，显示了作者早年规步南宋“院体”风格的绘画功底。",[23,24,226,29,177,7,685,686,34,35,107,262],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0060a0b4d927625dc12f0a07bf48c8c6.jpg","纵71.4厘米，横37.2厘米",[181,163],{"id":32563,"slug":32564,"title":32565,"dynasty":99,"author":32566,"museum":191,"description":32567,"tags":32568,"thumbUrl":32569,"material":139,"size":32570,"collection":181,"collections":32571,"showCount":32281,"zanCount":48,"manualWeight":48,"mainColor":94},222329,"hua-jiao-yuan-shi-er-jing-ce-liang-xin-tang-shen-shi-chong-222329","画郊园十二景册－凉心堂","沈士充","沈士充，明代画家，生卒年不详。字子居，华亭（今松江属上海市）人。出宋懋晋之门，兼师赵左。郡人能画者多师之\n他擅长画山水画，笔法松秀，墨色华淳，皴染淹润，画山很少有突兀之势，清蔚苍古.所作山水，丘壑蓓葱，皴染淹润，为云间正传。松江画派的正宗人。他常为董其昌代笔.陈继儒（一五五八-一六三九）札云：“子居老兄：送去白纸一幅，润笔三星，烦画山水大堂。明日即要，不必落款，要董思老出名也。”今赝董画充塞天下，若沈士充、赵文度（左）作，已为上驷矣。万历四十六年（一六一八）作山水扇，见风雨楼扇粹，崇祯六年（一六三三）作寒林浮霭图、四时山水卷。《明画录、无声诗史、图绘宝鉴续纂、桐阴论画、松江志》\n沈士充是明末“松江派”的画家，陈继儒写给他求为董其昌代笔作画的一封信，已成了后世美术史家研究董其昌与松江绘画的重要史料。其实他的画笔，与董其昌判然有别。沈氏长于构图，皴染周至，是技巧纯熟的作家画；董氏用笔生秀，不拘形模，是但称己意的士夫画。有：《仿古山水图》卷及《天香书屋图》轴，现藏故宫博物院；《山楼观稼图》 轴、《寒塘渔艇图》轴 、《寒林浮霭图》轴 [3] 现藏故宫博物院；《秋林水阁图》轴，藏南京博物院；《仿黄公望天池石壁图》卷，辑入《沈子居陈眉公书画合壁》单印本。",[23,24,25,81,7,173,29,177,108,109,795,1273,1173,176,114,1171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdffa2c0791df43a9dd53e4e0c8c7774a.jpg","69.4x52.5厘米",[181,45],{"id":32573,"slug":32574,"title":32575,"dynasty":99,"author":7823,"museum":191,"description":32576,"tags":32577,"thumbUrl":32578,"material":88,"size":32579,"collection":181,"collections":32580,"showCount":32281,"zanCount":48,"manualWeight":48,"mainColor":94},222087,"xi-tong-tu-zhou-qian-gu-222087","洗桐图轴","此图以人物为主，其背景作为陪衬，在画幅左下角画有连绵不断的山石，山石向竹草从杂\n此图绘一高士，坐在圏手椅上，头戴浩然巾，面日清瘦，身着宽服长袍，宽袖，双脚露出，双手扶在手椅上。圏手椅形制如栲佬式，传说唐代诗人孟浩然始用，明清时为流行，常用于文人逸士。这位高士仰首观望二童子洗园中一棵桐树，桐树下一童予抬水桶，往上使劲，又有一童子蹬坐在树楼上，左手扶着桐树枝，右手正用力吊起水桶为洗桐之用，另一童穿着开襟宽袖长服，持有鹅毛扇伫立于高土左侧，亦在目不转珠地望着两个孩童洗桐的情景。",[23,24,25,226,7,28,106,378,176,4355,280,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc5caf239e655e2b04c3f4276936b930.jpg","纵129.8厘米，横445厘米",[181,45],{"id":32582,"slug":32583,"title":32584,"dynasty":302,"author":831,"museum":20,"description":26618,"tags":32585,"thumbUrl":32586,"material":40,"size":26621,"collection":139,"collections":32587,"showCount":32281,"zanCount":48,"manualWeight":48,"mainColor":94},221768,"er-ma-tu-ren-ren-fa-221768","二马图ＨＤ",[23,24,26,28,7,150,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e07ee211c41e1abdfd34684fd9b51ce.jpg",[],{"id":32589,"slug":32590,"title":32591,"dynasty":18,"author":1046,"museum":101,"description":32592,"tags":32593,"thumbUrl":32594,"material":3971,"size":32595,"collection":42,"collections":32596,"showCount":32281,"zanCount":48,"manualWeight":48,"mainColor":94},221290,"shu-se-ping-yuan-tu-quan-juan-guo-xi-221290","树色平远图全卷","《树色平远图》是由北宋时期画家 所作的一副绢本墨笔画，现收藏于美国大都会美术馆。\n《树色平远图》描绘了河流两岸树色平远的景色。\n画中点缀有拄杖的老人，携琴捧盒的仆夫，水面的小舟和飞翔的野凫，都渲染了浓郁的诗意。\n描绘的是一河流两岸树色平远的景色。\n画中之景以河为界可分作前后两部分。\n前景画河流近岸，平地坡石，其上生古树数丛，枝干盘曲伸张，树上枯藤缠绕，垂蔓点水。\n开卷处为远山野水，次而出现坡陀老树，冈阜上筑有凉亭，正是文人雅士诗酒嘉会的理想佳处。\n此图无款，卷后有元明诸家诗文题跋。\n《树色平远图》以独特的时空意识在众多以高远构图的大山水画中独树一帜，郭熙主要通过“蟹爪树”点明画作的创作季节，又以流水、小舟、渔翁、行人赋予画作时间的变化性；接着通过平远的布局,群山的后退，加之“S”形的构图的动态性，使得整个画面空间流动起来。\n整幅画以其独特的时空意识召唤观者去畅游山水，体味林泉山水的生命精神。\n《树色平远图》描绘的画面以平远布局，构景简洁，开阔而均衡，墨色浓淡变化丰富而微妙，所造之境具体真实。\n郭熙（约1—约18），北宋画家、绘画理论家。\n字淳夫，河阳温县人。\n因传李成之法而与之并称为“李郭”。\n其画风早年工巧，晚年雄壮，常于巨幛高壁作长松乔木，曲溪断崖，峰峦秀拔，境界雄阔而又灵动飘渺。\n存世作品有《 》、《 》、《 》、《 》、《古木遥山图》、《 》、《树石平远图》等。",[23,24,25,26,3559,173,7,177,28,86,178,212,29,378,174,108,109,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F133bd0410f393e8330e8a86e03d40536.jpg","纵32.4厘米，横104.8厘米",[42,181,163],{"id":32598,"slug":32599,"title":32600,"dynasty":18,"author":257,"museum":191,"description":32601,"tags":32602,"thumbUrl":32603,"material":529,"size":32604,"collection":42,"collections":32605,"showCount":32281,"zanCount":48,"manualWeight":48,"mainColor":49},221237,"qiu-tang-shuang-yan-zhou-yi-ming-221237","秋塘双雁轴","《宋人画秋塘双雁图》是宋代佚名画家创作的一幅中国花鸟古画。\n【简介】 本幅在构图上，将洲岸、水草、残荷搭配在画幅两侧，约略呈一个圆弧状，而画中主题双鹅，则分置在画幅的左右，为这个约略的圆弧所包围，形成幅面整体圆融的气氛。\n虽然北宋後半期，在崇尚淡雅的文人画风引导下，搭配双鹅的背景，为萧瑟衰败的秋荷，但仍隐喻著萧瑟苦寒中亦不改其情意的祥瑞之意。\n画中羽禽水草皆描画精准，强调画面中央空旷平远的构图意念，皆可将本幅画作定为北宋徽宗朝画院之作。\n通幅画面由两幅绢并接而成，或因分合改装，致使接合处略有损伤。\n与雁同科，古人有时 鹅不分而通称。\n本幅画浅滩洲岸上的双鹅，在微微风意中，一只仰天引颈而望；一只蹲伏在红蓼下理翎。\n与二只或掠空飞过；或伫足莲杆上栖息的翡翠，交相呼应。",[23,24,25,226,83,7,28,3765,319,136,2340],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9b4ee9203899581a619038111bbb7b8.jpg","170x 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子摇橹。从这个逸士的形象看，可能是魏晋时“嗜酒能啸”并善鼓琴的“竹林七贤”之一阮籍的写照。远景山峦平缓。图中树石、远岸画法学董源、巨然，人物设色 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[1] ，以弘旿孙绵勋袭贝子。子孙递降，以镇国公世袭。\n观其传世作品，似受董邦达影响为多。此卷笔墨秀润，细皴密擦，林麓滃郁华滋，功力不浅。卷末落“臣”字款，又自称“恭绘”，可见是进御之作。《石渠宝笈》著录弘旿画计有三十多件，内府收藏的估计还有不少。可见弘旿作画之勤，亦可见乾隆对这位同宗兄弟笔墨的赞许。但从流传的弘旿作品看，此卷却是其中极为精彩的一幅，且保存完好，值得珍视。",[24,25,81,28,7,83,897],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a5a4823fcb39f418b46b4852488828b.jpg",[90,45],{"id":32894,"slug":32895,"title":32896,"dynasty":76,"author":742,"museum":20,"description":32897,"tags":32898,"thumbUrl":32901,"material":770,"size":32902,"collection":90,"collections":32903,"showCount":235,"zanCount":48,"manualWeight":48,"mainColor":94},238121,"yue-ye-shan-ji-tu-zhou-ren-yi-238121","月夜山鸡图轴","任颐的花鸟画多有兼工带写、明丽活泼的特点。画中巨石用淡墨勾写，以赭色随意勾描石上的丛草，竹子采用工写结合的方法，山鸡则以短粗的线条细细地绘出其皮毛的质感，又以浓淡设彩的变化呈现其体积感，使山鸡神情毕肖。全图用笔奔放灵活，设色淡雅清新，构图平中求奇，静中寓动。\n1998年，由北京大学张青莲教授转让，故宫博物院购藏。",[24,226,7,173,498,83,32899,230,227,32900],"山鸡","月夜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F059fae90ced9eeb925fdc440f4355ca3.jpg","纵111.2厘米，横55.4厘米",[90],{"id":32905,"slug":32906,"title":6199,"dynasty":76,"author":6200,"museum":20,"description":6201,"tags":32907,"thumbUrl":32908,"material":139,"size":139,"collection":139,"collections":32909,"showCount":235,"zanCount":48,"manualWeight":48,"mainColor":94},237115,"shi-nv-ce-cui-wei-237115",[24,25,81,28,7,106,59,63,229,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc73a9e178aab2ac2740e50cc503c1b5e.jpg",[],{"id":32911,"slug":32912,"title":14261,"dynasty":99,"author":257,"museum":316,"description":32913,"tags":32914,"thumbUrl":32915,"material":67,"size":139,"collection":139,"collections":32916,"showCount":235,"zanCount":2368,"manualWeight":48,"mainColor":49},236285,"wang-zi-yuan-hua-niao-ce-yi-ming-236285","此作清疏留白，蜿蜒花枝斜斜舒展，粉紫碎花攒聚枝头，墨叶苍润古雅，晕染得宜。绣眼静栖枝梢，羽色晕染细腻柔和，尖喙微抬，侧目端详下方螳螂，灵动神态呼之欲出。翠色螳螂凝立花枝之上，身姿劲挺鲜活。\n\n画面静中藏动，将林间偶遇的刹那生机定格，设色雅致柔和，妍而不俗。工写结合的笔法兼具细腻与意趣，寥寥景致却尽显自然幽微意趣，带着平和隽逸的文人意韵，把郊野小景的灵动生机晕染纸上，尽显小品花鸟的雅致格调。",[24,25,81,7,28,83,209,84,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdb8fffef29c538df923837946d854ac.jpg",[],{"id":32918,"slug":32919,"title":32920,"dynasty":76,"author":257,"museum":316,"description":32921,"tags":32922,"thumbUrl":32929,"material":599,"size":600,"collection":139,"collections":32930,"showCount":235,"zanCount":48,"manualWeight":48,"mainColor":94},234411,"qing-ren-cai-bao-tian-wang-xiang-zhou-yi-ming-234411","清人财宝天王像轴","主尊财宝天王安坐雪狮之上，金甲珠饰周身，面容沉凝威严，右手擎举摩尼宝、左手握持吐宝鼠，宝相端严。八方财神骑乘宝马环伺四周，踏云而来。虚空之中，护法明王高踞，焰纹背光烘托神威。\n\n整幅画作设色浓丽饱满，石青铺就云海底色，赤金、朱红晕染衣甲纹饰，线条勾勒精细流畅，将雪域唐卡的装饰意趣与宗教庄严感完美融合，在繁复构图里承载着招财护佑的吉祥寓意，尽显藏地绘画独有的宗教美学特质。",[15368,260,106,7,32923,32924,32925,32926,32927,150,32928],"财宝天王","八方财神","护法明王","雪狮","吐宝鼠","招财护佑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b5410e0bca40031d44c0e52e63708b0.jpg",[],{"id":32932,"slug":32933,"title":32934,"dynasty":76,"author":6776,"museum":20,"description":32935,"tags":32936,"thumbUrl":32938,"material":770,"size":139,"collection":139,"collections":32939,"showCount":235,"zanCount":48,"manualWeight":48,"mainColor":94},234153,"jiu-ge-tu-juan-ding-guan-peng-234153","九歌图卷","丁观鹏，生卒年不详（生于康熙晚期，约卒于乾隆三十五年[1770年]以后），清代画家，艺术活动于康熙末期至乾隆中期，顺天（今北京）人。丁观鹏雍正四年（1726）进入宫廷成为供奉画家，他擅长画人物、道释、山水，亦能作肖像，画风工整细致，受到欧洲绘画的影响，其弟丁观鹤同时供奉内廷。\n丁观鹏(？-1771后)清代画家，艺术活动于康熙末期至乾隆中期，北京人。胡敬《国朝院画录》谓：“观鹏克传家学。”工道释、人物、山水，亦能作肖像，尤擅仙佛、神像，以宋人为法，不尚奇诡，画风工整细致，受到欧洲绘画的影响，学明代的丁云鹏笔法，有出蓝之誉。雍正四年(1726)进入宫廷为画院处行走，是雍正、乾隆朝画院高手，与唐岱、郎世宁、张宗苍、金廷标齐名。造诣深湛，得乾隆帝赏识，曾为《圣制诗》初集、二集、三集之多幅画卷题诗。在宫廷画院五十年左右，作品近二百件。传世作品有完成于乾隆三十二年(1767)《法界源流图》卷，纵33厘米，横1635厘米，该卷场面宏大，人物众多，描金设色，精细绚丽，为中国佛教艺术瑰宝、世界佛教艺术明珠，现藏吉林省博物馆；乾隆十三年(1748)作《乞巧图》卷藏上海博物馆；二十六年(1761)作《无量寿佛图》轴、《宝相观音图》轴藏故宫博物院；三十五年(1770)八月作《说法图》轴藏西柏林民俗博物馆。弟丁观鹤，亦供奉内廷，工人物。",[23,24,25,26,28,7,106,29,406,175,2234,2235,32937,176,34,107,109,212],"雾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46a6bd8c93261ba462ca762cf3d0505c.jpg",[],{"id":32941,"slug":32942,"title":32158,"dynasty":99,"author":2425,"museum":20,"description":14594,"tags":32943,"thumbUrl":32944,"material":770,"size":14597,"collection":139,"collections":32945,"showCount":235,"zanCount":48,"manualWeight":48,"mainColor":94},233961,"fang-gu-shan-shui-ce-dong-qi-chang-233961",[24,25,81,178,86,212,7,177,29,34,176,809,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2597824fb0e8f717ef82a8d2784b338.jpg",[],{"id":32947,"slug":32948,"title":32949,"dynasty":76,"author":9857,"museum":20,"description":32950,"tags":32951,"thumbUrl":32953,"material":770,"size":32954,"collection":139,"collections":32955,"showCount":235,"zanCount":2368,"manualWeight":48,"mainColor":94},233917,"yun-dong-liu-quan-tu-zhou-kun-can-233917","云洞流泉图轴","此图作于髡残53岁时。表现的是他晚年居地南京城郊牛首祖堂山幽栖寺一带的景致。本幅自题诗：“端居兴未索，觅径恣幽讨。沿流戛琴瑟，穿云进窈窕。源深即平旷，巘杂入霞表。泉响弥清乱，白石净如扫。兴到足忘疲，岭高溪更绕。前瞻峰如削，参差岩岫巧。吾虽忽凌虚，玩松步缥缈。憩危物如遗，宅幽僧占少。吾欲饵灵砂，巢居此中老。”此图尺幅不大，但具有宏伟壮阔的气势，构图严谨，虚实互衬，繁密的山石、林木与空疏的云、水、天构成疏密明暗的变化。运笔施墨张驰有度，粗犷娴熟，浓淡墨相宜，干湿笔相生，全图一气呵成，意境幽邃高远。此幅堪称髡残的精品佳作。",[24,25,226,29,177,173,7,2235,25402,32952,1273,107,176,34,20753,1426,23284,114,38],"流泉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62778fcf1da11e7c4313da023f47a86a.jpg","纵110.3厘米，横30.8厘米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卷十》 “官本杂剧段数”中有《眼药酸》剧名。此外，元末明初陶宗 仪《南村辍耕録 卷二十五》“院本名目”条下，于“诸杂大 小院本”名目中，载有十数种“酸”目。杂剧剧名中加“酸” 字多是以仕途无望的落魄文人为嘲弄对象的，《眼药酸》也不 例外。\n图中一人腰插一扇，中间开裂，上书一字似“浑”，可能 是插科打译、故意装傻的意思。此人臂肘间有“点青”，右手 指眼睛，左手握一板。另一人衣冠绘满眼睛图案，一手捏着眼 膏瓶，显然是在推销眼药。画幅右侧有一大鼓，仅见小半。是 图虽然绘制的是戏剧场景，但人物的动作、神态表现得非常到 位，体现了画家对当时市井生活的关注。另外，人物的服饰、 装扮对于研究宋代文化具有一定的参考价值。",[24,25,81,28,7,106,32981,32982,229],"杂剧","道具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b48906229f54e9cee3e09f49adeed54.jpg","高23.8厘米，宽24.5厘米",[],{"id":32987,"slug":32988,"title":32989,"dynasty":18,"author":846,"museum":316,"description":32990,"tags":32991,"thumbUrl":32992,"material":139,"size":139,"collection":139,"collections":32993,"showCount":235,"zanCount":1379,"manualWeight":48,"mainColor":49},232778,"xie-sheng-zhe-zhi-tu-juan-wu-bing-232778","写生折枝图卷","吴炳，毗陵武阳人（今江苏省常州市），南宋光宗绍熙年间(1190-1194)画院待诏。光宗皇后李氏爱其画，恩赉甚厚，赐金带。工画花鸟，元代夏文彦《图绘宝鉴》谓其画“写生折枝，可夺造化，彩绘精致富丽”。所作谨守院体画风格。画迹有《春池睡鸭图》《山茶鹁鸽图》《鸳鸯瑞莲图》《宝珠玉蝶图》《折枝绛桃图》《折枝芍药图》《鸡冠花图》《玫瑰图》《长春图》《水仙图》等43件，著录于《南宋院画录》，均“简易有生趣”，“精彩如生”。",[23,194,24,25,26,28,7,566,306,83,746,568,9267,380,484],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F735550480f9fac0df96afc47240de032.jpg",[],{"id":32995,"slug":32996,"title":32997,"dynasty":99,"author":857,"museum":223,"description":32998,"tags":32999,"thumbUrl":33000,"material":529,"size":33001,"collection":139,"collections":33002,"showCount":235,"zanCount":1003,"manualWeight":48,"mainColor":94},232645,"xuan-wen-jun-shou-jing-tu-chen-hong-shou-232645","宣文君授经图","据画面题款，是崇祯十一年（1638）陈洪绶（1598－1652）以前秦宣文君授经典故为姑母创作的祝寿图。画面正中端坐一位老年女性人物，她身后竖立的屏风上绘有一幅青绿山水。除山水画中常见的山峦、树石、溪水和人物等图像元素，画面还同时绘有圆日和弯月，让人不禁揣测它们的象征含义。\n宣文君（283~？），姓宋氏，前秦女经学家，名失传，籍贯不详。太常韦逞之母。家传周官学。苻坚曾令学生一百二十人从她受业，使周官学得以保存流传，成为中国古代历史上第一位女博士。时人称为“宣文君”。",[24,25,226,28,7,106,29,34,2235,379],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd69d4b5e9e2797593d6accf0773b104f.jpg","172.8×55.7cm",[],{"id":33004,"slug":33005,"title":33006,"dynasty":256,"author":33007,"museum":316,"description":33008,"tags":33009,"thumbUrl":33010,"material":599,"size":600,"collection":181,"collections":33011,"showCount":235,"zanCount":48,"manualWeight":48,"mainColor":49},230500,"shi-ting-shi-dai-si-ji-shan-shui-tu-dong-xue-zhou-230500","室町时代 四季山水图（冬）","雪舟","雪舟（1420～1506） Sesshū 日本画家。名等杨，又称雪舟等杨。生于备中赤浜（今冈山县总社市）。曾入相国寺为僧，可能随同寺的山水画家周文学过画。作品广泛吸收中国宋元及唐代绘画风范。后被维也纳世界和平大会通过决定公认他为世界文化名人。",[23,24,3559,226,177,7,29,176,1273,795,35,13277,34,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F365df2d00150d1369082f0a9ceeb720c.jpg",[181],{"id":33013,"slug":33014,"title":33015,"dynasty":76,"author":7863,"museum":316,"description":33016,"tags":33017,"thumbUrl":33018,"material":139,"size":139,"collection":139,"collections":33019,"showCount":235,"zanCount":48,"manualWeight":48,"mainColor":94},230234,"mo-xi-tu-ce-jin-nong-230234","墨戏图册","这幅画以淡墨轻色晕染出初夏庭院的闲静意趣。垂拂的柳丝漫过墙头，池面散落点点花片，廊间文士负手凭栏，将心神沉溺在眼前景致里。画面与题诗相映，把荷开新晴后的慵懒缱绻缓缓晕开。\n\n简淡的线条勾勒出人物与庭院轮廓，浅施色彩晕染出江南空濛柔婉的氛围，形简而意足。将文人闲居的清雅心境藏在笔底，淡而有味，静中生情。松弛的书卷气漫在画面里，寥寥数笔便揉进中式文人的隐逸闲情，把江南初夏独有的缱绻诗意铺展开来，尽显文人画以意取胜的妙处，藏着日常闲居的松弛意趣，耐看又动人。",[24,25,81,173,7,212,86,106,136,1241,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc85b2036e93ac5dade0ec531e29c266f.jpg",[],{"id":33021,"slug":33022,"title":33023,"dynasty":76,"author":742,"museum":316,"description":33024,"tags":33025,"thumbUrl":33026,"material":139,"size":139,"collection":139,"collections":33027,"showCount":235,"zanCount":2368,"manualWeight":48,"mainColor":94},230125,"hua-hui-tu-ce-12-zhen-ren-yi-230125","花卉图册12帧","此作用笔兼工带写，以朱砂点簇秋实，圆厚鲜活，仿佛能触到饱满生机。浓墨绘叶，焦墨勾筋，苍劲朴拙，和淡墨晕染的湖石形成强烈的虚实对照。右侧留白疏朗空灵，衬出花木蓬勃意态。设色艳而不妖，朱红、浓墨与浅灰层次分明，将秋果鲜活与湖石清寂相融，既有写生的生动写实，又兼具文人写意的疏放洒脱，把花木生机与清雅文心合而为一，尽显雅致灵动的画中逸趣。",[24,25,81,7,173,83,230,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F745db1e5257ed10b6f6364e406e8c5a4.jpg",[],{"id":33029,"slug":33030,"title":23241,"dynasty":76,"author":33031,"museum":316,"description":33032,"tags":33033,"thumbUrl":33034,"material":139,"size":139,"collection":139,"collections":33035,"showCount":235,"zanCount":1379,"manualWeight":48,"mainColor":94},230114,"ren-wu-tu-ce-sun-huang-230114","孙璜","此作为圆光小品，以柔婉笔致勾勒春闺闲景。垂柳丝绦轻曳，梅枝缀花斜伸，归燕剪破柔空，晕开春日融融暖意。两位仕女依偎苍奇湖石，衣袂舒展如云，侧身絮语、含笑倾听，将深闺密友间的亲昵静好藏在眉眼唇角。设色清润雅致，线条秀逸细腻，湖石皴染苍润兼具，花木点染鲜活灵动，将江南春景的柔媚与闺中女子的温婉心绪相融，把寻常闺间闲情晕染出淡远诗意，尽显小品仕女画的雅致情致。",[24,25,81,28,7,106,59,230,245,1241,353],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd52a6a6b3652582c52ba826c2e362e90.jpg",[],{"id":33037,"slug":33038,"title":33039,"dynasty":76,"author":257,"museum":316,"description":33040,"tags":33041,"thumbUrl":33042,"material":139,"size":139,"collection":90,"collections":33043,"showCount":235,"zanCount":48,"manualWeight":48,"mainColor":49},228932,"qing-yuan-ben-qin-can-tu-juan-xian-jian-yi-ming-228932","清院本亲蚕图卷 献茧","水岸错落萦回，古木蓊郁成荫，苍劲虬枝与素白繁花相互衬映，朱栏屋舍半隐林间，雅致内敛。左侧人物衣袂端整，正依礼徐行，暗合亲蚕仪典的肃穆庄重。\n\n整幅设色雅致柔和，工细写实。画师以精微笔触绘就林木的疏密层次，淡彩晕染出郊苑春日的温润静谧，将亲蚕礼的礼制深意融于幽阒雅致的园景间。既尽显宫廷院画的精谨考究，又于静谧景致里铺陈出古雅典正的氛围，让仪礼的庄重与苑囿的恬澹相融共生。",[24,26,7,28,106,34,114,912,3884],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06aa2e1fd7862ef0f7939adee4b190d2.jpg",[90,181],{"id":33045,"slug":33046,"title":33047,"dynasty":18,"author":257,"museum":316,"description":33048,"tags":33049,"thumbUrl":33050,"material":139,"size":139,"collection":139,"collections":33051,"showCount":235,"zanCount":2368,"manualWeight":48,"mainColor":49},227922,"cao-tang-xiao-xia-tu-yi-ming-227922","草堂消夏图","石青石绿晕染出山居底色，古雅沉静。茅舍临波而建，蕉叶舒展、修竹藏幽，枯木疏朗点破夏寂，水色澹澹漫过阶前，将暑热涤荡一空。\n\n屋内二人对坐清谈，案间茶卷相依，不必摇扇，林泉间的幽凉便漫进草堂。笔墨工秀柔润，把夏日山居的闲静雅致铺陈开来，将耽于林泉、忘忧消暑的隐逸意趣藏在尺幅团扇里，满是冲淡安和的林下之风，尽显清旷襟怀。",[23,24,25,1260,7,28,29,106,353,227,230,989,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08840f39db0cf9f63dbb5ad9f829aaed.jpg",[],{"id":33053,"slug":33054,"title":908,"dynasty":18,"author":1315,"museum":316,"description":33055,"tags":33056,"thumbUrl":33057,"material":139,"size":139,"collection":139,"collections":33058,"showCount":235,"zanCount":48,"manualWeight":48,"mainColor":49},227774,"mu-niu-tu-li-tang-227774","李唐牧牛图，绢本， 61X63cm ，北京故宫博物院藏。鉴藏印：奉使之印、项元汴印、退密、仙客、子京所藏、项墨林父秘籍之印、蔗田珍玩、项叔子、叶蔗田珍赏章、蔗田曾藏识者宝之、平生珍赏、畊霞溪馆、虚斋审定书画名迹 钤印：苏氏文印、西磵云樵、昌龄、苏。",[23,194,24,25,29,106,151,353,7,173,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2cc523ca70a1e521c7a8b3535a78de55.jpg",[],{"id":33060,"slug":33061,"title":33062,"dynasty":348,"author":33063,"museum":316,"description":33064,"tags":33065,"thumbUrl":33066,"material":139,"size":139,"collection":139,"collections":33067,"showCount":235,"zanCount":2368,"manualWeight":48,"mainColor":94},227045,"zhong-qiu-tie-wang-xian-zhi-227045","中秋帖","王献之","《中秋帖》，传为晋王献之书，纸本，手卷，纵27厘米，横11.9厘米。\n《中秋帖》是著名的古代书法作品，曾被清高宗弘历（乾隆皇帝）誉为“三希”之一，意即希世珍宝。\n行草书3行，共22字，释文：\n“中秋不復不得相還爲即甚省如何然勝人何慶等大軍。”\n无署款。\n《中秋帖》是《宝晋斋法帖》所刻的王献之《十二月割帖》的不完全临本，原帖在“中秋”之前还有“十二月割至不”六字。帖用竹料纸书写，这种纸东晋时尚制造不出，约到北宋时方出现。从行笔中可知，所用毛笔是柔软的无心笔，而晋朝使用的是有心硬笔，吸水性较差，笔的提、按、转折往往不能灵活自如，常出贼毫，如此帖那种丰润圆熟、线条连贯、行气贯通、潇洒飘逸的效果是写不出来的。清吴升《大观录》云：“此迹书法古厚，墨采气韵鲜润，但大似肥婢，虽非钩填，恐是宋人临仿。”据当代书画鉴定家研究，大多认为是宋米芾所临，故同样宝贵。\n卷前引首清高宗弘历行书题“至寶”两字。\n前隔水乾隆御题一段。\n帖正文右上乾隆御题签“晉王獻之中秋帖”一行。\n卷后有明董其昌、项元汴，清乾隆帝题跋，并附乾隆帝、丁观鹏绘画各一段。\n卷前后及隔水钤有宋北京“宣和”内府、南宋内府，明项元汴、吴廷，清内府等鑑藏印。\n此帖曾经宋代宣和、绍兴内府，明项元汴，清内府收藏。民国时由敬懿皇贵妃携出宫外，流散民间，由郭葆昌拥有，再转予其子郭昭俊。后与王珣《伯远帖》一起被典当于香港一家外国银行。1951年底，典当期将满时，国外有人意图购获，周恩来总理闻讯，当即指示有关部门购回，入藏故宫博物院。\n宋内府《宣和书谱》、明张丑《清河书画舫》、《清河见闻表》、《清河秘箧表》、汪砢玉《珊瑚网书跋》，清顾復《平生壮观》、卞永誉《式古堂书画汇考》、吴升《大观录》、内府《石渠宝笈·初编》等书著录。",[23,86,178,26,25,212,7,106,34,3712,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa82a2dbb0797a6f684a6a878caebc856.jpg",[],{"id":33069,"slug":33070,"title":33071,"dynasty":256,"author":257,"museum":1846,"description":18847,"tags":33072,"thumbUrl":33074,"material":599,"size":600,"collection":139,"collections":33075,"showCount":235,"zanCount":48,"manualWeight":48,"mainColor":49},226512,"xie-jing-da-fu-ding-ru-lai-ding-ji-bai-gai-tuo-luo-ni-shen-zhou-jing-yi-ming-226512","写经大佛顶如来顶髻白盖陀罗尼神呪经",[260,22428,86,7,106,33073],"图案","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa822ec07d12c6118c3b0c2d8386cff42.jpg",[],{"id":33077,"slug":33078,"title":23704,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":33079,"thumbUrl":33080,"material":599,"size":600,"collection":139,"collections":33081,"showCount":235,"zanCount":48,"manualWeight":48,"mainColor":49},226272,"ku-zhu-shi-nan-bi-yi-ming-226272",[511,260,7,106,107,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff49cf5b7ee87247ac588d9fce0749009.jpg",[],{"id":33083,"slug":33084,"title":11067,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":33085,"thumbUrl":33086,"material":599,"size":600,"collection":139,"collections":33087,"showCount":235,"zanCount":48,"manualWeight":48,"mainColor":49},226270,"ku-zhu-shi-bei-bi-yi-ming-226270",[511,260,7,104,106,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41074ef37761f3203beee8c310cb9885.jpg",[],{"id":33089,"slug":33090,"title":17921,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":33091,"thumbUrl":33093,"material":599,"size":600,"collection":139,"collections":33094,"showCount":235,"zanCount":48,"manualWeight":48,"mainColor":49},226222,"ku-yong-dao-ding-bu-yi-ming-226222",[511,7,260,33092,12896,5884],"几何图案","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F729216f447235ae0c5499c7479fcaa8d.jpg",[],{"id":33096,"slug":33097,"title":33098,"dynasty":256,"author":6236,"museum":316,"description":6237,"tags":33099,"thumbUrl":33101,"material":599,"size":600,"collection":3195,"collections":33102,"showCount":235,"zanCount":48,"manualWeight":48,"mainColor":49},225777,"lilac-bush-fan-gao-225777","Lilac 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“主题是艺术家用精湛的手工技艺和浪漫诗意的艺术创作观者，并附上了细致而巧妙的《秋山之旅》。",[23,24,25,173,7,177,29,808,176,34,795,174,5218,1785],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1647631e1d4bc460e54daf2facef359.jpg","161*112厘米",[42,181,163],{"id":33145,"slug":33146,"title":33147,"dynasty":99,"author":257,"museum":223,"description":33148,"tags":33149,"thumbUrl":33150,"material":33151,"size":33152,"collection":139,"collections":33153,"showCount":235,"zanCount":2368,"manualWeight":48,"mainColor":49},223405,"tian-long-ba-bu-luo-cha-nv-zhong-yi-ming-223405","天龙八部罗叉女眾","右上题“天龙八部罗叉女众”，上端题“大明景泰五年八月初三日施”。并钤“广运之宝”印。左下书“御用监太监尚义、王勤等奉命提督监造” ​​​​。 ​​​​此图绘有天龙八部中的四位即：天众、龙众、紧那罗、摩呼罗迦。外另四罗叉（刹）女，分别持有刀、剑、弓等武器。从形制看应该还有对幅来组成“八部“，可能已佚。此图是明景泰年间（1450-1457年）宫廷画师所作，极尽华丽之能事，可与法海寺壁画参看。",[23,24,226,28,7,260,106,3661,7694,7690,409],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08d662c5db16a58703b6f2c0f10c2843.jpg","绢本·设色","141 x 79.2 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意相交，生趣盎然。与李唐、刘松年、夏圭并称“南宋四家”。存世作品有《踏歌图》《水图》《梅石溪凫图》《西园雅集图》等。",[23,24,194,3559,173,7,795,176,265,106,1551,22250,212,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F409082f07a0fc539c1e85e8ea35c4634.jpg",[],{"id":33449,"slug":33450,"title":7281,"dynasty":76,"author":257,"museum":316,"description":33451,"tags":33452,"thumbUrl":33453,"material":599,"size":600,"collection":139,"collections":33454,"showCount":251,"zanCount":48,"manualWeight":48,"mainColor":49},288090,"qing-ming-shang-he-tu-juan-yi-ming-288090","长卷铺展旧京烟火，屋舍连楹错落，行人摩肩接踵，漕船泊于汴河，酒旗随风招展。青绿晕染瓦舍林木，古旧绢色晕开千年余温，挑担货郎、赶脚行人、雅集文士各安其态，将汴梁的升平世象尽数铺陈。\n复刻宋韵盛景的笔触里藏着鲜活日常：虹桥下舟楫穿梭避让，茶肆中宾主对坐言欢，巷陌间孩童嬉闹追逐。以细腻工笔留住旧朝市井的鲜活肌理，将汴河沿岸的晨昏烟火凝于绢素，让观者坠入千年前的街巷，触摸藏在笔墨褶皱里的人间暖意，静赏定格的岁时繁华。",[23,194,24,26,7,28,104,106,107,108,109,1654,113,120,110,4059,2852,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd0fcd5ccc35c36ffe3f68d92523b06b.jpg",[],{"id":33456,"slug":33457,"title":33458,"dynasty":18,"author":4254,"museum":316,"description":33459,"tags":33460,"thumbUrl":33461,"material":599,"size":600,"collection":139,"collections":33462,"showCount":251,"zanCount":48,"manualWeight":48,"mainColor":2504},287736,"qiu-lin-fei-pu-tu-fan-kuan-287736","秋林飞瀑图","图绘秋山栈道瀑布流泉，远处岩关列岫隐约可见，气势磅礴，景色宜人。",[24,226,29,109,2479,176,34,177,7,5218],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4ec449c0eceec6cc01b1d9ec1ce3d6e.jpg",[],{"id":33464,"slug":33465,"title":33466,"dynasty":54,"author":6017,"museum":316,"description":26028,"tags":33467,"thumbUrl":33468,"material":599,"size":600,"collection":139,"collections":33469,"showCount":251,"zanCount":48,"manualWeight":48,"mainColor":49},287653,"hu-ting-you-qi-li-zhao-dao-287653","湖亭遊骑",[23,24,27,7,29,104,226,107,175,108,106,150,212,243,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc60d8644d255d0a078d03ec9b8a425f.jpg",[],{"id":33471,"slug":33472,"title":33473,"dynasty":99,"author":2425,"museum":316,"description":33474,"tags":33475,"thumbUrl":33476,"material":599,"size":600,"collection":139,"collections":33477,"showCount":251,"zanCount":48,"manualWeight":48,"mainColor":94},283755,"fang-zhao-meng-fu-qiu-shan-tu-zhou-dong-qi-chang-283755","仿赵孟頫秋山图轴","董其昌（1555年2月10日—1636年10月26日），字玄宰，号思白、香光居士，松江华亭（今上海市）人。明朝后期大臣、书画家。正如李志敏所说：“主张学古变古，但在书法神韵问题上的迷信观念，却比古人尤有过之”。\n万历十七年，考中进士，授翰林院编修。一度担任皇长子朱常洛的讲官。历任湖广提学副使、福建提学副使、河南参政，因病辞职。泰昌元年（1620年），明光宗朱常洛继位，授太常少卿、国子司业，参修《明神宗实录》。天启五年（1625年），出任南京礼部尚书，因事辞官。崇祯五年（1632年），出任太子詹事。崇祯七年（1634年），回归乡里。崇祯九年，去世，谥号“文敏”。\n董其昌擅于山水画，师法于董源、巨然、黄公望、倪瓒，笔致清秀中和，恬静疏旷；用墨明洁隽朗，温敦淡荡；青绿设色，古朴典雅。以佛家禅宗喻画，倡“南北宗”论，为“华亭画派”杰出代表，兼有“颜骨赵姿”之美。存世作品有《岩居图》《明董其昌秋兴八景图册》《昼锦堂图》《白居易琵琶行》《草书诗册》《烟江叠嶂图跋》等。画作及画论对明末清初的画坛影响甚大。书法出入晋唐，自成一格。作品《戏鸿堂帖》（刻帖）。颇能诗文，著有《画禅室随笔》《容台文集》等。",[24,226,105,27,7,29,5411,107,34,109,176,212,86,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e8614638114781952fe09e68c6cd84e.jpg",[],{"id":33479,"slug":33480,"title":4579,"dynasty":76,"author":1610,"museum":316,"description":4580,"tags":33481,"thumbUrl":33482,"material":599,"size":600,"collection":139,"collections":33483,"showCount":251,"zanCount":48,"manualWeight":48,"mainColor":94},239450,"zou-yi-gui-hua-niao-cao-chong-tu-ce-zou-yi-gui-239450",[24,25,194,81,28,7,83,483,292,721,210,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F120f3a2b7178e03763cfebbbab3f1417.jpg",[],{"id":33485,"slug":33486,"title":4138,"dynasty":76,"author":2883,"museum":316,"description":4139,"tags":33487,"thumbUrl":33488,"material":599,"size":600,"collection":139,"collections":33489,"showCount":251,"zanCount":48,"manualWeight":48,"mainColor":94},239246,"mu-dan-shi-liu-zhong-ce-jiang-ting-xi-239246",[24,194,81,28,7,83,292,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec97d4f90cfba4cc1faa22b313c486c6.jpg",[],{"id":33491,"slug":33492,"title":33493,"dynasty":99,"author":31252,"museum":20,"description":33494,"tags":33495,"thumbUrl":33496,"material":21126,"size":33497,"collection":90,"collections":33498,"showCount":251,"zanCount":48,"manualWeight":48,"mainColor":49},238080,"kong-que-tu-zhou-lin-liang-238080","孔雀图轴","图绘雌雄孔雀一双，立于石上，旁有修竹数竿。\n孔雀是自然界鸟类中羽毛色彩最为绚丽的一种，是生活在南方的禽鸟，古代在北方除去皇宫御苑几乎无人能够豢养，寻常百姓更是无缘得见，因此这一题材本身即透露出宫廷气息。\n与众多以工笔重彩表现孔雀的作品相比，林良此作纯用水墨，用笔粗简，仅在孔雀的头颈和尾羽处作精致的勾勒，充分发挥了“墨分五色”的丰富变化，使黑白的水墨也产生出缤纷绚丽的夺目效果。伴以竹石为背景，愈增添了清雅野逸的意趣。",[24,226,860,498,7,83,277,3712,686],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe590349717b59f807870a3352f8323cd.jpg","纵155.3厘米，横78厘米",[90,45],{"id":33500,"slug":33501,"title":6199,"dynasty":76,"author":6200,"museum":20,"description":6201,"tags":33502,"thumbUrl":33503,"material":139,"size":139,"collection":139,"collections":33504,"showCount":251,"zanCount":48,"manualWeight":48,"mainColor":94},237111,"shi-nv-ce-cui-wei-237111",[24,25,81,28,7,106,59,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe22b31def3843085770c4724db34f576.jpg",[],{"id":33506,"slug":33507,"title":33508,"dynasty":99,"author":3774,"museum":20,"description":33509,"tags":33510,"thumbUrl":33511,"material":638,"size":139,"collection":181,"collections":33512,"showCount":251,"zanCount":48,"manualWeight":48,"mainColor":94},236987,"hua-hui-ye-lu-zhi-236987","花卉页","陆治（1496－1576），字叔平，明代画家。吴县（今江苏苏州）人，因居包山，自号包山。倜傥嗜义，以孝友称。",[24,25,81,7,28,83,84,820,243,210,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbb017c605de4f65bc281040c9883b33.jpg",[181,45],{"id":33514,"slug":33515,"title":33516,"dynasty":76,"author":563,"museum":20,"description":33517,"tags":33518,"thumbUrl":33519,"material":770,"size":33520,"collection":90,"collections":33521,"showCount":251,"zanCount":48,"manualWeight":48,"mainColor":94},236339,"liu-yin-shi-nv-zhou-hua-yan-236339","柳荫仕女轴","此图绘一端庄文弱的女子,此幅属小景致人物画，没有繁复的情节和深刻的创作思想，只是侧重于展示女性的外在形象美。图中女子尖下颚，瓜子脸，面貌秀美俊俏，细眉长目间暗含凄婉惆怅之情。颈部修长，双肩下溜，呈现出“弱不禁风”的体态，体现了清中期文人画家于仕女画上追求“美女一根钉”的“病态美”的审美取向。\n华嵒的人物画大体有三种风貌，早期宗法宋李公麟，画风严谨，造型准确写实。中年以后效法明陈洪绶及其传派，人物有所变形，注重画面的装饰效果。晚年博取众家所长，形成自己形神兼备、既写实又具韵味的笔墨风格。此图当属其早期仕女画的代表作。",[24,226,173,7,352,106,59,2532,230,378,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef5db8902cc7bd108ea1d0ba1c4f56d5.jpg","纵82厘米，横32.2厘米",[90,163,2065],{"id":33523,"slug":33524,"title":33525,"dynasty":76,"author":257,"museum":20,"description":33526,"tags":33527,"thumbUrl":33528,"material":40,"size":139,"collection":181,"collections":33529,"showCount":251,"zanCount":2368,"manualWeight":48,"mainColor":49},236180,"hong-li-sai-yan-si-shi-heng-zhou-guan-jiao-yi-ming-236180","弘历塞宴四事横轴(贯跤)","以青绿山水铺就雄浑底色，层峦茂林间铺展塞宴盛景。校场之上跤手相搏，周遭武士肃立分列，官员侍从神态各异，或凝神观赛，或静候待命。远景帐幄连绵、驼队逶迤，将秋狝行猎的塞外氛围烘托尽致。\n画作工笔细腻，设色妍丽雅致，兼具院体画的规整纪实与风物绘的生动鲜活，将塞上习武宴游的盛大场景定格，既彰显出康乾盛世的恢宏气象，也尽显游牧围猎的独特塞外风情，是纪实性与艺术性相融的佳作。",[24,194,26,7,28,29,106,150,8628,1023,34,912,808],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe0d7a3293f2e36650fa58befd46b885.jpg",[181,44,45],{"id":33531,"slug":33532,"title":26454,"dynasty":76,"author":2883,"museum":316,"description":4139,"tags":33533,"thumbUrl":33534,"material":599,"size":600,"collection":139,"collections":33535,"showCount":251,"zanCount":2368,"manualWeight":48,"mainColor":94},235565,"mu-dan-shan-mian-jiang-ting-xi-235565",[24,25,1260,173,7,28,83,292,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F739ec9b8479104c4efc5e43fb91fa31b.jpg",[],{"id":33537,"slug":33538,"title":33539,"dynasty":76,"author":742,"museum":316,"description":1373,"tags":33540,"thumbUrl":33541,"material":599,"size":600,"collection":139,"collections":33542,"showCount":251,"zanCount":48,"manualWeight":48,"mainColor":94},235115,"xi-zhi-ai-e-tu-zhou-ren-yi-235115","羲之爱鹅图轴",[24,25,226,7,173,352,106,227,7355,3766,264,320,14097,6915],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04fa5201165d8c09e15839d296e87072.jpg",[],{"id":33544,"slug":33545,"title":33546,"dynasty":76,"author":3071,"museum":316,"description":33547,"tags":33548,"thumbUrl":33549,"material":599,"size":600,"collection":44,"collections":33550,"showCount":251,"zanCount":48,"manualWeight":48,"mainColor":94},234937,"yue-man-qing-you-ce-chen-mei-234937","月漫清游册","《月曼清游图》册描绘的是宫廷嫔妃们一年12个月的深宫生活：正月“寒夜探梅”、二月“杨柳荡千”、三月“闲亭对弈”、四月“庭院观花”、五月“水阁梳妆”、六月“碧池采莲”、七月“桐荫乞巧”、八月“琼台玩月”、九月“重阳赏菊”、十月“文窗刺绣”、十一月“围炉博古”、十二月“踏雪寻诗”。通过这一幅幅生动的画面体现了宫廷生活与民间生活的密切关联。嫔妃们的活动内容，在民间生活中均习以为常，只不过由于宫廷的特殊地位，而令这些活动从内容到形式都具有更加富贵、繁琐及典制化的特点。\n作者在人物创作的审美取向上有别于唐代张萱、周昉笔下体态丰腴的嫔妃形象，而以明代唐寅、仇英笔下的仕女画为审美标准，追求秀润飘逸的情致。画家以工细流畅的线条和亮丽鲜活的色彩将嫔妃们描绘成身材修长、体态轻盈、“倚风娇无力”之貌。她们三五成群地行进在以界画表现的亭台楼阁内或是细笔勾染皴点的花石下。富贵闲逸的宫苑生活令她们的物质生活十分充足，也使她们的精神世界极度贫乏。在技法上，此图所绘人物造型生动准确，笔致工细严谨，源于宋代院体画风。图中的楼台房室建筑则采用西洋焦点透视法绘成，根据图中透视线斜度的变化，可以准确地推求出灭点的具体位置，从而加强了平面画幅的立体、纵深效果，在有限的画面上扩展出无限的空间。此图册于乾隆三年（1738年）绘成后深得乾隆皇帝的赞赏。\n乾隆帝于六年谕令皇宫“造办处”的优秀匠人，如擅镶嵌技艺的常存，擅牙雕工艺的陈祖章、陈观泉父子及顾彭年、萧汉振等，以陈枚的这本图册为画稿，用象牙、玉石等进行雕刻。匠人们精雕细琢，密切结合牙雕和镶嵌的技艺特点，令画面层次分明，富有立体感。这件雕有103人的牙雕精品被称作“百美图”。乾隆皇帝在为它题写诗文时将其正式定名为《月曼清游》。",[24,25,81,7,28,106,107,109,278,34,176,115,2168,114,1557],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b64d9f8816d7446b826324b78143f92.jpg",[44,45],{"id":33552,"slug":33553,"title":33554,"dynasty":99,"author":257,"museum":316,"description":33555,"tags":33556,"thumbUrl":33558,"material":139,"size":139,"collection":139,"collections":33559,"showCount":251,"zanCount":2368,"manualWeight":48,"mainColor":49},234931,"ming-ren-qiu-jing-huo-lang-tu-zhou-yi-ming-234931","明人秋景货郎图轴","当“双十一”掀开一个全民购物狂欢的序幕，放眼远在千百年前的临安街头，货郎们一人一担一声叫卖，仅凭这种最原始的“人肉购物车”，便足以吸引市井众人的注目，引出一番欢悦的情景。李嵩等画家以此为题奋笔挥毫，定格了过去一段段市井风貌。沉醉于塞满购物车再一朝清空快感的，不光只有21世纪的网购达人，中国古人的“购物车”更是让人眼花缭乱，甚至叹为观止。 在历代流传下来的“货郎图”图示中，我们便可略窥一二。宋代绘画是写实主义的巅峰，《货郎图》则是这一巅峰上的一片奇岫。南宋吴自牧《梦粱录》中提到，当时杭州的小贩在沿街叫卖时“挑担抬盘架”，“担瑜石钉铰金装架儿”，《清明上河图》中，也有货郎在一根扁担的两头各挑一个货架，说明这种一根扁担挑两个货架的销售形式，在两宋很是普遍。因此，画中这位货郎和他的货担，可谓是对十一至十三世纪的流动小商贩的忠实记录。“货郎图”是宋代较为流行的一种表现当时流动小商品买卖的绘画形式。如今存世较为知名的主要有四幅南宋李嵩的《货郎图》（分别藏于北京故宫博物院、台北故宫博物院、美国大都会博物院、美国克利夫兰美术馆）以及一幅传为北宋苏汉臣所作的《货郎图》。",[24,7,28,226,106,8328,5423,9249,34,278,176,380,280,5218,409,15460,33557,264],"棚架","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b38b5a780482a0e4fa98b8ed68079b5.jpg",[],{"id":33561,"slug":33562,"title":33563,"dynasty":76,"author":257,"museum":316,"description":33564,"tags":33565,"thumbUrl":33566,"material":599,"size":600,"collection":139,"collections":33567,"showCount":251,"zanCount":48,"manualWeight":48,"mainColor":94},234506,"jin-gua-wu-men-shen-ma-yi-ming-234506","金瓜武门神码","此幅武将门神面如冠玉，三绺长髯飘逸出庄重威严。身着遍饰宝相花纹的黄金锁子甲，朱红衬袍翻卷张扬，宝冠翎羽凌厉飒爽。他一手高擎鎏金瓜锤，一手挽定雕弓，背负劲箭，胯侧黑旗猎猎。\n设色浓丽饱和，朱砂、石青与泥金交相辉映，既有民间年画的明快热烈，又暗含庙堂重彩的规整大气。线条刚柔并济，将武将护宅安邦的凛凛神威凝练于方寸之内，带着质朴醇厚的民间祈福意趣，尽显旧时匠人对阖家平安的真挚祈愿，是民俗美术中极具代表性的工致之作。",[24,25,7,28,4006,106,2439,63,260],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2aef900541f967bea555c81cfa0a3a1a.jpg",[],{"id":33569,"slug":33570,"title":1751,"dynasty":76,"author":494,"museum":316,"description":33571,"tags":33572,"thumbUrl":33573,"material":139,"size":139,"collection":90,"collections":33574,"showCount":251,"zanCount":2368,"manualWeight":48,"mainColor":94},234265,"za-hua-ce-huang-shen-234265","黄慎（1687年6月14日—1772年），福建宁化人，初名盛，字恭寿，恭懋，躬懋、菊壮，号瘿瓢子，别号东海布衣。家贫，遂学画，擅长人物、山水、花鸟。他的人物画题材十分广泛和丰富，它不仅画神仙佛道和历史名人，也擅长从民间生活中取材，塑造了纤夫 、乞丐、流氓、渔民等下层人民的形象，这在古代的画家当中是十分难得的。康熙间至扬州卖画，人争客之。是中国清代杰出书画家，为“扬州八怪”之一。与郑燮友善。擅草书，后以狂草笔法作画。亦能诗。有《蛟湖诗钞》。\n黄慎14岁时，父亲客死湖南，两妹相继夭折，家境十分穷困，为生计，母亲命其学画，为人写真。16岁时，离家从师，他勤奋苦学，悉心钻研，画艺日进。\n黄慎生于清康熙二十六年（1687年）五月五日（6月14日），乾隆三十五年（1770年）84岁时尚在，卒年不详，幼丧父，以卖画为生，奉养母亲。初随上官周学画，后离家出游，曾多次在扬州卖画。方十八九岁，寄身萧寺，昼为画，夜无所得烛，从佛光明灯下读书。其艺既擅，出游豫章，历吴、越，康熙五十八年（1719年）至扬州鬻画，人争客之。\n雍正五年（1727年）以母垂老，不欲远离，乃奉居扬州，又三年乃返闽，郑燮赠以诗。\n乾隆十六年(1751年)黄慎的母亲去世，他又重游扬州，居住六年，才返故里，苦度晚年。\n乾隆三十三年（1768年）年八十二，尚作花卉册。慎工草书，法怀素。画人物，多取神仙故事为题材，初学上官周，后用狂草笔法作画。笔姿放纵，气象雄伟，深入古法，亦偶有笔过伤韵者。间作山水、花鸟，得荒率之致。所画多历史人物、佛道、樵夫渔父，早年工细，后参以怀素草书笔法，所作人物用笔粗犷，顿挫转折，纵横排奡，气象雄伟。花鸟笔法洗练，形象概括，画风泼辣；山水境界开阔，注重诗意的表达。",[23,24,25,81,173,7,83,18387,498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F032ca96686e1dafcb055cff42ba16f41.jpg",[90],{"id":33576,"slug":33577,"title":33578,"dynasty":99,"author":170,"museum":20,"description":33579,"tags":33580,"thumbUrl":33581,"material":6608,"size":33582,"collection":139,"collections":33583,"showCount":251,"zanCount":48,"manualWeight":48,"mainColor":94},233413,"jiang-ting-bi-shu-tu-shan-ye-shen-zhou-233413","江亭避暑图扇页","此图是幅笔笔紧贴诗意的画作。图绘夕阳下，高士策杖至江亭避暑的小景。扇面构图为左右开合式，设色以绿色为主，其青翠明洁的色调与简约的景致相呼应。清爽、平淡的审美意趣与消除烦燥求得清凉的避暑主题相契合，烘托出远离市俗寻幽独行高士其清逸雅淡的心境。",[24,25,1260,173,7,177,29,175,1273,176,106,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8f7c91afe93a2c98ff6b01f36ce6f9d.jpg","纵18厘米，横46厘米",[],{"id":33585,"slug":33586,"title":33587,"dynasty":76,"author":538,"museum":20,"description":33588,"tags":33589,"thumbUrl":33590,"material":40,"size":33591,"collection":139,"collections":33592,"showCount":251,"zanCount":48,"manualWeight":48,"mainColor":94},233114,"bi-shu-shan-zhuang-tu-zhou-leng-mei-233114","避暑山庄图轴","作者以写实的手法描绘了避暑山庄后苑部分及其四周的崇山峻岭。构图为鸟瞰式，自景区上方向下纵向取景，景致具体而微。设色以青绿着色和浅绛渲染相结合，冷暖色调和谐呼应，成功地营造出山庄静寂清幽的氛围。笔法灵活多变，山石树木或以干笔皴擦，或青绿烘染。建筑物的描绘，作者在传统的工笔界画基础上，又巧妙地吸收了欧洲的透视法，并将二者融合在一起，从而更科学、客观地表现出建筑物的物理结构，同时也加强了画面的纵深感。此图同时是一幅反映康熙时期避暑山庄建筑的图样，对于我们了解避暑山庄的建筑沿革有着重要的图像价值。",[194,24,25,226,7,28,29,107,109,34,36,808],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d890f29b07ff6e1df7488c12dacbcf7.jpg","纵254.8厘米，横172.5厘米",[],{"id":33594,"slug":33595,"title":33596,"dynasty":76,"author":257,"museum":20,"description":33597,"tags":33598,"thumbUrl":33601,"material":638,"size":33602,"collection":181,"collections":33603,"showCount":251,"zanCount":48,"manualWeight":48,"mainColor":94},233082,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-233082","平定苗疆战图册","清朝宫廷内绘制的大量画幅，在清王朝覆灭之前，大部分均藏储于宫中及皇家园林行宫内。其中一部分于咸丰十年（1860）和光绪二十六年（1900），英法联军及八国联军侵华时遭到劫掠，或被毁坏，或流失海外，清亡后亦有少量散佚，而主要部分后来都成为在明、清皇宫基础上建立起来的北京故宫博物院的藏品。现在，清代的宫廷绘画，除了少量分藏于境内外其他一些博物馆外，比较集中地收藏于北京故宫博物院和台北故宫博物院。",[24,25,81,7,28,104,106,29,150,108,107,176,34,3982,33599,33600,409],"军队","战阵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb44c58ab354d81ed622cd3e2e54cb07.jpg","纵55.4cm，横90.8cm",[181,44,45],{"id":33605,"slug":33606,"title":33607,"dynasty":302,"author":257,"museum":316,"description":33608,"tags":33609,"thumbUrl":33610,"material":139,"size":139,"collection":139,"collections":33611,"showCount":251,"zanCount":2368,"manualWeight":48,"mainColor":801},232889,"yuan-dai-di-hou-xiang-yi-ming-232889","元代帝后像","元世祖后彻伯尔，元史表作昭睿顺圣皇后，名察必。济宁忠武王按陈之女。初为世祖妃，中统二年（1262）被立为皇后。彻伯尔因容貌出众，德才兼备，是众多后妃中最受世祖宠爱的一位。彻伯尔后在生活上自奉俭约，率宫女制作结实美观的服饰、实用地毯，还创制了比甲服饰等，适于骑猎穿着。受到世祖和诸大臣的称赞。至元十八年（1281）得病去世。元成宗即位后，追谥昭睿顺圣皇后。\n元代有一批职业画家服务于宫廷，创作了不少帝后肖像画。台北故宫博物院收藏了一套《元代帝后像册》，帝像8帧：计为太祖成吉思汗、太宗窝阔台、世祖忽必烈、元成宗、元武宗、元仁宗、元文帝、元宁宗；后像15幅：计为元世祖后像一、顺宗后像三、武宗后像三、仁宗后像一、英宗后像二、明宗后像一、宁宗后像一以及后纳罕像一、佚名后像四。",[24,194,28,7,106,63,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4337559b52f41b0ad3cc4b4725a4696c.jpg",[],{"id":33613,"slug":33614,"title":33615,"dynasty":99,"author":3774,"museum":223,"description":8790,"tags":33616,"thumbUrl":33617,"material":67,"size":33618,"collection":139,"collections":33619,"showCount":251,"zanCount":48,"manualWeight":48,"mainColor":94},231942,"shui-xian-mei-shi-tu-lu-zhi-231942","水仙梅石图",[23,194,24,25,81,173,7,177,898,820,230,265,795],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5587bc15a5e71aa8fa86fc5985d68c8b.jpg","58×44cm",[],{"id":33621,"slug":33622,"title":33623,"dynasty":76,"author":9857,"museum":316,"description":33624,"tags":33625,"thumbUrl":33626,"material":638,"size":139,"collection":139,"collections":33627,"showCount":251,"zanCount":48,"manualWeight":48,"mainColor":94},231940,"qiu-shan-tu-kun-can-231940","秋山图","髡残，生于明万历四十年(公元1612年)，卒年不详。俗姓刘，字介邱，号石谿，又号白秃、电住道人、天壤残道者，湖南武陵(今常德县)人。四十三岁后长居南京。据说，他青年时曾参加南明何腾蛟等人的军队，投入了抗清斗争。抗清失败 后，隐居桃源深处，于四十岁公元1651年 出家做了和尚。其后，便到各地云游，与高僧们参究禅学。四十三岁(公元1654年)到了南京，住在城南大报恩寺，有时住栖霞寺和天龙古院，晚年定居牛首祖堂山幽栖寺十余年，一直到老终。\n顺治十三年(公元1656年)髡残和清代学术大师顾炎武结为朋友，一见如故，情投意合，常在一起饮酒赋诗，切磋学问。他最知己的朋友是程正揆，二人既是同乡，又是佛教徒，都擅长诗、书、画。顺治十四年程辞官后回到南京，常去栖霞、牛首，髡残老年多病，去城里看病，也是宿在程氏家。他们共同商讨艺术，鉴赏书画，一起作画。当时“金陵八家”中之龚贤对他们二人的艺术推崇至极，龚在给周亮工题程正揆《山水册》里说：“金陵画家能品最夥，而神品、逸品亦各有数人，然逸品首推二谿：曰石谿，曰青谿。石谿，残道人也，青谿，程正揆侍郎也，皆寓公。残道人画粗头乱服，如王孟津清书法家王铎书法，程侍郎画冰肌肉骨，如董华亭明季书画家董其昌书法。百年来论书法则王、董二公应不让，若论画艺，则今日两谿又奚肯多让乎哉。”可见髡残、程正揆在南京画坛的地位，是非常突出的了。",[23,194,24,25,26,173,7,177,29,795,176,109,174,3466,175,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4eabf1eab9024ddbec39703a04a2ae13.jpg",[],{"id":33629,"slug":33630,"title":33631,"dynasty":76,"author":329,"museum":191,"description":33632,"tags":33633,"thumbUrl":33634,"material":638,"size":33635,"collection":139,"collections":33636,"showCount":251,"zanCount":48,"manualWeight":48,"mainColor":94},231527,"shi-jun-quan-jin-chi-xian-lang-shi-ning-231527","十骏犬金翅猃","郎世宁生于意大利，清康熙末年进入宫廷，郎世宁的《十犬图》轴十幅，每幅纵246.6厘米，横163.9厘米，由台北故宫博物院藏。画中十条品种高贵的名犬，这些名犬大都是当时周边部落首领进献给皇帝的，，均为郎世 宁写生作品。由于他深谙动物的解剖结构，所以其笔下的名犬形象非常准确，且富于立体感。在笔法上，他以细碎的小笔触来表现动物皮毛的质感，使得入 画的名犬栩栩如生。\n十条品种高贵的名犬，分别命为：苍水虬、斑锦彪、金翅猃、蓦空鹊、墨玉璃、茹黄豹、睒星狼、霜花鹞、雪爪卢、苍猊犬。其中，前九条狗都属小头长吻、腰腹收缩、四肢细劲那类品种，均为出色的擅长奔跑的猎手，敏捷强壮，速度耐力惊人，成为皇帝一行围猎时的好帮手;最后那条威猛的苍猊犬，应当是藏獒。\n从画面上看，图中的犬，无疑是由画家郎世宁所绘，因为狗采用的是西方的素描画法，造型立体具有质感，欧洲风味很足;而图画背景部分的花草坡石，讲究皴法、勾勒，追求平面的装饰效果，与动物的画法相比较，二者有很大的差异，这应当是由供奉宫廷的中国画家用传统画法补画的，但署名只有郎世宁一人。作品用中国的毛笔、纸绢和色彩，却以欧洲的绘画方式来诠释动物的结构、体积感及皮毛的质感，使得动物造形准确、生动，立体效果强。在这幅作品中骏犬的描绘用素描式的方法，通过光影明暗的变化，来达到栩栩如生的效果。但环境的描绘却遵循中国绘画的传统技法，勾、皴、点、染，兼工带写，以工为主，营造出中国花鸟画所特有的清秀明丽的韵味。\n《十骏犬》册中的每幅图都有当朝的文职大臣的题诗赋词。据史料记载，乾隆皇帝拿到时，大加赞赏，百看不厌，爱不释手。这幅册页，艺术水准相当高，郎士宁使用的是中国的软笔，却按西画的透视和光感等技巧，把犬的形态和神态表现出来，体现了高超的写生功夫和创意能力，画得相当精细，栩栩如生，立体感极强。比如犬的毛是单笔渐入，虽然用的不是画油画的油彩，却根根呈现，逼真到让人忍不住触手去摸，中国画是散点透视，西画是高光点和近光点，一点透视。这种透视效果在这两幅册页中充分体现出来。这些技法对后来中国画的发展都有很大的影响。",[24,28,7,8377,746,1133,380,686,912],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F282319004ad80a2cd47a8365f76f3e47.jpg","纵246.6厘米，横163.9厘米",[],{"id":33638,"slug":33639,"title":33640,"dynasty":256,"author":33641,"museum":316,"description":33642,"tags":33643,"thumbUrl":33644,"material":139,"size":139,"collection":139,"collections":33645,"showCount":251,"zanCount":48,"manualWeight":48,"mainColor":49},230483,"an-tu-tao-shan-guan-feng-tu-ping-feng-shou-ye-xiu-lai-230483","安土桃山 观枫图屏风","狩野秀赖","的命名缘于当时的统治者织田信长，丰臣秀吉所在居城的地名而来，这个时代的文化被称为桃山文化（或安土桃山文化）。\n安土指织田信长的居城安土城，桃山指秀吉晚年的居城伏见城。\n为何伏见城又叫做桃山呢？是因为元和9年（162）幕府下令废弃伏见城，并在遗址上种植了很多桃树的原因。\n这个时期的文化主要体现在大名，豪商等阶层的繁荣奢华以及佛教影响力衰弱，西洋文化开始传播等方面。\n历来作为军事据点的城郭，由于领国经营等政治上的原因，从中世以来一直利用天险防御为中心的山城形态，渐渐过渡到小山丘上的平山城，最终形成通过濠（护城河），石垣来防御的平地上建筑的平城。\n在近世更是由于城下町的发达成为政治经济的中心。\n城郭内部的建设在这个时期也很出名，壮丽的 为军事和政治的中心，也是权力的象征，外围二丸三丸等环城和橹。\n这个时代的代表城郭有，平山城形态的有有 之美名的 （兵库县，附图2），有日本最古老的天守阁的犬山城（也称白帝城，爱知县）和彦根城（也称金龟城，滋贺县）；平城的代表有 ，松本城（又名深志城，长野县）。\n秀吉在京都的居所聚乐第，伏见城的城郭和书院式建筑的内部曾用黄金建造，光彩夺目，窗格采用镂空的雕刻。\n虽然现在已不存在，但是通过从被认为是聚乐第伏见城被拆毁时迁筑的建筑物身上可以推断出来。\n聚乐第的遗址是德大寺唐门和 飞云阁，伏见城的遗址为都久夫须麻神社本殿和西 书院·唐门。\n都久夫须麻神社为 的竹生岛上的神社。\n室内的隔扇·屏风上采用类似于浓绘的障壁画（障屏画）。\n障壁画有水墨画和金碧浓彩画两种，后者也可算作 浓绘，余白以金色和银色为地，采用绿青红等的浓彩的画法。\n障壁画的主流是狩野派。\n狩野派的奠基人 把室町时期盛行的水墨画和日本传统的大和绘巧妙的融合，运用丰富的色彩和强力的线描，雄大的构图等优点于一体的集大成者。\n永德的门人狩野山乐等创作了大量的障壁画。\n狩野永德的代表作品有《唐狮子图屏风》，《桧图屏风》（浓绘）；狩野山乐则有《松鹰图》，《牡丹图》。\n其他的还有海北派的始祖海北友松，长谷川派的始祖 等，也有很多优秀的浓绘和水墨画传世。\n海北友松的代表作《山水图屏风》（水墨画），长谷川等伯的《智积院袄绘》（浓绘）《松林图屏风》（水墨画）。\n另外，以都市和百姓生活，风俗等为题材的风俗画也很盛行。\n狩野永德所做描画京都内外名所和市民生活的《洛中洛外图屏风》。\n狩野长信的《花下游乐图屏风》，狩野吉信的《职人尽屏风图》，狩野秀赖的《高雄观枫图屏风》等为风俗画的代表作。\n武将和富裕的町众（町内的有力者）专注于茶道（茶会）和花道（插花）。\n， ， （后两人与千利休并称三宗匠）等茶人的出现，特别是 主张的“侘び茶”（静茶）由于受到秀吉和诸大名的赏识而广为流传。\n侘び茶指的是在小屋中举行茶会，感受茶道极致的意思。\n千利休的茶室以妙喜庵待庵为代表，侘び茶的精神在草庵风的单层屋顶的茶室里得到了极至的体现。\n其他的茶室如织田有乐斋的如庵也很有名。\n织田有乐（斋），即是织田信长的弟弟 。\n相对于侘び茶的茶室，秀吉修建了“黄金茶室”。\n叠的茶室里，使用大量的金和金箔。\n对于茶道的理解不同也导致了后来发生的悲剧。\n天正15年（1587），秀吉召开北野大茶会，不问身份贫富皆可参加，（但由于佐佐成政的肥后 爆发），预定1日的茶会不得不在一天就结束，极大地损害了为茶会奔走的堺商人的脸面。\n后又由于在 山门前的木像事件，愤怒的秀吉令利休切腹。\n伴随着茶道的盛行，茶室以外诸如茶器和庭园文化也得到了长足的进步。\n代表庭院为醍醐寺三宝院庭园。\n以高向寺荫绘有名。\n陶瓷器方面，乐烧为代表。\n是以京都的乐家的烧制为基础，初代的长次郎在聚乐第烧制为由而命名的。\n乐家以外的烧制者也很多。\n在桃山时代，美浓烧，赖户烧，备前烧，伊贺的 ，京的乐烧所制的陶器最受茶人们的欢迎。\n出兵朝鲜的将领中有抢抓朝鲜的陶工回国做工的事情发生。\n借由此，九州等西部沿海地区的陶业开始了急速的发展，其中 的有田烧（李参平创始）， 的上野烧， 的沙萨摩烧， 的高取烧，毛利辉元的萩烧的最为有名。\n此时，甲胄的制作也有了长足的进步。\n以 的歌舞伎，高三隆达的隆达节（曲），人形净琉璃最为盛行。\n阿国歌舞伎是指由阿国开创的かぶき踊り（歌舞）。\nかぶき踊り指异样的服装和 ，其中加入了能狂言（日本表演艺术的种类）和当时流行的念佛舞。\n阿国是就算不是首演者，也会是这项演出的来由者。\n关于阿国的最早记录是天正1年（1582） 的春日神社若宫拜殿的“ややこ踊”演出，出自于兴福寺的记录。\n“阿国自称为出云大社的巫女，边唱神歌或小歌边舞蹈。\n随后又开始念佛跳舞，更有女扮男装男扮女装的所作事（舞蹈剧名），再加入简单的动作跳かぶき踊り，这就是阿国歌舞伎的开始。\n” 庆长年间京都的四条河原等地风行，后来甚至波及到伏见城。\n由于人气的激增，模仿者辈出，才有了女歌舞伎到今天的发展。\n但是，在当时歌舞伎发展的初期，还是以歌舞为主兼带卖淫业务的，因此歌舞伎者被冠以“河原乞食”，“小屋者”，“芝居者”等蔑称，后来发展到野郎歌舞伎的时候，技艺才受到了普遍的重视。\n隆达节是界的商人高山隆达谱曲，重复吟唱《闲吟集》的小歌，也包含当时的恋歌和自作词。\n人形净琉璃是指搭配运用三味线和净琉璃来操作木偶的表演艺术。\n三味线是中国元代创作的三弦，在永禄年传来。\n本体用蛇皮包裹，故称蛇皮线，还有就是日本特有的猫皮线。\n由于国内的统一，和平的背景下都市顺利发展，生活文化也有着向上的趋势。\n服装方面，代表风格的小袖十分流行。\n小袖就是缩短了袖子的服装。\n另外木棉代替了麻成为了普通百姓的衣原料。\n豪华的表演服也出现来。\n住宅方面书院式建筑普及，京都还出现了2层的建筑。\n食文化方面，一日三餐的形式开始普及，调味料品新增了酱油和白糖。\n受到南蛮文化的广泛熏陶也是这一时期的文化特征之一。\n在绘画方面狩野派的画家有很多都是以南蛮人的风俗或和南蛮人做交易场景为主题来作画的。\n代表作品有根据舶来品世界图扩展摹写的《世界地图屏风》和据说是 命造的描画南欧骑马王侯战姿的《泰西王侯骑马图屏风》。\n许多新技术也通过贸易的开展而传入，耶稣会的传教士Valignano（意大利人）带来了西方的活字印刷术。\n出版了基督版（天草版）书籍，其中以全文葡萄牙语系罗马字记录的《天草版平家物语》和《天草版伊曾保物语》最为有名。\n另有说出兵朝鲜时也被传入印刷术，但是两者都在 被废止，原因是重版的时候非活字的方法比较经济实用。\n另外，航海术，造船术乃至天文，地理，医学等海外知识源源传入。\n服装和食物方面的专用名词也是在这个时代被定格的。\nパン、カステラ、ジュバン、タバコ、ラシャ是葡萄牙语系的外来语，ガラス、コーヒー是荷兰外来语，メリヤス、ビロード是西班牙语系。\nパン为面包，カステラ为蛋糕，ジュバン为和服的内衬衣，タバコ为烟草，ラシャ为毛衣，ガラス为杯子，コーヒー为咖啡，メリヤス为针织品，ビロード为绒毛衫",[23,7,28,106,4952,1273,176,29,1754],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F565459c5684f9f641815ea8b1c04085c.jpg",[],{"id":33647,"slug":33648,"title":33649,"dynasty":76,"author":9921,"museum":316,"description":33650,"tags":33651,"thumbUrl":33652,"material":139,"size":139,"collection":139,"collections":33653,"showCount":251,"zanCount":48,"manualWeight":48,"mainColor":94},229039,"chan-chu-zha-meng-tu-ye-jiao-bing-zhen-229039","蟾蜍蚱蜢图页","设色清润雅致，绘就幽隅小景。修长鸢尾挺秀舒展，蓝白花瓣晕染细腻，斑纹纤毫毕现，尽显清雅之态。浅粉小花依偎坡边，柔婉动人。草畔小兽茸毛写实鲜活，正凝神窥伺翩飞蚱蜢，将刹那间的野趣定格于尺幅。整作工写兼融，草叶苍劲、花卉柔润、虫兽灵动相映成趣，悄然铺展出郊野一隅的鲜活生机，以细腻笔触勾勒物象情态，尽显恬淡雅致的自然意趣，于尺幅之间藏纳野逸悠然的生机之美。",[24,25,81,28,7,83,746,19750,10440,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06d0f4e38e1f50913125f4aa5cc68db5.jpg",[],{"id":33655,"slug":33656,"title":33657,"dynasty":99,"author":100,"museum":608,"description":33658,"tags":33659,"thumbUrl":33660,"material":139,"size":139,"collection":139,"collections":33661,"showCount":251,"zanCount":48,"manualWeight":48,"mainColor":49},228440,"bian-qiao-hui-meng-tu-chou-ying-228440","便桥会盟图","画卷起首旌旗列阵，甲士森然，仪帐整肃尽显阵列威仪。烟柳垂杨衔接着迤逦青绿山峦，笔墨晕染出郊野的开阔沉静。转至卷右，层叠山坳间人马错杂，战场的紧绷感在青绿山色间暗涌。\n\n全作用色古雅厚重，赭黄绢底晕开石青石绿，让沉郁的历史氛围感浸透画卷。方寸间人物姿态鲜活分明，人马旌旗、山川林泉排布疏密有致，将盟约前后的张弛节奏暗藏于山水长卷之中，把宏大叙事融于青绿山水的雅致意境，铺展出一段藏在笔墨间的往昔风云。",[23,24,194,26,28,7,27,29,106,150,34,3982,176,33599],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d809453efefbe7ab56381e63a8c0a93.jpg",[],{"id":33663,"slug":33664,"title":33665,"dynasty":99,"author":857,"museum":33666,"description":33667,"tags":33668,"thumbUrl":33669,"material":2365,"size":139,"collection":139,"collections":33670,"showCount":251,"zanCount":48,"manualWeight":48,"mainColor":94},228296,"lao-zi-qi-niu-chen-hong-shou-228296","老子骑牛","1","画面以清简之笔勾勒出超脱意趣，老子清癯古雅，神色淡然恬和，衣褶线条凝练劲挺，带着金石质感，古拙高逸。水牛憨拙沉稳，缓步渡溪，笔墨朴拙间尽显生动意态。布景疏朗，几竿修竹斜逸出尘，淡赭坡岸搭配墨色流云，留白铺就出空寂悠远的道家天地。设色雅致柔和，浅绛基调晕染出古淡空灵的氛围，将清逸超脱的意境尽数铺展，把天人合一的玄妙意趣藏于笔底，尽显古雅奇崛的画风特质，沉静里裹挟着出尘的悠远韵味。",[23,24,7,28,106,151,227,230,109,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0ce83cdace5474ad255b551c4c99211.jpg",[],{"id":33672,"slug":33673,"title":33674,"dynasty":99,"author":857,"museum":316,"description":33675,"tags":33676,"thumbUrl":33678,"material":139,"size":139,"collection":139,"collections":33679,"showCount":251,"zanCount":2368,"manualWeight":48,"mainColor":49},228281,"wu-lao-tu-chen-hong-shou-228281","五老图","此作用奇石为席案，铺陈开五位老者的雅集场景。对弈者捻须凝思，观局者或倾身注目、或垂手静立，情态生动各别，尽显林下高贤的散淡意趣。\n画作以清劲高古的游丝铁线勾勒衣纹，造型奇崛古拙，设色浅淡沉静。老者面容刻画入微，须眉灵动鲜活，既带着明代人物画的高逸格调，又尽显作者标志性的古雅奇谲，将文人雅集的闲情逸致烘托得淋漓尽致，尽显晚明文人画的高妙意趣。",[23,24,28,7,352,106,615,22628,33677,280,3007,12423,8518],"棋局","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf837e79b295fad40272b805d470ec78.jpg",[],{"id":33681,"slug":33682,"title":33683,"dynasty":18,"author":1599,"museum":316,"description":33684,"tags":33685,"thumbUrl":33686,"material":139,"size":139,"collection":139,"collections":33687,"showCount":251,"zanCount":48,"manualWeight":48,"mainColor":49},227802,"shan-zhuang-du-shu-tu-ye-liu-song-nian-227802","山庄读书图页","山峦叠翠流云轻绕，幽谷飞瀑隐于翠微之间，整幅画以温润青绿晕染出江南山居的清寂雅境。屋舍藏在松竹蕉荫深处，堂中人正展卷静读，周遭林木蓊郁苍润，山石皴法细腻匀净，古雅的青绿设色晕开沉静的宋人意趣。\n\n笔致工稳秀润，将文人幽居林泉的理想铺陈绢素，山野间无车马喧嚣，唯有山光树影伴衬书香。山石草木皆含静气，把宋人内敛雅致融在每一处细节里，让观者仿佛能踏入这方世外山居，共赴林泉书香的闲淡之约。",[23,194,24,25,7,29,28,177,34,176,107,1169,37,1426,106,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39d558e62e4e589222cc081f24c1e325.jpg",[],{"id":33689,"slug":33690,"title":33691,"dynasty":18,"author":1315,"museum":316,"description":33692,"tags":33693,"thumbUrl":33694,"material":139,"size":139,"collection":139,"collections":33695,"showCount":251,"zanCount":48,"manualWeight":48,"mainColor":49},227767,"gong-dian-hua-yuan-tu-ye-li-tang-227767","宫殿花园图页","李唐（1066年－1150年），字晞古，亦作希古，宋朝著名画家，河阳三城（今河南孟县）人。\n\n李唐原供奉北宋徽宗的画院，1127年金兵攻陷汴京，李唐颠沛流离，逃往临安（今杭州），以卖画度日。南宋恢复画院后，李唐经人举荐，进入画院，授成忠郎职务。\n\n李唐精于山水画，变荆浩、范宽之法，山水画最初用峭劲的笔墨，写出北方山河雄峻气势；晚年去繁就简，创大斧劈皴；画水打破鱼鳞纹程式，而得盘涡动荡之状；兼工人物画，初似李公麟，后衣褶变为方折劲硬；并以画牛著称。\n\n描绘青绿山水，如《万壑松风图》、《长夏江寺图》等，是北派山水的著名代表人之一，其后用笔及取景变的简括凝炼、构图精练、意境优美，开辟南宋的新画风，并创作人物画《胡笳十八拍》、《采薇图》等，借历史抒发怀念故国，希图中兴的感情。\n\n李唐的画风对后世有很大影响，他也培养了一些杰出弟子如萧照，其后马远、夏圭继承和发展了他的画风，和他一起，并称为“南宋四家”（李唐、刘松年、马远、夏圭）。",[23,194,24,7,104,106,107,34,176,115,2003],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa52bbd47fa75dd0f52917c93d10f58b.jpg",[],{"id":33697,"slug":33698,"title":33699,"dynasty":18,"author":33700,"museum":316,"description":33701,"tags":33702,"thumbUrl":33703,"material":139,"size":139,"collection":139,"collections":33704,"showCount":251,"zanCount":48,"manualWeight":48,"mainColor":49},227411,"hu-ren-xiang-ma-tu-lian-bu-227411","胡人相马图","廉布","此图绘白马长啸，一白衣胡人在观马，一异装胡人在羌管，似与白马之啸互相呼应。此幅左上角题：四蹄玉削耳披风，独立昂藏气势雄，争向瑶池夸八骏，如何图内有真龙。山阳廉布。钤一印模糊不辨。然观此作绝非北宋末画迹，但人马描绘俱佳，也非庸手所为，当是托名廉布以射利。廉 布。字宣仲，号射泽老农。楚州山阳（今江苏省淮安）人。妙年登科，官至武学博士，以张邦昌婿，负才不得用。后居绍兴，既绝仕宦之念，以诗酒自娱。画山水，尤工枯木丛竹、奇石松柏、种种飘逸，师东坡而青出于蓝。",[23,24,194,7,28,106,150,378,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc845275590a4df7a346a1debac89576f.jpg",[],{"id":33706,"slug":33707,"title":33708,"dynasty":18,"author":257,"museum":316,"description":33709,"tags":33710,"thumbUrl":33711,"material":139,"size":139,"collection":139,"collections":33712,"showCount":251,"zanCount":1379,"manualWeight":48,"mainColor":49},227350,"gong-nv-tu-tuan-shan-yi-ming-227350","宫女图团扇","团扇，又称宫扇、纨扇，是中国汉族传统工艺品及艺术品，是一种圆形有柄的扇子，它代表着团圆友善、吉祥如意 [1] 。团扇起源于中国。扇子最早出现在商代，用五光十色的野鸡毛制成，称之为“障扇”。\n当时，扇子不是用来扇风取凉，而是作为帝王外出巡视时遮阳挡风避沙之用。西汉以后，扇子开始用来取凉。三国时诸葛亮轻摇鹅毛扇，妙计横生，运筹帷幄。羽扇出风缓软，不入腠理。东汉时，大都改羽扇为丝、绢、绫罗之类织品，以便点缀绣画。一轮明月形的扇子称之为“纨扇”或“团扇”，也叫“合欢扇”。当时扇子有长圆、葵花、梅花、六角、匾圆之形；亦有木、竹、骨等材之柄；还有扇坠、流苏、玉器之饰。\n宋以前称扇子，都指团扇。王昌龄《长信愁》诗：“奉帚平明秋殿开，且将团扇共徘徊”。《杖扇新录》载：近世通用素绢，两面绷之，或泥金、瓷青、湖色，有月圆、腰圆、六角诸式，皆倩名人书画，柄用梅烙、湘妃、棕竹，亦有洋漆、象牙之类。名为“团扇”。圆形或近似圆形扇面，扇柄不长。现在的团扇扇柄较长，越来越符合大众审美。",[23,194,24,25,1260,7,106,28,59,229,63,64,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3a0f76cfffbd1d013df65fbdf7e9d6f.jpg",[],{"id":33714,"slug":33715,"title":33716,"dynasty":54,"author":2559,"museum":316,"description":33717,"tags":33718,"thumbUrl":33719,"material":139,"size":139,"collection":139,"collections":33720,"showCount":251,"zanCount":48,"manualWeight":48,"mainColor":49},227087,"dong-xue-shan-jing-tu-ye-wang-wei-227087","冬雪山景图页","雪地实景，苍茫而润泽，冰雪覆盖了自然界中的山川树木，使人们的视觉不再被五彩缤纷的万物所迷惑，从而使人们更为关注于白茫茫的冰雪积压、融变的过程，这种自然属性恰好与水墨形式相得益彰。因此，雪景山水画一直是中国山水画中的一个很有特色的部分。\n\n据文献记载，水墨雪景山水为唐代王维首创。王维山水画成就很高，尤其是雪景山水更令人瞩目。据文献记载，王维曾有20余幅雪景山水流传，将雪景山水的千变万化和神奇美妙表现得淋漓尽致，并赋予其不同的人文意蕴。研究表明，王维的雪景山水没有留下真迹，而流传于世的历代摹本或托名之作，多出于古代画家崇拜王维雪景山水的至深至诚之情。\n\n在清代学者高士奇的《江村消夏录》中记载，明代沈周在看到王维《万峰积雪图》后，写出如下题文:“城中十日暑如炙，头目眩花尘土塞。僧楼今日见此卷，雪意茫茫寒欲逼。古栟修柳枝袅矫，下有幽簧侧从碧。隔溪胶艇不受呼，平地贯渚无人迹。”在夏日炎炎的酷暑，看到王维的雪景山水作品，能有“雪意茫茫寒欲逼”的感受，或许这是没有空调的古代人常用的一种消夏避暑方式？（本平台独家专稿《画说古人如何过夏天》将于近期推出，敬请关注。）\n\n自王维之后，历代许多名家都热衷于雪景山水的创作，为我们留下了大量的经典传世之作。让我们展开画卷，一起走入艺术家们为我们营造的冰雪世界中，感觉这份凉意与惬意吧！",[23,194,24,25,7230,29,7,177,2724,176,795,13277,808],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1cc41d747600fbec5bb8ee4187a8527.jpg",[],{"id":33722,"slug":33723,"title":28489,"dynasty":189,"author":5866,"museum":316,"description":33724,"tags":33725,"thumbUrl":33726,"material":139,"size":139,"collection":139,"collections":33727,"showCount":251,"zanCount":1379,"manualWeight":48,"mainColor":94},226713,"huo-lang-tu-ye-li-sheng-226713","这是一幅人物风俗画卷，画面上货郎的货担上物品繁多，不胜枚举，从锅碗盘碟、儿童玩具到瓜果糕点，无所不有。在商品流通尚不够发达的时期，货郎们走街串巷，一副货担就是一个小小的百货店，货郎们不仅为偏僻的乡村带来所需的货物，也带来各种新奇的见闻，货郎的到来往往象节日般热闹场景。画家借助货郎这一题材表现了当时市井生活的一个侧面，那些令人眼花缭乱的物品，虽然今天有很多已不明其用途，但却真实地记录了那个时代百姓的生活方式，是民俗学家不可多得的珍贵史料。",[23,194,24,25,6083,28,7,106,5424,280,34,912,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70b73176be8077b5a0404118925f2e78.jpg",[],{"id":33729,"slug":33730,"title":13670,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":33731,"thumbUrl":33732,"material":599,"size":600,"collection":139,"collections":33733,"showCount":251,"zanCount":48,"manualWeight":48,"mainColor":49},226203,"ku-yong-dao-bei-bi-yi-ming-226203",[511,7230,260,106,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46e7236b0a3e1df45295caa078c000c8.jpg",[],{"id":33735,"slug":33736,"title":33737,"dynasty":256,"author":6236,"museum":316,"description":6237,"tags":33738,"thumbUrl":33739,"material":599,"size":600,"collection":3195,"collections":33740,"showCount":251,"zanCount":2368,"manualWeight":48,"mainColor":49},225881,"wild-roses-april-may-fan-gao-225881","Wild roses (April - May )",[3187,7,16431,27024,1187,554,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0963962b5ae60baef8cf939bd255454b.jpg",[3195],{"id":33742,"slug":33743,"title":33744,"dynasty":76,"author":10944,"museum":316,"description":33745,"tags":33746,"thumbUrl":33747,"material":139,"size":139,"collection":139,"collections":33748,"showCount":251,"zanCount":2368,"manualWeight":48,"mainColor":801},224578,"qing-ke-si-qun-xian-zhu-shou-zhou-qing-ren-224578","清缂丝群仙祝寿轴","云端玄女乘鹤御风而来，松荫之下众仙执笙捧盏，衣袂翩跹顾盼生姿，满含恭谨喜色，似正静待贺寿吉时。下方仙姝俯身采撷芝草灵卉，奇石虬松环伺左右，流云漫卷天际，将海天仙乡的缥缈灵秀铺展尽致。\n\n此作用通经断纬之技晕染衣纹褶皱的柔婉层次，石色苍古明润，松针纤毫毕现，将群仙赴寿的欢愉雅景织就，既见仙班贺寿的祥瑞吉庆，又尽显工致秀雅的匠艺风华，恍将清虚仙境凝于尺幅之中。",[194,24,25,226,1329,7,106,29,34,3661,926,381,380,176,245,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87520e9eaeef0cd56b73baacd54137b6.jpg",[],{"id":33750,"slug":33751,"title":21899,"dynasty":76,"author":17997,"museum":20,"description":33752,"tags":33753,"thumbUrl":33754,"material":1397,"size":33755,"collection":181,"collections":33756,"showCount":251,"zanCount":48,"manualWeight":48,"mainColor":49},224389,"fang-huang-gong-wang-shan-shui-tu-wang-yuan-qi-224389","其实王原祁和他的祖父都特别喜欢黄公望的作品，这也是他临摹黄公望作品的原因。 王原祁代笔之作很多，由于他受皇帝赏识，学他风格者上千，成为“娄东派”，此派左右清代三百年画坛，正为正统派，对后世影响极大。清代山水画一蹶不振，这也是一大原因。",[23,194,24,3559,105,177,173,7,226,685,262,34,108,35,809,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32e310151c7d582dfc8711bd2fb5cf10.jpg","纵91厘米，横46厘米",[181],{"id":33758,"slug":33759,"title":33760,"dynasty":76,"author":563,"museum":316,"description":33761,"tags":33762,"thumbUrl":33763,"material":139,"size":139,"collection":139,"collections":33764,"showCount":251,"zanCount":48,"manualWeight":48,"mainColor":94},224177,"tao-tan-yu-ya-hua-yan-224177","桃潭浴鸭","暖红桃枝垂曳入水，柔丝轻拂春水，将烂漫春色揉进涟漪。浴鸭憨态可掬，翎毛晕染细腻蓬松，俯身在清波中理羽，把春日闲静慵懒尽数绘出。\n\n整幅画虚实相生，艳而不俗的花色，和淡墨晕开的汀草灵石相映，兼工带写间既有精妙写实，又具疏朗雅致。笔意秀逸清新，将水畔清和的春日温柔晕染开来，把闲淡生机藏在每一处细节，尽显灵动雅致的文人意趣。",[23,24,7,83,28,226,243,835,262,263,838,957,173,3052],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c66d85b5a377c609d50d01fb40a230f.jpg",[],{"id":33766,"slug":33767,"title":33768,"dynasty":256,"author":257,"museum":316,"description":33769,"tags":33770,"thumbUrl":33771,"material":139,"size":139,"collection":139,"collections":33772,"showCount":251,"zanCount":48,"manualWeight":48,"mainColor":49},223615,"di-shi-san-yin-jie-tuo-zun-zhe-tu-yi-ming-223615","第十三因揭陀尊者图","半袒上身的尊者安坐崖间，高眉深目，虬髯微张，神情沉静威严，身后圆光晕染出清净圣格。身旁神兽昂首嘶吼，筋骨劲健灵动，动静之间形成鲜明反差，更衬出尊者静定无波的禅心。\n画作设色调和古雅，衣纹勾勒顿挫苍劲，晕染细致，既将织物厚重质感铺陈开来，又将尊者伟岸身形刻画入微。淡墨晕染山石云气，晕开幽寂清旷的禅意氛围。工写兼备之下，将尊者慈悲威严的气度与神兽悍勇神态尽皆展现，尽显古宗教绘画的肃穆高华与精湛笔力。",[23,24,25,226,260,28,7,106,746],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a690d779abe88933909687b4c9e34c7.jpg",[],{"id":33774,"slug":33775,"title":33776,"dynasty":18,"author":257,"museum":20,"description":33777,"tags":33778,"thumbUrl":33779,"material":529,"size":33780,"collection":42,"collections":33781,"showCount":251,"zanCount":48,"manualWeight":48,"mainColor":49},223532,"shui-ge-feng-liang-tu-yi-ming-223532","水阁风凉图","绘古木掩映下一茅亭临江而建，远处山色空蒙，中为平川水田。宁外巨石错落，泉水奔流，亭内置一方桌，一折衣长者袖手停立桌前，仆人执扇侍立一侧。",[23,24,25,29,7,177,107,378,176,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37929b949c027168c6a1aef447280eae.jpg","22.5x21.1厘米",[42,181,163],{"id":33783,"slug":33784,"title":33785,"dynasty":76,"author":742,"museum":132,"description":33786,"tags":33787,"thumbUrl":33788,"material":500,"size":33789,"collection":139,"collections":33790,"showCount":251,"zanCount":48,"manualWeight":48,"mainColor":94},223229,"tao-hua-shuang-ji-tu-ren-yi-223229","桃花双鸡图","这图在徐小仓的传世的花鸟画作品中亦属上品。任氏所创用的以侧锋塑方形物象的画法，也与“侧取媚”的书学理论息息相通。因这种造型特征，能使欣赏者得到清新愉悦的观感而不陷于艰深的笔墨意境之中。这一点，在徐祥的作品中也得到了很好的体观。至于坡石的勾勒，坡草的节奏和用色方法，这些都与任伯年的作风一脉相承，置诸伯年作品中，几乎是可以混人耳目的。徐祥的自运之处，在于画面的整体布局，此作构图饱满，充溢三角而稍留空虚之地，使画面丰满而不滞塞。桃枝的穿插层层叠错，相当繁杂，这一点，固可以目之为“琐碎”，但反思之，这种变简单为繁茂，变孤清为热闹的画法，恰恰是符合徐小仓作为一个平民画家的本色的，雅俗共赏是未尝可以轻易非议的。款识：海上徐小仓写。钤印：徐祥之印。\n通观全作，设色淡雅，用笔以方峻的侧锋铺点为主，枝叉的转折，桃叶的分布，树干的盘旋出节，均与任伯年如出一辙；雄鸡的造型也取三角形，有棱有角，古人论书尝云“侧取媚”，意即侧锋出笔则姿态婀娜。",[23,24,25,194,7,173,83,243,2703],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafa59cfc11c1f09f6b7195be05c9967f.jpg","138×68厘米",[],{"id":33792,"slug":33793,"title":6786,"dynasty":76,"author":6787,"museum":316,"description":6788,"tags":33794,"thumbUrl":33795,"material":139,"size":139,"collection":139,"collections":33796,"showCount":251,"zanCount":48,"manualWeight":48,"mainColor":94},223081,"shui-hu-ren-wu-ren-xun-223081",[23,194,24,25,7,28,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a3a4f5179bbbd31544dae8f5435c3f9.jpg",[],{"id":33798,"slug":33799,"title":33800,"dynasty":76,"author":2162,"museum":419,"description":2163,"tags":33801,"thumbUrl":33805,"material":67,"size":2173,"collection":139,"collections":33806,"showCount":251,"zanCount":48,"manualWeight":48,"mainColor":49},223067,"hong-lou-meng-53-sun-wen-223067","红楼梦53",[23,24,28,7,25,6170,27503,614,2385,33802,33803,84,33804],"古典厅堂","古典家具","钟表","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fb2d52989d8a7786715a5657cbdb872.jpg",[],{"id":33808,"slug":33809,"title":33810,"dynasty":76,"author":329,"museum":191,"description":1518,"tags":33811,"thumbUrl":33812,"material":7,"size":1521,"collection":139,"collections":33813,"showCount":251,"zanCount":48,"manualWeight":48,"mainColor":94},222737,"xian-e-chang-chun-tu-dou-hua-lang-shi-ning-222737","仙萼长春图豆花",[23,194,24,25,81,7,28,8377,1022,83,2521,13823,912,2266,264,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf7cbebeb96400b2f7cc4f921366e047.jpg",[],{"id":33815,"slug":33816,"title":33817,"dynasty":76,"author":7209,"museum":101,"description":18385,"tags":33818,"thumbUrl":33819,"material":14427,"size":33820,"collection":2065,"collections":33821,"showCount":251,"zanCount":48,"manualWeight":48,"mainColor":94},222635,"shan-shui-shu-fa-ce-liu-kai-gao-feng-han-222635","山水书法册六开",[23,24,25,81,173,7,29,178,177,109,808,34,1157,35,6020],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d6d5643030c40635094436e09839791.jpg","31.8x24.8cm",[2065,181],{"id":33823,"slug":33824,"title":33825,"dynasty":99,"author":2189,"museum":240,"description":4265,"tags":33826,"thumbUrl":33827,"material":500,"size":4269,"collection":139,"collect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永兴弟任薰舜琴写”，钤“任薰”白文方印。",[24,226,7,28,106,16154,378,379,9412,7438,5372,912,33917,63],"苔藓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F660fdaf34b7e404657c4f40b3ede7755.jpg","纵137.5厘米，横39.5厘米",[44],{"id":33922,"slug":33923,"title":33924,"dynasty":99,"author":21475,"museum":442,"description":33925,"tags":33926,"thumbUrl":33927,"material":123,"size":139,"collection":90,"collections":33928,"showCount":251,"zanCount":48,"manualWeight":48,"mainColor":49},219325,"hua-niao-tu-yi-yue-zhou-219325","花鸟图(一)","枯枝虬曲如铁，却绽几点新红，似冬末春初的暖意悄然浸来。枝上双禽相顾，羽色黑白分明，灵动如生；坡前雉鸡敛翅，尾羽拖曳如绢，斑驳羽纹间藏着野趣。花木与禽鸟相契，笔墨工致处见羽毛肌理，写意处显枝干苍劲，松针细劲，山石朴拙，似能听见枝间轻啼，嗅到草间清芬。整幅画面古雅静谧，生机暗涌，将自然之趣凝于绢素，尽显传统花鸟的意韵悠长。",[23,24,25,226,28,7,83,820,353,30308,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F095ebf46cf6c15794eea3c98ab045de1.jpg",[90],{"id":33930,"slug":33931,"title":33932,"dynasty":302,"author":17434,"museum":191,"description":33933,"tags":33934,"thumbUrl":33935,"material":123,"size":33936,"collection":181,"collections":33937,"showCount":251,"zanCount":48,"manualWeight":48,"mainColor":94},219087,"yun-pu-na-zhou-tu-tang-di-219087","云浦拏舟图","唐棣（1296-1364)，字子华，号遁斋,祖籍钱塘(今浙江杭州)，因先世在吴兴做官，迁徙归安(今浙江湖州)。",[23,24,25,29,173,7,177,174,107,34,1169,3519],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbe43ec4ea318794216335f5e30a3218.jpg","25.6x31.4",[181],{"id":33939,"slug":33940,"title":33941,"dynasty":99,"author":257,"museum":2754,"description":33942,"tags":33943,"thumbUrl":33944,"material":123,"size":33945,"collection":90,"collections":33946,"showCount":251,"zanCount":2368,"manualWeight":48,"mainColor":49},219078,"yu-qin-tu-yi-ming-219078","浴禽图","画的是一只站在木盆边上的黑鸟，盆里装了一半的水，鸟的嘴很尖，全身都是黑毛，翅膀中间和尾羽上都有一族白色的羽毛装饰。",[24,194,25,28,7,83,245,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05cb17584d98781bb9ead39718e572d4.jpg","23.5x23.5cm",[90],{"id":33948,"slug":33949,"title":33950,"dynasty":76,"author":33951,"museum":191,"description":33952,"tags":33953,"thumbUrl":33954,"material":123,"size":33955,"collection":90,"collections":33956,"showCount":251,"zanCount":2368,"manualWeight":48,"mainColor":49},218879,"xian-quan-tu-liu-yi-218879","仙犬图","刘亿","几只仙犬或蜷卧小憩，或嬉戏逗趣，毛羽勾勒得柔润细腻，神态憨态可掬，似含灵韵。近旁老枝盘曲，素花点缀枝头，暗香仿佛随风轻溢；石矶以墨色皴染，苍劲中带着朴拙。背景淡褐晕开，虚实相映，留白处漾着空濛意趣，更衬出犬儿的灵动与花木的清雅。笔墨浓淡相宜，细腻却不刻意，将生灵之趣与幽境之美融于尺幅间，似能感受到画者对自然生灵的温柔观照，观之令人心生悠然，满是沁人的雅致。",[24,25,194,7,28,746,8941,378,379,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc59a546e228caa4b665afbe19974a9f.jpg","42.2x56.8cm",[90],{"id":33958,"slug":33959,"title":33960,"dynasty":302,"author":5007,"museum":191,"description":33961,"tags":33962,"thumbUrl":33963,"material":123,"size":139,"collection":44,"collections":33964,"showCount":251,"zanCount":48,"manualWeight":48,"mainColor":94},218743,"song-mei-shi-nv-tu-sheng-mao-218743","松梅仕女图","尺幅间松枝如铁，梅蕊凝霞，暗香似绕绢素。仕女凭石闲坐，衣袂轻垂，眸光柔落梅梢，似细品松风与寒香交织的清韵。笔墨兼工带写，松针疏密见劲健，梅朵点染含娇妍，仕女姿态温婉，神情娴静，与松梅冷艳相映成趣。题跋墨痕与淡彩相融，更添古雅。整体意境清幽淡远，如无声诗行，道尽文人心中的雅致闲逸，时光仿佛在此停驻，只余松梅与佳人的悠然对语。",[23,24,25,81,7,106,1133,820,59,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc96448930cd424db7a671f6805711b6a.jpg",[44],{"id":33966,"slug":33967,"title":33968,"dynasty":18,"author":257,"museum":191,"description":33969,"tags":33970,"thumbUrl":33971,"material":123,"size":33972,"collection":90,"collections":33973,"showCount":251,"zanCount":48,"manualWeight":48,"mainColor":94},218731,"cao-chong-gua-shi-tu-yi-ming-218731","草虫瓜实图","瓜果成熟，吸引了蝈蝈（也叫织女），其生产力蓬勃发展；果实肥沃，瓜的叶子和胡须是蔓生植物，可以继续生长，有 希望多子 的美好含义。瓜皮被染成老绿色，瓜棱被填上赭石，裂缝被染成淡淡的石绿色。瓜的叶子的边缘已经枯萎，呈赭黄色。",[23,194,24,25,81,28,7,483,11407,554],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F577659173433558d7dedcd3a2518e7f0.jpg","23.5x24.8",[90],{"id":33975,"slug":33976,"title":33977,"dynasty":18,"author":3752,"museum":191,"description":33978,"tags":33979,"thumbUrl":33982,"material":123,"size":33983,"collection":90,"collections":33984,"showCount":251,"zanCount":48,"manualWeight":48,"mainColor":94},218701,"qiu-feng-jin-feng-tu-cui-bai-218701","秋风金凤图","这幅画描绘了一株绿叶红花的凤仙花，枝叶整齐，花瓣自然。铭文中的 崔白 是不真实的，应该是后来的归属。",[23,24,25,81,7,28,83,33980,210,33981],"金凤花","秋风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38eb6e795308295e5ccd85afcb7adb45.jpg","22.9x26cm",[90],{"id":33986,"slug":33987,"title":33988,"dynasty":76,"author":17997,"museum":20,"description":33989,"tags":33990,"thumbUrl":33991,"material":123,"size":33992,"collection":181,"collections":33993,"showCount":251,"zanCount":2368,"manualWeight":48,"mainColor":49},218508,"qing-shan-die-cui-zhou-wang-yuan-qi-218508","晴山叠翠轴","山峦层叠如浪，墨色皴擦间见苍劲骨力，干笔积染出岩壑的厚重肌理。云雾轻笼谷口，牵起远近峰峦的呼吸，让重山不显壅塞，反生空濛之趣。\n\n溪流蜿蜒穿林，石岸错落间，几座亭台隐于松荫下，似有琴音随波漫散。松枝如铁，竹叶含翠，笔墨间藏着岁月的温润——既见北地山水的雄浑骨架，又融江南草木的秀逸情致。\n\n整幅画如一卷徐徐展开的清梦，每一笔皴擦都浸着文人的静穆心思，将自然丘壑凝练成纸上的悠远意境，让人观之忘俗，仿佛能踏入那片松风竹影里，听山涧流水，享片刻清宁。",[23,24,25,226,29,177,7,685,378,109,108,35,176,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65267561fee9a2d6709bd2cb30d8768c.jpg","139.5x61cm",[181],{"id":33995,"slug":33996,"title":33997,"dynasty":18,"author":33998,"museum":5488,"description":33999,"tags":34000,"thumbUrl":34001,"material":123,"size":34002,"collection":44,"collections":34003,"showCount":251,"zanCount":2368,"manualWeight":48,"mainColor":49},218455,"zhou-ren-xing-tu-wang-hui-218455","舟人形图","王辉","淡墨晕染的水面微澜轻漾，一叶扁舟浮行其间。舟中之人凭舷而坐，衣袂垂落，神态悠然，似静听风吟，又或凝视水中云影。岸畔垂柳枝条披拂，几枝缀蕊梅枝斜出，添了清逸之趣。远处山峦轮廓柔和，与天际轻烟相融，浑然一体。简淡笔墨勾勒物象，却于留白处藏尽幽远之境，尽显宋人山水的诗意哲思——天地间人如芥子，却能与自然相契，寻得内心的安宁。整幅画以含蓄笔触铺陈意境，每一处细节都透着东方美学的雅致，将观者引入那片静谧辽远的烟波世界里。",[23,24,25,194,28,7,106,174,29,2532,820,109,245,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb655b285914c169055a1a989003a11c.jpg","19.3x19.0",[44],{"id":34005,"slug":34006,"title":34007,"dynasty":76,"author":5585,"museum":442,"description":34008,"tags":34009,"thumbUrl":34010,"material":123,"size":5589,"collection":139,"collections":34011,"showCount":251,"zanCount":48,"manualWeight":48,"mainColor":94},218351,"shi-nv-tu-ce-4-li-ting-xun-218351","仕女图册-4","本卷描绘了四位美女，其风格与蔡奇和费丹旭相似。李廷勋，被称为 秦贤 和 花痴，是一位罕见的艺术家，或者说是广东人。",[194,24,25,81,28,7,106,59,63,86,178,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1081e21d3c249e083f177f2d4add8157.jpg",[],{"id":34013,"slug":34014,"title":34015,"dynasty":76,"author":538,"museum":442,"description":4276,"tags":34016,"thumbUrl":34017,"material":123,"size":4279,"collection":139,"collections":34018,"showCount":251,"zanCount":48,"manualWeight":48,"mainColor":94},218337,"shen-xian-gu-shi-tu-ce-1-leng-mei-218337","神仙故事图册-1",[23,24,7,28,106,109,176,34,13491,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9a61ad2a7e96dd17ea8b4e38b2355c5.jpg",[],{"id":34020,"slug":34021,"title":34022,"dynasty":76,"author":257,"museum":316,"description":34023,"tags":34024,"thumbUrl":34025,"material":123,"size":28052,"collection":44,"collections":34026,"showCount":251,"zanCount":48,"manualWeight":48,"mainColor":49},218289,"xuan-zong-lin-jing-tu-yi-ming-218289","玄宗临镜图","绢色泛黄如浸旧时光，朱红栏杆圈定宫室一角，竹影斜映窗棂，案上瓶花静立。玄宗红衣临镜，眉宇间似凝沉思，侍从持物侍立，姿态恭谨；侧室仕女闲坐，衣袂轻扬，添几分柔婉。旁题“韩休为相”语，暗牵盛唐典故——玄宗因韩休直言自省，临镜之态恰与纳谏之心呼应。\n\n画作以细腻笔触摹写人物神态，场景疏密得宜，于日常起居间藏史事隐意。既见宫廷生活的雍容，亦含对为政自省的隐括，方寸绢素间，绘就一段被时光凝定的盛唐记忆，笔端流转的不仅是形色，更是史韵与哲思的交融。",[24,25,28,7,104,106,107,3712,63,280],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70abb2788b3569eccbc73c8780a21f36.jpg",[44],{"id":34028,"slug":34029,"title":9172,"dynasty":302,"author":257,"museum":56,"description":34030,"tags":34031,"thumbUrl":34032,"material":123,"size":34033,"collection":181,"collections":34034,"showCount":251,"zanCount":48,"manualWeight":48,"mainColor":49},218209,"song-quan-gao-shi-tu-yi-ming-218209","图画的背景是一片茂密的森林，松树和松针在风中摇曳。整幅图画给人以庄严肃穆的感觉，表达了对松泉高士伟大品格的敬意。",[24,194,1260,7,29,106,1133,30766,109,176,34,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4041017ea2d172063a033356abfa97ad.jpg","24x27.3cm",[181],{"id":34036,"slug":34037,"title":34038,"dynasty":76,"author":34039,"museum":10830,"description":34040,"tags":34041,"thumbUrl":34042,"material":88,"size":34043,"collection":181,"collections":34044,"showCount":251,"zanCount":48,"manualWeight":48,"mainColor":94},218104,"xin-an-yi-yun-ce-huang-lv-shan-shui-huang-lv-218104","新安逸韵册(黄吕山水)","黄吕","郑旼的 《新安逸韵图册》 是他的代表作之一，也是他的最后一部作品。这本书由三卷组成，收录了郑旼创作的大量诗歌、书法作品和图画。《新安逸韵图册》的内容丰富，涵盖了许多不同的题材，如自然风光、人物生活、历史故事等。\n\n郑旼在 《新安逸韵图册》 中结合了文字、图画和韵律，创造出了一种独特的艺术形式。他的诗歌融合了中国传统的五言绝句和七言律诗的形式，并加入了自己的创新和个人风格。郑旼的书法作品也颇具特色，他善于运用自然的笔法，使字体看起来更加流畅和优美。\n\n郑旼的 《新安逸韵图册》 被认为是一部杰出的艺术作品，对中国的文学、艺术和文化发展都产生了重要的影响。它不仅是郑旼的代表作，也是中国文学史上的一座里程",[24,25,81,173,7,29,230,34,178,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F060f844f0dcf3a72f0a2f72a480158fe.jpg","30.6x20.7cm",[181],{"id":34046,"slug":34047,"title":21534,"dynasty":18,"author":257,"museum":191,"description":34048,"tags":34049,"thumbUrl":34050,"material":123,"size":20337,"collection":44,"collections":34051,"showCount":251,"zanCount":2368,"manualWeight":48,"mainColor":49},216946,"luo-han-zhou-yi-ming-216946","罗汉轴是一种古代中国的手卷绘画。它们通常以佚名作者为代表，出现在宋朝（960-1279年）时期。罗汉轴的主题通常是佛教经典和寺庙仪式中的罗汉（即被提升到超凡脱俗境界的佛教徒）。这些绘画通常画在绢上，并装在木质卷轴架上。它们是当时中国绘画艺术的重要组成部分，被视为宝贵的艺术品。",[24,25,226,260,28,7,106,378,261,12423],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F802b4b5465a9970a4423478868b05daf.jpg",[44],{"id":34053,"slug":34054,"title":34055,"dynasty":76,"author":257,"museum":316,"description":34056,"tags":34057,"thumbUrl":34058,"material":123,"size":139,"collection":139,"collections":34059,"showCount":251,"zanCount":48,"manualWeight":48,"mainColor":49},216712,"hong-lou-meng-fu-tu-ce-12-yi-ming-216712","红楼梦赋图册-12","柳丝轻垂如帘，将内外景致温柔分隔。室外女子衣袂轻扬，或低语或凝眸，衣色淡雅如春日烟霞；栏杆旁草色萌新，山石间点缀细花，尽是闺中闲静之态。室内帐幔层叠，朱红与素白交织出朦胧暖意，卧榻人影隐约，似含一缕慵懒或幽思。笔墨细腻处，人物神态温婉流转，陈设精巧如真——案上器物、窗边棂格，皆藏着古典生活的雅致余韵。整幅画晕染着红楼特有的幽微情致，似将一段闺阁闲情定格，让观者窥见旧时光里的细腻光影，心绪也随那轻垂的柳丝，坠入这绢素间的温柔梦境。",[23,24,7,28,81,106,59,114,34,115,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c66a7352a3be6cd1b31ff1a6fead007.jpg",[],{"id":34061,"slug":34062,"title":34063,"dynasty":76,"author":257,"museum":316,"description":34064,"tags":34065,"thumbUrl":34066,"material":123,"size":139,"collection":44,"collections":34067,"showCount":251,"zanCount":48,"manualWeight":48,"mainColor":49},216116,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-2-ce-yi-ming-216116","职贡图巨幅彩绘册页第2册","画面绘两位人物，衣饰各具地域风貌。左侧人物着蓝紫条纹长袍，衣襟微敞露橘色内衬，腰间垂黄绒饰带，神态温婉；右侧人物头戴红顶软帽，身披绿纹长褂，内搭红衣，双手拢于袖中，面容憨厚。人物线条流畅细腻，衣料纹理清晰可触，设色古朴雅致，尽显织物质感与人物情态。旁附文字注解，似载族群风俗。整幅作品生动还原清代边疆或外域族群的服饰与神态，既是笔墨精妙的艺术佳作，亦是研究当时民族交流、文化风貌的珍贵图像凭证，尽显职贡图类作品的历史厚重与艺术灵光。",[23,24,25,81,7,28,106,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1896e597091b8c11ab1ab56e5e2dcb9a.jpg",[44],{"id":34069,"slug":34070,"title":34071,"dynasty":76,"author":257,"museum":316,"description":34072,"tags":34073,"thumbUrl":34074,"material":123,"size":34075,"collection":44,"collections":34076,"showCount":251,"zanCount":48,"manualWeight":48,"mainColor":94},215915,"qing-ren-xiao-xiang-tu-ce-yi-ming-215915","清人肖像图册","绢本泛黄的底色里，端坐的身影裹着靛蓝长袍，红顶小帽衬得面容温润沉静。案几上器物默然伫立，似凝住一室清寂时光。左侧圆窗裁取山石花木之景，墨色浅淡间晕染出中式居停的雅致意趣。衣纹线条简洁却见功底，面部晕染细腻，将人物温婉神态悄然托出。整幅画无繁复铺陈，却以简淡笔触勾勒出清代人家的日常片段——那份浸润在时光里的从容娴静，仿佛能透过画面漫溢开来，引人沉浸于岁月沉淀的悠然。",[24,7,106,28,81,63,229,230,897],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F283674bde9cfd07398bfe9ae23ea3a59.jpg","44x40",[44],{"id":34078,"slug":34079,"title":34080,"dynasty":76,"author":257,"museum":316,"description":34081,"tags":34082,"thumbUrl":34084,"material":88,"size":139,"collection":44,"collections":34085,"showCount":251,"zanCount":48,"manualWeight":48,"mainColor":94},215884,"qing-dai-xing-fa-ji-lu-tu-ce-1-yi-ming-215884","清代刑罚记录图册-1","画面以写实笔触铺展清代刑罚场景：左侧受刑者跪伏在地，红衣褐裤裹着蜷缩的身躯，面露苦楚尽显卑微；旁立行刑者蓝衣束身，高举刑具的动作凌厉，透着不容置喙的威慑；右侧紫袍者手持纸笔静立，神情肃穆作记录状，旁观姿态更添场景的压抑感。色彩对比鲜明，红褐的沉郁与蓝紫的冷硬交织，勾勒出权力与惩戒的张力。线条简练却精准捕捉神态，受刑者的蜷缩、行刑者的决绝、记录者的冷峻，层层铺陈出司法场景的森严。它以具象视觉语言，将制度威严与个体境遇浓缩于方寸，既是刑罚实况的生动留存，也为窥见清代社会秩序提供了鲜活的图像注脚。",[320,7,106,81,34083],"刑罚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd74468a25c6a13c4db2144eeb2f275b5.jpg",[44],{"id":34087,"slug":34088,"title":34089,"dynasty":76,"author":257,"museum":316,"description":34090,"tags":34091,"thumbUrl":34092,"material":88,"size":139,"collection":139,"collections":34093,"showCount":251,"zanCount":2368,"manualWeight":48,"mainColor":94},215868,"qing-dai-gong-ting-ren-wu-hua-ce-1-yi-ming-215868","清代宫廷人物画册-1","端坐的身影裹着一身流光溢彩的华服，蓝紫底色上，龙纹与祥云交织成流动的星河，青绿点缀其间，似将春日生机锁进衣袂。朱红椅幔垂落，衬得人物眉眼沉静，唇边淡笑藏着宫廷深处的威仪与从容。脚踏青绿如苔痕，椅脚线条简洁却不失庄重，每一处纹饰都低语着旧时规矩与精致。泛黄纸页晕开时光痕迹，而画中锦绣、那份气度仍鲜活如昨，仿佛伸手便能触到当年宫廷里的暖光与静穆。这不仅是一幅肖像，更是一段凝固的旧梦，在色彩与线条间，窥见清代宫廷的庄重与华美。",[24,194,320,28,7,106,7788,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa04af866bb80c765e6868aec967aa5a9.jpg",[],{"id":34095,"slug":34096,"title":17781,"dynasty":189,"author":3894,"museum":316,"description":11706,"tags":34097,"thumbUrl":34099,"material":599,"size":600,"collection":139,"collections":34100,"showCount":34101,"zanCount":48,"manualWeight":48,"mainColor":49},289000,"lu-yan-tu-huang-ju-cai-289000",[24,25,83,28,7,23614,3765,245,34098],"河滩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bf4508e1d9578b25bd4dfd999a4770e.jpg",[],36,{"id":34103,"slug":34104,"title":17626,"dynasty":18,"author":1588,"museum":191,"description":34105,"tags":34106,"thumbUrl":34108,"material":123,"size":17631,"collection":139,"collections":34109,"showCount":34101,"zanCount":48,"manualWeight":48,"mainColor":49},288937,"san-guan-chu-xun-tu-ma-lin-288937","画面描绘了道教神仙“三官大帝”，表现了三官巡游天地的盛况。",[23,24,194,8245,24407,106,406,151,7,28,2459,2235,262,34107],"神仙出行","https:\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。\n该画作画面人物纤细娇弱，娟秀清丽，刻画细致工整，具典型的费氏风格。\n环境则以逸笔写出，淡彩晕染，墨笔勾皴，空灵秀润，以衬托出中心人物。\n费丹旭（182—185年），字子苕，号晓楼、环溪生、偶翁，乌程（今浙江湖州）人。\n自幼从父珏（芝原）习画，擅绘仕女，笔致轻灵淡雅，颇得女性娟秀之美、柔弱之态。\n工于肖像，以如镜取影、情神酷肖为人称道。\n亦能山水、花卉，取法恽寿平，笔墨洁净清丽，具闲散意趣。\n长年流寓上海、江浙一带，交游于文士间，艺术修养广博深邃。",[24,25,28,7,59,820,2086,108,230,353,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41e746477fca8a1d104025dece421627.jpg",[],{"id":34262,"slug":34263,"title":2794,"dynasty":76,"author":9735,"museum":316,"description":34264,"tags":34265,"thumbUrl":34266,"material":139,"size":139,"collection":139,"collections":34267,"showCount":34101,"zanCount":48,"manualWeight":48,"mainColor":49},229004,"ma-gu-xian-shou-tu-huang-shan-shou-229004","画面里仕女温婉端柔，手捧仙瓶静立，衣纹舒展灵动，衣饰纹饰细密雅致，尽显秀润华美感。身旁老者苍颜皓首，拄蟠桃树杖，神态矍铄安然。此作用笔工写相融，线条清劲流畅，设色调和古雅，将二人仙逸气质烘托恰到好处。整体画面祥和悠然，把福寿吉庆的美好意蕴藏于笔墨之间，尽显传统吉祥题材画作的精妙意趣，以细腻的人物塑造传递出雅致祥瑞的贺寿主题，尽显古典人物画的匠心之美。",[24,25,226,7,28,106,59,229,63,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57f630caf622323c7378dd7917517fa5.jpg",[],{"id":34269,"slug":34270,"title":34271,"dynasty":76,"author":11822,"museum":316,"description":34272,"tags":34273,"thumbUrl":34278,"material":139,"size":139,"collection":139,"collections":34279,"showCount":34101,"zanCount":48,"manualWeight":48,"mainColor":49},228950,"jiu-cheng-gong-tu-yuan-jiang-228950","九成宫图","危崖崚嶒，古柏虬劲苍郁，云雾轻笼层峦，将殿宇台榭晕染如缥缈仙宫。界画工细严整，斗拱梁枋毫厘毕现，青蓝重彩晕染出殿宇的华贵庄重，尽显匠造精工。\n\n远景平沙远岫，烟波浩渺间晕开朦胧诗意，近景层岩叠翠，山道间商旅穿行点缀烟火气。整幅开合有度，虚实相生，将皇家宫苑的宏阔威严，与山水灵秀融为一体，以极致工笔勾勒出雄奇雅丽的山水宫苑胜境。",[23,194,24,104,28,7,27,29,107,34274,13233,24313,37,34275,20701,34276,34277],"殿宇","平沙远岫","商旅","皇家宫苑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F612d9d536058ffbfac745708307b19e8.jpg",[],{"id":34281,"slug":34282,"title":34283,"dynasty":99,"author":257,"museum":316,"description":34284,"tags":34285,"thumbUrl":34286,"material":599,"size":600,"collection":139,"collections":34287,"showCount":34101,"zanCount":48,"manualWeight":48,"mainColor":49},228785,"shi-yi-mian-qian-shou-guan-yin-xiang-yi-ming-228785","十一面千手观音像","十一面观音，Ekādaśa mukhānām Avalokiteśvara，六观音之一，主救济阿修罗道，给众生以除病、灭罪、增福之现世利益。总之为除恶导善，引众生入佛道之菩萨。",[23,24,25,260,106,28,7,226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d021d8e9cc61cc2bc69122214eef57e.jpg",[],{"id":34289,"slug":34290,"title":34291,"dynasty":99,"author":15110,"museum":316,"description":34292,"tags":34293,"thumbUrl":34295,"material":139,"size":139,"collection":139,"collections":34296,"showCount":34101,"zanCount":48,"manualWeight":48,"mainColor":49},228749,"wu-xia-yun-tao-tu-xie-shi-chen-228749","巫峡云涛图","此作用全景式铺陈，以苍劲斧劈皴勾勒危崖峻岭，古木虬枝错落，丹黄枝叶点缀出清秋意趣。云气以淡墨晕染留白，将层峦半遮半掩，恍若仙境浮空。下方急流曲回，浪纹细密写实，孤舟搏浪于波谷峰尖，既尽显巫峡水势之汹涌诡谲，也暗透出旅人穿险的惶然张力。画作兼融北派山水的雄浑与南派的秀润，笔力厚重苍莽，墨色层次丰盈，将山川云涛的磅礴瑰奇与行旅意趣相融，绘就出巫峡吞吐云波的壮绝天地。",[23,24,25,226,173,7,177,29,34294,174,34,1426,176,37],"云涛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e51511415c782138d8297a287b8d354.jpg",[],{"id":34298,"slug":34299,"title":34300,"dynasty":99,"author":100,"museum":316,"description":34301,"tags":34302,"thumbUrl":34303,"material":139,"size":139,"collection":139,"collections":34304,"showCount":34101,"zanCount":1379,"manualWeight":48,"mainColor":49},228444,"da-jin-de-yun-tu-juan-chou-ying-228444","大金德运图卷","此作用浓妍石青石绿晕染群峰，峭拔清奇的山峦错落于烟波间，淡赭晕开云霞，铺就幽渺辽远的天地格局。山坳水畔，村舍错落、人马往来，或驱马穿行山道，或聚居于林田之侧，烟火气浸透仙山灵境，尽显太平聚落的悠然意趣。\n\n书画合璧尽显古韵，青绿设色承袭唐宋古意，又以细腻人物村景铺陈，将恢弘山水与俗世温情融于一卷，既有大青绿的堂皇瑰丽，又暗含市井闲趣，是工笔青绿中兼具叙事性与观赏性的精妙之作。",[23,24,26,28,7,27,29,106,150,108,109,34,176,37,177,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0e63b6572fbf6fb41c1a558ac53c9e9.jpg",[],{"id":34306,"slug":34307,"title":34308,"dynasty":302,"author":257,"museum":316,"description":8010,"tags":34309,"thumbUrl":34310,"material":599,"size":600,"collection":139,"collections":34311,"showCount":34101,"zanCount":2368,"manualWeight":48,"mainColor":49},228201,"bi-hua-tu-ye-yi-ming-228201","壁画图页",[23,511,24,25,7,28,106,59,378,29,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7378d93b9a62ea1e98536887833518d0.jpg",[],{"id":34313,"slug":34314,"title":4939,"dynasty":18,"author":2414,"museum":316,"description":34315,"tags":34316,"thumbUrl":34317,"material":139,"size":139,"collection":139,"collections":34318,"showCount":34101,"zanCount":48,"manualWeight":48,"mainColor":49},227956,"hua-niao-tu-ye-zhao-bo-ju-227956","这幅小品以清雅笔触勾勒乡野闲趣，瓜叶舒展圆润，甜瓜垂坠饱满，藤须轻曳带着夏日的鲜活生机。两只小鼠姿态灵动憨然，一只探鼻轻嗅瓜蒂，一只俯身张望，将鼠类的机灵敏锐与憨态尽显无余。\n整画工致细腻，瓜的棱纹晕染自然，鼠身绒毛纤毫毕现，淡彩晕染古朴柔和，将日常细碎小景绘得意趣盎然。平淡乡野片段被定格为隽永画面，藏着对烟火日常的温柔体察，尽显于寻常间寻觅诗意的雅致审美。",[23,24,194,28,7,83,5779,11407,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6c858f941ffcace6d9f65b301b5c99f.jpg",[],{"id":34320,"slug":34321,"title":8662,"dynasty":18,"author":1474,"museum":316,"description":34322,"tags":34323,"thumbUrl":34325,"material":139,"size":139,"collection":139,"collections":34326,"showCount":34101,"zanCount":48,"manualWeight":48,"mainColor":94},227736,"shi-dan-ying-xi-tu-li-song-227736","《市担婴戏图》是宋代画家李嵩创作的一幅绢本浅设色画，现藏于台北故宫博物院。此画描绘老货郎担着琳琅满目的百货，妇女、孩童蜂拥而来的情景。",[24,25,1260,28,352,7,106,8665,34324,34,8328,280,8792],"市担","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16ae9504a8080a71cacabd3b44df2120.jpg",[],{"id":34328,"slug":34329,"title":34330,"dynasty":18,"author":3026,"museum":316,"description":34331,"tags":34332,"thumbUrl":34333,"material":139,"size":139,"collection":139,"collections":34334,"showCount":34101,"zanCount":2368,"manualWeight":48,"mainColor":49},227416,"zhao-ling-liu-jun-tu-juan-chang-juan-zhao-lin-227416","昭陵六骏图卷(长卷)","《昭陵六骏图》卷，金，赵霖作，绢本，设色，纵27.4厘米，横444.9厘米。\n此图依据唐太宗昭陵六骏石刻而绘，全卷分六段，每段画一马，旁有题赞。骏马的形态既忠于原作，又注意发挥绘画之长，通过遒劲的笔法和精微的设色，将马匹的毛色表现得更加真实自然，战骑驰骋疆场的雄姿也刻画得十分生动。无论是奔驰、腾跃，还是徐行、伫立，都能曲尽其态。\n六骏中，有侍者率引的飒露紫最为精采。据《旧唐书·王行恭传》记载：“初，从讨王世充，会战于邙山之上，太宗欲知其虚实强弱，乃与数十骑冲之，直出其后，众皆披靡，莫敢当其锋，所杀伤者甚众。寻有劲骑数人追及太宗，矢中御马，行恭乃回骑射之，发无不中，余贼不敢复前，然后下马拔箭，以其所乘马进太宗。行恭于御马前步执长刀，巨跃大呼，斩数人，突阵而出，得入大军。贞观中，有诏刻石为人马以像行恭拔箭之状，立于昭陵阙前。”画面选取的正是王行恭为飒露紫拔箭的刹那情景，粗壮膘悍的王行恭，右手拔箭，左手推抚，身体后倾，目光温和，疼爱之情溢于言表。受伤的马驯顺地伫立，马头与王行恭紧紧相贴，也极富感情色彩。飒露紫前腿紧绷，后腿微屈，极细微地描绘出了战马强忍剧痛的动态。在细节刻画方面，此画较之石刻更加精微。\n其余五匹，拳毛騧为李世民平刘黑闼时所乘，特勒骠为征宋金刚时所骑，均作徐步行进状，双耳竖起，目光有神。身中九箭的拳毛騧，起步轻捷，头部前昂，更显得英俊坚毅，透出久经沙场之神骏的不凡气质。白蹄乌、青骓、什伐赤分别为李世民与薛仁果、窦建德、王世充作战时乘骑，皆作奔驰之状，四蹄腾空，鬃毛飞扬，突出了飞奔的动态和勇猛的冲势，呈现出冲锋陷阵时的雄姿。六匹骏马以不同的动作、神情、气势，表现出共有的轩昂雄健气宇，在历代战马图像中堪称上乘之作。\n从画风看，此图明显吸收了汉族艺术传统，继承唐和北宋时代的画马技法，尤多唐代韩干遗韵。造型准确朴拙，线描柔和匀细，设色浓重沉厚，渲染富有质感。\n此图出自金代画家赵霖之手，为其存世孤本。每段题赞为金代著名书法家赵秉文所写，赵的流传书迹也甚少。唐昭陵六骏浮雕在宋初被勒石摹刻，此画与石刻拓片的线条结构几乎一致，赵霖很可能参酌了北宋的石刻拓片（原石刻现藏陕西省博物馆）而作。\n该卷引首有乾隆帝书《昭陵石马歌》，后幅有赵秉文题记，指出作者是赵霖。",[23,194,24,26,28,7,150,106,86,212,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdd803f502ab548d08a4d7881bc0191c.jpg",[],{"id":34336,"slug":34337,"title":34338,"dynasty":18,"author":15860,"museum":191,"description":34339,"tags":34340,"thumbUrl":34341,"material":67,"size":139,"collection":139,"collections":34342,"showCount":34101,"zanCount":48,"manualWeight":48,"mainColor":49},227397,"hu-xi-san-xiao-tu-xiao-zhao-227397","虎溪三笑图","宋代佚名《虎溪三笑图》，绢本设色，纵26.4厘米，横47.6厘米，无款印，钤“宣统御览之宝”、“珍秘”等鉴赏印四枚，现收藏在台北故宫博物院。画面中，古树参天，虎溪蜿蜒奔流，水花飞溅，红叶飘洒，雾霭沉沉；三位老者气宇轩昂，肢体夸张，面对淙淙虎溪，相识无语，仰天长笑；左一童子肩负包袱、右二童子牵驴等候，样子朴实天真。图中笔细劲锐，设色古雅，远山以淡墨勾染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pear tree in blossom (April - )",[3187,16431,34360,10278,6244,7,34361,211,34362,1171,1463,34363,114,8381,34364,34365],"厚涂技法","开花的梨树","白色花朵","背景树木","木桩","春季景象","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe25f0c7734775190e16aca4cfd79954c.jpg",[3195],{"id":34369,"slug":34370,"title":34371,"dynasty":256,"author":6236,"museum":316,"description":6237,"tags":34372,"thumbUrl":34375,"material":599,"size":600,"collection":3195,"collections":34376,"showCount":34101,"zanCount":48,"manualWeight":48,"mainColor":94},225811,"self-portrait-with-a-straw-hat-verso-the-potato-peeler1887-fan-gao-225811","Self-Portrait with a Straw Hat verso The Potato 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。背景芦苇疏淡、岩石朴拙，以极简之笔衬出主体冲突，暗合元代对生命张力的隐寓。笔墨细腻处见翎羽纹理纤毫毕现，粗犷处显山石气韵苍劲，动静相生间，将自然法则的残酷与壮美凝于绢素，尽显元代花鸟画写实与写意交融的妙境——于无声处听惊雷，于绢素间观天地。",[24,194,83,28,7,3300,27092,176,11542,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0cc36a821ca8467128e4f60dec1bde6.jpg",[90],{"id":34654,"slug":34655,"title":34656,"dynasty":18,"author":257,"museum":191,"description":34657,"tags":34658,"thumbUrl":34659,"material":123,"size":139,"collection":44,"collections":34660,"showCount":34101,"zanCount":2368,"manualWeight":48,"mainColor":49},219172,"shan-yang-tu-yi-ming-219172","山羊图","粉面朱唇的稚子端坐羊背，衣袂鲜妍如霞，手中轻挥短鞭。群羊毛色胜雪，犄角宛转似玉，或驰于坡前，或驻于石畔，或低头嗅草，姿态灵动如生。背景松枝虬劲，梅蕊初绽，墨色浓淡间晕染出清寂古意。线条工细若蚕丝，衣纹褶皱、羊身毫毛皆刻画入微；设色沉敛温润，赭石与石青相映，既见宋画的雅致，又藏孩童嬉戏的稚趣。动静相宜间，似能听见羊蹄踏石的轻响，稚子清脆的笑声，将寻常生活的闲情，凝作千年不褪的画卷。",[24,25,194,28,7,17230,106,1133,820,176,380],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00d784dda5b0462addae6b69112b558a.jpg",[44],{"id":34662,"slug":34663,"title":34664,"dynasty":99,"author":257,"museum":608,"description":34665,"tags":34666,"thumbUrl":34667,"material":123,"size":34668,"collection":90,"collections":34669,"showCount":34101,"zanCount":48,"manualWeight":48,"mainColor":49},218989,"he-tang-shuang-lu-tu-yi-ming-218989","荷塘双鹭图","深褐底色如浸了岁月的绢帛，将双鹭与青荇轻轻托于画的下半阙。一鹭昂首引颈，尖喙似欲刺破空寂；一鹭敛首依偎，绒羽在淡墨晕染下泛着温润光泽。几丛水草如翠带轻扬，碧色破了沉郁底色，添几分野逸生机。画面上虚下实，留白处似有无尽烟波，静谧中藏着自然的温情。笔墨细腻却不繁缛，鹭鸟的姿态、水草的柔劲，皆透着恬淡的生机，如观一段无人惊扰的水泽时光，清寂又动人。",[24,28,7,83,4039,136,1980,262],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25aa8a8cedcc6e9b6cc62630b1cae3dd.jpg","99x43.2cm",[90],{"id":34671,"slug":34672,"title":34673,"dynasty":99,"author":257,"museum":608,"description":34674,"tags":34675,"thumbUrl":34676,"material":123,"size":34677,"collection":90,"collections":34678,"showCount":34101,"zanCount":2368,"manualWeight":48,"mainColor":49},218924,"han-he-shuang-ying-tu-yi-ming-218924","寒壑双鹰图","这幅画表现了一棵高高矗立在峡谷之上的枯树，两只老鹰站在树枝上相互对视。老树用粗大的笔触勾勒出来，盘旋而有力，而老鹰则用细小的笔触描摹出来，几乎随时可以移动。在树的下面，峡谷的激流冲刷出层层水浪，波浪滚滚而来。这幅画显示了艺术家对不同题材的驾驭能力，以及他向许多人学习的能力。虽然这幅画以宋代为基础，但明显具有明代大型花鸟画的大气、奔放、夸张的特点，极具感染力。此画原为五代时期南唐画家郭乾祐所作，但因其无年代感，现归于明代画家。",[24,25,173,7,28,177,3300,795,1353,685,686,1426,109,836,230,1530],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F812e742cba18d3fccd2b284248f14dd1.jpg","200.2x156.1cm",[90],{"id":34680,"slug":34681,"title":34682,"dynasty":18,"author":257,"museum":191,"description":34683,"tags":34684,"thumbUrl":34687,"material":123,"size":34688,"collection":42,"collections":34689,"showCount":34101,"zanCount":48,"manualWeight":48,"mainColor":94},218888,"shen-shu-mao-tang-tu-yi-ming-218888","深树茅堂图","浓荫匝地，苍树如幄，茅堂隐于深翠间，似被林岚轻裹。堂内几榻疏朗，有人凭窗闲坐，或观叶动，或听风吟，意态萧然忘尘。笔墨细处见神：树石的皴染层叠生幽，茅舍的勾勒简净含韵，人物姿态虽小却活脱，尽显宋人对闲居之趣的精微捕捉。无艳色张扬，仅以墨色浓淡铺陈山林静谧，每一处线条皆藏着对自然的敬畏与对隐逸的向往，将宋画小品的雅致含蓄，凝作一方可居可游的林下清境，引人静赏其间悠然。",[23,24,1260,173,7,29,378,34685,989,34686,177],"茅堂","深树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99bf3482e94900427162b996b767bc75.jpg","24.1x23.5",[42],{"id":34691,"slug":34692,"title":34693,"dynasty":18,"author":257,"museum":191,"description":34694,"tags":34695,"thumbUrl":34696,"material":123,"size":139,"collection":44,"collections":34697,"showCount":34101,"zanCount":2368,"manualWeight":48,"mainColor":94},218862,"cai-yao-xian-lv-tu-yi-ming-218862","采药仙侣图","这幅画描绘了一位白袍医生和仙人从医书中挑选药材，而他们身后是隐藏在古松和祥云中的仙山和宫殿。岩山空无一物，背上长满青苔，松树和白鹤都很逼真。",[23,24,25,1260,7,28,106,29,264,25642],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb92b197d6b8f4dd837b06346da680a16.jpg",[44],{"id":34699,"slug":34700,"title":34701,"dynasty":18,"author":257,"museum":191,"description":34702,"tags":34703,"thumbUrl":34705,"material":123,"size":34706,"collection":42,"collections":34707,"showCount":34101,"zanCount":48,"manualWeight":48,"mainColor":94},218853,"lv-rong-mu-di-tu-yi-ming-218853","绿茸牧羝图","画中有一群肥羊在草地上玩耍，两棵柳树枝叶茂盛，在风中摇曳，一个牧羊少年站在树枝上用赶羊棍逗弄小鸟，让人觉得是一个快乐的年。这幅画画得很密，但羊群太厚了，以至于它们显示变现。",[23,24,7,28,67,6162,912,378,34704,746],"牧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F329bebc3a227441ca972027caf511e53.jpg","22.6x23.8",[42,45],{"id":34709,"slug":34710,"title":34711,"dynasty":18,"author":257,"museum":191,"description":34712,"tags":34713,"thumbUrl":34714,"material":123,"size":34715,"collection":42,"collections":34716,"showCount":34101,"zanCount":48,"manualWeight":48,"mainColor":94},218842,"song-yin-fang-dao-tu-yi-ming-218842","松荫访道图","这幅画描绘了一位国王和一位王子向一位僧人请教冥想的情景，并将人物放在一条阴松溪的岸边，溪上有一座石桥，暗示渡口可以到达彼岸。这幅画与刘松年的画派相似，是山水画中人物团扇的典范。",[23,24,7,28,177,5300,1133,106,176,34,3192],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94fd283639ef962c56bc157245007996.jpg","22.5x24.8",[42],{"id":34718,"slug":34719,"title":34720,"dynasty":76,"author":4055,"museum":191,"description":34721,"tags":34722,"thumbUrl":34723,"material":123,"size":34724,"collection":181,"collections":34725,"showCount":34101,"zanCount":2368,"manualWeight":48,"mainColor":94},218723,"fang-zhao-qian-li-jiu-cheng-gong-tu-sun-hu-218723","仿赵千里九成宫图","这幅画描绘的是一座高大的宫殿，人物众多，尺寸不大，是清朝宫廷画家孙祜和丁观的作品，赵伯驹的原作还在，相比之下，孙祜的画一定是再创作，精度极高。",[24,25,194,226,977,104,28,7,29,107,968,176,34,106,115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严谨。当时书画家评论她画的人物称得上逸品，画的山水、花卉称为神品，可见对她的评价相当高。陈书的子孙受她的影响也能书画，在笔墨技法上很像她，可以说一门数代继承家风。她的作品曾为清代皇室珍藏，流传民间也不少。嘉兴博物馆藏有她的花卉真迹，笔者在杭州、苏州、扬州等地也看到过她的作品。她的诗为人们所重视，《复庵吟稿》收集了她诗作的精华，流传至今。",[24,25,226,7,173,83,662,178,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8444c4174ac46ef74113137226711cf.jpg","33*65厘米",[90,2065],{"id":34941,"slug":34942,"title":34943,"dynasty":76,"author":8060,"museum":20,"description":34944,"tags":34945,"thumbUrl":34946,"material":1175,"size":34947,"collection":181,"collections":34948,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":94},238302,"qian-long-huang-di-song-yin-xiao-xia-tu-zhou-dong-bang-da-238302","乾隆皇帝松荫消夏图轴","图绘崇山峻岭、溪水潺潺的郊外，乾隆皇帝身着汉装坐于石案旁，目视着童子烹茶的情景。石案上除有茶杯外，还有弦琴及书本，显现出他于茶道之外的文化修养。此图构思巧妙，作者并没有将贵为天子的乾隆皇帝画得身高体大，而是将他融入于自然山水之中，然后又通过山环水抱、苍松围绕的构图方式，将其自然地归笼到了画幅的中心部位，从而突显了其个人形象及至尊无上的皇权地位。图中的山石结构繁复而错落，笔法尖峭，皴法松秀，既有元人遗韵，又得宋人笔墨之工，因而成功地渲染出世外桃源的清幽雅境。实际画中的乾隆皇帝肖像，当出自郎世宁之手。\n此画轴包首处贴有黄签，题“澄观斋殿内东阁东墙面西挂”，点明了此图作为室内装饰画，曾被挂于避暑山庄的澄观斋殿内。",[24,173,7,177,29,1133,685,379,175,34,106,114,1171,686,24502],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2744412dddd49ddd4fa1d30f51c8f81f.jpg","纵193.5厘米，横158厘米",[181,45],{"id":34950,"slug":34951,"title":34952,"dynasty":76,"author":329,"museum":34953,"description":34954,"tags":34955,"thumbUrl":34956,"material":40,"size":34957,"collection":90,"collections":34958,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":94},238081,"zhu-yin-xi-ling-tu-zhou-lang-shi-ning-238081","竹荫西狑图轴","沈阳故宫博物院","郎世宁，西名加斯提里阿纳Giuseppe，意大利美朗诺市人。于康熙五十四年(1715)来华传教，时年27岁，召入内廷为画院供奉，历仕三朝。画法参酌中西，善写生，人物、花鸟，奕奕有神，尤工画马，如百骏图、名马图、武功图至今有声世界。郎氏初本欲将西法输入中国，因不为清帝所喜，遂创折衷画法。一时从之学者甚众，流风至今未绝。卒年七十八。《故宫郎世宁画集》。郎世宁的主要活动在乾隆时，除了画弘历的肖像外，为清宫画了不少战功图，也画马、画花卉。郎世宁参酌中西画法，设色艳丽，精工细致。",[194,24,25,226,7,28,227,84,8941,746],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62af978560aaab5bcd5e5a1dd51cf3f2.jpg","246×133厘米",[90,45],{"id":34960,"slug":34961,"title":34962,"dynasty":76,"author":2200,"museum":316,"description":34963,"tags":34964,"thumbUrl":34965,"material":139,"size":139,"collection":139,"collections":34966,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":94},237411,"tian-zhu-zhou-wu-chang-shuo-237411","天竹轴","以篆隶笔意写绘，枯笔勾勒的枝干苍古嶙峋，尽显朴拙老辣的金石质感。叶片以浓淡墨色晕染，层次分明，艳红、明黄的天竹果实点缀其间，鲜活饱满，与水墨的素雅形成强烈对比，艳而不俗。\n\n右侧以大写意绘顽石，笔致写意简括，虚实相生，衬出天竹的清逸生机。整幅画作将花木的蓬勃生命力与文人画的雅致意趣相融，笔墨沉郁浑朴，尽显雄浑古拙的独特风韵。",[194,24,25,226,83,7,173,498,19651,230,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc93127e7d2bdb1b52ef872fb7c8c28e5.jpg",[],{"id":34968,"slug":34969,"title":34970,"dynasty":76,"author":6776,"museum":316,"description":34971,"tags":34972,"thumbUrl":34973,"material":599,"size":600,"collection":44,"collections":34974,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":94},236027,"di-jiu-ba-ga-gu-la-zun-zhe-ding-guan-peng-236027","第九拔嘎沽拉尊者","丁观鹏，生卒年不详（生于康熙晚期，约卒于乾隆三十五年[1770年]以后），清代画家，艺术活动于康熙末期至乾隆中期，顺天（今北京）人。丁观鹏雍正四年（1726）进入宫廷成为供奉画家，他擅长画人物、道释、山水，亦能作肖像，画风工整细致，受到欧洲绘画的影响，其弟丁观鹤同时供奉内廷。\n丁观鹏擅长画道释人物，也善画山水。曾与弟弟观鹤同供奉于南熏殿。他的画作清宫收藏很多。与陈枚等六家合作《庆丰图》卷，《太平春市图》卷，与陈枚、孙硝合作《丹台春晓图》卷等，均辑入《石渠宝笈》。传世作品有：《摹宋人雪渔图》和《仿韩 七子过关图》，均辑入《中国历代名画集》。",[24,25,194,28,7,260,106,212,638,409,12508,21044],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc438e95fc298e7d9772a7f546f3f2f00.jpg",[44],{"id":34976,"slug":34977,"title":34978,"dynasty":76,"author":9857,"museum":20,"description":34979,"tags":34980,"thumbUrl":34981,"material":770,"size":34982,"collection":139,"collections":34983,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":94},234954,"xian-yuan-tu-kun-can-234954","仙源图","《仙源图》名即来源于诗之起首二字。根据诗的内容“天都保障石关巈，面对天都峰矗矗。”画的应是黄山天都峰。此图画法以“元四家”为宗，尤其受王蒙影响，构图较满，用线清晰豪壮，墨与色浑然一体，画风苍劲浑厚，意境幽野旷疏。所画景物与自题诗互相生发，相得益彰，把现实中的山水变成了人与自然为一体的生机世界。这里对烟云的描绘使人仿佛置身奇异的梦幻之境。画中题画诗是画面结构的一部分，烟云的留白画法以及全景式的构图都呈现了与西画不同的特点。",[24,25,226,173,7,177,29,107,109,174,353,175,37,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7214b8afcf42954dc5bdd808a86bf5ea.jpg","纵84厘米，横42.8厘米",[],{"id":34985,"slug":34986,"title":34987,"dynasty":99,"author":257,"museum":316,"description":34988,"tags":34989,"thumbUrl":34990,"material":139,"size":139,"collection":139,"collections":34991,"showCount":217,"zanCount":2368,"manualWeight":48,"mainColor":2504},234699,"ming-ren-ren-wu-ce-yi-ming-234699","明人人物册","松荫如盖，幽林静谧，一场林下雅兴悠然铺展。抚琴者宽袍缓带，垂目拨弦，神思尽付丝桐之间。对面雅士凭椅侧坐，背向观者却身姿松弛，似已沉湎琴音，物我两忘。身侧二小童垂手侍立，敛声屏息，更衬得林间静雅安宁。\n\n画笔工细雅致，衣褶线条清劲挺括，将文人的萧散仪态勾勒尽致。古松虬曲苍劲，苔石隐于浅草之间，晕染出幽寂高旷的林下氛围，尽显文人寄情丝桐、酬答知音的清雅意趣，铺陈出明代文人士大夫超脱尘俗的林下襟怀。",[24,7,81,28,106,353,230,195],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fa4abd3ba47454c39dedb2996be91bc.jpg",[],{"id":34993,"slug":34994,"title":27349,"dynasty":99,"author":1057,"museum":316,"description":23646,"tags":34995,"thumbUrl":34996,"material":139,"size":27352,"collection":139,"collections":34997,"showCount":217,"zanCount":2368,"manualWeight":48,"mainColor":94},233915,"hua-hui-cao-chong-ce-xiang-sheng-mo-233915",[24,25,81,7,178,212,1241,838,230,109,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F924abbb355c3eba59bb164c267fd9492.jpg",[],{"id":34999,"slug":35000,"title":35001,"dynasty":99,"author":7823,"museum":20,"description":35002,"tags":35003,"thumbUrl":35004,"material":770,"size":35005,"collection":139,"collections":35006,"showCount":217,"zanCount":2368,"manualWeight":48,"mainColor":94},233751,"qian-gu-hu-qiu-qian-shan-tu-zhou-qian-gu-233751","钱穀虎丘前山图轴","钱穀主张绘画师法造化。他曾说：“丹青者，熔以法，模以天。”此幅作于隆庆元年丁卯（1567年）钱穀59岁时，写虎丘山前山实景，描绘了从二山门到山顶佛阁的景象。千人石、剑池、双吊桶、虎丘寺塔皆收入幅中。从题诗上看，画家是着意表现秋天空林落木、清寂高旷的景致，借景抒情，传达出寻胜访幽的文人雅趣。与《求志园图》一样，此幅山水不只是虎丘山云岩寺的简单再现，而是画家根据画面需要将有特征性的景物进行了重新安排，是意笔楼阁与文人山水紧密结合之作。如果去掉画面中虎丘寺塔等特殊性建筑物，则完全变成了一幅纯文人山水画。",[24,7,177,226,29,107,175,1157,34,176,106,1049],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a26491f6fd766a14bd39dce498d642a.jpg","纵111.5厘米，横31.8厘米",[],{"id":35008,"slug":35009,"title":35010,"dynasty":76,"author":17997,"museum":20,"description":35011,"tags":35012,"thumbUrl":35013,"material":16628,"size":35014,"collection":181,"collections":35015,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":94},233160,"cao-tang-shi-zhi-tu-ce-wang-yuan-qi-233160","草堂十志图册","此册山水是王原祁据唐代卢鸿《草堂十志图》图意，分别仿宋、元诸家笔意，重新加以艺术创作而成。卢鸿原作早已失传，今尚存宋人的临仿本，与此册相较甚殊，是画家师其意而不师其迹之作。该册无纪年，以画笔之苍劲，当是画家晚年之作。10页画，有6开设色，并兼用墨笔，色、墨兼施，浑然一体，清丽中有苍厚之致，为画家毕生努力所形成的特色。其晚年曾请告老还乡，屡为康熙帝所挽留，难免有“身在魏阙，心存江湖”之想，此图册似即追慕前贤草堂之隐的无奈心境的写照，为其晚年代表作。",[24,25,81,7,29,177,685,262,378,114,212,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16167bc107fdf43a3be3d557727deba3.jpg","纵29厘米，横29.5厘米",[181,45],{"id":35017,"slug":35018,"title":35019,"dynasty":302,"author":303,"museum":316,"description":17392,"tags":35020,"thumbUrl":35021,"material":638,"size":35022,"collection":139,"collections":35023,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":49},232903,"shi-lei-wen-dao-tu-juan-qian-xuan-232903","石勒问道图卷",[23,24,25,26,7,28,106,34,3712,176,212,260],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07e96d6b7370b4a6dd7401122337fd33.jpg","28.6x138.5厘米",[],{"id":35025,"slug":35026,"title":31217,"dynasty":18,"author":12243,"museum":316,"description":32463,"tags":35027,"thumbUrl":35028,"material":67,"size":35029,"collection":139,"collections":35030,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":49},232877,"guan-shan-xing-lv-tu-juan-zhao-bo-su-232877",[23,2003,24,25,26,27,7,28,177,29,808,34,795,1273,107,175,108,109,106,150,35,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe216901204382cc7cea56a1c3e25af7b.jpg","26.4x197.3厘米",[],{"id":35032,"slug":35033,"title":35034,"dynasty":18,"author":2497,"museum":12886,"description":35035,"tags":35036,"thumbUrl":35037,"material":67,"size":35038,"collection":139,"collections":35039,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":49},232613,"tian-tai-shi-qiao-ying-zhen-zhou-ji-chang-232613","“天台”石桥应真","《“天台石桥”五百罗汉图》包括有南宋宁波地区民间佛像画家周季常的《应身观音》、《洞中入定》、《经典奇瑞》、《渡水罗汉》，及林庭珪的《施饭饿鬼》等五件作品。据作品上的金泥铭文所示，唐天祐元年（904），明州（今宁波）惠安院青山顶有十六罗汉灵异示现，故称罗汉院，罗汉信仰应运兴起，至南宋绍羲住持惠安院时，约请周季常、林庭珪，历时十余年创作百幅罗汉图以作供养。\n《“天台石桥”五百罗汉图》绢本，均通长约110厘米、宽约53厘米左右，《应身观音》图中央画一位十一面观音，坐于方椅上，左右有四位罗汉。从服饰、赤足及身体的肤色可知，这位十一面观音应是罗汉示现。画面描绘工整细致，用线富有变化。\n此作品显示，南宋佛教人物画的描绘，从单纯的人物塑造向情节性描述发展，从对肃穆凝重气氛的刻画，转向对人物精神状态的描述，尤其对故事情节的关注，成为绘画焦点，具有风俗画与肖像画的特质。此画风对后世影响深远。\n根据《日本原有寺传》记载，《“天台石桥”五百罗汉图》原有百幅，其中六幅原收藏在日本镰仓寿福寺，后相继为北条氏、丰臣秀吉所得，最后进入京都大德寺，另有十二幅于日本明治年间流入美国，华盛顿弗利尔美术馆收藏《天台石桥应真》与《临流洗濯》二幅，波士顿美术馆所得《僧俗供养》、《经典奇瑞》、《舍利观光》等十幅，成为这两馆入藏的两宋绘画珍品。日本京都大德寺则收藏《罗汉供茶》等八十二幅。《“天台石桥”五百罗汉图》作为南宋民间佛画的艺术珍品，于十五世纪被带到日本，递藏源流清晰，画风纯熟、保存良好，是举世无双的瑰宝。\n笔者因30多年研究天台山文化，对天台山佛画亦比较喜欢。在《翰墨荟萃——细读美国藏中国五代宋元书画珍品》书中，读到白话文教授的《中国的罗汉与罗汉画》一文，得知美国华盛顿弗利尔美术馆收藏《“天台”石桥应真》与《临流洗濯》二幅，波士顿美术馆收藏《僧俗供养》、《经典奇瑞》、《舍利观光》等十幅，日本京都大德寺收藏《罗汉供茶》等八十二幅等讯息后，立即联系日本友人，问询何处收有南宋周季常、林庭珪所作《“天台石桥”五百罗汉图》的书籍出版。后经日本友人告知，日本奈良国立博物馆于平成21年（2009）7月曾编辑出版了《圣地宁波》一书，是书追溯了日本佛教与宁波、台州一千三百年的源流关系。其中就收录了日本京都大德寺南宋周季常、林庭珪所作《“天台石桥”五百罗汉图》八十二幅，还收有美国华盛顿弗利尔美术馆与波士顿美术馆收藏的《“天台”石桥应真》与《临流洗濯》、《经典奇瑞》、《舍利观光》等十二幅。笔者喜出望外，立即向在日本东京开“琼芯斋”书店的华人店主黄海先生，订购了《圣地宁波》这部书，并于今年乙未羊年春节收讫。仔细欣赏南宋周季常、林庭珪所作的现存九十四幅《“天台石桥”五百罗汉图》中，有三幅图，最能体现天台山文化特色，故令人最为难以忘怀。\n《“天台”石桥应真》图系笔者故乡天台山石梁飞瀑的圣景，而石桥为中国佛教惟一的五百罗汉道场，此图又是迄今为止发现的最早关于天台山石桥罗汉佛画之作。“石桥应真”，石桥是指天台石梁桥，应真是指“罗汉”。据《“天台”石桥应真》图题记，此图为南宋明州籍画家周季常、林庭珪，于南宋淳熙五年（1178）开始，至淳熙十五年（1188）始毕。画面完全写实:石桥之上瀑水的形态，以及石桥右侧的“横石”，左侧崖际，无不与实地契合。石桥前罗汉驾云而观，右上“栋宇宏壮，图塔瑰奇”；二位罗汉排云出迎，“叙接宛同素识”；而石桥之上僧人恭敬合掌，冀渡桥而入应真之列。观此图，无不与南朝梁释慧皎《高僧传·竺曇猷传》内容相吻。乃知周、林二位毕十年之功，遍访形胜，探寻典故，所作罗汉图并非面壁虚拟。古人作事，虽书画一道，仍郑重非常，于此可见一斑。《“天台”石桥应真》图与《临流洗濯》图二幅，今藏于美国华盛顿弗利尔美术馆。",[24,226,260,28,7,106,29,22323,1426,176,11176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbbbcfe273eca337ff5473accf68cb25.jpg","109.9x52.7cm",[],{"id":35041,"slug":35042,"title":35043,"dynasty":256,"author":257,"museum":316,"description":35044,"tags":35045,"thumbUrl":35052,"material":599,"size":600,"collection":139,"collections":35053,"showCount":217,"zanCount":2368,"manualWeight":48,"mainColor":49},230526,"shi-yi-mian-guan-yin-xiang-yi-ming-230526","十一面观音像","整作设色古雅沉厚，主尊十一面分层布列，正容慈悲端严，余面涵摄喜怒诸相，尽显化度十方的悲悯威德。造像璎珞环身，宝饰华繁却毫无冗杂之感，衣纹敷色晕染细腻，朱金青绿交叠，旧绢底色衬得画面古穆堂皇。莲台与须弥座纹饰精丽，上方悬垂珠络宝幡，似有清灵梵风萦动。构图饱满庄重，线条劲挺兼具柔婉，融密教造像仪轨与工致绘法于一体，岁时虽磨却色泽，却愈发沉淀出静穆圣洁的宗教氛围感，尽显大乘造像慈悲庄严的神性之美。",[23,24,7,28,260,106,1488,226,18133,8170,2168,13680,35046,35047,7689,35048,35049,35050,22387,35051],"细腻线条","服饰花纹","珠宝饰品","竖幅构图","古典绘画","人物服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c3894b15baaa4a686e7c43be3c1aecf.jpg",[],{"id":35055,"slug":35056,"title":35057,"dynasty":76,"author":257,"museum":316,"description":35058,"tags":35059,"thumbUrl":35060,"material":139,"size":139,"collection":44,"collections":35061,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":2504},230310,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-san-a-ge-yin-zhi-yi-ming-230310","历代帝王贵妃大臣朝服像(三阿哥胤祉)","此帧坐像工稳端严，画中男子正襟危坐，神色沉敛肃穆，尽显贵胄威仪气度。石青朝服遍饰精繁彩绣团龙补纹，针脚细密灵动，衬出礼制华贵，领间朝珠莹润垂坠，细节考究合度。髹漆宝座雕纹磅礴大气，龙纹栩栩生动，搭配铺陈的地锦纹样，烘托出庄重肃穆的庙堂氛围。\n\n整体设色典雅厚重，晕染细腻写实，将官方肖像画纪实工致的特质尽显无疑，装裱配色沉稳古雅，晕开旧时光的沉静质感，精准描摹出人物身份礼制与肖像写实的精妙融合，是庙堂肖像画的典型佳作。",[23,24,7,28,106,63,406,226,320],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff830a08fd4c826073b69a616c453c1b.jpg",[44],{"id":35063,"slug":35064,"title":35065,"dynasty":76,"author":1892,"museum":316,"description":35066,"tags":35067,"thumbUrl":35069,"material":139,"size":139,"collection":139,"collections":35070,"showCount":217,"zanCount":2368,"manualWeight":48,"mainColor":94},230246,"jing-shi-sheng-chun-shi-yi-tu-xu-yang-230246","京师生春诗意图","《京师生春诗意图》是清代画家 于1767年（乾隆三十二年）创作的绢本设色画，现藏于北京故宫博物院。\n《京师生春诗意图》受西洋画风影响，采用鸟瞰式构图，描绘出正阳门前的牌楼、市肆、家居等场景。\n它以皇宫为中心，通过城墙、街道、民居及其他建筑构成全局，通过独特且有序的市民活动形成井然有序、不可分割的整体。\n该画将中国传统散点 与欧洲焦点透视画法相结合，描绘了京师的全貌。\n该画作描绘了京师的全貌，画家从正阳门大街画起，由南向北层层展现，前门箭楼、天安门、端门、午门、紫禁城、景山、近大远小一一出现；西苑、中海、南海及琼岛，白塔、金整玉蛛桥亦历历在日。\n乃至天坛祈年殿，都收入画幅之中。\n在画中还表现了诸位朝臣官员过皇恩桥、经筒子河，于下马碑处落轿下马、进宫拜谒场景。\n该幅自题：“乾隆三十二年冬，御制生春诗二十首，命小臣徐扬汇绘全图，庄诵之下，仰见我皇上敬天顺时，尊亲赐福，孕含万有，纲举百端，自朝廷以及闾閤上下，神情体察，咸周兴会所至，拈毫立就，无非太和洋溢，盛德充周，抒性灵而彰至治诚，与乾坤合撰万物同春矣。\n臣资质愚钝，未能图写万一，幸蒙指示详明，敬谨揣摹，四阅月而始成。\n礼明乐备，昭盛世之文章，雪霁云蒸，羡阳春之祥瑞。\n祗缘葵小困之笃于向日几忘，管见之限于窥天谨摅愚忱，上呈睿鉴。\n臣徐扬拜于稽首敬跋。\n” 该画钤“臣徐扬”、“笔沾春雨”印二方。\n根据画幅题字可知，该幅画作是作者徐扬奉 皇帝之命，以御制生春诗二十首为题创作的画作，该画作创作于清乾隆三十二年（1767年）。\n该画的政治意图不可忽视，题诗中就充满天命与之的祥瑞意象，图像更将皇城转化成一个既生动活泼又庄严崇高的地方，其中乾隆拜见母后，以及接见万国来朝的情景更是充满政治意味。\n《京师生春诗意图》受西洋画风影响，采用鸟瞰式构图，将中国传统散点透视画法与欧洲焦点透视画法相结合，描绘了京师的全貌。\n《京师生春诗意图》将乾隆皇帝所作二十首诗的诗文与描写内容，以镶嵌的方式置于北京皇城的空间中。\n该种做法在传统绘画中难以见到，将空间分割成不同故事进行的场景又整合成一完整的地景。\n题诗首句重复，皆是“何处生春早生春”，以时间倒数的方式，叙述宫廷中在新年前夕的活动，直至初一，既具有吉祥意味，又十分有趣。\n《京师生春诗意图》以完整的皇城空间为背景， 装入各式活动，新意十足。\n在小小的空间中“装满”细节，既分割又整合，并且充满视觉上寻找的乐趣，更是盛清宫廷“多宝格”式的设计。\n在表现手法上徐扬借用了欧洲焦点透视的技法，在平面上表现出了深远感。\n但作者又不拘泥于外来技法，同时灵活地运用了传统绘画的缩地法，如画面右下角的天坛祈年殿，按照焦点透视的画法无法将其包容在四中，但画家巧妙地将它移入，使画意更加完整。\n画家又在一些地方画了云雾，即造成虚实对比的艺术效果，又使画幅保持了典雅的民族风格。\n北京故宫博物院副研究员傅东光：从这幅作品中，可以看到中国宫廷画家在借鉴西法过程中的艺术再创造。\n该画作把清代乾隆时期的北京城展现在人们眼前，给后人留下了宝贵的形象资料。\n徐扬（生卒年不详），字云亭，吴县（今江苏苏州）人。\n乾隆十六年（1751年）弘历南巡，徐扬恭献图册，得到皇帝的赏识并因此入宫供奉，在如意馆供职达26年之久。\n擅长人物、花鸟、楼阁，官至内阁中书。",[23,24,25,26,104,7,28,106,107,29,34,120,35068,4059,28015,968,1157,116,115,1169],"春日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8eb681c07e027eab1ee136073f39d74.jpg",[],{"id":35072,"slug":35073,"title":35074,"dynasty":76,"author":563,"museum":316,"description":35075,"tags":35076,"thumbUrl":35077,"material":139,"size":139,"collection":139,"collections":35078,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":94},230185,"hua-niao-cao-chong-tu-ce-8-zhen-hua-yan-230185","花鸟草虫图册8帧","此帧以淡墨晕染湖石，枯槎斜出，缀着将残的花枝，清寂秋意扑面而来。四只文雀神情灵动鲜活，一只振翅回身，似在呼引枝上同伴，三雀或侧耳或抬首，亲昵相映，将秋日荒寒里的生趣尽数勾勒。\n\n设色清浅柔和，禽鸟绒羽蓬松宛然，湖石墨色苍润有层次。左侧题诗与朱红印章错落排布，留白疏密相宜，诗画相生，将萧索秋意与小雀的生机揉合，清冷中带着融融暖意，尽显隽秀雅致的笔墨意趣。",[194,24,25,81,173,7,83,230,209,836],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd89d3818b81f0bfd0b7ea1bf2d27ff9.jpg",[],{"id":35080,"slug":35081,"title":6754,"dynasty":99,"author":257,"museum":316,"description":35082,"tags":35083,"thumbUrl":35084,"material":599,"size":600,"collection":139,"collections":35085,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":49},228809,"hua-niao-tu-ce-yi-ming-228809","以赭色绢面为底，绘就郊野秋光。蓝花明妍澄澈，黄花柔婉轻绽，阔叶舒展带露，棘枝斜斜挑立，野卉错落交织，自呈生趣。一只蜻蜓振翅悬停半空，翅脉纤毫毕现，似正贪恋花间清芬，草叶之下还隐有小虫静伏，幽微生机暗涌其间。\n设色清妍古雅，勾勒工稳精细，花叶向背、虫翼薄透皆写实入微，既有院体花鸟的雅致工整，又带着郊野的疏野天然，将秋日荒闲里的细碎生机凝于绢上，淡朴中藏精妙，笔底暗蕴着对幽逸野趣的脉脉倾心。",[24,7,28,81,83,62,783,211,568],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F111fb455a724f674c275d32dfc9429e3.jpg",[],{"id":35087,"slug":35088,"title":3376,"dynasty":99,"author":35089,"museum":316,"description":35090,"tags":35091,"thumbUrl":35092,"material":139,"size":139,"collection":139,"collections":35093,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":49},228739,"xian-shan-lou-ge-tu-li-shi-da-228739","李世达","这幅画作以古雅青绿晕染山峦，层叠峰岫苍劲灵动，云雾漫过山坳林麓，将整座仙山晕染出空濛虚灵的缥缈意境。林麓间隐着幽致楼阁，烂漫桃林遍植溪谷，白衣雅士或驻足晤谈，或循溪漫游，将山居雅逸尽显。画面以细腻皴法写就山石肌理，青绿设色厚重沉静，糅合出世外仙源的悠然意趣，将文人心中的桃源之境具象铺展，尽显仙逸雅致的古典山水审美意韵。",[23,24,25,27,7,28,177,29,107,106,34,176,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F580ee793cdf2d67b3c1bf37812f2920f.jpg",[],{"id":35095,"slug":35096,"title":35097,"dynasty":99,"author":26106,"museum":316,"description":35098,"tags":35099,"thumbUrl":35105,"material":139,"size":139,"collection":139,"collections":35106,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":94},228496,"yuan-ri-xin-nian-tu-li-shi-da-228496","元日新年图","此作用淡墨晕染出疏朗萧寒的柳林，枝桠错落萧散，衬出元日的清寒底色。河畔村舍错落，堂内乡人围坐把盏，院间孩童嬉闹、邻里揖礼贺岁，桥头水榭行人徐行，处处漫溢着新年的融融暖意。\n画家以松秀灵动的线条勾勒景物，设色简淡古雅，将冬日水乡的清寂与世俗年味相融，写实中饱含诗意。细腻铺陈江南乡间的淳朴乡风，把邻里间的新年温情藏在日常烟火里，让古朴鲜活的乡间元日跃然纸上，尽显雅致又贴近平常的画中意趣。",[23,24,173,7,106,2385,108,35100,983,35101,109,35102,35103,35104,30080,2852,8377,17692],"村舍","枯柳","水乡","新年","贺岁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6928196d431c0946ab7bed432df00a6d.jpg",[],{"id":35108,"slug":35109,"title":35110,"dynasty":99,"author":792,"museum":316,"description":35111,"tags":35112,"thumbUrl":35113,"material":139,"size":139,"collection":139,"collections":35114,"showCount":217,"zanCount":2368,"manualWeight":48,"mainColor":94},228423,"fang-song-yuan-ce-ye-12-kai-lan-ying-228423","仿宋元册页12开","此作用笔苍秀老辣，绘几株古松虬曲苍劲，枯枝嶙峋间点缀松针，尽显古木饱经风霜之态。淡墨晕染远山，留白铺就烟岚空濛，将天地山水的空阔清远晕染开来。右下角溪湾扁舟静泊，渔翁垂坐，简笔勾勒出林下幽居的闲逸图景。\n\n整作以干笔皴擦写就林木古拙意趣，淡彩轻敷浅染坡岸，虚实相生间，融宋元山水的萧散简淡于笔底，将幽寂隐逸的文人意趣藏于淡远空濛的景致中，寥寥数笔便托出天地间静穆旷远的林下清境，尽显山水苍劲空灵的韵致。",[24,25,81,7,173,177,29,353,174,6582,176,796],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8946bfefdc5cc70a0b0588ed9a63688e.jpg",[],{"id":35116,"slug":35117,"title":35118,"dynasty":302,"author":2603,"museum":316,"description":35119,"tags":35120,"thumbUrl":35121,"material":139,"size":139,"collection":139,"collections":35122,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":49},228084,"xi-shan-qiu-se-tu-juan-wang-meng-228084","溪山秋色图卷","此作为全景山水，层峦叠嶂逶迤铺展，林木蓊郁繁密，尽显苍润秀雅的笔墨意致。山居茅舍错落嵌于岩岫林泉之间，野水回环，渔隐泛棹，将秋日溪山清寂又温雅的意趣铺陈开来。\n\n画面以繁密皴法写山石肌理，苔点错落，把秋山厚重朴拙的质感细细勾勒，隐逸悠游的文人林下之趣融于烟岚丘壑。后接诸家题跋，诗画相映，笔墨文心共生，尽显幽淡的文人风骨。",[23,24,25,26,29,177,7,34,176,809,5218,986,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7e2c899842d74a718116e60d41448c9.jpg",[],{"id":35124,"slug":35125,"title":35126,"dynasty":18,"author":2414,"museum":316,"description":35127,"tags":35128,"thumbUrl":35129,"material":139,"size":139,"collection":139,"collections":35130,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":49},227954,"shou-shan-fu-hai-tu-zhao-bo-ju-227954","寿山福海图","此作用色古雅沉静，青绿重晕的孤峰卓立沧溟之上，石质苍润朴拙，尽显山岳沉稳厚重之态。细劲墨线勾描层叠水纹，暗合海波悠悠律动。丹红落日悬垂天际，暖赭晕染暮空，群鸦振翅穿翔于天地间，为静谧图景添了灵动生气。\n\n整体构图简括静穆，将祈福寄寓山海：青山喻绵长福泽，沧海托无涯寿数，红日高悬烘托圆满祥瑞。画作承青绿山水古意，以极简构图脱出繁复，将祝寿之旨融于渺远静阔的图景里，静中藏动，淡而有神，尽显雅致沉静的宋画意趣。",[23,194,24,25,27,7,28,29,230,109,3466,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F182ace73bc094636a83c12be026af239.jpg",[],{"id":35132,"slug":35133,"title":11804,"dynasty":18,"author":257,"museum":316,"description":35134,"tags":35135,"thumbUrl":35136,"material":139,"size":139,"collection":90,"collections":35137,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":49},227901,"bai-tou-cong-zhu-tu-ye-yi-ming-227901","《白头丛竹图》是南宋佚名创作的绢本设色画，现藏于 。\n图中绘小竹数竿，清翠欲滴，两只山雀栖于枝头，一只低头俯视，一只眺望前方。\n竹用双钩填彩，笔墨缜密严谨，色调沉着。\n山雀用淡彩层层晕染，再以尖毫细笔绘出绒羽，刻画准确，富有质感。\n图绘白头翁鸟两只，栖于丛竹之中。\n图中的丛竹，自竹篁中长出的几枝落叶的老枝，画幅左上方伸展，这就打破了左面景物过于稀疏的格局。\n左侧的老枝，竹叶开始枯黄，在几处竹叶根部略见积雪，分明是初冬时节。\n两只鸟伫立于一根枝权上，上者低头梳理羽毛，长尾下垂；下者凝视前方，姿态逼肖。\n本幅无款。\n钤鉴藏印“佟氏家藏”。\n此图过去一直被认为代表了唐代李思训画派的风格，后经傅熹年考证，认为其时代上限不超越南宋中期，而且很可能出自既不了解唐代宫苑之制、也未亲见宋代宫苑贵邸的临安以外地区的民间画家之手。\n此图画竹先以浓墨细笔勾出枝叶，再以淡色渍染，染色时从尖到根逐渐加深，叶根部留白作雪。\n笔墨严谨，色调沉着。\n设色除了竹叶较重的青绿，其他部分用色都很清淡，做到工而不板，丽而不俗。\n两只白头翁先用笔层层晕染，然后用尖毫细笔画出它们身上的绒羽，这样刻画出丰满可爱的白头翁形象，与竹枝、竹叶的劲利画法不同，而柔软蓬松的翎羽与刚直劲挺的竹枝、竹叶，形成艺术效果的对比。\n足见作者在此图上施以多种手法而得到的艺术效果甚佳。\n这是作者对自然界的花鸟进行认真观察、勇于摸索、不断实践创作的结果。\n画面上，两只白头翁立在竹枝之间．一只平视前方，另一只低着头，用喙梳理羽毛，动作显得十分传神。\n竹子采用双钩填彩画法，尤是竹叶似剑锋不锐利。\n在着布局上，色调构图缜密。\n《白头丛竹图》在用线上，竹的线条勾勒坚挺劲利，用笔顿挫提按有力，叶的勾勒显出飘逸、灵动，枝的用线则稳健，叶与枝在统一中求变化。\n白头翁身上的绒羽则用尖毫细笔勾出，与竹一柔一刚形成强烈的张力，既表明了两者形态、质感上的不同，也强化了内在的冲突：环境严寒、凛冽而白头翁的温柔可爱。\n凌寒不屈的寓意需要相应的笔法和设色与之相称。\n白头翁作为主体以黑、白、灰为主，既朴素大方，又对比强烈地镇住画面。\n在中国传统色彩学中，黑与白是所有色彩中的极色，它们在这幅画中被赋予特殊的关注。\n衬景的竹子先染墨后施色，显出了色调的沉着，竹叶稳沉的绿与古铜色绢底既有反差，又有参差的层次，构成和谐的统一。\n叶尖、叶背以及次要的竹枝淡淡施以摊墨，进一步融合了绢与竹在色彩与空间上的联系。\n通幅调子淡雅、朴素、沉着，既是客观的写照而又融人主观的情趣，体现了工笔花鸟画形式所特有的设色的法度：主辅必明，傅染必渐，洪托必匀，雅俗必分，层层值染，使得墨与色和谐相融。\n这一切不仅增加了色彩的厚度，而且也使画面显得细腻而丰富。\n这种微妙屯自然、柔和的变化及空间控制之精妙，是意笔花鸟画难以企及的。\n在构图上，静态的白头翁栖于主位，理羽的白头翁处于辅位，一静一动主次的安排，既莫定画面“静”的基调又使画面有“动”的生气。\n衬景中最醒目的竹干从画面中下部向左中下方斜长出画外，白头翁站立的竹枝伸向右中上方，与右斜带叶小枝形成右上方与中下部的连势，加之竹叶横生长势，与白头翁站立的竹枝同长于一个竹节点，但长势相反且与止于画面的辅枝一起，形成多层次的、非十字形的交叉，既丰富又统一，与冲出画外的竹干长势一同把人的联想引到画外无限的空间。\n会员李敬仕：画家以不同的手法，表现了不同对象的质感和精神气质，使白头翁与劲利的竹枝、叶片形成刚柔对比的艺术效果。",[23,194,24,25,1260,81,28,7,83,227,245,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31eabac537775fc8e4c72a25d5260302.jpg",[90],{"id":35139,"slug":35140,"title":24194,"dynasty":18,"author":1588,"museum":316,"description":35141,"tags":35142,"thumbUrl":35143,"material":139,"size":139,"collection":139,"collections":35144,"showCount":217,"zanCount":2368,"manualWeight":48,"mainColor":49},227634,"shan-shui-tu-ye-ma-lin-227634","马麟（？－？），中国南宋画家，原籍河中（今山西省永济），南渡后三代居钱塘，遂为钱塘（今浙江省杭州市）人。\n\n马麟之父马远是宋光宗、宋宁宗两朝（1190-1224）画院待诏，马麟画承家学，擅画人物、山水、花鸟，用笔圆劲，轩昂洒落，画风秀润处过于乃父。宁宗嘉泰（1201-1204）间授画院祗候，颇得宋宁宗赵扩、皇后杨氏称赏，每于父子画上题句。在《层叠冰绡图》中题诗云：“浑如冷蝶宿花房，拥抱檀心忆旧香。开到寒梢尤可爱，此般必是汉宫妆。”《画史会要》谓：“麟不逮父。远爱其子，多于己画上题麟，盖欲其章也。”",[23,24,194,7,177,81,29,174,106,353,1273,176,3519],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98bf0a985bd51c41419d7d05703c8a3d.jpg",[],{"id":35146,"slug":35147,"title":35148,"dynasty":18,"author":1599,"museum":316,"description":35149,"tags":35150,"thumbUrl":35151,"material":139,"size":139,"collection":139,"collections":35152,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":49},227414,"shuai-qin-xie-zhi-yin-tu-liu-song-nian-227414","摔琴谢知音图","《摔琴谢知音图》中正截取了伯牙摔琴的这个画面，图中一人正恭敬行礼，似在向伯牙告知什么，伯牙则抱琴正要往地上摔，满脸悲怆，似是得知了子期的死讯，悲痛交加，当场破琴绝弦。\n\n子期不在对谁弹，欲觅知音难上难。这是一段世人都为之动容的友谊，自古以来，不知有多少人羡慕并追求这样的友谊。由于弹琴本身就是一件高雅的事情，能从琴声中辨知音，识好友，那就更是一件令人欣喜的事情了。因而在携琴访友图这个主题中，也有着古人对友谊的向往之情。",[23,24,25,194,7,28,29,106,3176,378,176,195,226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd917d7111fdf8bc88c1057a2db4b2247.jpg",[],{"id":35154,"slug":35155,"title":13487,"dynasty":18,"author":13488,"museum":316,"description":35156,"tags":35157,"thumbUrl":35158,"material":139,"size":139,"collection":139,"collections":35159,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":49},227333,"jiu-ge-tu-zhang-dun-li-227333","《九歌》是《楚辞》篇名。原为传说中的一种远古歌曲的名称，战国楚人屈原据民间祭神乐歌改作或加工而成。共十一篇：《东皇太一》、《云中君》、《湘君》、《湘夫人》、《大司命》、《少司命》、《东君》、《河伯》、《山鬼》、《国殇》、《礼魂》。《国殇》一篇，是悼念和颂赞为楚国而战死将士;多数篇章，则皆描写神灵间的眷恋，表现出深切的思念或所求未遂的伤感。王逸说是屈原放逐江南时所作。但现代研究者多认为作于放逐之前，仅供祭祀之用。",[23,194,24,25,26,28,7,106,406,37,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc07a8d04ca48dae273e9dc351d5ef844.jpg",[],{"id":35161,"slug":35162,"title":35163,"dynasty":18,"author":1990,"museum":316,"description":35164,"tags":35165,"thumbUrl":35166,"material":139,"size":139,"collection":139,"collections":35167,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":94},226546,"xi-shan-yuan-xiu-tu-jing-hao-226546","溪山远岫图","五代时期，中原地区战争不断，但西蜀、吴越地区相对安定，文化艺术相对发达，尤其是诗词和绘画成就更高。绘画史上著名的荆（荆浩）、关（关仝）、董（董源）、巨（巨然）都出现在这一时期，他们也都是由五代入宋的画家。\n\n荆、关、董、巨的区别，在荆浩和关仝是北方画家，多图写北方山水的雄奇峻伟，而董源和巨然都是南唐画家，多图写江南山水的秀丽清润。",[23,24,25,173,7,177,29,1169,3561,35,230,3519],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c550c1002f38496dd753a4ceb7637a3.jpg",[],{"id":35169,"slug":35170,"title":35171,"dynasty":76,"author":35172,"museum":316,"description":35173,"tags":35174,"thumbUrl":35175,"material":139,"size":139,"collection":139,"collections":35176,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":94},224582,"feng-xian-dao-gua-jiang-ting-xi-zhang-zhao-224582","凤仙倒挂","蒋廷锡 张照","设色明妍清润，凤仙花柔茎舒叶，艳红花瓣娇柔含露，倚石而生，野趣盎然。两只粉蝶一静一翩跹，将花畔生机尽数晕开，工细笔触晕染出蝶翼薄透肌理，花草枝叶的阴阳向背皆细腻入微，兼具工笔精致与写意雅致。\n右侧行书清劲秀雅，笔势流转间将咏花诗意娓娓道来，诗画相映，铺陈出凤仙花的幽逸品格。整幅册页雅致隽秀，融绘事笔墨与文人意趣于一体，尽显温婉雅致之美，是诗画合璧的精妙之作。",[23,24,25,81,7,28,178,83,264,568,176,484,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b550ce4b068e3759d7ebce65ce339e1.jpg",[],{"id":35178,"slug":35179,"title":35180,"dynasty":76,"author":2883,"museum":316,"description":35181,"tags":35182,"thumbUrl":35184,"material":139,"size":139,"collection":139,"collections":35185,"showCount":217,"zanCount":2368,"manualWeight":48,"mainColor":49},224580,"shu-kui-xuan-hua-tu-jiang-ting-xi-224580","蜀葵萱花图","此作用没骨技法写就，构图疏朗空灵，主次有致。柔粉蜀葵袅袅舒展，花瓣晕染出轻软娇柔的质感，苍绿枝叶勾勒出阴阳向背，鲜活如生。配搭艳红榴花与橙黄萱花，冷暖色调相映，明丽雅致，将仲夏群芳盛放之态尽数铺陈。\n笔墨兼具院体的工致与文人画的秀逸，晕染细腻柔和，不见勾勒之痕却形神兼备，整体意境恬淡悠然，尽显温婉清隽的花鸟意趣，藏着中式美学里独有的夏日闲情。",[23,24,25,7,28,83,4206,35183,1187,554,212],"萱花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9121d78fdc9453ee8ae006a9bede611.jpg",[],{"id":35187,"slug":35188,"title":35189,"dynasty":76,"author":563,"museum":316,"description":35190,"tags":35191,"thumbUrl":35192,"material":139,"size":139,"collection":139,"collections":35193,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":49},224186,"hua-niao-cao-chong-tu-ba-05-hua-yan-224186","花鸟草虫图八-05","这幅花鸟图以画眉为主体，画师以细腻笔触丝写出禽鸟绒羽，蓬松柔润，画眉抬首引颈，俨然正引吭啼鸣，灵动楚楚。枯瘦枝桠以淡墨写出，间杂残红野果，设色清妍冷峭，晕染出秋深烟寒的幽寂氛围。\n\n左侧题诗与画面相映成趣，书画交融，将晚秋荒寒之境与禽鸟的缱绻情态相融，笔致秀逸空灵，尽显清隽雅致的意趣。画师将写生之真与写意之美糅合，寥寥数笔便勾勒出残秋里生机未泯的幽微景致，晕染出深秋独有的怅惘诗意。",[23,24,25,81,7,83,209,7428,1754,498,3052],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a7826f0cacf91bbca0594c3e632a037.jpg",[],{"id":35195,"slug":35196,"title":18721,"dynasty":18,"author":257,"museum":316,"description":35197,"tags":35198,"thumbUrl":35199,"material":139,"size":139,"collection":139,"collections":35200,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":49},223638,"xiao-yi-zhuan-lan-ting-tu-yi-ming-223638","此作用笔细劲圆韧，设色古雅沉着，将一场机锋暗涌的智斗藏于寻常茶谈之间。画面分两组人物，老僧松弛端坐，意态舒展毫无戒心，对面之人敛神静坐，表面闲散实则暗怀城府。侍童仆从各司其职，衬出主客间暗流涌动的张力。\n器物陈设皆循古制，案几、茶具细节写实，尽显古朴雅致。全画以静写动，将巧取《兰亭》的权谋算计融在淡然晤对中，叙事含蓄却极具戏剧感，摹写精细传神，尽显唐画神韵，累代鉴藏朱印环伺，更添传世厚重底蕴。",[23,24,25,26,28,352,173,7,106,212,86,4226,1011,1012,4227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2e31b4f44578334bb757880c21d79b3.jpg",[],{"id":35202,"slug":35203,"title":31957,"dynasty":18,"author":257,"museum":191,"description":35204,"tags":35205,"thumbUrl":35206,"material":40,"size":35207,"collection":139,"collections":35208,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":94},223428,"qian-shou-qian-yan-guan-shi-yin-pu-sa-zhou-yi-ming-223428","观音菩萨头戴化佛宝冠，绀发垂肩，双唇上下都有胡髭，仍作男相，但五官秀美，已流露出女性化的特质。观世音菩萨站于莲花台上，左右各有两位菩萨随侍，下方的天龙八部双手合十，向观音菩萨示敬。",[23,194,24,25,226,260,28,7,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3609fea6b6aec4f00edc649c4078940.jpg","127x58cm",[],{"id":35210,"slug":35211,"title":35212,"dynasty":76,"author":2162,"museum":419,"description":2163,"tags":35213,"thumbUrl":35214,"material":67,"size":2173,"collection":139,"collections":35215,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":94},223054,"hong-lou-meng-179-sun-wen-223054","红楼梦179",[23,24,25,28,7,106,175,108,109,107,243,1241,176,278,114,115,34,1785,380],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10e5eba9e39159cf3c0ab3897bedecf0.jpg",[],{"id":35217,"slug":35218,"title":35219,"dynasty":76,"author":329,"museum":191,"description":1518,"tags":35220,"thumbUrl":35222,"material":7,"size":1521,"collection":139,"collections":35223,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":94},222735,"xian-e-chang-chun-tu-he-hua-yu-ci-gu-hua-lang-shi-ning-222735","仙萼长春图荷花与慈姑花",[23,24,25,81,7,28,83,136,35221,484,137],"慈姑花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45ad0b6a8b52b7b8263a034c82ced6e6.jpg",[],{"id":35225,"slug":35226,"title":35227,"dynasty":76,"author":329,"museum":191,"description":1518,"tags":35228,"thumbUrl":35229,"material":7,"size":1521,"collection":139,"collections":35230,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":94},222733,"xian-e-chang-chun-tu-cui-zhu-qian-niu-lang-shi-ning-222733","仙萼长春图翠竹牵牛",[23,194,24,25,81,28,7,83,227,20779,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e67283e0ab5abccdabbdf139080e20c.jpg",[],{"id":35232,"slug":35233,"title":35234,"dynasty":76,"author":20677,"museum":191,"description":35235,"tags":35236,"thumbUrl":35237,"material":529,"size":35238,"collection":181,"collections":35239,"showCount":217,"zanCount":1379,"manualWeight":48,"mainColor":49},222659,"jiang-shan-chun-ai-zhou-gao-qi-pei-222659","江山春霭轴","高其佩（1660年—1734年，一作1672年—1734年），字韦之，号且园、南村、书且道人，别号颇多，另有山海关外人、创匠等。铁岭（今属辽宁）人，汉军镶黄旗人。清代官员、画家，指画的开山祖师。康熙时以荫由宿州知州迁四川按察使，雍正间擢都统，后罢去。工诗善画，所绘人物山水，均苍浑沉厚，尤善指画，晚年遂不再用笔。\n高其佩“扬州八怪李鱓”之师。其艺术才华出众，能诗、工画，他在细绢上所描绘的亭台楼阁、人物、花鸟、鱼虫等等，笔墨精细，设色艳丽，精妙绝伦。他在临摹了大量的前代名人作品，打下了深厚的根基之后，开创了一条新路。大胆地创造出了别具情趣的“舍笔而求之于手”的表现技法。秀水张浦山著的《国朝画征录》中记载：“高且园善指画，画人、山水花鸟、鱼虫、鸟兽，天资超迈，情奇逸趣，信手而得，四方重之”。高其佩指画有“叱石成羊”之妙，他创作山水、人物、花鸟、走兽时，均信手一挥而就，“倾刻数十幅，……无不绝人。”他一生的作画数量是惊人的。正如他侄孙高秉在《指头画说》一文中所述：“自弱冠至七旬，不下五、六万幅”。可惜其大部分早已失传。保存下来的多藏于各地博物馆，铁岭县文化馆过去曾存有春、夏、秋、冬四幅《竹》。上海出版社出版的《高其佩》（杨仁恺著）一书，对他的生活和创作道路做了详细的论述，指出他的最大贡献是：“标题材之新，立结构之异，对当时和后来绘画艺术都有一定影响。”",[23,24,25,226,7,29,808,37,34,686,31,174,107,108,109,7600,177,1049,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb406e40bfb6d589e4d342608c31e30b5.jpg","241.8x128.1厘米",[181,45],{"id":35241,"slug":35242,"title":35243,"dynasty":99,"author":9392,"museum":78,"description":9393,"tags":35244,"thumbUrl":35245,"material":139,"size":139,"collection":139,"collections":35246,"showCount":217,"zanCount":2368,"manualWeight":48,"mainColor":94},222505,"shen-xian-tu-ce-11-zhang-lu-222505","神仙图册11",[23,24,25,81,7,106,260,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f86f8279f8525d35d5189fc4ce7660f.jpg",[],{"id":35248,"slug":35249,"title":35250,"dynasty":99,"author":18784,"museum":539,"description":30344,"tags":35251,"thumbUrl":35252,"material":770,"size":30347,"collection":181,"collections":35253,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":49},222385,"shi-ga-mou-ni-tu-ding-yun-peng-222385","释伽牟尼图",[23,194,24,25,226,260,28,7,106,29,1273,686,912,809],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f70fcd46abbbbd0f95a6777026a70c0.jpg",[181,45],{"id":35255,"slug":35256,"title":7297,"dynasty":99,"author":1782,"museum":20,"description":35257,"tags":35258,"thumbUrl":35260,"material":40,"size":35261,"collection":181,"collections":35262,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":94},222027,"san-gu-cao-lu-tu-dai-jin-222027","画面描绘的是家喻户晓的刘备“三顾茅庐”拜访诸葛亮的故事。人物的描绘生动而细致，例如刘备恭敬的神态、张飞的深色面庞及武夫样的站姿都描绘得十分传神。人物的动态掌握得非常准确。画山石用大斧劈皴法，松枝颀长，明显继承了南宋马远的画风，用笔简劲。整体画面墨色清雅。\n在明代宫廷画中以“招贤纳士”为题材的历史故事画为数不少，反映了当政皇帝求贤的迫切心情。",[23,24,3559,177,7,106,1133,35259,227,175,176,1426,378,9086,1785],"草庐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6f5519f01f671699f57d3b1bc3dfe2e.jpg","纵172.2cm，横107cm",[181,163],{"id":35264,"slug":35265,"title":35266,"dynasty":18,"author":15860,"museum":191,"description":35267,"tags":35268,"thumbUrl":35273,"material":67,"size":35274,"collection":42,"collections":35275,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":49},221661,"shan-yao-lou-guan-tu-zhou-xiao-zhao-221661","山腰楼观图轴","此图右侧，仅画江水、浅滩、远渚、烟树，山间一条小路迂回盘旋，经前峰山腰渡口直抵后峰山巅，临近山巅处有一片楼台亭阁，一登山行人已走近。右下临水山岩上两人指看远方美景；左侧最高峰画得半壁实半壁虚，虚处乃为江上水气所迷，上升成岚，后面还添上几座淡淡峭峰，启人高远不可测的“仰止”之叹。山际径路盘曲，有两人策杖而上，而楼观却深深埋藏在山坳幽谷中。该图近山浓重，远山清淡，又形成虚实对比。",[23,24,194,226,29,7,107,174,109,27540,35269,35270,1170,116,35271,35272,177],"远渚","山岩","烟岚","径路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ea4c55e52a1cb2248ca13b56096d3fa.jpg","纵179.3cm，横112.7cm",[42,181,45],{"id":35277,"slug":35278,"title":35279,"dynasty":302,"author":1977,"museum":191,"description":35280,"tags":35281,"thumbUrl":35283,"material":1307,"size":35284,"collection":181,"collections":35285,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":49},220894,"que-hua-qiu-se-quan-juan-zhao-meng-fu-220894","鹊华秋色全卷","鹊华秋色图，元代画家赵孟頫于元贞元年（1295）回到故乡浙江为好友周密所作的纸本水墨设色山水画，现藏于台北故宫博物院。\n鹊华秋色图描绘的是济南东北华不注山和鹊山一带秋景，画境清旷恬淡，表现出恬静而悠闲的田园风味。采用平远构图，以多种色彩调合渲染，虚实相生，笔法潇洒，富有节奏感。\n《鹊华秋色图》画中是一片辽阔的泽地和河水，从近景直伸展到远处的地平线。在这好像无际的平远景上，最重要的是两座山：右方突立的是三角形，双峰笔直的华不注山；盘踞在左面的是鹊山，形如面包，又如水牛的脊背。画题就是由这两座山而起的。鹊华二山与近景之间，树木紧多，疏落散布，有杨树、稚松及其他各类。画的左方，可见山羊四五只，在几所简陋的茅舍简啮食。水边轻舟数叶，舟中渔叟正安静地工作。其时正是秋天——一片宁静，有的树叶已脱落了，有的亦赤黄相间。然而村人对这些美景混然不觉，只埋头于他们日常的生计。\n从题跋可知，《鹊华秋色图》作于元贞元年（1295年）冬。这年，作者在任满济南路总管府事，奉召进京又称病辞官回到故乡吴兴。与此同时，祖籍济南的南宋文学家周密自曾祖父随宋高宗南渡客居吴兴后，从未回过故乡，听归隐山林后的作者时常赞美济南的优美风光，勾起了思乡之情，于是请他详细介绍故乡的风土人情。作者被周密深深的家乡情结所打动，觉得把济南风光画出来赠与友人，比口头讲述更加直观形象，便挥毫泼墨，作下这幅画。\n作者虽然受召于元朝，遭到众多宋氏遗臣的诟病，却终其一生都对隐而不仕的南宋遗臣表达出相当程度的理解和尊重。从这个意义上说，《鹊华秋色图》也是在向那些对南宋一朝忠心耿耿而隐居不仕的士人传达作者自己的真实意图。\n作者把两座山分左右布局，右边是华不注山，左边是鹊山，均安排在远景位置。两座山的形状，呈尖三角形（华不注山），一呈半圆形（鹊山），两者遥遥相对。在刚柔对比中，更显得华不注山的险峻奇突。图中中景、近景表现出一片辽阔苍茫的景象。平川洲渚，红树芦荻，房舍隐现。图中林木种类颇多，红绿相间，枯润相杂。树姿高低且变化丰富，布置得宜，聚散自然，多而不繁，疏朗有致。在这水乡山色之中，几个渔民在劳作，或撑篙、或扳网，还有一人策杖漫步在田野，远处可见散放着的牛群，整个画面洋溢着牧歌般的恬静气氛。\n画上树干不是用两条线勾廓外形，而是把边线与树皮的纹理结合在起勾绘。用笔似乎旋转，线条往复重叠，增添了树干的质感。画上近景中景的树叶，点绘得比较疏朗，远树画得简洁，整体感较强。鹊山用披麻，皴法较密。华不注山正面运用了“荷叶皴”，线条从上直落，交叉处稍留空白，突出山的嶙峋之姿。侧面用“解索皴”，整个山体两边皴擦少，边线模糊，但体积感较强。汀岸、平原采用了长披麻并以笔力的轻重，线条的疏密，落墨的深浅凸显干湿，表现出了大自然的节奏和生命。房舍人畜、芦荻舟车均精描细点，再渲染青、赭、红、绿，设色明丽清淡，风格古雅俊秀。作者创造性地将水墨山水与青绿山水融为一体，笔法灵活，风苍秀简逸，富有创新之意。\n图中两座山峰，鹊山为淡花青，华不注山为淡青绿，颜色较为醒目。其他诸景如洲渚、树木等多施以深浅不一的青色，房屋、牛群和一些树叶则用红、黄、精等暖色系，色调冷暖交汇，既显示出秋的清旷高洁，亦呈现出人情的和乐安详。\n明·陈继《泥古录》：山头皆着青绿，全学王右丞与董源。\n在《鹊华秋色图》中，作者以深湛的笔墨功力诠释了即达放逸的山水意境，不仅丰富了文人山水画的表现手段和内涵，更初步确立了元代山水画坛清远自然的整体风格和蕴藉典雅的审美格调，为后世的中国山水画奠定了基础。",[23,24,25,26,173,7,28,177,86,178,212,29,3849,1982,31,34,35,1981,10384,11043,3848,35282,5702],"远树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc6e45f6523596086c4e10a81385abb5.jpg","纵：28.4厘米，横：90.2厘米",[181,45],{"id":35287,"slug":35288,"title":35289,"dynasty":869,"author":35290,"museum":8765,"description":35291,"tags":35292,"thumbUrl":35293,"material":11118,"size":139,"collection":139,"collections":35294,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":94},220460,"bai-she-chuan-guan-liang-220460","白蛇传","关良","关良（1900-1983，出生于广东番禺）笔下的水墨戏曲人物乍一看总会让人怀疑是儿童画，略显稚拙天真。本幅表现的是《白蛇传•断桥》中小青拔剑欲杀许仙而被白素贞阻止的一幕。画中小青双手执剑，一剑正要刺向许仙，而许仙因这突如其来的惊吓而狼狈地跌倒在地；而画面更富戏剧性张力的矛盾则聚焦在白素贞与许仙二人身上，二人妆扮一白一黑，白娘子面对薄情郎，流露出既义愤又怨恨的眼神，双手按住小青的动作又将其爱恨交加的心理表现得淋漓尽致；许仙神色微愠，懊恼地望向了出手相救的白娘子，正欲辩说。画中人物的动作以及眼神的一勾、一搭点出了三人微妙的关系。关良尤其擅长将画面定格在最富于表现力的瞬间，其创作并不诉诸的宏大叙事，而是专注于其笔下人物的爱恨情仇。其画画中有戏、画中有情，往往尺幅虽小，然而生趣无穷。",[24,173,7,106,498,28466],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ce9a521acc084f6ba970bf12bfb5f69.jpg",[],{"id":35296,"slug":35297,"title":35298,"dynasty":76,"author":35299,"museum":316,"description":35300,"tags":35301,"thumbUrl":35302,"material":123,"size":139,"collection":181,"collections":35303,"showCount":217,"zanCount":2368,"manualWeight":48,"mainColor":94},220258,"tian-chi-xiu-xie-tu-juan-qian-du-220258","天池修褉图卷","钱杜","钱杜画法文徵明细笔一路，文雅秀润。以恬静的书卷之气擅名一时。此卷写湖水初涨，夹岸杨柳绽绿，桃杏吐芳，碧草满坡，一派风暖日丽的早春气象。水边林下，有人结伴寻胜；草亭之中，有人闲话清吟；高阁之上，则有高士倚栏远眺。读钱氏自题诗，知是写朋友清明修禊故事。其典雅清丽的笔墨，与文人雅集的闲适情怀正合。是他即景生情，悠然命笔的精心之作。",[23,7,28,177,29,34,176,108,109,175,245,106,150,989,1785,795,1273,118,10384],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f81ae9bb1ca4b38dd9cd77551e6d9ed.jpg",[181],{"id":35305,"slug":35306,"title":1383,"dynasty":76,"author":11085,"museum":316,"description":35307,"tags":35308,"thumbUrl":35309,"material":7,"size":139,"collection":181,"collections":35310,"showCount":217,"zanCount":2368,"manualWeight":48,"mainColor":49},219836,"shan-shui-tu-ren-xiong-219836","此作以明黄为底，石青石绿晕染峰峦，跳脱传统山水的柔和基调，浓烈撞色醒目张扬。群山如利刃攒聚拔地而起，线条苍劲硬朗，勾勒出奇崛陡峭的山石肌理，带着金石般古朴质感。\n\n层叠峰峦错落排布，水色留白穿插山林间，虚实相映，令逼仄山景生出灵动空阔之意。点缀的林木或敷红或点白，为冷硬山石晕开鲜活暖意，让瑰奇山景兼具富丽堂皇与悠远意境，以极具装饰性的手法，演绎出独树一帜的工笔山水新韵。",[23,24,7,27,177,29,30,34,809,686],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b13f78b1724169dff99021f61857a8a.jpg",[181],{"id":35312,"slug":35313,"title":35314,"dynasty":18,"author":257,"museum":442,"description":35315,"tags":35316,"thumbUrl":35317,"material":123,"size":35318,"collection":181,"collections":35319,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":49},219812,"dong-xue-mu-gui-tu-yi-ming-219812","冬雪牧归图","寒林雪野，天地浸在清寂冷冽之中。枯木槎桠凝着残雪，枝梢瘦硬老辣，将冬日荒寒铺陈开来。淡墨晕染出覆雪平野，留白处尽是冬日的空濛静谧。\n\n骑牛牧童裹衣缓行，牛蹄轻踏积雪，打破了郊野的岑寂。萧寒雪景里，归牧的悠然自成暖意，一动一静间，把山野冬日的孤清和归家的温软相融。笔墨极简却意蕴悠长，以简驭繁，将冬日郊野淡远安闲的诗意尽藏其间，尽显雅致悠远的画中真味。",[23,24,28,7,106,151,795,11396,17502,177,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9497df3615e31c5e6e8137d8b9449725.jpg","纵107.20 横49.80",[181],{"id":35321,"slug":35322,"title":35323,"dynasty":18,"author":257,"museum":191,"description":35324,"tags":35325,"thumbUrl":35328,"material":123,"size":35329,"collection":42,"collections":35330,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":94},219603,"gao-shi-yan-qing-tu-yi-ming-219603","高士延清图","槐荫笼罩着夜色庭院，主人凭案闲坐，案上茶盏与香炉静立，暖香似随晚风漫开。侍童垂手侧立于阶下，屏气凝神消解了周遭岑寂。远处木桥隐在墨色里，晕染出幽谧的晚凉。\n\n画面与题诗相映，将林下清谈、养素含英的雅趣揉入笔底。空灵简雅的构图里，淡墨晕开夜色，人物意态松弛闲适，器物雅致沉静，把文人耽于幽寂、追寻雅静的心境铺陈开来。笔致温婉含蓄，将俗世之外的闲澹日常绘得动人，尽现雅致闲逸的生活意趣。",[23,24,25,81,7,178,106,379,378,1010,278,615,35326,35327],"对坐论诗","石棚槐阴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc777cd7db29c9ac0aa735d106cb662bb.jpg","纵25.4横27.2厘米",[42,44],{"id":35332,"slug":35333,"title":35334,"dynasty":76,"author":35335,"museum":191,"description":35336,"tags":35337,"thumbUrl":35339,"material":123,"size":35340,"collection":181,"collections":35341,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":94},219471,"qiu-ri-shan-ju-tu-gu-da-shen-219471","秋日山居图","顾大申","主峰浑穆苍润，烟霭轻缠峰腰，谷内隐见飞瀑流泉，侧畔古寺露檐，幽寂空灵。山坳林木蓊郁，丹黄点染枝叶，暗合秋意。近滩怪石错落，古木虬曲偃仰，苍皮黛叶间杂霜色。溪岸茅舍柴扉轻掩，静听溪石漱水。\n\n以干笔皴擦写山峦肌理，湿墨晕染铺就空蒙烟岚，设色清隽雅致，将林泉幽居的萧散意趣尽数铺展，把幽人忘俗寄迹丘山的襟怀融在尺素间，淡远冲和，尽显秋日山居清旷之美。",[24,25,226,7,29,177,4706,34,176,37,107,108,109,175,35338],"秋日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e23cb5e36ed224305684f548d71d341.jpg","179.1x70厘米",[181],{"id":35343,"slug":35344,"title":35345,"dynasty":76,"author":329,"museum":191,"description":35346,"tags":35347,"thumbUrl":35349,"material":123,"size":35350,"collection":45,"collections":35351,"showCount":217,"zanCount":1379,"manualWeight":48,"mainColor":94},219424,"shi-jun-tu-zhi-pi-li-xiang-zhou-lang-shi-ning-219424","十骏图之霹雳骧轴","画面中白马低首伫立，鬃毛如流云般蓬松柔软，细腻笔触勾勒出毛发的层次与光泽，肌肉线条流畅而富有张力——既藏着写实技法的精准，又含东方笔墨的温润韵味。马蹄的金属质感刻画入微，似能触到那份冷硬厚重。淡雅绢本为底，衬得白马愈发纯净灵动，仿佛下一秒便要抬蹄轻踏。四周题字墨色清劲，朱印错落点缀，红与墨相映成趣，添了文人意趣与雅致。整幅作品将异域写实与东方传统相融，骏马不仅形态鲜活如生，更承载着跨越文化的创作巧思，静静流淌着独特的艺术交融之美。",[194,24,226,28,7,150,212,86,67,35348,27442],"中西融合","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F370ab5df30d34c686775d70ba842eb2d.jpg","239.3x270.1",[45],{"id":35353,"slug":35354,"title":35355,"dynasty":99,"author":792,"museum":191,"description":35356,"tags":35357,"thumbUrl":35358,"material":88,"size":35359,"collection":90,"collections":35360,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":94},219399,"qiu-lao-wu-tong-zhou-lan-ying-219399","秋老梧桐轴","描绘了秋色节令，而图中乾隆皇帝的题诗又为此画增添了流传千古的一段文坛佳话。",[24,226,7,28,83,2265,209,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4552d34b1f14023a19d7989f826fdca7.jpg","136.6x31.2",[90],{"id":35362,"slug":35363,"title":35364,"dynasty":76,"author":494,"museum":316,"description":35365,"tags":35366,"thumbUrl":35367,"material":88,"size":35368,"collection":44,"collections":35369,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":94},219176,"ma-gu-xian-xiang-tu-huang-shen-219176","麻姑仙像图","画面中麻姑面容温婉，眉宇间透着仙逸之气。宽袍大袖随风轻扬，赤足踏地，姿态闲适自在。肩扛阔大芭蕉叶，叶间点缀红蕊，生机暗涌；叶下枝茎修长，握于手中似有轻摇之态。腰间悬橙黄葫芦，系蓝绦，旁缀花草，野趣盎然。笔墨简括洒脱，线条灵动，衣纹用折芦描，流畅中见顿挫，尽显人物飘逸之姿。右侧题跋笔墨纵横，与人物形象相映成趣，融书法与绘画于一体，文人画意趣浓郁。整幅作品仙气与生活气息交织，既见仙家超脱，又含人间鲜活，是写意人物画中的精妙之作。",[23,24,25,498,7,106,63,264,280,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F387ab015edbbb395537ee9821345d6c1.jpg","纵176厘米，横105.3厘米",[44],{"id":35371,"slug":35372,"title":35373,"dynasty":302,"author":6965,"museum":5827,"description":35374,"tags":35375,"thumbUrl":35376,"material":123,"size":35377,"collection":90,"collections":35378,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":49},219086,"liu-xia-cang-lu-tu-zhao-yong-219086","柳下苍鹭图","古梅树浓密，枝头红梅，花开锦绣。 三只白鹭站在粗杆上，昂首挺胸； 发芽的柳条垂下几根，沐浴着春风，像一堵绿墙一样在两边摆动； 小鸟躲在里面，拿着柳条在秋千上荡秋千，或者栖息在春天里，互相欣赏。",[24,194,25,226,28,7,83,1241,4039,662,245,7428],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e32fdc6ff622340002106f04ee40b3a.jpg","231.1x101.9cm",[90],{"id":35380,"slug":35381,"title":35382,"dynasty":18,"author":257,"museum":191,"description":35383,"tags":35384,"thumbUrl":35385,"material":123,"size":35386,"collection":181,"collections":35387,"showCount":217,"zanCount":2368,"manualWeight":48,"mainColor":94},219040,"shui-xuan-hua-xie-tu-yi-ming-219040","水轩花榭图","露台建在岩石上，有一个开放的亭子，下面是一片树林。一条走廊半藏在绿色景观中，其另一端通向两个大厅堂。建筑物的主要部分被小心翼翼地放在画的下半部分，这样，[上半部分]的白色空间就变得更加宽广，而背景是月亮的天空，则非常遥远！。这是南宋微型山水画中典型的空间表达方式。画中的建筑画得很精致，具有逼真写实的艺术风格。画中的人物都有宋人纤细的体态，摆放祭品和攀登亭子可能是官家在仲夏夜的活动写照。",[23,24,1260,7,104,28,107,175,1273,278,176,808],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60c80f01916371f7568e1b5d290868c0.jpg","24.8x25.8",[181],{"id":35389,"slug":35390,"title":4045,"dynasty":18,"author":257,"museum":191,"description":35391,"tags":35392,"thumbUrl":35393,"material":123,"size":35394,"collection":44,"collections":35395,"showCount":217,"zanCount":2368,"manualWeight":48,"mainColor":94},218734,"xi-yuan-ya-ji-tu-yi-ming-218734","它描绘了王诜在西园雅集的故事，一石激起千层浪，人物安排得饶有兴味，人物画风古朴，可能是南宋李公麟作品的翻版。",[23,24,25,7,28,106,34,176,1557,615,10475,115,1010],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94bc6ae28ac3a522246a2352340f410b.jpg","23.9x24",[44],{"id":35397,"slug":35398,"title":35399,"dynasty":76,"author":25036,"museum":316,"description":35400,"tags":35401,"thumbUrl":35407,"material":88,"size":139,"collection":44,"collections":35408,"showCount":217,"zanCount":2368,"manualWeight":48,"mainColor":94},218454,"a-gui-xiang-shen-zhen-218454","阿桂像","画中人物身着清代官服，团龙纹袍服纹饰精细，朝珠垂挂胸前，顶戴花翎彰显尊贵身份。面容刻画入微，眉眼间透着沉稳威严，胡须梳理整齐，尽显儒雅气度。整幅画作工笔细腻，设色庄重典雅，线条流畅利落，服饰的褶皱与纹饰皆栩栩如生，既展现出宫廷肖像画的严谨规制，又蕴含着画家对人物神态的精准捕捉，将清代重臣的威仪与风范跃然纸上。",[24,194,6170,23715,28,7,35402,337,35403,35404,212,35405,35406],"官服","顶戴花翎","团龙纹","沉稳威严","儒雅气度","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8176e3478d5b1dae651c81db0bcf7b0c.jpg",[44],{"id":35410,"slug":35411,"title":1383,"dynasty":99,"author":31005,"museum":5488,"description":35412,"tags":35413,"thumbUrl":35414,"material":1319,"size":35415,"collection":181,"collections":35416,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":49},218419,"shan-shui-tu-wang-e-218419","画面中山峦巍峨，云雾似轻纱缭绕峰谷，虚实相生间显深远之致。近景几株树木枝干虬劲，枝叶婆娑灵动；树下小径上，行旅者或策骑缓行、或负物徐步，身形小巧却动态毕现，为静谧山水添生活意趣。笔墨工细中见洒脱，山石勾勒劲挺皴擦有度，树木点染鲜活，人物刻画传神。构图层次分明，远近错落营造开阔幽深的空间感，既得山川雄浑，又含林泉雅致，尽显明代院体山水的精妙韵致。",[24,29,7,177,226,34,176,106,150,1049,108],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd462fa3e723446f765cd83d78591601.jpg","146x80cm",[181],{"id":35418,"slug":35419,"title":35420,"dynasty":54,"author":257,"museum":2816,"description":35421,"tags":35422,"thumbUrl":35423,"material":2820,"size":139,"collection":139,"collections":35424,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":49},217285,"jiang-mo-bian-dun-huang-tu-juan-2-yi-ming-217285","降魔变·敦煌图卷-2","这段长卷似展开的故事卷轴，每一帧都藏着生动叙事。左侧人群神态各异，或专注聆听，或低声私语，衣袂飘飘间尽显古朴气韵；中间帐内围坐的人物神情热烈，帐幔褶皱线条婉转如流水。画面中段，狮子与牛的搏斗尤为夺目：鬃毛飞扬，四肢腾跃，力量感透过简练线条迸发，动态张力跃然纸上。右侧莲台之上，主尊端坐，弟子环绕神情肃穆，天人持物侍立，枝叶掩映间更添庄严。整幅画作以线为骨，设色古朴，人物呼之欲出，将故事起承转合融于流动画面，尽显古代画者的叙事智慧与艺术匠心。",[24,26,7,352,1846,260,106,746],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9de888ad6cd2d57d419e846ba4083149.jpg",[],{"id":35426,"slug":35427,"title":35428,"dynasty":99,"author":35429,"museum":132,"description":35430,"tags":35431,"thumbUrl":35432,"material":123,"size":139,"collection":90,"collections":35433,"showCount":217,"zanCount":2368,"manualWeight":48,"mainColor":49},216727,"lu-tu-zhou-yuan-216727","鹿图","周渊","周渊（1352年－1419年）是明朝时期的一位学者，他在明朝时期撰写了一本名为《鹿图》的书。这本书的主要内容是关于中国历史的，其中包括有关周渊所生存的时代的历史事件和人物的记录。周渊还编写了许多其他的书籍，其中包括《古今图书集成》、《汉学义谈》和《顺治图书》。周渊是明朝时期著名的历史学家和文学家，他在当时期对中国历史的研究和记录有着很大的贡献。",[24,226,7,28,746,2479,378,380,686],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20428cbe62ec60d3b6feb86ebda3315c.jpg",[90],{"id":35435,"slug":35436,"title":35437,"dynasty":76,"author":257,"museum":316,"description":35438,"tags":35439,"thumbUrl":35440,"material":123,"size":139,"collection":44,"collections":35441,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":49},216041,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-4-ce-yi-ming-216041","职贡图巨幅彩绘册页第4册","画面分左右两帧，各绘人物一。左帧人物衣饰层叠，深色裙摆缀彩边，背篓插伞，手持长杖，神态从容；右帧男子赤足躬身，蓝布装束，握锄耕作，动作写实。笔触细腻，线条流畅，色彩淡雅却不失鲜明，人物形象鲜活传神。画作既展现不同身份者的日常状态，又暗含地域文化特色，通过服饰、工具与姿态的细节刻画，传递出浓郁的生活气息与人文风貌，是窥见清代边地民俗与艺术风格的生动窗口。",[23,320,24,81,7,28,106,409,8379],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3dcab53bbb3176cbc6ce477d2269fdd8.jpg",[44],{"id":35443,"slug":35444,"title":35445,"dynasty":76,"author":257,"museum":6891,"description":6892,"tags":35446,"thumbUrl":35447,"material":123,"size":6895,"collection":139,"collections":35448,"showCount":217,"zanCount":48,"manualWeight":48,"mainColor":49},214338,"da-bei-shen-zhou-fo-xiang-2-yi-ming-214338","大悲神咒佛像-2",[23,24,25,7,28,106,260],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002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。少时学诗于钱谦益，学画于王鉴、王时敏。康熙二十一年入天主教，继至澳门进耶稣会，前后在嘉定、上海等处传教三十年。著有《墨井诗钞》《三巴集》《桃溪集》《墨井画跋》。",[24,25,29,7,177,2428,107,176,34,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3df074ba8c51f80c12f8c57d5b60b59c.jpg",[],{"id":35610,"slug":35611,"title":6834,"dynasty":76,"author":9455,"museum":20,"description":35612,"tags":35613,"thumbUrl":35614,"material":1397,"size":35615,"collection":181,"collections":35616,"showCount":35475,"zanCount":48,"manualWeight":48,"mainColor":94},235015,"shan-shui-ce-wu-li-235015","此图册布局饱满，笔墨苍拙，文人画气息浓郁，具有作者所追求的“神逸”韵味。无年款，从书画笔法来看，应为吴氏晚年画作精品。\n第一开：自识：“月中疏处最秋多，叶叶斜斜映浅波。曾折长条赠行客，只今黄落未归何。予秋柳诗也，并书。墨井道人。”钤“延陵”、“墨井” 朱文印二方。\n第二开：自识：“远岫接烟光，斜阳在钓航。众渔归已尽，独自过横塘。东楼暑薄写此。墨井。”钤“渔山”朱文印二方。\n第三开：自识：“林鸠唤雨不成雨，山鹊呼晴亦未晴。尽日声声是何意，欲催泼墨米图成。梅雨乍霁。延陵历。”钤“吴历”朱文印、“吴历之印”白文印。\n第四开：自识：“春事已云莫，落花门外无。何为井上树，四月尚如枯。渔山子。”钤“渔山”、“墨井”朱文印二方。\n第五开：自识：“墨井道人雨窗拟古，竹醉日。”钤“延陵”、“墨井” 朱文印二方。\n第六开：自识：“萧萧踈踈，木落草枯。空山无人，夜吼於菟。墨井道人。”钤“吴历之印”白文印、“延陵”朱文印。\n第七开：自识：“写元人画，大抵要简澹趣多，曲折有韵。五月小尽日，墨井历。”钤“吴历”、“渔山” 朱文印二方。\n第八开：自识：“石激水流处，天寒松色间。墨井道人。”钤“渔山”、“墨井” 朱文印二方。\n第九开：自识：“前人草草涂抹，自然天真绚烂。小重阳后一日，渔山子。”钤“延陵”朱文印、“吴历之印”白文印。\n第十开：自识：“不是看山定画山，的应娱老不知还。商量水阔云多处，随意茆茨着两间。墨井道人从上洋归，写于东楼。”钤“吴历之印”白文印、“延陵”朱文印、“墨井”朱文印。\n鉴藏印有“虚斋审定”、“莱臣心赏”等17方。",[24,25,81,173,7,29,108,175,795,176,2562],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdea3efc5d206a3c127338aa7c9ce390b.jpg","23.2厘米，横28厘米",[181,163],{"id":35618,"slug":35619,"title":35620,"dynasty":76,"author":257,"museum":316,"description":15366,"tags":35621,"thumbUrl":35622,"material":599,"size":600,"collection":139,"collections":35623,"showCount":35475,"zanCount":48,"manualWeight":48,"mainColor":94},234432,"wen-shu-pu-sa-yuan-liu-tang-ka-zhi-yi-yi-ming-234432","文殊菩萨源流唐卡（之一）",[15368,260,31768,7,6170,16781,8300,107,3661],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65b45f7044590ccff39d70666044e9ab.jpg",[],{"id":35625,"slug":35626,"title":6834,"dynasty":76,"author":35627,"museum":9038,"description":35628,"tags":35629,"thumbUrl":35630,"material":139,"size":139,"collection":181,"collections":35631,"showCount":35475,"zanCount":2368,"manualWeight":48,"mainColor":94},234102,"shan-shui-ce-wang-gai-234102","王概","王概，又作王槩。字东郭，又字安节，后改今名，秀水（今浙江嘉兴）人，久居江苏金陵（今南京）。其兄王耆，其弟王臬皆擅画。王概的山水师法龚贤，黑色疏淡浓墨相间，皴点粗放，苍劲深厚。尤善画大幅山水及松石，《中国美术家人名辞典》称其作品：\n“雄快以取势，苍健或过之，而冲和不足。人物、花卉、翎毛之类，都有味外之味。”\n王概擅治印、刻竹，并善诗文，著有《澄心堂纸赋》。王概在中国绘画史上留名，主要是三十五岁时曾应沈因伯之请，携兄弟，以明李流芳课徒画稿为基础，为《芥子园画传》编绘山水集，率先编绘了中国画技法图谱——《芥子园画谱》。",[24,7,173,81,29,353,175,230,177,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa1c5d69c9f1d0968dfce493fa609542.jpg",[181],{"id":35633,"slug":35634,"title":35635,"dynasty":99,"author":170,"museum":20,"description":25743,"tags":35636,"thumbUrl":35637,"material":770,"size":25746,"collection":139,"collections":35638,"showCount":35475,"zanCount":48,"manualWeight":48,"mainColor":94},233835,"wo-you-tu-ce-xing-hua-shen-zhou-233835","卧游图册－杏花",[194,24,25,81,173,7,83,2328,211,498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf1f2aa10e8f3812d10b6863c0c7125a.jpg",[],{"id":35640,"slug":35641,"title":35642,"dynasty":302,"author":5007,"museum":20,"description":35643,"tags":35644,"thumbUrl":35645,"material":1397,"size":35646,"collection":139,"collections":35647,"showCount":35475,"zanCount":48,"manualWeight":48,"mainColor":94},233747,"qiu-jiang-dai-du-tu-zhou-sheng-mao-233747","秋江待渡图轴","是图以两段式深远构图法画近树繁茂，远山起伏，中间澄江如练，芦雁惊飞，风吹树杪，一派清秋气氛。岸上一年老儒者携书童坐地待渡，江中一舟载客摇橹而来，意境清幽。画法略近董源，用笔疏简尖硬，是盛氏代表佳作。",[24,25,226,173,7,177,28,29,34,174,109,1169,686,245,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f65342cf58865624dc1a8d91ec27f81.jpg","纵112.5厘米，横46.3厘米",[],{"id":35649,"slug":35650,"title":35651,"dynasty":76,"author":22759,"museum":20,"description":35652,"tags":35653,"thumbUrl":35654,"material":770,"size":35655,"collection":139,"collections":35656,"showCount":35475,"zanCount":2368,"manualWeight":48,"mainColor":94},233119,"xi-xi-yu-yin-tu-zhou-zhang-ci-ning-233119","西溪渔隐图轴","主人公西溪时年47岁，身处邗上（约今江苏一带）。图绘西溪长髯戴笠、左手执钓竿、端坐于坡陀之上的情景。他双目有神，神情淡定，面部稍加晕染，衣纹线条简洁。其身后为溪水潺潺，群山渺渺。近前树木高者茂盛，矮者丛生，坡石嶙峋。繁而不杂的景致与清丽淡雅的设色，极好地衬托出西溪高逸的人格和淡泊的情怀。",[24,25,226,173,7,177,29,34,176,106,796,230,353],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc78d95e4f7aa37f40fd62d0d5360cbe2.jpg","纵194厘米，横94.5厘米。",[],{"id":35658,"slug":35659,"title":35660,"dynasty":302,"author":35661,"museum":316,"description":35662,"tags":35663,"thumbUrl":35664,"material":139,"size":139,"collection":139,"collections":35665,"showCount":35475,"zanCount":2368,"manualWeight":48,"mainColor":49},233021,"jiu-feng-dao-ren-san-jun-tu-juan-xu-lin-233021","九峰道人三骏图卷","徐霖","徐霖字子元，号九峰，人呼为髯仙。其先吴人，徙金陵。七岁能诗，九岁能大书，操笔成体。善画松竹花卉蕉石，奕奕有致。武庙南巡，屡幸其家，赏赉甚渥。与沈周交善。",[24,25,26,7,28,150,106,86,178,212,1464,2439],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F320aca22552c8e5380201d37034b90fe.jpg",[],{"id":35667,"slug":35668,"title":35669,"dynasty":99,"author":257,"museum":101,"description":35670,"tags":35671,"thumbUrl":35672,"material":638,"size":35673,"collection":139,"collections":35674,"showCount":35475,"zanCount":48,"manualWeight":48,"mainColor":49},232913,"huang-he-di-tu-yi-ming-232913","黄河地图","考虑到黄河洪水的持续威胁，对该河流系统的研究和管理是清朝宫廷的首要任务之一。 这幅具有纪念意义的地图生动地说明了控制黄河航道的复杂性及其对流域内众多城镇的潜在影响。 该地图绘制于康熙皇帝（1662-1722 年在位）聘请耶稣会传教士团队对其帝国进行全面调查的时期，反映了引入欧洲技术之前本土地图制作的最高水平。 事实上，该地图的吸引力不在于其制图准确性，而在于其对地形特征的图像处理。 展开卷轴，就是去体验从东海逆流而上到龙门急流的戏码。",[23,24,26,7,27,28,29,31,808,32506,14764],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72559ed9e9aa861115d474a474464bb0.jpg","78 x 1285 厘米",[],{"id":35676,"slug":35677,"title":35678,"dynasty":99,"author":1782,"museum":223,"description":35679,"tags":35680,"thumbUrl":35681,"material":67,"size":35682,"collection":139,"collections":35683,"showCount":35475,"zanCount":48,"manualWeight":48,"mainColor":49},232646,"xi-bian-yin-shi-tu-dai-jin-232646","溪边隐士图","戴进早年受画工父亲戴景祥的影响，从锻工改学绘画，擅长工笔。并且常为寺观做佛像，以精工、细巧见长。同时也受到南宋“院体”的影响。中年时，进京入宫，供奉仁智殿，但因呈献得意之作《秋江独钓图》时，遭馋言而被贬斥，最终离开画院。可以说，这一意外的打击是他绘画生涯的转折点。在京城的后十余年中，他泛学诸家，广交文人画家和士大夫公卿，将宋元文人画家的传统渗入到自己的艺术中。晚年，他离京返乡，卖画课徒。并发展了马、夏苍劲的水墨山水，以更为坚劲、雄阔的笔墨，创造出更具运动感和阳刚气势的山水画新风貌，经后世发扬，遂成“浙派”。\n戴进的坎坷经历是他形成复杂性格的直接原因。由于仕途的失败，理想的破灭，使他采取与世无争的态度，开始淡泊名利，洁身自好，借诗文翰墨来怡养性情。因此，画面中的整体氛围是安逸、祥和的。然而作品虽静、幽却没有元人画中的那种消极、凄凉之感。这是因为戴进不同于那些高蹈远行、浪迹山林的文人画家。他是一位在社会上谋生的职业画家，虽然与世无争却并不回避现实，以于世有补的态度来面对人生。他胸怀旷达、志趣高雅，广泛交友，被誉为“博雅之士”。\n画中描绘了一位超凡脱俗的隐士斜坐在山石之上，在他旁边放着一根拐杖，大概是旅途劳累，故在山中休憩。隐士的神情平和，裸露前胸，从微微低垂的眼神中，可看出他正在倾听身旁潺潺的流水声，真是悠哉、闲适的生活。周围的景物只有山石和树木，一片寂静，惟有小溪的“乐音”萦绕整座山林，一直传进幽深之处。人物悠闲的心态与恬淡的景致自然地融合在一起，一切都是那样的自由，那样的随和，在不经意间透露着一种文人的气息。这是作者艺术风格的简逸一面，但这又不同于元人画风的那种淡泊。画中山石勾勒，坚实峻拔，并运用了南宋马、夏的斧劈皴，皴法迅捷刚韧，犹如石斧雕凿一般。看那偃斜多姿的拖枝松是如此的苍劲有力，它身如虬龙，扎根于硬石之中，直冲云天。其曲折的枝干，每一曲，每一折都流露着倔强与刚烈。好似一位坚强不屈战士，又似一位清高绝俗的雅士，傲然挺立于山巅之上。这种刚毅的气质与平静、幽寂的情境形成了鲜明的对比。而二者又在通情达意之间互为补充，取得了完美的平衡。\n作品在题材、布局和画法上，基本是仿效南宋马远一派。如，通过松树和远山、近石形成的对角线构图，山石运用潇洒利落的斧劈皴，松柏的遒劲挺拔，还有人物衣纹细劲顿挫的勾勒等，都极似马麟的绘画风格。本画为水墨淡彩，整体以水墨为主，只是在山石、树木和人物衣服上都略施以淡淡的绿色。这种淡雅的色彩正体现了画的清逸与闲淡之韵。",[23,24,25,226,173,7,29,106,1273,109,686,177,353,1426],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F920c1d68ed02e2884a6e69185f76dca3.jpg","纵137.9厘米，横75.1厘米",[],{"id":35685,"slug":35686,"title":35687,"dynasty":302,"author":1977,"museum":316,"description":35688,"tags":35689,"thumbUrl":35690,"material":67,"size":35691,"collection":139,"collections":35692,"showCount":35475,"zanCount":48,"manualWeight":48,"mainColor":49},232641,"yu-lie-tu-quan-juan-zhao-meng-fu-232641","羽猎图全卷","赵孟頫[fǔ]（1254年10月20日 [1] －1322年7月30日 ），字子昂，汉族，号松雪道人 ，又号水晶宫道人（一说水精宫道人 ）、鸥波，中年曾署孟俯。吴兴（今浙江省湖州市）人，原籍婺州兰溪 。南宋晚期至元朝初期官员、书法家、画家、诗人，宋太祖赵匡胤十一世孙、秦王赵德芳嫡派子孙。\n赵孟頫于南宋末年曾任真州司户参军。宋亡后隐居不仕。至元二十三年（1286年），赵孟頫经行台侍御史程钜夫举荐，赶赴大都，受元世祖赏识，授兵部郎中。此后历任集贤直学士、济南路总管府事、江浙等处儒学提举、翰林侍读学士等职，累官翰林学士承旨、荣禄大夫。自世祖至武宗、仁宗、英宗四朝皆加礼敬。晚年逐渐隐退，延祐六年（1319年）借病乞归。至治二年（1322年），赵孟頫逝世，年六十九。获赠江浙中书省平章政事、魏国公，谥号“文敏”，故称“赵文敏”。著有《松雪斋文集》等。\n赵孟頫博学多才，能诗善文，通经济之学，工书法，精绘艺，擅金石，通律吕，解鉴赏。在绘画上，他开创元代新画风，被称为“元人冠冕”。其绘画取材广泛，技法全面，山水、人物、花鸟无不擅长。其书取法钟繇、“二王”、李邕、赵构等，于篆、隶、真、行、草诸体皆擅，尤以楷书、行书著称；其书风遒媚、秀逸，结体严整、笔法圆熟，创“赵体”书，与欧阳询、颜真卿、柳公权并称“楷书四大家”。此外，赵孟頫倡导师法古人，强调“书画同源“。其绘画、书法和画学思想对后代影响深远",[23,194,24,26,7,177,29,685,34,106,150,746,245,686,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F674047754fa47615d0bb779ab25db07a.jpg","44.5x463.5厘米",[],{"id":35694,"slug":35695,"title":35696,"dynasty":76,"author":12049,"museum":316,"description":35697,"tags":35698,"thumbUrl":35699,"material":139,"size":139,"collection":139,"collections":35700,"showCount":35475,"zanCount":48,"manualWeight":48,"mainColor":94},230973,"su-di-xiao-xia-tu-zhu-cheng-230973","苏堤消夏图","此作以兼工带写之笔铺陈夏意，柔柳垂条拂过崖槎，白鹭独立其上，白羽莹洁，黑喙配明黄眼眸，神态傲然灵动，尽显禽鸟生趣。下方荷塘白莲亭亭舒展，淡墨晕染荷叶，晕开江南盛夏的湿润水汽。枯木苍朴遒劲，与莲柳的清柔相映成趣。设色浅雅清和，禽鸟刻画工细鲜活，花木则写意纵逸，于尺幅间绘就苏堤消暑的幽寂闲澹，将夏日暑热里的清宁逸致娓娓道来，尽显海派花鸟灵动秀雅的风韵。",[23,24,7,83,4039,136,957,137,211,3052],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f9f28911d8a7133a06f0c24a7adda13.jpg",[],{"id":35702,"slug":35703,"title":4960,"dynasty":99,"author":170,"museum":539,"description":4961,"tags":35704,"thumbUrl":35705,"material":500,"size":4964,"collection":90,"collections":35706,"showCount":35475,"zanCount":48,"manualWeight":48,"mainColor":94},230957,"ping-he-tu-shen-zhou-230957",[23,24,25,226,7,28,136,137,229,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9937a425003a6af29aa49db4e9aa7adf.jpg",[90,45],{"id":35708,"slug":35709,"title":17709,"dynasty":99,"author":18784,"museum":316,"description":35710,"tags":35711,"thumbUrl":35712,"material":139,"size":139,"collection":139,"collections":35713,"showCount":35475,"zanCount":2368,"manualWeight":48,"mainColor":94},228908,"lan-ting-xiu-xi-tu-ding-yun-peng-228908","此作用淡墨白描兼皴染铺展林泉雅境，崇山叠嶂掩映茂林清溪，文人雅士沿水列坐，或临流衔觞、展卷题咏，或围坐清谈、凭栏观眺，童仆往来奉侍，将雅集盛景生动铺陈。线条清劲秀逸，山石林木以淡墨晕染，意境萧散淡远，尽显晋人林下风流。卷后题书与画作呼应，书画合璧，将这场集会寄情山水、旷达疏放的雅韵定格，引观者神游千古雅集，沉醉于丝竹觞咏的幽远意境之中。",[23,24,25,26,28,7,352,177,29,106,175,109,1133,227,108,1551],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd7c0d19429f605cd3c2867573406663.jpg",[],{"id":35715,"slug":35716,"title":35717,"dynasty":99,"author":3416,"museum":316,"description":35718,"tags":35719,"thumbUrl":35720,"material":139,"size":139,"collection":139,"collections":35721,"showCount":35475,"zanCount":48,"manualWeight":48,"mainColor":94},228855,"hua-hui-tu-ce-ye-wen-chu-228855","花卉图册页","折枝斜斜舒展于素纸之上，碧叶晕染出通透莹润的质感，隐现的叶脉似携着朝露清光。粉白花萼轻绽，花瓣柔媚含娇，垂首的蓓苞似攒着春日私语，将草木温婉之态藏于笔底。\n此作用淡彩没骨晕染，设色清妍秀雅，摒弃浓艳，仅以浅绛水色晕出花叶鲜活，笔致细腻温婉，静逸情思流于毫端。画面留白简淡空阔，衬出花木幽柔之美，悠悠古意漫溢纸面，尽显雅致静穆的闺阁意趣，是小品花木里的上乘之作。",[23,24,25,81,28,7,83,84,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2f944568edf7a4ea2c9b422bafac893.jpg",[],{"id":35723,"slug":35724,"title":35725,"dynasty":99,"author":1196,"museum":316,"description":35726,"tags":35727,"thumbUrl":35728,"material":139,"size":139,"collection":139,"collections":35729,"showCount":35475,"zanCount":48,"manualWeight":48,"mainColor":94},228477,"shui-cun-xing-lv-tu-juan-tang-yin-228477","水村行旅图卷","这幅画作取江南水村之景，以开阔平湖开篇，远山衔水，汀洲错落疏林点缀，留白尽显烟波浩渺之致。近崖松柳掩映白墙黛瓦，流泉自壁间垂落，衬出村居幽谧。村道上行旅三人缓行，湖面扁舟泛波，处处漫溢悠然野趣。\n\n其设色秀润雅致，山石皴擦柔和却不失嶙峋质感，林木晕染层次丰盈，兼容院体精工与文人逸韵，将江南水乡的温婉灵秀，同恬然自在的乡居日常相融，把明季文人心中的栖居闲意，藏进尺幅山水之间。",[23,24,25,26,7,177,29,106,150,174,34,808,35,109,3960],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d5fd74b5fc2a7f660f6e08bd120b878.jpg",[],{"id":35731,"slug":35732,"title":35733,"dynasty":99,"author":100,"museum":316,"description":35734,"tags":35735,"thumbUrl":35736,"material":139,"size":139,"collection":139,"collections":35737,"showCount":35475,"zanCount":48,"manualWeight":48,"mainColor":94},228457,"shu-chuan-jia-li-tu-chou-ying-228457","蜀川佳丽图","此作为青绿山水长卷，以妍雅厚重的石青石绿晕染峰峦，勾勒细劲工致，层叠山岫间烟波舒展，洲渚江岸错落着村郭田庐，铺陈出蜀地锦绣明丽的盛景。卷后行书笔力雄健跌宕，以豪壮文辞呼应山川奇险，书画合璧，将天府形胜的秀绝与笔墨意趣相融，尽显明韵雅致，是诗书画交织的精妙佳构。",[23,24,25,26,27,7,28,86,178,29,107,108,109,245,175,379,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5da99896dff8c7d266f323b45b68470.jpg",[],{"id":35739,"slug":35740,"title":35741,"dynasty":99,"author":9875,"museum":316,"description":35742,"tags":35743,"thumbUrl":35744,"material":599,"size":600,"collection":139,"collections":35745,"showCount":35475,"zanCount":1379,"manualWeight":48,"mainColor":94},228392,"wu-bai-luo-han-tu-quan-tu-wu-bin-228392","五百罗汉图全图","五百罗汉,一般指佛释迦去世后参加第一次经结集的五百比丘,以大迦叶和阿难首。至于五百比丘的其他人,除知名的十大弟子外,一般没有名号的记载。",[23,24,25,26,7,28,260,106,378,379,746],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e1cf1e9b43a8c99aefbe58ee4ad433a.jpg",[],{"id":35747,"slug":35748,"title":35749,"dynasty":99,"author":857,"museum":316,"description":35750,"tags":35751,"thumbUrl":35752,"material":139,"size":139,"collection":139,"collections":35753,"showCount":35475,"zanCount":48,"manualWeight":48,"mainColor":49},228322,"tong-xia-shou-jiao-tu-chen-hong-shou-228322","桐下授教图","此作用笔古拙苍劲，古桐盘屈虬结，苔痕覆着老干，轻烟柔云缠绕枝梢，晕染出幽绝尘寰的林下氛围。\n凭几高士神色恬然，似正开示妙义，下方弟子敛衽跪坐，垂首凝神聆听，将闻道的敬慕全然藏于姿态之中。侍童静立侧旁，案头瓶花清隽雅致，衬出雅静出尘的文聚意境。\n线条清圆凝练，设色淡静沉稳，人物造型奇崛古雅，带着独有的变形意趣，把魏晋林下清谈的萧散高逸，收于尺幅之间，尽显静穆古雅的晚明文人意韵。",[23,24,25,226,7,28,106,11716,10342,84,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffab28a2765a4b73f109df837ac62eabb.jpg",[],{"id":35755,"slug":35756,"title":35757,"dynasty":302,"author":1977,"museum":316,"description":35758,"tags":35759,"thumbUrl":35760,"material":139,"size":139,"collection":139,"collections":35761,"showCount":35475,"zanCount":48,"manualWeight":48,"mainColor":94},228261,"jiu-ge-tu-quan-juan-zhao-meng-fu-228261","九歌图全卷","此作为书画合璧妙品，设色清润秀雅，线条如春蚕吐丝，柔中带劲。画卷中仙女神祇各具神采，云中君衣袂翩跹荷影随行，东皇太一端方威严，侍神拱卫左右，将屈子笔下楚地仙灵的缥缈风神尽数铺展。\n\n篆籀书风古朴苍劲，文辞与图绘相得益彰，把《九歌》巫祭歌辞的浪漫幽渺氛围烘托殆尽，将上古巫仪的清灵庄重融于笔端，尽显追摹古意的沉静笔致，让观者恍如置身楚地巫歌灵舞的缥缈幻境之中。",[23,24,25,26,7,28,106,406,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5ab31f24e204da3141a05e8169e38bb.jpg",[],{"id":35763,"slug":35764,"title":35765,"dynasty":302,"author":831,"museum":316,"description":35766,"tags":35767,"thumbUrl":35768,"material":139,"size":139,"collection":139,"collections":35769,"showCount":35475,"zanCount":48,"manualWeight":48,"mainColor":49},228171,"jiu-ma-tu-juan-ren-ren-fa-228171","九马图卷","长卷铺陈出闲适的厩苑日常，人马排布错落自然。左侧马厩中，良驹或垂首饮水，圉人侍立旁侧打理，马匹肌理骨骼刻画写实细腻，鬃毛发丝晕染柔和，尽显膘肥体健的神骏姿态。中段花马被牵徐行，昂首灵动，牵马人步履悠然，动态鲜活。右侧骏马昂然伫立，侍者低语顾盼，氛围平和悠然。\n整作线条劲挺流畅，设色清雅柔和，将鞍马画的写实功力尽显，既描摹出良驹矫健俊朗的风神，又勾勒出牧马日常的恬淡图景，藏着对写实工笔的精妙把控，尽显古风雅致的鞍马画韵致。",[23,24,194,26,28,7,150,106,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53f1d3e204d63756ad26041aa9243c11.jpg",[],{"id":35771,"slug":35772,"title":26528,"dynasty":302,"author":21122,"museum":316,"description":35773,"tags":35774,"thumbUrl":35775,"material":139,"size":139,"collection":139,"collections":35776,"showCount":35475,"zanCount":2368,"manualWeight":48,"mainColor":49},228068,"lou-ge-tu-xia-yong-228068","这幅团扇界画依山构宇，层叠楼阁沿山势铺展，朱漆廊柱配青釉瓦当，飞檐翘角凌然欲飞，界笔走线匀细挺括，将台榭回廊的错落层次勾勒得分毫毕现，尽显楼阁的巍峨明丽。\n\n青绿山水晕染雅致，石色清润，和明艳楼宇相映成趣，晕出缥缈出尘的仙山意境。下方江岸点缀行人舟楫，鲜活烟火气融入清寂山境，动静相生，整幅画面繁而不乱。画师以精微笔触，将界画的工整雅致和山水的空灵柔和相融，在尺幅团扇间铺展出一方兼具逸趣与精工的世外天地，尽显传统界画的独特意韵。",[23,24,28,104,27,7,29,107,106,175,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc7acd25e761741b7385067a14721df4.jpg",[],{"id":35778,"slug":35779,"title":35780,"dynasty":18,"author":257,"museum":316,"description":35781,"tags":35782,"thumbUrl":35783,"material":139,"size":139,"collection":139,"collections":35784,"showCount":35475,"zanCount":48,"manualWeight":48,"mainColor":94},227935,"qing-feng-ju-die-tu-yi-ming-227935","青枫巨蝶图","《青枫巨蝶图》是宋代佚名画家创作的一幅绢本设色画。\n描绘了伸出嫩绿色枫树一株，枝叶婆娑。\n一只赭黄色巨蝶从右上侧凌空飞临，与枫叶构成平衡的对角关系。\n本幅无款。\n鉴藏印钤“大观”葫芦形朱文印以及“石渠宝笈”、“乐 善堂图书记”、“重华宫鉴藏宝”印。\n钤清乾隆、嘉庆二御览印。\n图左下方更有鲜红色 伏于枫叶之上，十分俏皮。\n画风高度写实，细致入微。\n画法的特点一是细线勾勒，笔若游丝，使蝶与枝、叶的形态皆极为轻倩灵秀；二是设色淡雅明快，红、绿、黄对比鲜明，给人以清新出尘之感，不落浓艳俗套。\n存《 》册中。\n《 》著录。",[23,194,24,25,1260,7,83,28,4952,484,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49b2cd2c17f1f932ab06e135ac4df848.jpg",[],{"id":35786,"slug":35787,"title":35788,"dynasty":18,"author":1315,"museum":316,"description":35789,"tags":35790,"thumbUrl":35791,"material":139,"size":139,"collection":139,"collections":35792,"showCount":35475,"zanCount":48,"manualWeight":48,"mainColor":49},227775,"chi-bi-sheng-you-tu-ye-li-tang-227775","赤壁胜游图页","赤壁之战是中国历史上极为著名的战争；它是用灵活战术发挥以寡击众的成功战例。战争从双方集结到交战，前后历时几个月，但却传颂了一千多年，至今不歇。后世以诗词歌赋、艺术书法，戏剧歌曲，各种方式称颂这场战争及参与这场历史盛会的英雄。\n\n赤壁之战除了战争前魏、蜀、吴三方阵营斗智、权谋攻防的尔虞我诈，战争过程中极富戏剧性的发展脍炙人口外，战后的影响也是令后世热衷讨论、研究的焦点。一般说来，魏、吴、蜀三分天下的契机奠定于这场战争。然而，三国鼎立的局面虽然出现了，但最后统一的局面，并非由参与这场战争的任何一方完成。历史的发展，曲折迂迴似乎没有必然的逻辑。\n\n赤壁之战引起后世无尽的兴味，还有一项重要的原因，即为参与这场战争的「与会者」，都成为后世讨论的对象。在中国历史上，很少有一个时代突然出现那麽多人才。就人才分佈而言，各方阵营济济多士、猛将如云。长久以来，后世习惯立场的选择，加上《三国演义》小说、戏剧的推波助澜；因此，读史时便无意中流露出对历史人物的偏爱了。\n\n后世歌咏赤壁的艺术绘画、书法作品众多，我们选辑一批，不用亲临，在纸上感受千年以来赤壁的风云际会。",[23,194,24,25,81,173,7,29,174,1273,686,109,106,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe85967083dcbba194a327a2d2f6d7070.jpg",[],{"id":35794,"slug":35795,"title":17709,"dynasty":18,"author":2361,"museum":316,"description":35796,"tags":35797,"thumbUrl":35798,"material":139,"size":139,"collection":139,"collections":35799,"showCount":35475,"zanCount":2368,"manualWeight":48,"mainColor":94},227607,"lan-ting-xiu-xi-tu-li-gong-lin-227607","《李公麟兰亭修禊图》是宋朝李公麟创作的人物画，再现了当年王羲之等人雅集之状，现被私人收藏。",[23,194,24,25,7,104,29,106,107,175,34,176,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36c442252580f8eabaa25ca0afe38259.jpg",[],{"id":35801,"slug":35802,"title":35803,"dynasty":18,"author":4254,"museum":316,"description":35804,"tags":35805,"thumbUrl":35806,"material":139,"size":139,"collection":139,"collections":35807,"showCount":35475,"zanCount":48,"manualWeight":48,"mainColor":49},227495,"qiu-she-tu-ye-fan-kuan-227495","秋涉图页","范宽（950-1032）宋代杰出画家。字仲立，一说中立。华原（今陕西耀县）人。北宋山水画家，生活于北宋前期，名列北宋山水画三大名家之一。因为他性情宽厚，不拘成礼，时人呼之为“宽”，遂以范宽自名。据《宣和画谱》记载，他风仪峭古，进止疏野，性嗜酒，落魄不拘世故。",[23,24,25,29,177,7,353,1353,106,150,109,685,379,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad3f20715eb8a0623d5ede94214d8517.jpg",[],{"id":35809,"slug":35810,"title":35811,"dynasty":54,"author":456,"museum":316,"description":35812,"tags":35813,"thumbUrl":35814,"material":599,"size":600,"collection":139,"collections":35815,"showCount":35475,"zanCount":48,"manualWeight":48,"mainColor":2504},227078,"yi-yu-lai-wang-tu-ye-yan-li-ben-227078","异域来王图页","此幅应为伪本",[23,24,194,25,81,7,28,106,746,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdfae74aa3a781c82197b6a3cd63ac32.jpg",[],{"id":35817,"slug":35818,"title":35819,"dynasty":76,"author":5341,"museum":316,"description":35820,"tags":35821,"thumbUrl":35822,"material":139,"size":139,"collection":139,"collections":35823,"showCount":35475,"zanCount":48,"manualWeight":48,"mainColor":94},226629,"si-shi-shan-shui-02-pu-ru-226629","四时山水02","溥儒(1895-1963)，满族，北京人。近代国画大师，出身清皇族，姓爱新觉罗，字心畲，又号羲皇上人﹑西山逸士。曾留学德国，笃嗜诗文、书画，皆有成就。画工山水、兼擅人物、花卉及书法，昔时与张大千有“南张北溥”之誉，又与吴湖帆并称“南吴北溥”。",[23,24,25,194,226,173,7,29,230,1273,245,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5fbaef9558d710642e3f6aa6b5a09eb.jpg",[],{"id":35825,"slug":35826,"title":28512,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":35827,"thumbUrl":35828,"material":599,"size":600,"collection":139,"collections":35829,"showCount":35475,"zanCount":2368,"manualWeight":48,"mainColor":49},226181,"ku-zhu-shi-bei-pi-yi-ming-226181",[511,260,7,352,106,4027,5883,3661],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bad77cbc2511d5040d3adeee0e4ae14.jpg",[],{"id":35831,"slug":35832,"title":35833,"dynasty":256,"author":257,"museum":316,"description":35834,"tags":35835,"thumbUrl":35836,"material":139,"size":139,"collection":139,"collections":35837,"showCount":35475,"zanCount":48,"manualWeight":48,"mainColor":94},225299,"fu-shi-hui-20-yi-ming-225299","浮世绘20","以平远视角铺展幽谧山水，青绿与浅赭晕染层叠丘峦，远景丹峰隐现薄雾间。苍松错落点缀崖岸水畔，清劲枝条勾勒古拙苍劲的意态。蜿蜒水泽以留白代雾霭，将远近景致朦胧晕开，崖间飞瀑垂落，松林深处掩映山居小屋，暗合隐逸幽居的雅趣。\n\n敷色淡雅柔和，线条清简雅致，将山居逸趣融于山水之间，带着恬淡禅意，把林泉山水的空灵悠远定格于纸面，尽显东方山水美学里悠然出世的诗意。",[12745,7,4006,29,1426,1273,809,37,1169,35,686,34,16440,3884],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3d34a0a4546fef429a300e8f75a2d43.jpg",[],{"id":35839,"slug":35840,"title":35841,"dynasty":76,"author":3914,"museum":56,"description":35842,"tags":35843,"thumbUrl":35844,"material":11980,"size":35845,"collection":181,"collections":35846,"showCount":35475,"zanCount":48,"manualWeight":48,"mainColor":49},224487,"yuan-shan-gang-luan-tu-wang-jian-224487","远山岗峦图","构图繁而不乱，山石错落有致，而且笔法华润圆细，秀逸中不失严谨，纤细而不流于柔弱，刚柔并济，浓淡兼施，皴染同举，别有风采。\n这幅作品虽然是仿古，但是作者也是在临摹古画的基础上又融入了自己的思想而创作的，有他自己的特色。纵观全图，坡岸上石矶堆砌、层叠向上，远处山体高耸，峭壁悬崖，气势壮观。山上林木葱茏、青翠、茂盛，清气袭人。远处山涧，瀑布飞流直下，泻入溪中。岸边、山腰上建有水榭亭台、屋宇楼阁，或隐或现。一高士神态安详，端坐于水榭中，环视着四周淡远的景色。他那悠然自得、轻松惬意的神情深深地感染着观者。\n此画为竖构图，景物布置得繁而不塞、杂而不乱，可谓层次分明、经营有序。画家用浅赭色染树干、坡脚及屋墙，树叶和崖顶的平台用石绿色染出。由于山石多次以淡墨皴染，又用焦墨反复 积加，所以画面显得浑厚壮观。不过，山石用笔含蓄内敛，丝毫没有外露的痕迹，皴法细密、刻画准确、墨色浓润，所以又为画面增添了灵秀之气。再加之少量的赭色晕染，使画面达到了刚劲与柔美、雄浑与雅秀的统一。更值得一提的是，画家在设色上并非勾勒填彩，而是将石绿、淡赭、水墨自然地融合在一起，故此画没有以往青绿山水画的俗艳之气，而是别有一种雅淡之韵、灵逸之趣。王鉴在青绿设色上是少有的高手，据说清代三百年间的山水画家中很少有人能超过他。这一点，由此图可窥见一斑。\n此图款署“庚戌九秋，仿黄子久笔意，王鉴”，下钤“王鉴之印”。王鉴的画大多题“仿”古人，如“仿北苑”、“仿令穰”、“仿雪松”、“仿江贯道”、“仿董源”、“仿巨然”等。但他的“仿”并不是简单地模仿古人的笔墨技巧、构图布局，而是重在体味、吸收、融汇前人的笔墨结构，以形成自己的山水画语言。此图便是画家以模仿黄公望的笔意为主，又融合董源、巨然两家之萧散、平淡的风格绘成的。画家用墨色由淡及浓地层层晕染，使作品虚实有致、层次丰富。此画较黄公望的画更加清润、明洁，有一股清雅的书卷气。王时敏称王鉴的画“以秾丽为宗，然高华、秀逸兼而有之”。",[23,24,7,177,29,808,34,1273,989,809,686,1169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b666d72fb7f59c63cabf0b46996ab26.jpg","151cmx66cm",[181],{"id":35848,"slug":35849,"title":35850,"dynasty":76,"author":12058,"museum":316,"description":35851,"tags":35852,"thumbUrl":35853,"material":139,"size":139,"collection":139,"collections":35854,"showCount":35475,"zanCount":48,"manualWeight":48,"mainColor":94},224348,"hua-yu-wang-cheng-pei-224348","花鱼","整体设色清润淡雅，浅赭素底晕染出郊野荷塘的柔谧底色。青碧荷叶错落舒展，笔触细腻柔和，尽显叶片的舒展肌理。嫩黄荷花亭亭玉立，娇柔的花瓣晕染出清润生机。水草丛生以写意笔触绘就，浅淡墨色晕染出郊野塘岸的野趣。几尾小鱼线条灵动轻盈，悠游穿梭在水间，将池水的空寂与鲜活融为一体。画作在极简构图间藏着悠然禅意，无繁复铺陈，以淡彩晕开清和静谧的夏日氛围，把荷塘一隅的鲜活雅致勾勒尽致，尽显文人画的松弛恬淡与清雅意趣，尽显中式美学的悠然韵味。",[23,24,25,81,28,7,83,228,722],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70272027dd70c00ffffadaec8b4ec100.jpg",[],{"id":35856,"slug":35857,"title":35858,"dynasty":76,"author":35859,"museum":316,"description":35860,"tags":35861,"thumbUrl":35862,"material":139,"size":139,"collection":139,"collections":35863,"showCount":35475,"zanCount":48,"manualWeight":48,"mainColor":49},224339,"guan-bang-tu-juan-liang-xiang-224339","观榜图卷","梁亯","画面铺展乡野村居的鲜活日常，黛瓦村舍错落排布，临河的敞轩里有人闲坐观景，石拱桥畔有人凭栏眺望。山道间行人三两，或驻足热切交谈，或信步缓行，晕染出放榜后的松弛氛围。\n\n青绿点染坡岸古木，苍枝翠叶间生机盎然，工细的界画勾勒出民居的质朴规整，衣袂飘举的人物鲜活灵动。没有宫墙下的喧嚷拥挤，转而描摹乡邻间传递喜报、私语闲谈的烟火日常，将士林放榜后乡里的起落心绪融在淡雅的设色之中，笔底尽是平淡又真切的世情暖意，复刻出旧时乡野间的鲜活世相。",[23,24,25,26,7,28,104,106,107,108,34,245,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec17a44f425b0d90604d33eb2089636e.jpg",[],{"id":35865,"slug":35866,"title":35867,"dynasty":76,"author":1829,"museum":316,"description":35868,"tags":35869,"thumbUrl":35870,"material":139,"size":139,"collection":90,"collections":35871,"showCount":35475,"zanCount":48,"manualWeight":48,"mainColor":94},224320,"hua-niao-shi-er-kai-tu-li-shan-224320","花鸟十二开图","泼墨写就湖石，酣畅间尽显灵秀通透，似藏嶙峋古意。石畔花枝挺秀，粉紫娇花轻点晕染，明雅柔丽的设色晕开春日清趣。双鸡意态生动，一昂首侧目警觉周遭动静，一垂首理羽尽显慵懒闲适。禽鸟羽毛以淡墨晕染辅以细笔轻勾，将绒羽蓬松柔润的质感尽数铺陈。\n\n左畔行书款识笔意潇洒，与写意画格相融，诗书画印浑然一体。整幅兼工带写，既有文人写意的简逸纵恣，又不失精微写实的生趣，将花木禽鸟的天趣雅致藏于笔端，尽显悠然野逸的林下清致。",[23,24,25,81,173,7,83,230,1530,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04865c6f750cd80cf1f66c8c803e6a71.jpg",[90],{"id":35873,"slug":35874,"title":35875,"dynasty":76,"author":563,"museum":316,"description":35876,"tags":35877,"thumbUrl":35878,"material":139,"size":139,"collection":139,"collections":35879,"showCount":35475,"zanCount":48,"manualWeight":48,"mainColor":49},224185,"hua-niao-cao-chong-tu-ba-04-hua-yan-224185","花鸟草虫图八-04","此作画境清寂空灵，以大片素净绢底铺就秋意寥廓。枯曲枝桠携残叶斜垂，晕染出沉郁秋容，瘦硬题诗暗合秋声萧瑟。\n\n寒蝉静栖残叶之上，翼脉纤细通透，躯体晕染青绿，将蛰伏静气藏于枯叶间；野蜂振翅独行，墨色凝练收拢，晕开秋日细碎生机。设色简淡克制，枯褐与浅绿相映，将清秋的清寒与虫豸生趣相融，以小景见秋深，尽显文人写意的淡远雅致，把清秋里幽微的生命意趣娓娓道来。",[23,24,25,194,81,7,173,83,483,553,554,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5a6ebe9dc7f416e70b255842e6dea0d.jpg",[],{"id":35881,"slug":35882,"title":35883,"dynasty":18,"author":257,"museum":316,"description":35884,"tags":35885,"thumbUrl":35886,"material":139,"size":139,"collection":139,"collections":35887,"showCount":35475,"zanCount":1379,"manualWeight":48,"mainColor":49},223643,"liao-gui-tu-yi-ming-223643","蓼龟图","此作构图疏淡清寂，以淡赭铺陈出秋日汀洲的柔和底色。坡石间灵龟敛息静伏，背甲纹理勾勒写实，憨态稚拙尽显。旁侧蓼花柔茎舒展，青绿叶片晕染雅致，淡紫碎花垂曳生姿，下方蓝紫小花点缀水岸，野趣悠然。\n画作工写相融，灵龟与花木刻画精细，设色清雅柔和，大片留白烘托出幽谧空寂的意境，尽显宋人小品的雅致意趣，将郊野闲逸之景凝于尺幅间，藏着对自然细微之美的敏锐体察，晕开悠然沉静的田园诗意。",[23,194,24,25,81,28,7,83,746,3539,8275,230,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9b574896c7d5eafa0c0c152a688c269.jpg",[],{"id":35889,"slug":35890,"title":35891,"dynasty":18,"author":257,"museum":316,"description":35892,"tags":35893,"thumbUrl":35894,"material":40,"size":35895,"collection":42,"collections":35896,"showCount":35475,"zanCount":48,"manualWeight":48,"mainColor":49},223503,"song-yan-xian-guan-yi-ming-223503","松严仙馆","图绘崇山中的多处建筑群，自上而下分部。画面顶端在绿树的围绕中，多座房顶露出，房屋建造宏伟，青瓦飞檐，四方端正，应为图名“仙馆”了；画中部所绘山石断面很有特色，细线勾勒整齐而光滑；近处流水涓涓，两边绿树苍翠，实为世外桃源之美景。",[23,24,25,3559,7,28,177,1133,107,176,34,109,1169,37,114,1170,981],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc06f5b71e8e16df60afd252093360347.jpg","60x89.15cm",[42,181,163],{"id":35898,"slug":35899,"title":24979,"dynasty":18,"author":257,"museum":35900,"description":35901,"tags":35902,"thumbUrl":35903,"material":67,"size":35904,"collection":139,"collections":35905,"showCount":35475,"zanCount":48,"manualWeight":48,"mainColor":2504},223409,"ru-yi-lun-guan-yin-tu-yi-ming-223409","英国不列颠博物馆","如意轮观音是密宗六观音之一，其形象一般为六臂，至于手持之物和结印，则依不同经典而有别，但一般因持有如意宝珠和宝轮而称之为如意轮观音。六臂表示能游于六道，解除六道众生的诸种苦恼。",[23,194,24,25,226,260,28,7,106,176],"https:\u002F\u002Foss.chuangqi.s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横64.5厘米",[],{"id":35907,"slug":35908,"title":35909,"dynasty":18,"author":257,"museum":191,"description":35910,"tags":35911,"thumbUrl":35912,"material":282,"size":35913,"collection":139,"collections":35914,"showCount":35475,"zanCount":48,"manualWeight":48,"mainColor":49},223408,"nv-xiao-jing-tu-juan-yi-ming-223408","女孝经图卷","中国人物画的创作目的之一是强调绘画的政治教化功能。唐代张彦远在《历代名画记》中曾明确指出“画者，成教化，助人伦，穷神变，测幽微，与六籍同功，四时并运者也”。现存最早的以画卷形式宣传女德、女诫教义的作品当属东晋顾恺之（传）创作的《女史箴图》、《列女仁智图》。《女孝经》作为绘画的表现题材，早在五代后蜀后主孟昶执政时期，就被画家石恪精心创作。据宋代内院奉敕编撰的《宣和画谱》记载，当时，石恪依据《女孝经》内容仅绘制了8幅图，可惜其作品未能流存于世。此幅由南宋佚名画家创作的《女孝经图》，便成为目前保存最好、时代最早的反映《女孝经》内容的代表作。\n此图卷以其较高的艺术造诣向世人展示了宋代仕女画成熟的风貌。\n每幅图依据表现内容的不同形成各自独立的画面，同时作者利用人物的造型、服饰及统一的笔墨形式又使各图之间既相对独立又彼此联系呼应，从而达到了形散而神聚的艺术效果。此图卷中重点表现的对象是三五成群的仕女，她们挽高髻，饰簪花，面形长圆而丰满，尚存唐代仕女画的面形特征，但形体上已没有了唐代仕女臃肿艳肥的体态，而显露出向明清仕女画修长秀美体形过渡的趋向。她们身材的曲线美被作者加以充分表现，细腰纤手，婀娜轻盈。人物的神态皆雍容大方，端庄娴静，动作举止亦守规守矩，从而生动地图解了母仪、贤明、仁智等封建妇女必须遵守的言行准则。作者在处理人物与环境的关系上十分成功，穿插于人物中的树木枝繁叶茂，数量虽然不多，但作为人物活动的衬景构筑出了淡泊宁静的自然环境，从而丰富了人物活动的空间，并令用于说教的画面增添了生趣。而具良好德行的贤妇烈女们在树下谈经论道或勤于女红，又为这清幽的境地增添了几分崇高的意趣。",[23,24,26,28,7,352,106,115,34,107,611,1241,1552,59,230,175,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadd14950ec691dae510436a9d31262f4.jpg","纵43.8厘米，横823.7厘米",[],{"id":35916,"slug":35917,"title":35918,"dynasty":76,"author":3571,"museum":191,"description":35919,"tags":35920,"thumbUrl":35921,"material":7,"size":35922,"collection":139,"collections":35923,"showCount":35475,"zanCount":48,"manualWeight":48,"mainColor":94},223098,"fang-wang-meng-shan-shui-zhou-tang-dai-223098","仿王蒙山水轴","此幅描繪滿是白雪覆蓋的山國中，峰巒陡直林立，澗水曲折回流，寒林散列各處，由畫面中傳來一股凜冽的寒氣。\n唐岱字毓東，號靜岩，又號知生、愛廬、默莊。山水師法王原祁，遠承董、巨、黃、王之遺脈，用筆沉厚，布局深穩，但為適應宮廷需要，其畫風更趨纖秀細膩，瑣碎繁複，富於裝飾性。存世作品有《仿倪瓚清閟閣圖》，《仿范寬秋山瀑布軸》，《仿王蒙山水軸》等。",[23,24,29,226,105,177,7,685,262,1273,114,108,686,34,809],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5fcde53a099914404cada415fc2c26f.jpg","310x123厘米",[],{"id":35925,"slug":35926,"title":35927,"dynasty":76,"author":2162,"museum":419,"description":2163,"tags":35928,"thumbUrl":35929,"material":67,"size":2173,"collection":139,"collections":35930,"showCount":35475,"zanCount":48,"manualWeight":48,"mainColor":94},223060,"hong-lou-meng-46-sun-wen-223060","红楼梦46",[23,24,25,81,28,7,104,106,150,107,29,34,108,35,1241,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1253286b5330bfb421905cfde8ccfc2.jpg",[],{"id":35932,"slug":35933,"title":23774,"dynasty":76,"author":329,"museum":191,"description":23775,"tags":35934,"thumbUrl":35937,"material":40,"size":23780,"collection":90,"collections":35938,"showCount":35475,"zanCount":48,"manualWeight":48,"mainColor":49},222794,"jin-chun-tu-lang-shi-ning-222794",[23,194,24,7,83,1284,3584,84,35935,35936,8377],"山涧","杂卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee1bcec4cb1230187f87809e407b8069.jpg",[90,45],{"id":35940,"slug":35941,"title":35942,"dynasty":99,"author":35943,"museum":316,"description":35944,"tags":35945,"thumbUrl":35946,"material":40,"size":35947,"collection":181,"collections":35948,"showCount":35475,"zanCount":48,"manualWeight":48,"mainColor":49},222163,"qi-ma-you-shan-tu-liu-yan-222163","骑马游山图","刘琰","图绘崇山峻岭中一座高楼映入眼帘，飞檐立柱，高大宏伟；屋前树木葱郁，繁花开放，一位红衣男子骑马停步赏景！此幅图的山脉绿树画法很具特色，与同时代画家蓝瑛有相似之处。",[23,24,7,28,104,29,106,150,107,34,176,1754,1049],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e0f2a66c07d9c664105cdc11e6d8c1b.jpg","纵49cm，横67cm",[181,163],{"id":35950,"slug":35951,"title":35952,"dynasty":302,"author":1917,"museum":191,"description":14445,"tags":35953,"thumbUrl":35954,"material":7,"size":35955,"collection":44,"collections":35956,"showCount":35475,"zanCount":48,"manualWeight":48,"mainColor":49},221849,"qun-xian-xian-shou-tu-zhou-liu-guan-dao-221849","群仙献寿图轴",[194,24,25,7,106,212,28,11932,6170,280],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F872049468677e6ff4ae3a2d905a51f63.jpg","36.6x56.2公分、全幅 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朱文大印。",[23,24,28,7,260,106,19429,3041,37,6422,860,409],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1fbbf336f92353f10e54e65388754bb.jpg","146.9×81.5厘米",[44],{"id":35997,"slug":35998,"title":35999,"dynasty":99,"author":9642,"museum":101,"description":36000,"tags":36001,"thumbUrl":36009,"material":638,"size":36010,"collection":181,"collections":36011,"showCount":35475,"zanCount":2368,"manualWeight":48,"mainColor":94},219987,"si-shi-fang-gu-shan-shui-tu-wei-zhi-ke-219987","四时仿古山水图","此长卷以淡墨浅彩铺展四时景致，移步换景间尽显文人山水意趣。画家以细劲淡笔勾勒山峦脉络，皴擦出岩岫肌理，林木点染疏密有致，随季候变换枯荣：春山明润，新枝浅黛；夏木蓊郁，浓荫藏亭；秋林萧疏，霜色点染；冬岭清寂，寒石留白。屋舍田圃错落丘壑间，溪泉萦回穿绕林麓，将四时山光物候悄然串联。整体气韵淡逸简远，师古而不拘泥，把仿古山水的程式笔墨化为灵动的丘园胜境，藏着古人寄迹林泉的隐逸幽怀，尽显雅致空灵的山水风神。",[23,24,26,36002,173,7,177,29,18949,36003,10677,36004,3176,36005,36006,986,36007,13236,36008],"仿古山水","夏木","冬岭","田圃","溪泉","文人山水","淡逸空灵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b366db58b957e2587f750331f4c4cf3.jpg","105.83×59.58cm",[181],{"id":36013,"slug":36014,"title":36015,"dynasty":18,"author":1315,"museum":191,"description":36016,"tags":36017,"thumbUrl":36018,"material":67,"size":36019,"collection":45,"collections":36020,"showCount":35475,"zanCount":48,"manualWeight":48,"mainColor":49},219923,"ru-niu-tu-zhou-li-tang-219923","乳牛图轴","一位牧童趴伏于母牛背上，小牛跟随在后，引颈低呼，老牛摇尾相应，母子亲情，描写欲活。本幅并无作者款印，裱绫有清代鉴赏家梁清标所书之题签，云：「李晞古乳牛图」。不过本幅牛体、皴石之用笔皆与李唐（西元1049－1130年）画风有别，或属明代早期之作。李唐，字晞古。河南孟县人。擅山水、人物，也长于画牛。徽宗朝进入画院，高宗建炎年间，授成忠郎衔任画院待诏。",[23,24,194,25,226,28,7,151,746,689,686],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c355d617f6a550dbb9e6d783bb802e6.jpg","46.4x62.5",[45],{"id":36022,"slug":36023,"title":36024,"dynasty":99,"author":257,"museum":316,"description":36025,"tags":36026,"thumbUrl":36027,"material":123,"size":36028,"collection":90,"collections":36029,"showCount":35475,"zanCount":48,"manualWeight":48,"mainColor":49},219906,"xuan-kui-shuang-li-tu-yi-ming-219906","萱葵双鹂图","垂柳叶丝轻曳水畔，两只黄鹂栖停枝梢，翅羽晕染细腻绵密，灵动身姿似正私语嬉游。左侧蜀葵攒簇粉艳花团，浓绿叶片饱满鲜活，下方萱花舒展素白瓣朵，依偎嶙峋湖石而生。\n\n整作设色古雅沉稳，沉褐绢底衬得花叶明丽、禽鸟娇俏。工笔晕染精妙入微，将蜀葵秾艳、萱花清柔，黄鹂的娇憨灵动画韵尽显，留白水岸清寂悠远，把初夏水畔的闲静生机凝于绢上，笔致工秀柔和，揉合雅致野趣，尽显悠然清逸的隐逸意趣。",[23,24,7,28,83,884,4206,1241,176,14410,245,84,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d1ccf1c70a12fed695098a1073e3dd5.jpg","纵118厘米 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画面左上方巨岩的主峰直冲云霄，有立壁之势。",[24,25,226,36043,7,29,106,176,34,1171],"指画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff10c5c3af2a80ea2558949079d71c527.jpg",[181],{"id":36047,"slug":36048,"title":36049,"dynasty":76,"author":3061,"museum":191,"description":36050,"tags":36051,"thumbUrl":36055,"material":1884,"size":36056,"collection":45,"collections":36057,"showCount":35475,"zanCount":48,"manualWeight":48,"mainColor":94},219439,"zhang-zhi-tian-xian-zhou-jin-ting-biao-219439","长至添线轴","三仕女或立或蹲，围聚一处，纤指捻线穿针，神态专注。古松虬枝盘结，怪石嶙峋错落，梅梢疏影横斜，几点红萼点缀其间，清寂中透着雅致。笔触细劲流畅，衣袂飘举若流云，设色温润淡雅，将冬至添线的闺阁雅事凝为静谧时光片段。山石苍朴与仕女柔婉相映，草木疏朗与神情专注相衬，尽显传统生活里的闲情与温情，似能闻得针线轻捻的细碎声响，漫溢出岁月的静好。",[24,226,7,28,106,686,380,27226,11626,36052,6711,36053,36054,689,176],"庭院景致","细笔勾勒","设色淡雅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ded8ec5791225f131ba582f53901274.jpg","144.5x55.1",[45],{"id":36059,"slug":36060,"title":36061,"dynasty":256,"author":257,"museum":191,"description":36062,"tags":36063,"thumbUrl":36065,"material":67,"size":36066,"collection":181,"collections":36067,"showCount":35475,"zanCount":48,"manualWeight":48,"mainColor":49},219369,"wu-kuan-shan-shui-zhou-yi-ming-219369","无款山水轴","这幅山水轴以细腻笔触勾勒出静谧悠远的自然之境。前景林木扶疏，枝干交错间掩映着几椽茅舍，似有幽人闲坐，静听溪涧潺潺。中景溪流蜿蜒，石矶错落，墨色层次分明，尽显生机。远山层叠，云雾轻笼，墨色由浓转淡，渐次隐入天际，拓展出深远的空间感。山石皴染结合，苍劲中见温婉；树木点染有致，姿态自然生动。整体色调古雅沉静，笔墨意趣盎然，将自然之美与文人隐逸情怀融于一体，引人沉浸其中，体味那份远离尘嚣的恬淡与自在。",[194,24,3559,226,173,177,7,981,23066,809,176,37,13236,36064],"恬淡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7339aa747e902c48320949a28e177acb.jpg","84.5x65.6",[181],{"id":36069,"slug":36070,"title":36071,"dynasty":99,"author":36072,"museum":191,"description":36073,"tags":36074,"thumbUrl":36075,"material":123,"size":36076,"collection":45,"collections":36077,"showCount":35475,"zanCount":2368,"manualWeight":48,"mainColor":94},219327,"ling-yan-ji-xue-tu-liu-yuan-qi-219327","灵岩积雪图","刘原起","积雪如絮覆层峦，岩岫叠嶂间清寒弥漫。枯木疏枝裹银装，青松攒雪挺劲立，枝桠凝霜似玉。曲径蜿蜒入幽，茅舍隐于林间，溪面冰凝如镜，偶见踏雪痕浅。远山朦胧，塔影依稀，似有古寺钟声隐现。笔墨淡逸，留白衬雪色之净，枯笔写疏林之寂，意境静谧雅致，尽显冬日山林的幽旷与清宁，恍若尘外之境，引人沉心入画。",[24,25,29,28,7,177,212,685,2086,1273,795,35,31,108,1157],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64a1a1cbb5ed0b803e372ed42714c4d8.jpg","63.3x31.6",[45],{"id":36079,"slug":36080,"title":36081,"dynasty":18,"author":257,"museum":78,"description":36082,"tags":36083,"thumbUrl":36084,"material":123,"size":36085,"collection":90,"collections":36086,"showCount":35475,"zanCount":48,"manualWeight":48,"mainColor":49},218982,"hong-guo-lv-bei-tu-yi-ming-218982","红果绿鹎图","图中“红果”即是山楂，山楂在宋人生活中很是常见，陆游有《出游》诗写道：“行路迢迢入谷斜，系驴来憩野人家。山童负担卖红果，村女缘篱采碧花。”，写的就是诗人在出游途中，看到有人正挑着担子贩卖山楂。",[194,24,25,28,7,83,209,22689,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d2733aa2f4c00bae25f90540a4fce6f.jpg","24.1x25.1cm",[90],{"id":36088,"slug":36089,"title":36090,"dynasty":18,"author":257,"museum":191,"description":36091,"tags":36092,"thumbUrl":36094,"material":123,"size":36095,"collection":42,"collections":36096,"showCount":35475,"zanCount":48,"manualWeight":48,"mainColor":94},218860,"xiao-shi-sheng-luan-tu-yi-ming-218860","萧史乘鸾图","这幅画是根据秦国公的女儿鲁豫的传说创作的。作者巧妙地利用扇面的圆形框架，将人物、建筑和凤凰围成一圈，在中间留出空隙，以扩大画作的意义。",[23,24,7,28,81,106,59,36093,22116,34,37],"鸾鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F780e13d780ec8d0ca13d6d3282b6afad.jpg","22.8x23厘米",[42],{"id":36098,"slug":36099,"title":36100,"dynasty":302,"author":8800,"museum":191,"description":36101,"tags":36102,"thumbUrl":36103,"material":1319,"size":36104,"collection":181,"collections":36105,"showCount":35475,"zanCount":48,"manualWeight":48,"mainColor":49},218725,"bao-jin-jing-du-tu-wang-zhen-peng-218725","宝津竞渡图","界笔如丝，勾勒出楼阁层叠错落，飞檐翘角似振翅欲飞，梁柱间精巧纹饰尽显匠心底蕴。水面上龙舟竞渡，旌旗猎猎，舟中人群攒动——或击鼓助威，或挥桨逐浪，浪花翻涌间满是喧腾热闹。整幅画以细腻线条铺陈，将宋代汴京宝津楼前的端午盛景凝于绢素，既有界画的严谨工整，又不失动态的鲜活灵动，仿佛鼓点与欢呼交织耳畔，昔日都城的繁华气象跃然眼前。",[24,25,26,104,352,106,107,108,109,22299,34,114,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda29ce46bd5c86dc803d1bc684f736b8.jpg","36.6x183.4cm",[181],{"id":36107,"slug":36108,"title":36109,"dynasty":302,"author":257,"museum":191,"description":36110,"tags":36111,"thumbUrl":36112,"material":123,"size":36113,"collection":44,"collections":36114,"showCount":35475,"zanCount":48,"manualWeight":48,"mainColor":94},218228,"di-yi-a-ying-a-ji-da-zun-zhe-yi-ming-218228","第一阿迎阿机达尊者","尊者趺坐石畔，衣纹流转如微风拂过的涟漪，一手托腮，眸光低垂却似洞穿万象。眉宇间凝着浅浅思索，唇边漾开若有若无的笑意，禅意便在这静默神态里漫溢。身后古木虬枝，叶影婆娑，与头顶圆光相衬，晕开温润光晕。远处峰石隐现，亭台依稀，似是尘外清境。\n\n笔墨以线塑形，婉转中见骨力，淡墨晕染出清寂氛围，将尊者的沉静与天地的悠远交织。无需浓墨重彩，只凭简淡之笔，便勾勒出禅者澄明心境，尽显元人绘佛的空灵韵致——于寻常物象藏深意，于静默观照见真如。",[24,25,226,260,352,173,7,106,34,176,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75cf9de2fc1b5e28c349fd7a531f9aaa.jpg","109.5x46",[44],{"id":36116,"slug":36117,"title":26528,"dynasty":302,"author":257,"museum":56,"description":36118,"tags":36119,"thumbUrl":36120,"material":123,"size":36121,"collection":181,"collections":36122,"showCount":35475,"zanCount":48,"manualWeight":48,"mainColor":49},218210,"lou-ge-tu-yi-ming-218210","楼阁图是元朝时期的一种著名绘画风格。它以其栩栩如生的再现自然风光和精细的内部装饰而闻名。\n\n元朝，又被称作“大元”，是中国历史上继北宋之后的第一个多民族、多语言的王朝。它的建立标志着中国进入了封建制的最后一个阶段。元朝的建立者是蒙古族公主忽必烈，忽必烈是在其父亲蒙哥汗的帮助下统一了全国，并于1271年建立了元朝。\n\n楼阁图是元朝时期的一种流行的绘画风格。这种绘画风格的特点是对山水风光的再现以及对宫殿、院落、楼阁等建筑物的精细描绘。楼阁图通常是以山水为背景，描绘出宏伟的宫殿、庄严的寺庙、雄伟的城池等景象。它的画风细腻、精巧，注重细节，给人以视觉上的享受。",[24,194,7,104,107,29,34,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F029c4d5225d5f29d73cf189d792af37d.jpg","25.3x21.7cm",[181],{"id":36124,"slug":36125,"title":36126,"dynasty":302,"author":257,"museum":78,"description":36127,"tags":36128,"thumbUrl":36129,"material":123,"size":36130,"collection":181,"collections":36131,"showCount":35475,"zanCount":48,"manualWeight":48,"mainColor":49},215144,"xuan-pu-chun-shen-tu-yi-ming-215144","悬圃春深图","悬圃春深图是一幅元朝（1271-1368）时期的图画，作者佚名。这幅图展示了一个人站在悬圃之上，俯视着春天的景色。悬圃是一种古老的中国园林建筑，通常是一个圆形的小建筑，用来观赏周围的景色。在这幅图中，悬圃上的人可以看到树木芽生，花儿开放，鸟儿欢快地唱歌。这幅图捕捉了春天带来的生机勃勃的气息，是一幅生动而优美的作品。",[24,104,7,27,1260,107,29,34,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d3510d20cfcdbf5cc710910d3669f7d.jpg","26x27.8cm",[181],{"id":36133,"slug":36134,"title":36135,"dynasty":99,"author":5227,"museum":78,"description":5228,"tags":36136,"thumbUrl":36137,"material":88,"size":5231,"collection":139,"collections":36138,"showCount":35475,"zanCount":48,"manualWeight":48,"mainColor":94},214673,"san-jue-tu-2-yao-shou-214673","三绝图-2",[24,25,81,173,7,29,177,108,109,174,34,808,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fd2380dd3ead30497ae3b9b56171da9.jpg",[],{"id":36140,"slug":36141,"title":36142,"dynasty":99,"author":2425,"museum":78,"description":4071,"tags":36143,"thumbUrl":36144,"material":2365,"size":139,"collection":139,"collections":36145,"showCount":35475,"zanCount":48,"manualWeight":48,"mainColor":49},214657,"qiu-xing-ba-jing-tu-ce-2-dong-qi-chang-214657","秋兴八景图册-2",[194,24,25,81,173,7,177,352,106,378,263,1171,5218,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F883a53c2374ee28565293f083f1f9beb.jpg",[],{"id":36147,"slug":36148,"title":36149,"dynasty":99,"author":2425,"museum":78,"description":4071,"tags":36150,"thumbUrl":36151,"material":88,"size":139,"collection":139,"collections":36152,"showCount":35475,"zanCount":48,"manualWeight":48,"mainColor":94},214652,"qiu-xing-ba-jing-tu-ce-6-dong-qi-chang-214652","秋兴八景图册-6",[24,25,81,173,27,7,29,685,378,37,212,86,178,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff817eee9f0599f9ebafe594d2a16d4ab.jpg",[],{"id":36154,"slug":36155,"title":36156,"dynasty":18,"author":3752,"museum":191,"description":23622,"tags":36157,"thumbUrl":36158,"material":123,"size":36159,"collection":139,"collections":36160,"showCount":36161,"zanCount":48,"manualWeight":48,"mainColor":49},291008,"lu-hua-xi-ai-zhou-cui-bai-291008","芦花羲爱轴",[24,226,28,7,83,23614,834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0191d4d8e7bb53ba568fcc7ac04ece8.jpg","141.2x86.3",[],33,{"id":36163,"slug":36164,"title":36165,"dynasty":18,"author":36166,"museum":191,"description":36167,"tags":36168,"thumbUrl":36169,"material":1319,"size":36170,"collection":139,"collections":36171,"showCount":36161,"zanCount":48,"manualWeight":48,"mainColor":49},290866,"peng-lai-xian-hui-zhou-zhao-da-heng-290866","蓬莱仙会轴","赵大亨","与卫松曾同为赵伯驹、赵伯骕家仆，侍候赵氏兄弟作画，生卒年不详。",[24,194,104,3559,7,107,1273,808,106,2459,810],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0a7a3f49e465910b9499299b136f5e0.jpg","54.2x86.4",[],{"id":36173,"slug":36174,"title":36175,"dynasty":18,"author":257,"museum":316,"description":36176,"tags":36177,"thumbUrl":36179,"material":599,"size":600,"collection":139,"collections":36180,"showCount":36161,"zanCount":1379,"manualWeight":48,"mainColor":49},290758,"ke-si-shang-yuan-ying-xi-tu-zhou-yi-ming-290758","缂丝上元婴戏图轴","亭台枕着山水铺展底色，凭栏文人悠然观览，稚童四散嬉游，或展纸挥毫、或拨弦弄乐，逗引瑞兽、结伴追闹，憨态各异，灵动鲜活。\n\n通经断纬的技法让石青、朱红色块利落分明，晕开古雅沉静的底色。将庭院稚趣与幽淡景致相融，复刻出闲逸日常图景，又以婴戏暗喻多子多福的吉庆愿景，把精妙织绣技艺与雅致民俗意趣揉合一处，尽显旧时雅致的生活意趣与精湛造物匠心。",[24,226,1329,7,106,8665,175,926,36178,84,107,2385],"麒麟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0353f7509ad134b32cb56e4816b0140e.jpg",[],{"id":36182,"slug":36183,"title":36184,"dynasty":76,"author":14270,"museum":316,"description":36185,"tags":36186,"thumbUrl":36188,"material":599,"size":600,"collection":139,"collections":36189,"showCount":36161,"zanCount":48,"manualWeight":48,"mainColor":94},290593,"yu-yuan-mu-chun-shi-zhou-zhang-ruo-ai-290593","御园暮春诗轴","张若霭[清]（1713—1746）字晴岚（读画辑略作字景采，号晴岚），室名藕香书屋，安徽桐城人。张若霭有家学，祖父张英，父亲张廷玉为雍正、乾隆朝大学士。 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江面波痕隐现，孤舟破波疾行，舟中人敛缩身形，将急欲归乡的羁旅心绪藏在烟霭里。整幅以留白与晕染营造空濛层次，咫尺扇面铺展出江天浩渺的悠远意境，把江南骤雨将临的萧疏冷寂烘托尽致。淡墨轻岚间，将归思怅惘融在烟水迷茫之中，尽显含蓄雅致，以小见大，在尺幅之间晕开悠悠诗意。",[23,24,25,1260,173,7,29,177,174,6582,176,34,109,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff166f0b2b34f8ed7374b455745c84edb.jpg",[],{"id":36554,"slug":36555,"title":36556,"dynasty":18,"author":257,"museum":316,"description":36557,"tags":36558,"thumbUrl":36559,"material":139,"size":139,"collection":139,"collections":36560,"showCount":36161,"zanCount":2368,"manualWeight":48,"mainColor":801},227834,"zheng-qin-tu-ye-yi-ming-227834","争禽图页","折枝山茶斜斜铺展，莹白花朵团簇绽放，叶片晕染出浓淡层次，尽显阴阳向背的苍润生机。两只禽鸟打破静谧，一鸟振翅俯冲，姿态凌厉，细枝上的小雀瑟缩避让，将枝头争闹的瞬间精准定格。\n\n全作用笔精细入微，禽鸟纤毫毕现，山茶设色清润雅致，淡绢底色更衬古雅气韵。以小幅尺幅定格春日花鸟间的刹那灵动，把自然生趣凝练于方寸之间，尽显写生格物、以小见大的精妙造诣，生机满溢，意趣悠长。",[23,194,24,25,1260,7,28,83,245,62,783,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7afa4755efb0dfc6d21d7a5d1a31d71.jpg",[],{"id":36562,"slug":36563,"title":36564,"dynasty":18,"author":1350,"museum":316,"description":36565,"tags":36566,"thumbUrl":36567,"material":139,"size":139,"collection":139,"collections":36568,"showCount":36161,"zanCount":48,"manualWeight":48,"mainColor":49},227823,"shi-bi-kan-yun-tu-ma-yuan-227823","石壁看云图","这幅小品以边角取景，尽显简淡空灵之美。烟雨如纱晕染朦胧江天，对岸石壁在烟霭中半隐半现，恍若蜃境。左侧老木斜出，苍枝带着疏朗新叶，探向空茫水面，与右下策杖伫立的白衣士人遥遥相望。\n\n士人昂首望云，似在静赏流云舒卷，将世俗心绪尽数融在烟水间。全作用笔苍秀简劲，以水墨晕染铺就空濛氛围感，以少胜多，把文人观云忘机、寄情山水的雅逸襟怀藏在留白之中，尽显含蓄悠远的世外意趣。",[23,24,25,1260,29,177,7,106,5561,2235,378,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4363302bd8bcc307d085b159df2b994.jpg",[],{"id":36570,"slug":36571,"title":36572,"dynasty":18,"author":1315,"museum":316,"description":33692,"tags":36573,"thumbUrl":36574,"material":139,"size":139,"collection":139,"collections":36575,"showCount":36161,"zanCount":48,"manualWeight":48,"mainColor":49},227766,"ting-pu-tu-ye-li-tang-227766","听瀑图页",[23,24,173,7,177,6083,29,1426,176,34,175,31,1169,5702,33],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F300f3d307bc7e7517c87dc0b837e932e.jpg",[],{"id":36577,"slug":36578,"title":17921,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":36579,"thumbUrl":36580,"material":599,"size":600,"collection":139,"collections":36581,"showCount":36161,"zanCount":2368,"manualWeight":48,"mainColor":49},226409,"ku-yong-dao-ding-bu-yi-ming-226409",[511,7230,7,260,5884,22980],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2236e3a8a6c5540a74fd7f24942f80a4.jpg",[],{"id":36583,"slug":36584,"title":26544,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":36585,"thumbUrl":36586,"material":599,"size":600,"collection":139,"collections":36587,"showCount":36161,"zanCount":48,"manualWeight":48,"mainColor":49},226394,"ku-yong-dao-nan-bi-yi-ming-226394",[511,7230,260,7,106,11370,8170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ed141df1807d1155bbeac9f734f3d11.jpg",[],{"id":36589,"slug":36590,"title":11067,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":36591,"thumbUrl":36592,"material":599,"size":600,"collection":139,"collections":36593,"showCount":36161,"zanCount":48,"manualWeight":48,"mainColor":49},226180,"ku-zhu-shi-bei-bi-yi-ming-226180",[511,260,7,28,104,106,107,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa70beb22e29e23cd0b13946f36b81143.jpg",[],{"id":36595,"slug":36596,"title":36597,"dynasty":256,"author":6236,"museum":316,"description":6237,"tags":36598,"thumbUrl":36600,"material":599,"size":600,"collection":3195,"collections":36601,"showCount":36161,"zanCount":48,"manualWeight":48,"mainColor":94},225820,"sprig-of-flowering-almond-in-a-glass-march-fan-gao-225820","Sprig of flowering almond in a glass (March - )",[3187,6241,7,229,36599,62,6243],"杏仁枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88489b5404317aa1680a991884cd3d36.jpg",[3195],{"id":36603,"slug":36604,"title":36605,"dynasty":256,"author":6236,"museum":316,"description":6237,"tags":36606,"thumbUrl":36607,"material":599,"size":600,"collection":3195,"collections":36608,"showCount":36161,"zanCount":48,"manualWeight":48,"mainColor":2504},225725,"bridge-in-the-rain-after-hiroshige-october-november-fan-gao-225725","Bridge in the rain after Hiroshige (October - November 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中，有沈周影响的风格很少，可能早年作品亦多不存，所以难以知道。\n唐寅较为人所理解的，是拜画家周臣为师。研究认为他也许是在泄题案之后，才开始向周臣请益。由于周臣的画风远摹南宋画家李唐、刘松年，所以唐寅的作品也多被人认为有李刘风格。美术史对唐寅山水画的讨论中有周臣代笔的问题，目前仍没有比较清晰的理解。唐寅的作品以山水画、人物画出名，亦有花鸟竹石的作品存世。一般而言，都将唐寅的绘画风格分做三期，但由于许多有纪年的作品多集中在唐寅的晚年，早年的风格分期便有许多争议。唐寅 亦好，早年的书风比较靠近颜真卿，后来比较接近李邕、赵孟睢\n自明末以来，在讨论唐寅作品，均把他分到吴派，并与沈周、文征明、仇英等画家并称“吴门四家”，或称“明四大家”。但唐寅的画风与沈周、文征明并不相同，而严格来说，也不能将唐寅的风格迳归为吴派。因为相较于一般吴派多追随元四大家的画风，唐寅作品里元四家的影响相当的少，反而有比较多南宋院画家的影子。但多数的人，都称唐寅是揉合“南”、“北”的重要画家。",[23,24,25,226,7,177,29,4839,1426,108,109,34,176,107,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83dc2042fc9030013065e4ae628ede20.jpg",[],{"id":36719,"slug":36720,"title":36721,"dynasty":18,"author":1599,"museum":20,"description":36722,"tags":36723,"thumbUrl":36724,"material":529,"size":36725,"collection":139,"collections":36726,"showCount":36161,"zanCount":48,"manualWeight":48,"mainColor":94},221547,"shan-guan-du-shu-tu-liu-song-nian-221547","山馆读书图","《山馆读书图》描绘的是文人雅士所向往的闲适生活。长松掩映之下，长案临窗，清风徐来，窗外传来书童打扫落叶的声音，间或闻得几声鸟鸣，宁静悠闲，倚案展卷，何等惬意。",[23,24,25,28,7,104,29,107,1273,106,115,34,227,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F234be9e86cbf67a38bc347e7b4419eed.jpg","24.3×24cm",[],{"id":36728,"slug":36729,"title":36730,"dynasty":18,"author":9555,"museum":191,"description":36731,"tags":36732,"thumbUrl":36733,"material":67,"size":36734,"collection":2065,"collections":36735,"showCount":36161,"zanCount":2368,"manualWeight":48,"mainColor":801},221448,"tao-qian-shang-ju-tu-quan-juan-zhao-ling-rang-221448","陶潜赏菊图全卷","描绘了幽林内、小亭中，陶渊明与访友坐对赏花，江干水渚，群卉争发，树本、房舍、池沼、小路等表现很精致，具有化平凡的事物为美丽的事物的艺术效果，设色艳丽，画中人亦无特殊造形，但拖尾诸跋，均以陶潜赏菊故事为题咏，意境颇为优美。卷尾分别有董其昌、詹同、蔡哲、中山居士、张羽、苏伯衡的跋文。",[23,24,25,26,7,28,29,106,897,175,34,1754,178,194],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd7176750b8b30929f53c7de7d6e7f76.jpg","全卷纵30厘米，横416.4厘米，画心纵30厘米，横84厘米",[2065],{"id":36737,"slug":36738,"title":36739,"dynasty":18,"author":4912,"museum":20,"description":36740,"tags":36741,"thumbUrl":36742,"material":529,"size":36743,"collection":181,"collections":36744,"showCount":36161,"zanCount":48,"manualWeight":48,"mainColor":94},221215,"fei-ge-yan-feng-tu-ye-wang-shen-221215","飞阁延风图页","此图原载《四朝选藻册》。图绘二位仕女，佇立楼台远眺，一位站立桌旁泛览古玩，其态悠闲自在。楼前古松葱茏，亭楼隐隐可见。作者用严谨、缜密的界画作楼台，细笔勾松针，笔法娴熟劲健，设色鲜艳和谐。裱边旧题签「王詵飞阁延风」。但从画风对比分析，与王詵风格不同，故改为无名氏作。画中无款，钤二印(一半印)不可辨。对开有清高宗弘历题诗，钤「八征耄念之宝」、「太上皇帝之宝」、「自强不息」等印。曾经清内府收藏，不见著录。",[23,24,25,81,104,7,107,34,106,178,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddda2be2d8bd08b99a15bda9153a6936.jpg","纵26、横23.5厘米",[181,45],{"id":36746,"slug":36747,"title":36748,"dynasty":76,"author":742,"museum":101,"description":36749,"tags":36750,"thumbUrl":36751,"material":13418,"size":139,"collection":139,"collections":36752,"showCount":36161,"zanCount":48,"manualWeight":48,"mainColor":94},220473,"zhong-kui-xiang-ren-yi-220473","钟馗像","一改往日钟馗凶煞镇邪的刚猛，此作将他绘成簪花醉坐的士大夫模样，斜倚竹榻，醺然松弛，红簪点醒了满脸虬髯下暗藏的温柔意趣。\n\n衣纹以顿挫写意的长线挥就，笔势灵动洒脱，赭色衣袍晕染温润，衬出人物难掩的威仪。髯须以泼墨扫出，粗粝苍劲，与衣纹的秀逸形成反差，刚柔并济间，判官的威严与松弛尽显。\n\n案上清供瓶花、卷册鲜果，将神祗拉入日常烟火，消解戾气，添上文人雅韵，以世俗化笔触重构民间神明，尽显雅俗共赏的笔墨意趣。",[24,25,7,28,106,260,63,229,6322,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc67bf33de0a3afd0468c8bac53207d69.jpg",[],{"id":36754,"slug":36755,"title":26989,"dynasty":99,"author":21188,"museum":191,"description":36756,"tags":36757,"thumbUrl":36758,"material":123,"size":36759,"collection":181,"collections":36760,"showCount":36161,"zanCount":48,"manualWeight":48,"mainColor":49},220102,"qiu-shan-hong-shu-tu-zhao-zuo-220102","赵左（约西元十六世纪）字文度，江苏松江人。善画山水，是苏松画派的首创人。　画中赵左自题「仿唐人杨升画」。按杨升（升）画山水得到张僧繇没骨法的妙处，有雪霁图、峒关蒲雪图传于世。这幅画多用青绿设色，山石不用皴纹，而用没骨法渍染，树叶也多用双钩，颇有唐画山水的遗风。但赵左受吴派绘画影响极深，故不像唐画华丽富贵，而饶有温润文雅的趣味。",[24,226,7,29,176,34,2725,175,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05043e0f78a9ef545d2fe53f138f9a40.jpg","本幅 150x53.7公分、全幅 56公分",[181],{"id":36762,"slug":36763,"title":36764,"dynasty":18,"author":3752,"museum":191,"description":36765,"tags":36766,"thumbUrl":36767,"material":88,"size":36768,"collection":90,"collections":36769,"showCount":36161,"zanCount":48,"manualWeight":48,"mainColor":94},219644,"liu-yin-xi-e-tu-cui-bai-219644","柳阴戏鹅图","此作为边角小景，以极简笔意铺陈幽淡意境。柔垂柳丝以淡墨写就，细枝袅袅垂落晕开浅绿，晕染出水岸阴凉。白鹅卧于坡岸，白羽刻画工细写实，绒软质感呼之欲出，它垂首驻足浅滩，似正流连水畔，憨态悠然尽显生机。坡岸杂草以浓墨点染，枯润相生，将白鹅衬得愈发莹洁剔透。\n\n整幅小品不事雕琢，清雅柔和，将郊野水岸的闲静氛围凝于尺幅之间，以小见大，尽显精微写实与诗意意境相融的雅致美感，让人仿佛置身初夏水岸，独享这片刻宁谧悠然。",[24,25,194,81,7,28,83,2532,7355,838],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad6175d0a863e4aed9c5ea44bb06d9fe.jpg","22.4x17.9",[90],{"id":36771,"slug":36772,"title":23810,"dynasty":18,"author":36773,"museum":191,"description":36774,"tags":36775,"thumbUrl":36776,"material":67,"size":36777,"collection":44,"collections":36778,"showCount":36161,"zanCount":48,"manualWeight":48,"mainColor":94},219642,"bing-zhu-ye-you-tu-zhang-qi-han-219642","张齐翰","郊野暮色初降，古木虬枝蓊郁如盖，树下士人衣袂翩然，正执言相候。另一侧马车徐行，驭者控缰缓驱，车中友人将赴夜宴。\n\n整作设色清隽沉稳，青绿山石晕染柔润，苍劲古木搭配浅翠新叶，晕开暮色沉沉的静谧氛围。人物情态宛然细腻，车马细节写实雅致，以工兼写的笔意，将名士耽恋良辰的风雅意趣融于尺幅之间。构图疏密得宜，平淡之中尽显悠然古意，藏着对林下风流的追慕，把及时行乐的雅致文心，晕染在这一方绢素之上。",[24,7,28,106,378,154,379,29,1049],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F853bce87cb4001a500cdc5e8979a6aa0.jpg","28.2x26.5",[44],{"id":36780,"slug":36781,"title":36782,"dynasty":76,"author":36783,"museum":20,"description":36784,"tags":36785,"thumbUrl":36786,"material":88,"size":36787,"collection":44,"collections":36788,"showCount":36161,"zanCount":48,"manualWeight":48,"mainColor":94},219635,"song-zhi-jing-ting-song-feng-tu-liu-yu-219635","宋致静听松风图","柳遇","图中宋致头戴纱帽，身着长衫，临溪倚石侧坐，神情端凝。身后古松参天，枝繁叶茂，与怪石嶙峋、小草幽篁、溪水潺潺的景致形成高矮、动静的对比，有极强的视觉效果，强化了人物的宁静祥和，烘托了听松的主题。\n据《商邱县志》记载：宋致，字穉佳，商邱人。举乡贡，游太学，官至四川总藩、湖南布政使。性情慷慨轻财，有政事，录《可竹居诗集》。\n图中人物用勾填法表现，面部稍加晕染，衣纹飘逸，线条简洁，形象传神，突出了主人公朴实无华的个性与平和自然的心态。",[23,24,25,226,7,106,1133,379,86,178,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8818a7ad2c54fb07fbd6b17a7bcbd712.jpg","纵102厘米，横44.6厘米",[44],{"id":36790,"slug":36791,"title":36792,"dynasty":302,"author":6965,"museum":191,"description":36793,"tags":36794,"thumbUrl":36795,"material":123,"size":36796,"collection":44,"collections":36797,"showCount":36161,"zanCount":48,"manualWeight":48,"mainColor":49},219615,"chun-jiao-you-qi-tu-zhao-yong-219615","春郊游骑图","该幅画树下单骑一人，手中拿著弓，正转头回顾。人物形态生动自然，马匹肥大雄壮，都以中锋金绿勾画，线条谨密流畅。背景极为简单，仅是两株相抱的树木，树叶以近似图案的形式描绘，有古拙之意。作者似乎在追求著高古简逸的趣味。人物生动自然，马匹肥硕雄壮，都以中峰钩画，线条谨密流畅，背景极为简单，仅是两株相抱的树木，树石亦用近似图案的形式描绘，有高古简逸的意趣。",[23,24,226,7,28,106,150,378,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d75c27cf3a76a0e8374ea43a8b221a6.jpg","88×51.1公分",[44,181,45],{"id":36799,"slug":36800,"title":36801,"dynasty":76,"author":6776,"museum":191,"description":36802,"tags":36803,"thumbUrl":36804,"material":664,"size":36805,"collection":44,"collections":36806,"showCount":36161,"zanCount":48,"manualWeight":48,"mainColor":94},219527,"fang-han-huang-qi-cai-zi-guo-guan-tu-ding-guan-peng-219527","仿韩滉七才子过关图","历史故事画题，描写唐开元年间七才子冒风雪出蓝田关，游龙门寺的故事。",[24,25,28,7,352,105,106,150,6927,29,378,175,1049,686,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0eea564194f470461c7e20c843cace7b.jpg","94.5X54.7cm",[44],{"id":36808,"slug":36809,"title":36810,"dynasty":99,"author":31005,"museum":191,"description":36811,"tags":36812,"thumbUrl":36813,"material":123,"size":36814,"collection":181,"collections":36815,"showCount":36161,"zanCount":48,"manualWeight":48,"mainColor":49},219255,"rui-xue-ning-dong-tu-wang-e-219255","瑞雪凝冬图","高山巨石以及山下的庭院和山上的寺庙都由硬笔画出，冷峭逼人。山下远水高阔，船帆点点，落墨不多衬托了整幅绘画的冷寒的意境。",[23,24,3559,7,28,104,685,2086,34,107,31,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dea2d2d24f34262242f7d5fcc48b26e.jpg","139.6厘米* 91.5厘米",[181],{"id":36817,"slug":36818,"title":36819,"dynasty":99,"author":257,"museum":10830,"description":36820,"tags":36821,"thumbUrl":36822,"material":123,"size":139,"collection":90,"collections":36823,"showCount":36161,"zanCount":2368,"manualWeight":48,"mainColor":49},219119,"bai-niu-tu-yi-ming-219119","百牛图","百牛散于郊野，姿态万千：或缓步啮草，或扬蹄奔跃，或抵角相戏，或卧地休憩。稚童身影错落其间，或骑牛背悠然吹笛，或牵绳引犊徐行，或蹲踞石畔观牛群嬉戏。林木疏朗，溪流缓绕，草地茵茵，一派生机盎然的田园牧歌景象。整幅画作笔墨细腻，牛的憨态与童的天真相映成趣，尽显自然之趣与生活之美，令人仿佛置身于宁静悠远的郊野之中，心随牛群漫步，意伴稚童欢嬉，沉醉于这份恬淡自在的烟火气里。",[23,24,26,7,28,151,106,378,912,31,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F930c8aa569d3e32ea734c96bb3a9529f.jpg",[90,181],{"id":36825,"slug":36826,"title":36827,"dynasty":18,"author":257,"museum":191,"description":36828,"tags":36829,"thumbUrl":36830,"material":123,"size":13895,"collection":181,"collections":36831,"showCount":36161,"zanCount":48,"manualWeight":48,"mainColor":49},218990,"he-ting-xiao-xia-tu-yi-ming-218990","荷亭销夏图","画面描绘了岩石岬角上的一组树木，两棵松树站在树根上，其技术叶子在树荫下。在阴凉处，靠悬崖建了一个亭子，并通过走廊与水亭相连。亭子外面，波光粼粼，水面被荷叶包围。在湖中央的长堤上，孩子们的仆人带着他们的扇子和乐器走动。在岩石坡上摇曳的箭与湖光山色形成鲜明对比，使这幅画充满了迷人的夏日气氛 这是《名画珍品》画册的第五幅，没有作者的标记。笔法是李唐派的，近景的石坡、山石、树木，中景的山峰，都有李郭派的影子。这位艺术家可能是歌曲中间的一位画家。",[23,24,25,29,7,104,177,175,34,107,176,3519,1171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9d1d0e4dbebe940bae02aa72bb50e4c.jpg",[181],{"id":36833,"slug":36834,"title":36835,"dynasty":18,"author":257,"museum":191,"description":36836,"tags":36837,"thumbUrl":36838,"material":123,"size":36839,"collection":181,"collections":36840,"showCount":36161,"zanCount":48,"manualWeight":48,"mainColor":49},218813,"guan-shan-xing-lv-tu-yi-ming-218813","关山行旅图","画的是关山高远的山峰和秋天的悲凉森林，一个骑着毛驴的学子正在过一座小桥。这幅画没有标记，有两个虞姬的符号，考虑到其解体时使用的笔法，可能是元代的作品。",[23,24,25,173,7,29,177,1049,106,34,176,109,108],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b596fb7fe0dbb2cec842c835d50fd6a.jpg","26.7x27.8",[181],{"id":36842,"slug":36843,"title":36844,"dynasty":302,"author":17434,"museum":191,"description":36845,"tags":36846,"thumbUrl":36847,"material":67,"size":139,"collection":181,"collections":36848,"showCount":36161,"zanCount":48,"manualWeight":48,"mainColor":94},218767,"xue-shan-ce-jian-tu-tang-di-218767","雪山策蹇图","寒林雪景徐徐铺展，积雪如凝玉覆于峰峦石矶，枯树虬枝盘曲，骨力尽显。山石以斧劈皴与披麻皴交错，淡墨晕染间，雪的厚重与石的坚劲相融。策蹇人衣袂轻扬，缓行于冰冽天地，渺小身影衬出旷远意境。笔墨细腻处藏文人雅致，简淡中见苍劲力道，寒寂氛围里暗蕴生机。整幅画将雪的清寂、树的孤挺、人的从容凝成一瞬，尽显元人山水空灵意韵。观者仿佛闻风雪低语，触冬日清寒，感旅人独行的淡远心境，于静谧中品得那份超脱尘嚣的悠然。",[23,194,24,25,173,7,177,29,2724,795,176,106,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6cb3342fada7f0c20d0e996bc177960.jpg",[181],{"id":36850,"slug":36851,"title":36852,"dynasty":18,"author":257,"museum":191,"description":36853,"tags":36854,"thumbUrl":36855,"material":123,"size":36856,"collection":44,"collections":36857,"showCount":36161,"zanCount":48,"manualWeight":48,"mainColor":49},216992,"shi-ba-luo-han-tu-di-shi-er-na-zha-la-ha-ba-la-zhui-za-zun-zhe-yi-ming-216992","十八罗汉图-第十二那楂拉哈拔喇錣襍尊者","十八罗汉图是宋朝佚名所作的一幅绘画，其中包含了十八个佛教罗汉的形象。其中之一就是第十二那楂拉哈拔喇錣襍尊者。\n\n第十二那楂拉哈拔喇錣襍尊者，是佛教中的一位辅助佛的菩萨。他有着平和的容颜和慈悲的心态，被认为是帮助人们解决烦恼的菩萨。在十八罗汉图中，他的形象通常是被描绘成端庄的姿态，身着红色的衣服，头戴金色的冠冕。",[24,25,226,260,106,7,28,378,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab69505d8bf8f8029094fac0e5776be4.jpg","128.5x74.8",[44],{"id":36859,"slug":36860,"title":36861,"dynasty":302,"author":257,"museum":316,"description":36862,"tags":36863,"thumbUrl":36864,"material":1319,"size":36865,"collection":44,"collections":36866,"showCount":36161,"zanCount":48,"manualWeight":48,"mainColor":49},216729,"cai-wen-ji-gui-han-tu-juan-yi-ming-216729","蔡文姬归汉图卷","蔡文姬归汉图卷是一幅来自中国元朝时期的绘画作品，作者不详。这幅作品描绘了蔡文姬的故事，蔡文姬是中国古代传奇人物，被认为是中国历史上最伟大的女子琴师之一。\n\n蔡文姬归汉图卷描绘了蔡文姬归汉的故事，她最终回到了中国。",[23,194,24,25,26,352,7,106,150,8628,1023,1049],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa205e6ef03d2c82dc7ac2a4de33cb74.jpg","31.5x89.5",[44],{"id":36868,"slug":36869,"title":36870,"dynasty":99,"author":1270,"museum":191,"description":36871,"tags":36872,"thumbUrl":36873,"material":1319,"size":36874,"collection":181,"collections":36875,"showCount":36161,"zanCount":48,"manualWeight":48,"mainColor":49},216103,"jiang-fan-gui-zhao-wen-zheng-ming-216103","江帆归棹","淡墨晕染间，江南水乡的氤氲之态尽显。远山隐于薄雾，轮廓柔和如黛；近岸林木疏朗，墨色层次清雅。江帆数点，似叶浮于粼粼波光；归棹轻摆，携着晚归的悠然意韵。文徵明以细劲中锋勾勒山石，披麻皴缓铺肌理，线条温润却藏筋骨。画面简而不空，每一处笔触皆含文人情致——对自然的亲近，对归居的向往，尽融于烟水帆影之中。吴门画派的秀逸典雅，在此化作含蓄诗意，引人沉湎于那份宁静致远的心境，仿佛能闻流水轻响，见晚风拂过帆樯。",[24,25,81,173,7,29,177,174,109,245,175,28217,108,353],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0d75f0a81c2bd9003aebb84de1cdf41.jpg","36x55cm",[181],{"id":36877,"slug":36878,"title":36879,"dynasty":76,"author":257,"museum":191,"description":36880,"tags":36881,"thumbUrl":36885,"material":123,"size":139,"collection":181,"collections":36886,"showCount":36161,"zanCount":48,"manualWeight":48,"mainColor":94},214618,"yu-ti-mian-hua-tu-ce-dan-hua-yi-ming-214618","御题棉花图册-弹花","御题棉花图册是一本清代的册页艺术作品，其中包含了一系列用棉花制作的图案。这本册子是在皇帝的指示下制作的，因此被称为“御题”，意思是“皇帝指示”。\n\n这本册子是在清代早期制作的，具体时间不详。它由多位艺术家共同创作，但是由于当时记录不够完整，我们无法确定具体的作者名字。\n\n这本册子的图案涵盖了许多不同的主题，包括自然景观、动物、人物以及传统的中国图案。所有的图案都是用棉花制作的，并且由多种颜色组成。这种艺术技巧叫做“棉花画”，是一种古老而传统的中国艺术形式。\n\n御题棉花图册是一件非常珍贵的艺术品，因为它是清代皇帝的御制作品，并且因为棉花画技巧的稀罕性而具有极高的收藏价值。如果你有机会看到这本册子，一定要好好欣赏它的精美图案和精湛的艺术技巧。",[24,7,28,81,86,178,106,35,34,36882,36883,36884],"田地","工具","弹花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33edd5a769c0f5c1f335b8b6bcdd6019.jpg",[181],{"id":36888,"slug":36889,"title":36890,"dynasty":76,"author":36891,"museum":419,"description":36892,"tags":36893,"thumbUrl":36894,"material":2365,"size":139,"collection":139,"collections":36895,"showCount":36161,"zanCount":48,"manualWeight":48,"mainColor":94},214491,"fang-gu-shan-shui-tu-2-cheng-ting-lu-214491","仿古山水图-2","程庭鹭","清代画家程庭鹭的仿古山水图是一件著名的绘画作品，它描绘了中国传统的山水风景。\n\n这件作品的画风精细，色彩鲜艳，构图巧妙。画中的山水风景清新自然，体现了程庭鹭对自然的热爱和对传统文化的尊重。他运用了仿古山水画的特点，使得整件作品显得舒缓而优美。\n\n程庭鹭是清代著名的画家，他的作品擅长运用色彩和线条来表现自然的美感。在仿古山水图中，他运用了清新的色彩和精细的线条来描绘山水风景，使得整件作品显得舒缓而美丽。同时，他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。\n\n总的来说，程庭鹭的仿古山水图是一件精美的绘画作品，它描绘了中国传统的山水风景，也体现了程庭鹭对自然的热爱和对传统文化的尊重。通过这件作品，我们不仅能感受到程庭鹭的画风魅力，还能了解中国传统的山水风情。",[23,24,2428,7,29,174,109,106,60,81,378],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e5615a13e61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》。",[194,24,25,226,7,177,29,685,262,378,1133,35,174,795,37,1981,176,981,3519],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a51013b654eb01b06e59743d39cf6f0.jpg",[],{"id":37076,"slug":37077,"title":3327,"dynasty":76,"author":11333,"museum":316,"description":29635,"tags":37078,"thumbUrl":37079,"material":599,"size":600,"collection":139,"collections":37080,"showCount":489,"zanCount":2368,"manualWeight":48,"mainColor":94},235282,"ren-wu-gu-shi-ce-fan-xue-yi-235282",[24,7,28,104,106,107,245,34,37,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F652a5897903630ea1f074609fb94805f.jpg",[],{"id":37082,"slug":37083,"title":37084,"dynasty":76,"author":20608,"museum":20,"description":37085,"tags":37086,"thumbUrl":37087,"material":529,"size":37088,"collection":139,"collections":37089,"showCount":489,"zanCount":2368,"manualWeight":48,"mainColor":49},234174,"tao-yuan-tu-juan-xiao-chen-234174","桃源图卷","萧晨（1658—1705以后），字灵曦，号中素，江苏扬州人。工山水、人物，尤擅雪景，其所绘青绿山水风格古朴庄重，有仇英之风。\n该卷取材于西晋文学家陶渊明的名篇《桃花源记》，以青绿法绘群山连绵、桃林掩映之景，山间有村舍茅屋，人物往来。笔法清劲流利，设色富丽妍雅，与明代仇英画风有颇多相似之处。该图卷虽无年款，但后幅闵奕仕题跋所署“甲子”，即康熙二十三年，时萧晨二十七岁，因知此图不晚于此时。",[23,24,25,26,7,27,28,177,29,243,109,108,174,106,34,37,989,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbadbb846316c9e1f0c96f5d95e17b41a.jpg","纵31.2厘米，横450厘米",[],{"id":37091,"slug":37092,"title":37093,"dynasty":18,"author":6650,"museum":20,"description":37094,"tags":37095,"thumbUrl":37096,"material":529,"size":37097,"collection":139,"collections":37098,"showCount":489,"zanCount":48,"manualWeight":48,"mainColor":49},234070,"song-xi-fan-yue-tu-ye-xia-gui-234070","松溪泛月图页","夏圭《松溪泛月图》是《宋元集萃册》中之一开，纨扇式小品画。图中绘清朗的月夜，数人乘一叶扁舟畅游湖上，微风徐拂，月明如镜，水天一色，在一派澄净中，只有溪流与松风的和奏飘荡在水面上。\n简洁的用笔，渲染出深远的意境，四位点景人物以寥寥数笔绘出，亦觉生动形象。\n边角剪裁的构图，空灵巧妙，情景交融，富有浓浓诗意，显示出含蓄蕴藉的艺术魅力。作者以极为简括的构图和痩劲的线条反映了文人士大夫在当时的时代背景下追求心灵自由、亲近自然山水的诉求，艺术风格朴素清逸，可称是夏圭山水画的代表作品。\n夏圭（生卒年不详），一作夏珪，字禹玉，钱塘（今浙江杭州）人。南宋画家，与李唐、刘松年、马远并称“南宋四大家”。宁宗时任画院待诏，赐金带。善画山水，属水墨苍劲一派，喜用秃笔，下笔凝重，继承发展了李唐的大斧劈皴。取景简练，常以半边景物表现空间，与马远有异曲同工之妙，有“马一角，夏半边”之称。",[24,194,25,6083,173,7,177,29,1273,109,174,265,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b1dcf60be19a97c3123327632de9860.jpg","24.7×25.2cm",[],{"id":37100,"slug":37101,"title":37102,"dynasty":76,"author":742,"museum":20,"description":37103,"tags":37104,"thumbUrl":37105,"material":500,"size":139,"collection":139,"collections":37106,"showCount":489,"zanCount":48,"manualWeight":48,"mainColor":94},233726,"jiu-ri-deng-gao-tu-ping-ren-yi-233726","九日登高图屏","任颐（1840-1896），初名润，字小楼，后字伯年，浙江山阴（今绍兴）人。父亲任声鹤是民间画像师，大伯任熊，二伯任熏，均是名声显赫的画家。任伯年的绘画发轫于民间艺术，他重视继承传统，融汇诸家之长，吸收了西画的速写、设色诸法，形成自己丰姿多采、新颖生动的独特画风。任伯年精于写像，是一位杰出的肖像画家。人物画早年师法萧云从、陈洪绶、费晓楼、任熊等人。工细的仕女画近费晓楼，夸张奇伟的人物画法陈洪绶，装饰性强的街头描则学自任董，后练习铅笔速写，变得较为奔逸，晚年吸收华岩笔意，更加简逸灵活。",[24,226,7,106,176,28,177,63,7438],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea0e76bf5e8ac1625574fca1e12385ab.jpg",[],{"id":37108,"slug":37109,"title":37110,"dynasty":302,"author":257,"museum":20,"description":37111,"tags":37112,"thumbUrl":37113,"material":37114,"size":37115,"collection":139,"collections":37116,"showCount":489,"zanCount":2368,"manualWeight":48,"mainColor":49},233151,"fang-guo-xi-shan-shui-tu-zhou-yi-ming-233151","仿郭熙山水图轴","图中绘层岩叠嶂，长松老树，古寺平溪，小桥行旅，可游可居。此图为大幅山水，构图高远、深远兼用，山如卷云，树似鹰爪，画风学郭熙一派而又有元人的逸趣。",[24,25,226,29,105,177,173,7,808,34,1353,353,686,809],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F919679436fe80731b835e0f45b649784.jpg","绢本墨笔","纵164厘米横105.3厘米",[],{"id":37118,"slug":37119,"title":37120,"dynasty":76,"author":257,"museum":20,"description":37121,"tags":37122,"thumbUrl":37127,"material":638,"size":31859,"collection":139,"collections":37128,"showCount":489,"zanCount":48,"manualWeight":48,"mainColor":94},233054,"ping-ding-an-nan-zhan-tu-ce-yi-ming-233054","平定安南战图册","《平定安南得胜图》描绘了清乾隆五十三年至五十四年（1788—1789年）间清政府出兵平定安南的战争场景。六幅图依次为：嘉观诃滬之战、三异柱右之战、寿昌江之战、市球江之战、富良江之战、阮惠遣侄阮光显入觐赐宴。\n在东南亚各国中，安南大越与中国疆域毗邻，关系密切。清统一全国后，安南内部仍然陷于南北纷争之中，广南（今越南南部）阮氏控制南方，北方郑氏擅权，国王黎氏徒拥虚位。安南久列藩封，黎氏传国最久，臣服中国最为恭顺。清高宗应黎氏之请用兵安南，为安南平定内乱。\n此套图在风格上受到郎世宁“西法中国画”的影响，在画面局部采用焦点透视和一定的明暗对比来表现纵深效果和立体感，在构图、造型上又带有中国画和木版画风格，反映了中国画家在试图融合中西绘画优长方面所作的努力。",[194,24,25,81,2954,7,37123,37124,3189,26047,37125,26046,29,106,37126],"中西融合绘画","焦点透视","战船","富良江之战","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9b649a06ced5bc8c552f7fcf09a6f73.jpg",[],{"id":37130,"slug":37131,"title":37132,"dynasty":18,"author":647,"museum":20,"description":37133,"tags":37134,"thumbUrl":37135,"material":67,"size":37136,"collection":139,"collections":37137,"showCount":489,"zanCount":48,"manualWeight":48,"mainColor":94},232993,"nan-tang-wen-hui-tu-ye-zhao-chang-232993","南唐文会图页","《南唐文会图》为宋人作品。无款。裱边题签“赵昌南唐文会”。对幅乾隆御笔题诗：“南唐虽僻立，亦自尚文规。簪佩徜徉处，图书左右披。东瀛前拟法，西雅后开师。位置增精密，晩年还蜀为。”\n图绘南唐文士聚会场面。园林中绿树葱茏，芭蕉成林，中设一大案，数位文人雅士围于案旁，又有婢女仆从侍立在旁。",[24,25,81,7,28,29,106,34,175,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62beb2752eec01d037f48c6dd6e055ad.jpg","30.4X29.6cm",[],{"id":37139,"slug":37140,"title":37141,"dynasty":18,"author":257,"museum":20,"description":15824,"tags":37142,"thumbUrl":37143,"material":40,"size":17268,"collection":139,"collections":37144,"showCount":489,"zanCount":48,"manualWeight":48,"mainColor":49},232880,"sou-shan-tu-yi-ming-232880","搜山图",[23,194,24,26,28,7,106,746,5443,29,34,686,245,406],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7401df44a2b2e19ed21e9557d2cba183.jpg",[],{"id":37146,"slug":37147,"title":37148,"dynasty":302,"author":3115,"museum":316,"description":37149,"tags":37150,"thumbUrl":37152,"material":67,"size":37153,"collection":139,"collections":37154,"showCount":489,"zanCount":48,"manualWeight":48,"mainColor":49},232636,"jin-ji-tu-li-zhou-chen-lin-232636","锦鸡图立轴","陈琳，（生卒年不详），字仲美，钱塘（今浙江杭州）人。南宋画院待诏珏子，琳世其叶。善画花鸟、山水、人物\n陈琳得赵孟頫指授，多所资益，故其画不俗，尤善临摹古迹。\n陈琳存世花鸟画仅有一件，即《溪凫图》（台北故宫博物院），作于大德五年(1301)，是在赵孟頫松雪斋中画成的。画中有赵孟頫的润饰和题字，称这幅画为陈琳的游戏笔墨，推重备至。作品特色鲜明，工笔略带写意，粗细兼用，笔墨潇洒流畅，浓淡墨色富于变化，形象生动，风格古朴，具有文人水墨写意画的韵致。这幅画既反映了陈琳的绘画特色，也代表了元代花鸟画嬗变的时代特征。陈琳还有山水画传世，如《秋山行旅图》、《苍崖古树图》等，都属于水墨写意画法。",[23,24,226,7,28,83,1273,1284,2014,34,84,176,37151,3130],"元代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70a7d3753eac78e2098c6e0fef1789f7.jpg","117x70厘米",[],{"id":37156,"slug":37157,"title":18974,"dynasty":99,"author":21292,"museum":316,"description":37158,"tags":37159,"thumbUrl":37160,"material":139,"size":37161,"collection":139,"collections":37162,"showCount":489,"zanCount":2368,"manualWeight":48,"mainColor":49},231948,"tao-yuan-tu-shi-rui-231948","石锐（？－15世纪），字以明，钱塘（今浙江省杭州市）人，明代宫廷画家。宣德年间（1426年－1435年）进入宫廷，在仁智殿担任待诏，1469年仍活跃于画院。其画得盛懋之法，备极华整。金碧山水、界画楼台及人物，皆傅色鲜明温润，尤擅长画青绿与金碧山水，名著于时。",[23,24,3559,7,177,176,34,114,109,243,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5f18009ef0602e849b71eadcf06a50f.jpg","24.7x22.15 厘米",[],{"id":37164,"slug":37165,"title":37166,"dynasty":256,"author":37167,"museum":316,"description":37168,"tags":37169,"thumbUrl":37172,"material":599,"size":600,"collection":139,"collections":37173,"showCount":489,"zanCount":2368,"manualWeight":48,"mainColor":49},231751,"ming-zhi-nian-bi-ming-zhi-nian-wu-ji-you-hua-dong-jing-hei-tian-qing-hui-231751","明治年 笔 明治年舞姬油画(东京)","黑田清辉","日本画家。1884年赴巴黎留学。1893年回国。1896年创立白马会。1898年任东京美术学校教授。1922年任帝国美术院院长。还担任贵族院议员等。吸收法国外光派画风，创立了日本外光画派。在日本明治时期画坛上颇有影响。主要作品有《读书》《湖畔》《昔语》《朝妆》等。去世后，根据其遗愿，设立了黑田纪念馆（现在东京国立文物研究所内）。",[3187,7,106,59,37170,37171,3519,8432],"和服","窗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F864e28fa6e99590567aa0ef59b9c5efd.jpg",[],{"id":37175,"slug":37176,"title":37177,"dynasty":99,"author":1196,"museum":316,"description":37178,"tags":37179,"thumbUrl":37180,"material":139,"size":139,"collection":139,"collections":37181,"showCount":489,"zanCount":48,"manualWeight":48,"mainColor":94},230992,"shao-yao-tu-tang-yin-230992","烧药图","《烧药图》是明朝诗人唐寅所作诗词。\n明 人来种杏不虚寻，彷佛庐山小径深。\n常向静中参大道，不因忙里庆清呤。\n愿随化雨之春泽，未许云间一片心。\n老我近来多肺疾，如另紫雪把 。",[194,24,25,26,173,7,177,178,86,212,106,29,1273,353,176,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03e987fb42398f70635b32fd13cd9023.jpg",[],{"id":37183,"slug":37184,"title":34271,"dynasty":76,"author":5359,"museum":316,"description":37185,"tags":37186,"thumbUrl":37187,"material":139,"size":139,"collection":139,"collections":37188,"showCount":489,"zanCount":48,"manualWeight":48,"mainColor":49},230157,"jiu-cheng-gong-tu-yuan-yao-230157","画作取高远、平远兼融的构图，上部巨岩拔地凌天，淡墨晕染出缭绕云气，晕开虚渺空濛的高远之境。山腰层楼叠宇依岩临渊，界画笔法工细匀整，飞檐翘角尽显宫阙的雄丽精巧。\n\n近景苍松虬曲蓊郁，临水方亭伴岸而立，板桥卧波轻连汀渚，淡墨铺陈出水岸的悠远空寂。山石兼工带写，斧劈皴间晕染烟岚，墨色干湿浓淡铺陈出山水层次虚实，将人工匠造融于天地山水间，尽显楼阁山水的明秀壮逸，把宫苑恢宏与山水灵秀相融，意境清逸悠长。",[23,24,226,104,7,29,107,175,176,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe29d96974242735cfd79368fbee845cd.jpg",[],{"id":37190,"slug":37191,"title":37192,"dynasty":76,"author":742,"museum":316,"description":37193,"tags":37194,"thumbUrl":37195,"material":139,"size":139,"collection":139,"collections":37196,"showCount":489,"zanCount":48,"manualWeight":48,"mainColor":94},230122,"chun-qin-si-ping-ren-yi-230122","春禽四屏","这幅团扇小品兼工带写，以鸲鹆为题。浓墨晕染禽鸟黑羽，兼用淡墨扫出绒羽蓬松层次，朱红爪足紧扣枯枝，圆目尖喙自带警觉之态，笔意放逸却形神毕现。衬景藤蔓枝叶以花青淡赭轻勾慢染，叶片俯仰错落，柔润淡彩与浓黑禽鸟形成冷暖映衬，疏密之间晕出春日清寂生机。右侧题字笔力劲挺，与画面浑然相融，尽显写意花鸟的灵动雅趣，尺幅之内将日常小景化为意韵悠长的雅致佳作。",[24,7,173,83,209,836,837,212,498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb56f8d8e8fbbb64afde5123e88597a17.jpg",[],{"id":37198,"slug":37199,"title":37200,"dynasty":76,"author":997,"museum":316,"description":37201,"tags":37202,"thumbUrl":37204,"material":139,"size":139,"collection":139,"collections":37205,"showCount":489,"zanCount":48,"manualWeight":48,"mainColor":94},228986,"yuan-ming-shi-yi-ce-ye-shi-tao-228986","渊明诗意册页","《陶渊明诗意图》是清代石涛创作的纸本设色画册。\n本图册是作者根据东晋著名诗人陶渊明诗句而创作。\n陶渊明是中国田园诗的创始者，他的诗不仅反映出田园生活的美好与自然，更流露出他徘徊于出仕与归隐之间的矛盾。\n绘画者显然非常赞赏这种避身独处、与世无争、乐天安命的人生哲学，通过描绘回归自然、淡于荣禄、不与统治者合作的隐士陶渊明来表现自己美好的理想。\n第二开《悠然见南山》：陶渊明的许多诗篇中都有关于菊花的诗句：“采菊东篱下，悠然见南山”、“秋菊有佳色，裛露掇其英”均写出了他远离世俗的心境和陶醉于自然的乐趣。\n他常以菊自喻，借菊花凌秋傲霜的品质表达自己清高的节操和情怀。\n石涛仰慕陶渊明的高尚情操，故此图借陶渊明爱菊寄寓了画家自己的思想感情。\n画中篱笆院中菊花盛开，一高士手持菊花观赏，悠然之态可见。\n此图结构精巧，人物用笔细密。\n远山以墨笔烘染，山腰云雾密布，不见山脚，以此表现烟云飘渺的动态和气势。\n这种中锋、细勾、渍染相结合的画法使画面有动有静，虚实结合，意趣无穷。\n第六开《遥遥望白云 怀古一何深》：描绘一位着布衣宽袍的老者临溪而立。\n老者远望青山，脚下溪水流淌。\n面对满目凄凉、空无一人的山水，主人公似思绪万千，发思古之幽情。\n画家借此图深刻而恰当地表达了自己零丁孤苦、怀才不遇之情。\n构图采用一水两岸的自然分疆法。\n画面上只见弥漫的云山、层山断处的房舍和半露的松林而不见山脚，山顶则似露非露地隐现。\n树木用水墨渍出，以衬托山腰白云的动感。\n石涛（1642年－178年），清初画家，原姓朱，名若极，明靖江王朱赞仪的十世孙， 的长子。\n广西桂林人，祖籍安徽凤阳，小字阿长，别号很多，如大涤子、清湘老人、苦瓜和尚、瞎尊者，法号有元济、原济等。\n与 、 、 合称“清初四僧”。\n早年山水师法宋元诸家，画风疏秀明洁，晚年用笔纵肆，墨法淋漓，格法多变，尤精册页小品；花卉潇洒隽朗，天真烂漫，清气袭人；人物生拙古朴，别具一格。\n工书法，能诗文。\n存世作品有《搜尽奇峰打草稿图》、《 》、《竹石图》、《 》等。",[24,25,81,7,177,178,29,35,34,37203,106,86],"山崖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b2d3809eadb6e757b646a89b366f1d6.jpg",[],{"id":37207,"slug":37208,"title":37209,"dynasty":76,"author":6641,"museum":316,"description":37210,"tags":37211,"thumbUrl":37212,"material":139,"size":139,"collection":139,"collections":37213,"showCount":489,"zanCount":48,"manualWeight":48,"mainColor":94},228949,"chun-man-zhi-tou-zhao-zhi-qian-228949","春满枝头","此作将群芳收于团扇尺幅，花枝虬曲穿插，蔷薇、山茶错落在苍枝间，繁而不乱。墨叶以浓淡晕出层次，苍厚朴拙，带着写意的朴野意趣；花卉以没骨晕染，粉艳、朱红、米黄诸色鲜活柔润，妍丽却不甜俗。\n\n兼工带写的笔意，将草木的舒展生机与文人画的隽雅格调相融，角落题字清雅端凝，和画面浑然一体。把暮春盛放的鲜活景致凝缩方寸之间，生机盎然，尽显清隽的写生意趣，是兼具笔墨情致与自然意韵的小品佳制。",[23,24,25,194,1260,7,83,84,210,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F633ca1d9c7a81bb71031bb55fe76c1ba.jpg",[],{"id":37215,"slug":37216,"title":37217,"dynasty":99,"author":1782,"museum":316,"description":37218,"tags":37219,"thumbUrl":37220,"material":599,"size":600,"collection":139,"collections":37221,"showCount":489,"zanCount":48,"manualWeight":48,"mainColor":94},228849,"chang-jiang-wan-li-tu-juan-dai-jin-228849","长江万里图卷","戴进（1388—1462），字文进，号静庵、玉泉山人。钱塘（今浙江杭州）人，明代画家。早年为金银首饰工匠，后改工书画。宣德间（1426—1435）以画供奉内廷，官直仁殿待诏。后因遭谗言被放归，浪迹江湖。\n他擅画山水、人物、花鸟、虫草。山水师法马远、夏圭，中年犹守陈法，晚年纵逸出蹊径，卓然一家。所作雄俊高爽，苍郁浑厚，用笔劲挺方硬，画人物笔法娴熟，顿挫间风度益著；所作花鸟、虫草亦饶有生意。为“浙派绘画”开山鼻祖。作品有《春山积翠图》《风雨归舟图》 《三顾茅庐图》《达摩至惠能六代像》等。",[23,194,24,25,26,86,173,7,177,3559,29,978,808,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb170268d39be31976855cdc36e4345d4.jpg",[],{"id":37223,"slug":37224,"title":37225,"dynasty":99,"author":100,"museum":316,"description":37226,"tags":37227,"thumbUrl":37228,"material":139,"size":139,"collection":139,"collections":37229,"showCount":489,"zanCount":2368,"manualWeight":48,"mainColor":49},228454,"shou-lie-tu-ye-chou-ying-228454","狩猎图页","平沙莽莽，疏枝斜挑天际，尽显荒寒萧索。虬髯猎手身着劲装，背负箭囊，俯身控马急驰，目光如炬锁向前方奔逃的猎物，满屏皆是紧绷的狩猎张力。\n\n画师以劲挺利落的铁线描勾勒人马身形，沉凝的绢底晕染出辽远荒滩，淡墨轻扫便将塞外旷野的空寂铺陈开来。猎手的剽悍果决与猎物的仓皇奔窜形成强烈对冲，动静之间，将北地游猎的飒爽快意尽数渲染，笔简意足，苍劲疏朗的野趣扑面而来，把刹那间的狩猎定格成永恒的生动画卷。",[24,194,25,81,28,7,106,150,746,34,8099],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8084374c281962b0ebac2a54ed35c49.jpg",[],{"id":37231,"slug":37232,"title":37233,"dynasty":302,"author":22014,"museum":316,"description":37234,"tags":37235,"thumbUrl":37236,"material":139,"size":139,"collection":139,"collections":37237,"showCount":489,"zanCount":48,"manualWeight":48,"mainColor":49},228245,"xian-shan-lou-ge-tu-quan-juan-chang-juan-chen-ru-yan-228245","仙山楼阁图全卷（长卷）","此作用色古雅沉静，以青绿晕染层叠山峦，石质坚凝、林壑深秀，苍松错落植于岩岫之间，古意盎然。楼阁屋舍隐于林泉幽处，烟霞缈缈间，勾勒出超脱尘俗的世外仙乡意境。\n\n笔致精细秀润，既承唐宋青绿山水的明艳厚重，又融入元人写意的简逸格调，将洞天福地的灵逸之气晕染于绢素之上。拖尾题跋与画作相映成趣，文墨合璧，更添古雅意蕴，尽显画中幽居绝尘的雅逸之美。",[23,24,25,26,27,7,29,107,108,109,1273,176,37,104,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5759faa7d805c7b52e01d396e95034f3.jpg",[],{"id":37239,"slug":37240,"title":37241,"dynasty":302,"author":5007,"museum":316,"description":37242,"tags":37243,"thumbUrl":37244,"material":139,"size":139,"collection":139,"collections":37245,"showCount":489,"zanCount":2368,"manualWeight":48,"mainColor":49},228043,"fan-zhou-tu-ye-sheng-mao-228043","泛舟图页","层岩峻拔耸峙，细密皴笔勾勒出山石嶙峋肌理，峰巅林木点染，翻涌云气半掩山峦，晕开缥缈出尘的幽远意境。下方碧波湍流，古松虬曲苍劲，旁生花树缀满淡蓝繁花，为幽寂晕开一抹清润生机。\n\n扁舟之上，隐者凭舷闲坐，纵览烟霞林泉。全作设色清雅古拙，构图疏密得宜，将山海林泉的静穆幽远，与幽人悠游林下的自在相融，以景托志，尽显尚意抒情的特质，绘出超脱世俗的林下风流。",[23,24,25,7,173,29,174,109,106,1273,176,28,118,21545,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F279077b856a63fb919bda2ad8a79d75b.jpg",[],{"id":37247,"slug":37248,"title":37249,"dynasty":302,"author":36532,"museum":316,"description":37250,"tags":37251,"thumbUrl":37253,"material":139,"size":139,"collection":139,"collections":37254,"showCount":489,"zanCount":2368,"manualWeight":48,"mainColor":94},228037,"mo-lou-shu-geng-zuo-tu-chang-juan-cheng-qi-228037","摹楼璹耕作图（长卷）","此作以长卷铺陈田家岁时劳作全程，从垦壤播种到刈获登场，每段农事场景鲜活写实，农人的动作、形制各异的农具、田陇桑野的细节皆一一细致摹绘，还原出耕织劳作的质朴烟火。笔墨兼具宋画的精工写实，又暗含元人淡和的写意韵致。卷上题跋鉴印层层累叠，带着历代递藏的厚重脉络，将田家稼穑的日常，与文人题咏的雅致融于一卷，既是记录古代农桑的图像实录，也是承载着鉴藏史迹的书画珍存。",[23,24,25,26,105,7,28,86,212,106,151,8379,13427,36882,34,109,37252,108],"稻禾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67c64d15f526a4ae7c823223adca9895.jpg",[],{"id":37256,"slug":37257,"title":19088,"dynasty":18,"author":37258,"museum":316,"description":37259,"tags":37260,"thumbUrl":37261,"material":139,"size":139,"collection":139,"collections":37262,"showCount":489,"zanCount":48,"manualWeight":48,"mainColor":49},227684,"hu-shan-chun-xiao-tu-chen-qing-bo-227684","陈清波","《湖山春晓图》页，南宋，陈清波绘，绢本，设色，纵25厘米，横26.7厘米。\n\n本幅款署：“乙未陈清波。”钤收藏印“庞莱臣珍藏宋元真迹”一方。庞元济《虚斋名画录》著录。\n\n此页以平远之法绘春山平湖。湖堤一边是掩映在绿树丛中的深院崇楼，湖对岸小路上一人骑马远行，执鞭回望崇楼，二仆负伞荷担相随，湖阔天高，远山一带。画中人物是踏青，是出行，是省亲，是远宦，耐人寻味。楼阁虽以粗笔画出，但飞檐户牖洗练而不失准确。简括明了的线条、大片空白的院体格式与清新淡雅的色调使画面在含蓄蕴藉之中充满了春天的明媚。",[23,24,1260,7,29,107,34,106,150,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb8ca390799c21fee010089df993fbc2.jpg",[],{"id":37264,"slug":37265,"title":6240,"dynasty":18,"author":257,"museum":316,"description":27801,"tags":37266,"thumbUrl":37267,"material":599,"size":600,"collection":139,"collections":37268,"showCount":489,"zanCount":48,"manualWeight":48,"mainColor":4199},227429,"hua-ping-yi-ming-227429",[913,12818,136,7,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb18bf8b33f4775fd7bbf9f4e60b0e516.jpg",[],{"id":37270,"slug":37271,"title":37272,"dynasty":189,"author":3536,"museum":316,"description":37273,"tags":37274,"thumbUrl":37275,"material":139,"size":139,"collection":139,"collections":37276,"showCount":489,"zanCount":48,"manualWeight":48,"mainColor":94},227266,"yuan-yang-shuang-xi-qi-tu-huang-quan-227266","鸳鸯双西栖图","黄荃在中国古代花鸟画发展史上占有重要地位。他集众家之长，鸟雀师刁光胤，山水师李昇，龙水、松石、墨竹师孙位，他能自出新意，不重蹈抄袭他人的陈迹，创出一种新体并使工笔花鸟画达到成熟期。黄荃的《写生珍禽图》其表现翎毛、昆虫等自然物态的精确性及其作为艺术形象的审美趣味性，确已达到妙造自然、形神兼备的地步。黄荃还继承和发展了边鸾描写活禽生卉的传统，以优美的笔致和赋色技巧表现动植物的生动情态。黄荃也能画山水、人物。与徐熙并称“徐熙野逸，黄家富贵。”。今有《写生珍禽图》传世。子黄居宷、黄居宝等亦擅花鸟，承其父法，黄居宷有《山鹧棘雀图》传世。",[23,24,194,25,1260,28,7,83,2014,353,230,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28c674b72f9c4538a81c5d18574dd6ea.jpg",[],{"id":37278,"slug":37279,"title":11067,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":37280,"thumbUrl":37282,"material":599,"size":600,"collection":139,"collections":37283,"showCount":489,"zanCount":48,"manualWeight":48,"mainColor":49},226426,"ku-zhu-shi-bei-bi-yi-ming-226426",[511,260,7,106,37281,7230],"千佛","https:\u002F\u002Foss.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windmills and allotments (March - April )",[3187,16431,37296,7,37297,36882,8882,35,13730,34,106,37298,37299,795,37300,32881],"短笔触","风车","山丘","菜园","棚屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ac7eead247db41f11dfde4151e11689.jpg",[3195],{"id":37304,"slug":37305,"title":37306,"dynasty":256,"author":6236,"museum":316,"description":6237,"tags":37307,"thumbUrl":37309,"material":599,"size":600,"collection":3195,"collections":37310,"showCount":489,"zanCount":48,"manualWeight":48,"mainColor":49},225747,"fisherman-and-boats-from-the-pont-de-clichy-fan-gao-225747","Fisherman and boats from the Pont de 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繁笔勾皴和屋宇的简笔勾勒，形成疏密的对比，墨色也富有虚实轻重的变化，使画面产生强烈的装饰美感。",[23,24,25,81,7,29,107,34,175,86,212,177,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F674619dee4ce4fad476bb3400d91654b.jpg","纵42.2厘米，横23.8厘米",[],{"id":37422,"slug":37423,"title":37424,"dynasty":99,"author":7823,"museum":191,"description":37425,"tags":37426,"thumbUrl":37427,"material":37428,"size":37429,"collection":181,"collections":37430,"showCount":489,"zanCount":48,"manualWeight":48,"mainColor":94},222086,"hui-shan-zhu-quan-tu-zhou-qian-gu-222086","惠山煮泉图轴","钱谷此图绘与友人四人品茶赏景谈天，三童一汲方池惠泉，另二于松下煽火备茶。图中树木多以乾笔皴擦、人物偶现几处浓墨点缀，浓淡表现恰到好处，笔法灵巧，呈现了晚明文人潇洒怡然的生活情景。",[23,24,25,226,173,7,177,106,34,176,212,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc265a3d40fc91feae57afc4851a3c8e.jpg","轴、纸本、浅设色","265x57.2",[181,45],{"id":37432,"slug":37433,"title":37434,"dynasty":302,"author":16330,"museum":20,"description":37435,"tags":37436,"thumbUrl":37437,"material":500,"size":37438,"collection":42,"collections":37439,"showCount":489,"zanCount":48,"manualWeight":48,"mainColor":49},221694,"chun-yun-xiao-ai-tu-zhou-gao-ke-gong-221694","春云晓霭图轴","用花青与墨渲染，用色较重，而矾头多露白，对比强烈，使人有雨后晴山的感觉。曾著录于《大观录》、《江村销夏录》。此图正是运用了米点皴法，但在学米的同时又参用董源的画法，故山水画的浑厚、重大，而烟云环抱山峦，一线瀑布飞下，又使群山飘渺起来，气象万千。石涛《画语录》“境界章”中提到山水画的“分疆”，认为画面可作“三叠两段”的处理，三叠是指“一层地，二层树，三层山”，所谓“两段”是指“景在下，山在上，云在中”，将画隔做两段。古代作品中不发此类画例，如明人王孟端的《溪山深秀图》、文嘉的《天地山月图》等。该件高克恭的“春云晓霭图”也大致属此。当然，“三叠两段”是一种山水画中曾出现过的章法，而不是法则，我们不可刻舟求剑。",[23,24,3559,226,177,7,685,2235,378,3176,108,109,245,1157],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1eafa9868d9774cd0d4a19bc06632019.jpg","纵138.1厘米，横58.5厘米",[42,181,45],{"id":37441,"slug":37442,"title":36915,"dynasty":18,"author":11500,"museum":12886,"description":37443,"tags":37444,"thumbUrl":37445,"material":67,"size":37446,"collection":139,"collections":37447,"showCount":489,"zanCount":48,"manualWeight":48,"mainColor":49},221604,"gui-yu-tu-liang-kai-221604","梁楷，南宋人，祖籍山东，南渡后流寓钱塘 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在梁楷的人物画中，唐宋那种严谨写实的人物画高峰已经过去，从此图中，人物的大首部分还是唐宋之余波，细致工整，但下部的衣着却奔放写意，粗旷浪漫，有文人画的意味了。\n一个和尚的像对于观者的影响是什么样的，按照古人的：“成教化，助人伦”的主张，以僧人之像带给观者是对佛法的亲近，对禅悟的揭示，当然一句谒子同样可能使人开悟，一幅佛画，一幅有关佛的书法有同样的的功能，因人而起开悟之作用。\n布袋和尚是后来的弥勒佛，“布袋”其实是俗世的包袱，一种执着和迷朦。所以有“放下”一说：放下布袋，何等自在。人一生来就抓住什么，背着什么，儿时的抓周，一开始就是抓，抓住笔似乎是文曲星下凡，抓住铜钱或袁大头似乎是大商贾，抓住印章似乎是官运如何的好，所有一切背在身上，每个人都有一个无形的布袋，不到零落不放下。\n其实本来就不应该抓住，一切皆空吧。佛门的神秀写下四句偈云：“身是菩提树，心如明镜台。时时勤拂拭，莫使惹尘埃。”却未若不识字的的六祖惠能的四句偈高明：“菩提本无树，明镜亦非台。本来无一物，何处惹尘埃。”一个人过分的执着，背得太多，一旦大限来时，方知一切已晚，所求者其实是一场空梦。",[23,194,24,173,7,29,795,245,796,174,6582,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa85b9bdc5562af0dcae71507b85fc35.jpg","23.6x24.7厘米",[],{"id":37449,"slug":37450,"title":37451,"dynasty":18,"author":17938,"museum":20,"description":37452,"tags":37453,"thumbUrl":37454,"material":40,"size":37455,"collection":42,"collections":37456,"showCount":489,"zanCount":48,"manualWeight":48,"mainColor":49},221453,"bin-feng-tu-juan-quan-juan-ma-he-zhi-221453","豳风图卷全卷","作者根据《诗经·国风》之《豳风》诗意而作。全卷共分七段，依次为《七月》、《鸱号》、《东山》、《破斧》、《伐柯》、《九罭》、《狼跋》，每段画前书《豳风》原文。图中人物形象生动，衣纹用兰叶描，笔法流畅潇洒，设色清丽古雅，在诸本毛诗图中，亦属精作。此卷无款印，旧传为马和之画，宋高宗赵构书。但在《伐柯》篇内“構”字因避高宗讳而缺一笔，如“”，说明该书不是赵构所写，而是画院高手代笔。此图大约在元代初年被分割为两卷，仅《破斧》篇为赵孟頫收藏，明末董其昌误认为是赵孟頫补图。清乾隆年间两卷入内府，合璧装成一卷，并将董其昌、高士奇跋移往后幅。卷首有清高宗弘历御书“苇龠余风”四字，尾纸除董其昌、项元汴等三则题记外，尚有乾隆御题一则，钤明项元汴、清高士奇、梁清标及乾隆、嘉庆、宣统内府藏印多方。\n张丑《清河书画舫》、卞永誉《式古堂书画汇考》、吴升《大观录》、《石渠宝笈·续编》、《石渠随笔》等书著录。",[23,24,25,26,352,7,106,29,353,212,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56e13d25db108e203ad6d928b942d2a2.jpg","纵25.7厘米，横55.7厘米",[42,181,163],{"id":37458,"slug":37459,"title":30378,"dynasty":18,"author":27190,"museum":191,"description":37460,"tags":37461,"thumbUrl":37462,"material":638,"size":37463,"collection":42,"collections":37464,"showCount":489,"zanCount":48,"manualWeight":48,"mainColor":94},221284,"bao-shan-shi-jing-ce-gao-ke-ming-221284","高克明，生卒年不洋，宋化絳州（今山西新絳） 人，主要活動時期在太宗，仁宗二朝，為當時著名的山水畫家。 高克明的山水畫創作，大多是從實地觀察獲得素材，復經自己深思熟慮、苦心經營中得來，並不專師於一家，卻能注意採擷諸家之美，參成一藝之精，自為體格，頗有創新的味道。",[194,24,25,81,7,177,178,29,1241,3884,10209,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e07ca6685ec8381313e4987a95af081.jpg","30.2x31.8厘米",[42,181,163],{"id":37466,"slug":37467,"title":37468,"dynasty":869,"author":4525,"museum":6047,"description":37469,"tags":37470,"thumbUrl":37472,"material":139,"size":139,"collection":139,"collections":37473,"showCount":489,"zanCount":48,"manualWeight":48,"mainColor":94},220553,"ba-ren-ji-shui-xu-bei-hong-220553","巴人汲水","这幅长卷以竖幅铺展取水全程，自河畔到山梯，串联起众生剪影。下方赤膊老者躬身探入河水提桶，肌肉紧绷满是劳作的沧桑；妇人俯身舀水，壮年佝偻腰背负重登梯，青年挑着水桶稳步上行，山巅挑夫将艰辛藏入沉稳脚步。\n线条劲挺勾勒出劳动者贲张的筋肉与粗粝山石，淡墨晕染开朦胧水汽，侧畔竹花轻绽反衬生计之苦。题诗诉尽汲水人的血汗辛劳，将日常生计绘就为对底层坚韧的深情礼赞，写实笔墨里满溢共情与悲悯。",[23,24,173,7,6170,226,106,9231,3712,109,37471],"水桶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15e184e8f377e2844f6c9d4d7879a5ec.jpg",[],{"id":37475,"slug":37476,"title":37477,"dynasty":869,"author":4525,"museum":6047,"description":37478,"tags":37479,"thumbUrl":37480,"material":139,"size":139,"collection":139,"collections":37481,"showCount":489,"zanCount":2368,"manualWeight":48,"mainColor":94},220536,"chen-qu-xu-bei-hong-220536","晨曲","枯枝虬曲交错，浓淡墨色晕染出苍劲质感，萧索冬意铺满纸面。数十只麻雀错落栖于枝桠，姿态灵动各异：有的昂首翘望谛听晨风，有的两两依偎喁喁私语，也有敛羽静立，沉浸在晨间清寂之中。\n\n以水墨写意之法寥寥定格群雀憨态灵趣，淡墨留白的空阔背景，更衬出雀鸟的鲜活生机，静中藏动，将冬晨的清寒和小生命的蓬勃揉作一处。于枯淡笔墨间晕开暖意，把日常晨间的鲜活意趣尽显，在留白与笔意里藏着温柔生机，让萧瑟冬景晕染出盎然生气。",[24,173,7,498,83,795,245,869],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0320e8ab6ec6712d5beadf2f7573390c.jpg",[],{"id":37483,"slug":37484,"title":37485,"dynasty":99,"author":14232,"museum":191,"description":37486,"tags":37487,"thumbUrl":37488,"material":1319,"size":37489,"collection":44,"collections":37490,"showCount":489,"zanCount":1379,"manualWeight":48,"mainColor":49},220446,"yan-bo-bu-yu-tu-zhu-zhan-ji-220446","烟波捕鱼图","朱瞻基（1398－1435年），明朝第五位皇帝，1425-1435年在位，别称明宣宗、宣德帝，他也是一位能够与宋徽宗媲美的杰出书画家。《烟波捕鱼图 》描绘了云山雾罩中，水上渔夫捕鱼的生活场景，画面简洁、气韵生动，人物刻画准确。",[23,24,25,226,173,7,29,174,796,35101,987],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9626aa8d65d34938dfd008992e2399b4.jpg","65x34.7",[44],{"id":37492,"slug":37493,"title":37494,"dynasty":76,"author":5498,"museum":191,"description":37495,"tags":37496,"thumbUrl":37497,"material":88,"size":37498,"collection":44,"collections":37499,"showCount":489,"zanCount":48,"manualWeight":48,"mainColor":94},220439,"er-xian-tu-feng-ning-220439","二仙图","冯宁，生死时年、籍贯均不详。高宗乾隆时，任职内廷画院供奉，擅长于人物画，画法似是出自明代浙派吴伟一路，用笔慓劲，衣服褶纹采取破笔粗线描法，水墨恣肆，墨气淋漓，画面充分给人一种力的感觉。画中二仙，似为八仙中的钟汉离、铁拐李二人。",[24,25,194,226,7,28,106,34,176,1819,18787,7438],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F461871e343739280aea5bb0310803e26.jpg","173.5x68.9公分",[44,45],{"id":37501,"slug":37502,"title":37503,"dynasty":99,"author":1782,"museum":191,"description":37504,"tags":37505,"thumbUrl":37506,"material":67,"size":37507,"collection":181,"collections":37508,"showCount":489,"zanCount":48,"manualWeight":48,"mainColor":49},219976,"liu-tang-tu-dai-jin-219976","柳塘图","此作用淡晕轻染铺就烟雨空蒙的暮色，垂杨柔条披拂，烟霭萦于枝叶间，将江南水畔的朦胧诗意揉入画面。凭栏白衣士人静默远眺，与水榭板桥、浅黛远山遥遥相映。\n\n画家以清润笔触勾勒亭台轮廓，以淡墨晕出山形水色，大片留白衬出空寂悠远的氛围，褪去刻画的繁复，尽显萧散闲雅的幽居意趣。暮色四合里，晚风拂柳、静水无波，将春日水居的松弛隐逸之美，晕染得含蓄悠长。",[23,24,7,29,28,1241,108,109,107,175,106,1169,37,21545],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff502ed56fd18bef75ebe0e94650d7d5a.jpg","110.5*54.8",[181],{"id":37510,"slug":37511,"title":37512,"dynasty":99,"author":31005,"museum":191,"description":37513,"tags":37514,"thumbUrl":37515,"material":123,"size":37516,"collection":45,"collections":37517,"showCount":489,"zanCount":48,"manualWeight":48,"mainColor":49},219973,"xi-qiao-fang-you-tu-wang-e-219973","溪桥访友图","明代画家。字廷直，奉化（今浙江奉化）人，世居奉化城内西锦里。 初以绘事供事仁智殿。尝师里人萧凤，尽其术，乃肆力於唐、宋名家。凡奇山怪石，古木惊湍之类，尽摹其妙。以画名东南，其画树石多著烟霭之态，势如泼墨，而无四面枝干丛生疏密之意。宋惧、卢镇 皆师谔。 惧所作山水、人物与谔无二。镇字砚溪，能画美人 。 镇子沛，字小溪，亦工画。一生主要学习马远的画法，就其画法当属浙派。长于人物，画格 出吴伟 之上。 王谔则以山水画被孝宗朱瞻基 称为“当代马远”。 弘治正德中官锦衣千户。工山水，师南宋马远。他的画较之马远笔触更细，稍有放笔，体现了明代中期院体的时代风格。",[23,24,29,7,177,226,108,109,175,378,176,150,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60261b5b6f84e0898253e1dd71ffe7c9.jpg","纵 172.1厘米 横105.8厘米",[45],{"id":37519,"slug":37520,"title":37521,"dynasty":18,"author":257,"museum":191,"description":37522,"tags":37523,"thumbUrl":37524,"material":123,"size":37525,"collection":44,"collections":37526,"showCount":489,"zanCount":48,"manualWeight":48,"mainColor":49},219605,"fan-qi-chu-lie-tu-yi-ming-219605","番骑出猎图","画面里两位骑手纵马缓行，左侧胡酋虬髯高冠，身姿沉凝端坐，坐骑鬃尾飘曳，裹挟着塞北雄悍犷野之气。右侧骑士背负箭囊、斜倚长杆，神色警觉四顾，仿佛正凝神扫视周遭，静待逐猎之机。\n\n设色简淡古雅，线条劲挺洗练，人马造型朴拙生动，荒漠底色晕染出辽远荒寒的氛围，将游牧民族出猎前的松弛与暗藏的骁勇刻画入微，寥寥笔墨便勾勒出北方草原的苍茫意趣，尽显描摹世态、传神写意的精妙功底。",[23,194,24,25,26,28,7,106,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09a0f7f663c7add49b0108d136ef0824.jpg","纵24.4横56.3厘米",[44],{"id":37528,"slug":37529,"title":37530,"dynasty":76,"author":20608,"museum":191,"description":37531,"tags":37532,"thumbUrl":37533,"material":123,"size":37534,"collection":181,"collections":37535,"showCount":489,"zanCount":48,"manualWeight":48,"mainColor":49},219538,"feng-nian-rui-xue-tu-xiao-chen-219538","丰年瑞雪图","画面冰天雪地，天寒地冻，一片雪花映照好年景。 河岸有竹屋，雪重柳。 木桥过河，两人缓步走来，一个打着伞，一个戴着帽子，戴着兜帽。",[24,25,226,7,28,29,2562,107,108,109,106,8421,1273,176,35,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F938f0ddeacfed55963e5531bd7262d12.jpg","109.8x56.1厘米",[181],{"id":37537,"slug":37538,"title":37539,"dynasty":76,"author":257,"museum":223,"description":37540,"tags":37541,"thumbUrl":37548,"material":7,"size":139,"collection":44,"collections":37549,"showCount":489,"zanCount":1003,"manualWeight":48,"mainColor":49},219247,"zu-xian-xiang-yi-ming-219247","祖先像","层叠排布的家族群像，铺展一幅清代家族的伦理长卷。顶戴花翎的男子端坐，旗装霞帔的女眷肃立，衣袂间织锦暗纹隐现，品级补子昭示身份尊卑。面容沉静肃穆，目光似穿越时空，承载着家族的荣耀与传承。工笔细腻，设色典雅，人物神态刻画入微，服饰细节还原精准。这幅祖先像不仅是家族祭祀的精神载体，更以写实笔触定格清代世家风貌与文化基因，成为兼具艺术价值与社会意义的肖像画鲜活见证。",[23,24,28,7,320,37542,37543,37544,2168,37545,37546,3701,280,19323,3190,37547],"人物肖像","家族群像","清代服饰","工笔人物","设色人物","中国传统绘画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89e4a59c5c3af57ba55f005f02ec73ce.jpg",[44],{"id":37551,"slug":37552,"title":37553,"dynasty":76,"author":257,"museum":223,"description":37554,"tags":37555,"thumbUrl":37556,"material":7,"size":139,"collection":44,"collections":37557,"showCount":489,"zanCount":2368,"manualWeight":48,"mainColor":94},219246,"gao-seng-hua-xiang-yi-ming-219246","高僧画像","层叠群像如莲台次第铺展，二十余尊高僧法相凝于尺幅间。红白袈裟相映，墨珠垂胸，法器隐手——衣纹勾勒流畅，色彩晕染沉稳，承清代肖像写实之韵。或眉蹙深思，或面含悲悯，同具肃穆却各藏性情，似触见修行路上的不同心境。素底无华，更显佛法空灵与僧团整肃。佚名画师以细腻笔触，定格高僧精神群像，岁月流转，那份沉静力量仍穿越时空，叩击观者心弦。",[23,24,226,28,7,260,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fc0cbc6a57185d6c4061f87a8c95e91.jpg",[44],{"id":37559,"slug":37560,"title":37561,"dynasty":18,"author":257,"museum":191,"description":37562,"tags":37563,"thumbUrl":8125,"material":123,"size":37564,"collection":90,"collections":37565,"showCount":489,"zanCount":48,"manualWeight":48,"mainColor":94},218700,"fu-rong-tu-yi-ming-218700","芙蓉图","一枝芙蓉斜逸而出，花瓣层叠如凝脂，粉白晕染间似沾着晨露的清润；含苞的蓓蕾裹着淡红，敛着半开的心事。墨绿叶片脉络分明，纤细却劲挺，肌理薄韧如绢。深青底色如幽潭静水，将花朵的明丽衬得愈发温润。画面无冗余缀饰，却于细微处见匠心：花瓣的柔纹、叶尖的轻颤，皆被捕捉得恰到好处。宋人的笔意藏在每一笔晕染里，不张扬却动人，似将芙蓉的清雅与生机，凝在这一方圆境中，静静诉说着时光里的温柔与诗意。",[23,194,24,25,81,7,28,83,634],"21.0x23.5",[90],{"id":37567,"slug":37568,"title":37569,"dynasty":99,"author":257,"museum":442,"description":37570,"tags":37571,"thumbUrl":37572,"material":123,"size":37573,"collection":44,"collections":37574,"showCount":489,"zanCount":48,"manualWeight":48,"mainColor":2504},218323,"tie-guai-xian-ren-tu-yi-ming-218323","铁拐仙人图","这幅画与元代颜辉的风格相似，但笔法过于工整，切石过于急促，应是明代浙派画家所为。",[23,24,194,25,7,173,352,106,260,230,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff17cc1e06718b81b52b719798dc68eab.jpg","77.6x56.1",[44],{"id":37576,"slug":37577,"title":37578,"dynasty":76,"author":37579,"museum":10830,"description":34040,"tags":37580,"thumbUrl":37581,"material":88,"size":34043,"collection":181,"collections":37582,"showCount":489,"zanCount":48,"manualWeight":48,"mainColor":94},218102,"xin-an-yi-yun-ce-han-zhu-shan-shui-han-zhu-218102","新安逸韵册(韩铸山水)","韩铸",[24,25,81,7,177,29,176,34,30,1170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b8e42768e6ff7fa17a5e7182b49522e.jpg",[181],{"id":37584,"slug":37585,"title":37586,"dynasty":76,"author":257,"museum":316,"description":37587,"tags":37588,"thumbUrl":37589,"material":88,"size":139,"collection":44,"collections":37590,"showCount":489,"zanCount":48,"manualWeight":48,"mainColor":94},217938,"da-mo-yi-jin-ba-duan-jin-yi-ming-217938","达摩易筋八段锦","达摩易筋八段锦是一部关于清朝时期佚名所著的武术典籍。这部书是在清朝末年出版的，共包含了8段关于身体动作的详细讲解，涵盖了许多中国武术的基本功和技巧。\n\n达摩易筋八段锦的作者是佚名，这个名字意思是“不知名”，因此无法确定他的真实身份。不过，有人认为他可能是一位清朝时期的武术家，并且据说他的武术技巧非常高超。",[24,25,320,7,28,106,2168,260],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25f40741ff6e7c4e0e425e8ebaf73e0c.jpg",[44],{"id":37592,"slug":37593,"title":37594,"dynasty":99,"author":3307,"museum":20,"description":37595,"tags":37596,"thumbUrl":37597,"material":123,"size":37598,"collection":44,"collections":37599,"showCount":489,"zanCount":48,"manualWeight":48,"mainColor":49},216778,"lv-ji-lv-wen-ying-zhu-yuan-shou-ji-tu-lv-ji-216778","吕纪吕文英竹园寿集图","这幅画是吕纪和吕文英在1499年画的，根据序言和题诗，吏部尚书屠滽、户部尚书周敬、御史郑捷三人同时过60岁生日，众官员在周敬的府上饮酒庆贺。\n这三位养老金领取者是主要人物，周围有客人、仆人和孩子。画中所有的人（除了孩子）都有名字，有的在院子里看仙鹤跳舞，有的在竹林里用笔墨写字，还有的在石桌上写诗。画卷最后的两个人，看着画卷，是画家陆机和陆文英，分别身着绿色和绿色的官服。\n吕纪和吕文英同时在朝廷任职，被称为 大吕 和 小吕。吕纪以画花鸟著称，这幅画的背景是鸟和树，整齐好看，接近吕纪的风格；吕文英擅长人物，线条沉稳，脸部轮廓平实，形态逼真，五官分明，与吕文英的风格相似",[23,24,25,26,7,28,106,227,1133,86,178,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffee6afe5130a0922557acf3dd49180a0.jpg","33.8x395.4",[44],{"id":37601,"slug":37602,"title":37603,"dynasty":99,"author":257,"museum":316,"description":37604,"tags":37605,"thumbUrl":37606,"material":1319,"size":37607,"collection":44,"collections":37608,"showCount":489,"zanCount":48,"manualWeight":48,"mainColor":49},216728,"mai-xin-song-shu-tu-yi-ming-216728","卖薪诵书图","枯枝虬曲，远山含黛，野径蜿蜒向林深。担薪者负薪束于肩，一手扶担，一手展卷，诵读之态若忘周遭。寒林疏影映寒空，涧水浅流绕石行，天地间似只剩书页轻翻与步履缓响。劳役的艰辛未掩向学之心，平凡身影里藏着对知识的执着。笔墨简练却意韵悠长，将劳作与勤学相融的图景凝于尺幅。清寂山水间，躬身向学的姿态恰是求知精神的无声颂赞，令观者于萧疏景致中，触到那份穿越时光的执着暖意。",[23,194,24,25,226,352,173,7,177,106,1353,353,29,1171,109,21295],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8971c5260d21c60bdf16d0a69f19cade.jpg","74x44",[44],{"id":37610,"slug":37611,"title":37612,"dynasty":99,"author":3504,"museum":132,"description":3505,"tags":37613,"thumbUrl":37614,"material":88,"size":3508,"collection":139,"collections":37615,"showCount":489,"zanCount":2368,"manualWeight":48,"mainColor":94},216262,"ming-za-hua-ce-3-wang-zhong-216262","明杂画册-3",[24,25,81,7,28,106,33174,280],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffba8e59e04eaca034ecd6317926d000e.jpg",[],{"id":37617,"slug":37618,"title":37619,"dynasty":99,"author":15110,"museum":608,"description":37620,"tags":37621,"thumbUrl":37622,"material":67,"size":37623,"collection":139,"collections":37624,"showCount":489,"zanCount":48,"manualWeight":48,"mainColor":94},216249,"chi-bi-sheng-you-tu-xie-shi-chen-216249","赤壁胜游图","这幅画描绘了诗人游赤壁之景，宽阔的河面，水天一色，小船随河水起伏，船上的人驶向赤壁赏景，构图深远，笔法接近沈周。画中的岩石和树木线条松散而稳健，人物的线条简单，而石头的堆砌紧凑而富有变化，色彩的搭配富于深浅变化，使物体的层次清晰地凸显出来，显示出文人在场景前的闲适和优雅。",[23,24,25,26,173,7,177,178,86,212,29,174,34,176,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fede19bc0fd7f7a0caf0e5f4ff140f866.jpg","23 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[1] ，以弘旿孙绵勋袭贝子。子孙递降，以镇国公世袭。",[23,24,25,26,7,29,106,34,245,31,808,37,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe675717ccbee700587769309e68dd62f.jpg",[45],{"id":37800,"slug":37801,"title":37802,"dynasty":76,"author":3869,"museum":316,"description":37803,"tags":37804,"thumbUrl":37805,"material":139,"size":37806,"collection":139,"collections":37807,"showCount":37669,"zanCount":48,"manualWeight":48,"mainColor":94},238029,"hong-ren-shan-shui-tu-ce-hong-ren-238029","弘仁山水图册","弘 仁（1610-1664），清画家。俗姓江，名韬，字六奇，又名舫，字鸥盟。明亡后于福建武夷山出家为僧，字渐江，号梅花古衲。安徽歙县人。为清初四画僧之一。擅画山水，初学宋人，晚法萧云从、倪瓒，笔法清刚简逸，意趣高洁俊雅。尤好绘黄山松石，为“新安画派”创始人，和查士标、孙逸、汪立瑞等四人并称“新安四大家”。兼写梅竹，工诗。存世作品有《枯槎短荻图》《西岩松雪图》《黄海松石图》等。",[24,25,81,173,7,29,230,34,109,177,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10102ec27a9d86269d3849cb605c37b2.jpg","50×36",[],{"id":37809,"slug":37810,"title":37811,"dynasty":99,"author":37812,"museum":316,"description":37813,"tags":37814,"thumbUrl":37815,"material":139,"size":139,"collection":181,"collections":37816,"showCount":37669,"zanCount":48,"manualWeight":48,"mainColor":49},237905,"shan-shui-ren-wu-zhou-peng-shun-qing-237905","山水人物轴","彭舜卿","乾隆庚戌年间画家",[194,24,25,226,173,7,29,106,174,1273,176,3519,177,796],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b7e18d3fc7112b55080a3774d15b883.jpg",[181],{"id":37818,"slug":37819,"title":37820,"dynasty":76,"author":9598,"museum":20,"description":37821,"tags":37822,"thumbUrl":37823,"material":40,"size":37824,"collection":45,"collections":37825,"showCount":37669,"zanCount":48,"manualWeight":48,"mainColor":49},237494,"ti-shan-tu-zhou-yu-zhi-ding-237494","题扇图轴","本幅右上自题“题扇图”，“都门客窗摹刘松年笔意。恭颂定翁老先生荣寿千春，广陵禹之鼎。”钤“慎斋禹之鼎”白文印，“广陵涛上渔人”朱文印，左下钤朱方印“必逢佳士亦写真”。\n据题款“都门客窗”知此图为画家寓居京城时期所作，从画风判断应为其早年摹诸家技法时的作品。图中所绘为“羲之题扇赠老姥”的故事。书圣王羲之见乡间老妇苦于生计，便为其所卖之扇题字，嘱老妇言“是王右军书，以求百钱”。老妇哪知其中奥妙，面露迟疑，不想人们竞相购买，一时传为佳话。\n此图青绿设色。画面上石崖高耸突兀，两棵古松挺拔苍劲，喻“益寿延年”。图中羲之坐于石桌旁落笔题字，老妇目露期盼，僮仆于溪畔洗砚，主题鲜明，生动自然。山水、人物用笔精细，设色艳丽明快，追求南宋院体画工整严谨的风格。",[24,25,226,7,28,106,1273,176,912,3007,261,16143,553,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7da342761f02fee861163ccd509fa22e.jpg","纵132厘米，横55.8厘米",[45],{"id":37827,"slug":37828,"title":37829,"dynasty":76,"author":3914,"museum":191,"description":37830,"tags":37831,"thumbUrl":37832,"material":638,"size":139,"collection":181,"collections":37833,"showCount":37669,"zanCount":2368,"manualWeight":48,"mainColor":94},237076,"xia-shan-tu-zhou-wang-jian-237076","夏山图轴","王鉴（1598年～1677年），字元照，一字圆照，号湘碧，又号香庵主，江南太仓人，明末清初画家，“四王”之一。\n万历二十六年（1598年）出生，崇祯六年（1633年）举人。后任廉州府知府，世称“王廉州”。工画，早年由董其昌亲自传授，董其昌向王鉴表示“学画唯多仿古人”，“时从董宗伯、王奉常游，得见宋元诸名公墨迹”，与同族王时敏齐名，王时敏曾题王鉴画云：“廉州画出入宋元，士气作家俱备，一时鲜有敌手”。\n吴伟业将王时敏与董其昌、王鉴、李流芳、杨文骢、张学曾、程嘉燧、卞文瑜和邵弥合称为“画中九友”，并作《画中九友歌》。康熙十六年（1677年）去世，享年八十岁。\n王鉴出生于书香门第，为明代著名文人王世贞曾孙，家藏古今名迹甚富，丰富的家藏，为王鉴学习临摹历代名画真迹提供了良好的条件。摹古工力很深，笔法非凡，擅长山水。与王时敏、王翚、王原祁、恽寿平、吴历齐名，并称四王吴恽或清初六家，成为画坛正宗。为“清初六家”之一。\n与明末北方著名书画收藏家睢阳袁枢（袁可立子）交从甚密，袁以收藏董源、巨然作品为最，王鉴从中受益者颇多，书画往来相互题赠。王鉴《仿巨然真迹图》：“董宗伯所藏巨然真迹，今归袁环中（袁枢）使君，昨在其署中出此相示。”\n王鉴和王时敏、袁枢一样，早年曾经得到过董其昌的亲自传授，他一生的画业就是沿着董其昌注重摹古的方向发展，继续揣摩董源、巨然、吴镇、黄公望等诸多前辈大家的笔意，仿古吸收并转化古人的笔墨结构，形成了自己丰富的山水画语言。\n王鉴画的坡石取法黄公望，点苔学吴镇，用墨学倪瓒。尤其是他的青绿设色山水画，缜密秀润，妩媚明朗，综合了沈周、文征明清润明洁的画风，清雅的书卷气跃然纸上，历来为后人所称道。擅长山水，远法董（源）、巨（然），近宗王蒙、黄公望。运笔出锋，用墨浓润，树木丛郁，后壑深邃，皴法爽朗空灵，匠心渲染，有沉雄古逸之长。间作青绿重色，亦能妍丽融洽。信云林山水意极绵密。仿山樵山水，仿赵大年《春景》没骨山水、仿洪谷子设色山水，疏密奇正，纯以篆法写轮廓。仿子久《秋木山色图》《仿黄公望烟浮远岫图》、摹沈石田山水、仿董源《秋山图》仿范华设色山水、仿巨然山水，骨重气轻。其作品大多摹古，信效名家，缺乏独创，并具有浓厚的复古思想和形式主义画风。",[24,25,194,226,7,177,29,808,809,34,1273,3712,686,3742],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71226ba5bbfe4157e33f7a5a4fc9a2aa.jpg",[181],{"id":37835,"slug":37836,"title":6834,"dynasty":99,"author":20061,"museum":20,"description":37837,"tags":37838,"thumbUrl":37839,"material":1123,"size":37840,"collection":181,"collections":37841,"showCount":37669,"zanCount":48,"manualWeight":48,"mainColor":94},236904,"shan-shui-ce-song-xu-236904","宋旭（1525—1606年），字初阳，号石门山人，浙江湖洲人，后徙居上海松江。宋旭一生喜云游，多居于寺庙精舍，日就禅灯孤榻，时人即用“发僧”来称呼他，即带发的僧人之意。后来他真的出家当了和尚，法名祖玄，自号天池发僧、景西居士等，具体卒年不详，从他尚有1606年作品存世，知他此年还在世。\n宋旭的画法继承明代吴门绘画传统，主要师法明四家之一的沈周，最擅长画山水，兼善人物。山水画在沈周的基础上融其他名家画法于一炉，并加入自己的理解，形成了颇具特色的雄劲古拙的画风。宋旭精研古人之法，尤其对宋代李成、关仝、范宽三家推崇备至，曾说：“画山水惟李成、关仝、范宽智妙入神，才高出类，三家鼎峙，百代标程，前古莫能方驾，近代难继后尘。”（见《无声诗史》卷三）由于他能远师古人，近取成法，创出了有别于吴派绘画的风格而自成一格，并对明末松江地区的画家产生了长足的影响，世人遂称其为“苏松派”的开山之祖，明末赵左、沈士充等皆出其门下。",[24,25,81,7,29,176,34,108,109,1426,6152,177,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe65f83e09dd31bd45db9e0f19e3d8ad6.jpg","纵31cm，横42cm",[181],{"id":37843,"slug":37844,"title":1751,"dynasty":76,"author":37845,"museum":316,"description":37846,"tags":37847,"thumbUrl":37848,"material":599,"size":600,"collection":90,"collections":37849,"showCount":37669,"zanCount":48,"manualWeight":48,"mainColor":94},236275,"za-hua-ce-chen-zi-236275","陈字","陈字，1634年出生，清初名儒祯，小名鹿头，浙江诸暨人，艺术家。",[24,25,81,7,28,83,1754,568,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf91b3188b1d2657236050474f40d5dd.jpg",[90,45],{"id":37851,"slug":37852,"title":21687,"dynasty":76,"author":658,"museum":20,"description":37853,"tags":37854,"thumbUrl":37855,"material":139,"size":139,"collection":181,"collections":37856,"showCount":37669,"zanCount":48,"manualWeight":48,"mainColor":94},236184,"shan-shui-shan-mian-dong-gao-236184","董诰（1740年－1818年），字雅伦，号蔗林，浙江省杭州府富阳县（今浙江省杭州市）人，生于顺天府（今北京市），清代大臣、书画家。工部尚书董邦达长子，与其父有“大、小董”之称。\n乾隆二十九年（1764）中举，隔年会试，名列一甲第三，得中探花，乾隆帝将其改为二甲第一，作金殿传胪，形降实升。嘉庆四年（1799），董诰六十岁，以从庶吉士、编修、工部侍郎、军机大臣、东阁大学士等，擢为文华殿大学士（即宰相），钦赐“紫禁城骑马”。直军机先后四十年。董诰精书法，善绘画，更通晓军事。他五次归还故里，生活简朴，平易近人，从不倨傲，深为邻里称道。董诰卒于嘉庆二十三年（1818），终年七十九岁。\n董诰死后六天，嘉庆帝亲临祭奠，所写哀诗中有“只有文章传子侄，绝无货币置田庄”之句，并亲自拨款建立“董公祠”。",[24,1260,29,7,177,173,685,262,34,686,1169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff182c5839f1f93fccca4fda27fff9d5.jpg",[181],{"id":37858,"slug":37859,"title":6409,"dynasty":76,"author":257,"museum":20,"description":6410,"tags":37860,"thumbUrl":37861,"material":40,"size":6413,"collection":44,"collections":37862,"showCount":37669,"zanCount":48,"manualWeight":48,"mainColor":94},236165,"yong-zheng-chao-fu-xiang-zhou-yi-ming-236165",[194,24,25,226,7,28,106,333,406,320],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f80fdf14cbf8bf55ddfd77ed4a88d8b.jpg",[44,45],{"id":37864,"slug":37865,"title":37866,"dynasty":76,"author":9921,"museum":20,"description":9922,"tags":37867,"thumbUrl":37870,"material":40,"size":9925,"collection":139,"collections":37871,"showCount":37669,"zanCount":48,"manualWeight":48,"mainColor":94},236139,"li-chao-xian-hou-gu-shi-tu-jiao-bing-zhen-236139","历朝贤后故事图",[24,25,28,7,104,106,614,107,227,611,115,37868,278,37391,114,4876,37869,1364],"台地","廊柱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bb3c692d9bd63ff00c7b99a6b8f1f1c.jpg",[],{"id":37873,"slug":37874,"title":37875,"dynasty":76,"author":5359,"museum":316,"description":37876,"tags":37877,"thumbUrl":37879,"material":139,"size":139,"collection":139,"collections":37880,"showCount":37669,"zanCount":48,"manualWeight":48,"mainColor":49},235991,"li-shan-bi-shu-tu-zhou-yuan-yao-235991","骊山避暑图轴","《袁江袁耀画集》是25年 出版的图书，作者是袁江，袁耀。\n袁江（约1671—1746年以后），字文涛，江都（今江苏扬州）人，擅长画山水楼阁，初学明中期【吴门四家】之一仇英的画法，中年时得一无名氏画稿，之后画艺大进。\n其界画在清代被推为第一。\n袁江存世作品较多，多在国内收藏，也有一些流到海外。\n袁江是我国绘画史上有影响画家，宫廷画家，转工山水楼阁界画。\n在清康熙、雍正、乾隆时期，楼阁工整山水当以袁江最有名。\n当时还有他的侄子袁耀同齐名。\n他们两人曾受扬州的山西盐商的聘请，到山西作画，作品在北方流传较多。\n他擅画山水、楼台、师法宋人。\n山水画主要学宋代闫次平，画石多鬼皴，楼阁主要学郭忠恕，工整严密。\n他的绘画素材多为古代宫苑，尤长于界画。\n天津市文管处收有一幅《瞻园图卷》，表现南京的园林建筑；上海博物馆藏有一幅《东园图卷》；北京文物局收有《骊山避暑图轴》，表现想象中的仙境；南京博物院藏有《海山三山图轴》，也描绘了想象中的仙境和古代建筑，瑰丽壮观，富有意境。\n其侄（一说为子）袁耀，字昭道，山水楼阁传其家法。\n袁耀（生卒年未详），清朝画家，字昭道，江都（今江苏扬州）人，袁江之子，生平资料很少，《画人补遗》一书中称其“山水楼阁尚能守家法”。\n擅界画，风格与其父极为近似。\n工画山水、楼阁、界画。\n画风工整、华丽，与袁江相似。\n其精品有胜于袁江者。\n偶作花鸟，亦甚佳。\n乾隆十一年作《骊山避夏十二景》，乾隆四十五年作《阿房宫图》，现藏南京博物院。\n约活动于乾隆中期。\n上卷 画舫冲烟图 松亭纳凉图 春雷起蛰图 峨嵋雪霁图 桐阴消夏图 独坐看山图 骊山避暑图 江天暮雪图 寒食归宁图 猫雀图 水殿柳风图 汉宫秋月图 松柏齐年图 东山别墅图 溪山行旅图 梁园飞雪图 天香书屋图 山水人物图 绿野堂图 春雷起蛰龙图 郭汾阳富贵寿考图 仙山楼阁图 白云红树图 湖庄春晓图 渔浦晚归图 松风流水图 风雪归人图 秋林暮霭图 重阳风雨图 槛外长江图 海屋沾筹图 秋郊来骑图 下卷",[24,194,104,226,29,107,810,37878,28,7],"避暑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F151db4c056ec8268fc389d385cc75777.jpg",[],{"id":37882,"slug":37883,"title":6834,"dynasty":99,"author":37884,"museum":316,"description":37885,"tags":37886,"thumbUrl":37888,"material":599,"size":600,"collection":181,"collections":37889,"showCount":37669,"zanCount":1379,"manualWeight":48,"mainColor":94},235285,"shan-shui-ce-shen-hao-235285","沈颢","补博士弟子员。性豪放好奇。工诗文。书法真、草、隶、篆，无所不能。山水近沈周，晚年笔意挺秀，点色清妍，深于画理，“似而不似，不似而似”是他的创见。著有《画尘》及《枕瓢》、《焚砚诸集》。",[24,25,81,7,29,353,107,1169,212,37887,12755,1785,34,808,14427],"淡彩山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde9bb44391cc599f7dca8959c352ba7c.jpg",[181,90],{"id":37891,"slug":37892,"title":37893,"dynasty":76,"author":37894,"museum":316,"description":37895,"tags":37896,"thumbUrl":37897,"material":139,"size":139,"collection":139,"collections":37898,"showCount":37669,"zanCount":48,"manualWeight":48,"mainColor":94},234697,"fang-wu-li-shan-shui-shan-mian-qian-wei-qiao-234697","仿吴历山水扇面","钱维乔","钱维乔（1739~1806），字树参，号竹初居士等，武进（今江苏常州）人，钱维城弟。工书画、擅戏曲。在山水画创作上承袭董其昌的绘画理念，推崇宋元诸家的绘画风格，强调笔墨技法，追求蕴藉平和的审美意趣。\n钱维乔以笔笔有古意为创作宗旨，此图是他仿黄公望、吴镇法，绘制的江南景致。山石的皴擦点染以及树木的勾描，均可见钱氏已能熟练地运用黄、吴的笔墨技法，表现其平淡娟雅的山水意境。",[24,25,1260,173,7,177,29,685,378,686,212,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ea4796b8f97833f8f76881a0e589dcc.jpg",[],{"id":37900,"slug":37901,"title":37902,"dynasty":76,"author":37903,"museum":316,"description":37904,"tags":37905,"thumbUrl":37906,"material":139,"size":139,"collection":139,"collections":37907,"showCount":37669,"zanCount":48,"manualWeight":48,"mainColor":94},234672,"wu-rui-tu-shan-mian-ni-can-234672","五瑞图扇面","倪燦","倪灿，清初学者、史志目录学家。字闇公，号雁园，江苏省江宁府上元县人。\n其先居钱塘（今浙江杭州）。诸生。康熙六年（1667）中举，十八年（1679）召试博学鸿儒，倪灿中榜，为一等二名，官授翰林院检讨。受荐修《明史》，作《明史艺文志·序》，与姜宸英《刑法志·序》，并称杰作。他鉴于《明史艺文志·序》以专收明一代著述为限，未能补救宋、辽、金、元四朝艺文志所缺，数百年文化史，残缺不全，依据黄虞稷《千顷斋书目》，就补辑宋人所撰“四部”图书“六百七十八家、一万二千七百四十二卷”。与黄虞稷灿哥共同修撰《宋史艺文志补》1卷。鉴于辽金元三史原先都没有纂修艺文志，又编纂《补辽金元艺文志》1卷，由卢文弨校订。对考定宋辽金元各代的学术源流，有很大帮助。开启了清代学者补修史志的工作，于是从补辽、金、元三代入手而蔚为一时风气。自此之后，补成史志目录达20余种。工于诗文，书法则秀绝一时。",[24,1260,7,28,83,62,569,579,554],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fddc3a7fa3144440dbe0ce07a52adf0.jpg",[],{"id":37909,"slug":37910,"title":37911,"dynasty":76,"author":997,"museum":316,"description":37912,"tags":37913,"thumbUrl":37914,"material":139,"size":139,"collection":139,"collections":37915,"showCount":37669,"zanCount":48,"manualWeight":48,"mainColor":94},234544,"yuan-ji-san-tao-tu-zhou-shi-tao-234544","原济三桃图轴","石涛（1642年－1708年）清代著名画家，原姓朱，名若极，广西桂林人，小字阿长，别号很多，如大涤子、清湘老人、苦瓜和尚、瞎尊者，法号有元济、原济等。明靖江王朱亨嘉之子。与弘仁、髡残、朱耷合称“清初四僧”。\n石涛是中国绘画史上一位十分重要的人物，他既是绘画实践的探索者、革新者，又是艺术理论家。\n他幼年遭变后出家为僧，驻锡于安徽宣城敬亭山广教寺，后半世云游，以卖画为业。早年山水师法宋元诸家，画风疏秀明洁，晚年用笔纵肆，墨法淋漓，格法多变，尤精册页小品；花卉潇洒隽朗，天真烂漫，清气袭人；人物生拙古朴，别具一格。工书法，能诗文。存世作品有《石涛罗汉百开册页》《搜尽奇峰打草稿图》《山水清音图》《竹石图》等。著有《苦瓜和尚画语录》。名言有“一画论”、“搜尽奇峰打草稿”、“笔墨当随时代”等。",[24,25,226,173,7,83,2288,836,554,212,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F734589d4fb2c5b2b166fe490b533beaa.jpg",[],{"id":37917,"slug":37918,"title":27334,"dynasty":76,"author":257,"museum":316,"description":16422,"tags":37919,"thumbUrl":37920,"material":599,"size":600,"collection":139,"collections":37921,"showCount":37669,"zanCount":2368,"manualWeight":48,"mainColor":3510},234427,"qing-ren-wen-shu-pu-sa-xiang-zhou-yi-ming-234427",[24,226,25,7,6170,260,6768,8300,11893],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8020d1c953ad0b415ed6a68867cc2df.jpg",[],{"id":37923,"slug":37924,"title":37925,"dynasty":302,"author":22788,"museum":20,"description":37926,"tags":37927,"thumbUrl":37928,"material":529,"size":37929,"collection":139,"collections":37930,"showCount":37669,"zanCount":48,"manualWeight":48,"mainColor":49},233846,"mu-yu-tu-li-kan-233846","沐雨图","《沐雨图》中画坡石上雨竹四竿，下生兰草数丛。竹叶繁茂下垂，将细雨淋洒下的雨竹风姿表现得十分自然。竹的枝叶用双钩法，笔法劲健工细，以汁绿敷染，叶尖略施赭色，青翠欲滴。利用留白表现雨后竹叶上的水珠。",[24,226,28,7,227,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96ed71ab1f6480dbbded3cf032bacacf.jpg","纵111.5cm，横55cm",[],{"id":37932,"slug":37933,"title":37934,"dynasty":76,"author":742,"museum":20,"description":37935,"tags":37936,"thumbUrl":37940,"material":500,"size":37941,"collection":139,"collections":37942,"showCount":37669,"zanCount":48,"manualWeight":48,"mainColor":94},233677,"jiao-yin-pin-yan-tu-zhou-ren-yi-233677","蕉荫品砚图轴","砚，“文房四宝”之一，是古代文人书桌必备之物。用料讲究，造型精美的砚台兼具实用性和赏鉴把玩的特性，因此热衷收藏品赏砚台的文人雅士也大有人在，比如宋代大文人苏轼就是“嗜砚成癖”。\n任颐此图画一文士双手捧砚，神态专注，旁边的童子还在整理一摞石砚。虽然没有明确写画的是谁，但是从人物装扮来看，很可能表现的就是苏轼品砚的故事。画风清爽，线条顿挫曲折，极富表现力，人物形象很是传神。\n任颐（1840—1896年），初名润，字小楼，后字伯年，浙江绍兴人，后寓上海。“海派”代表画家。以卖画为生，擅长人物、肖像、花鸟、山水。其人物师法陈洪绶、费丹旭、任熊等人，花鸟画取法陈洪绶、陈淳、徐渭、朱耷，笔墨简逸放纵，设色明净，形成兼工带写、明快清新的格调。他的绘画发轫于民间，又继承传统，融汇诸家之长，还吸收了西画速写、设色诸法，从而形成丰姿多彩、新颖生动的独特画风，具有雅俗共赏的艺术趣味和鲜明的时代气息。任颐与任熊、任熏、任预有着师承关系，画风一脉相承，并称为“海上四任”。",[24,226,7,106,611,37937,615,18787,3052,28040,409,6517,11626,37938,37546,37939],"砚台","品砚场景","传统笔墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F071954fcb7937f196c6fc0f481688551.jpg","155.5cm×43.5cm",[],{"id":37944,"slug":37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之姿，自带凌冽孤傲之态。旁侧柔枝轻斜，粉萼悄然绽放在枝桠间，柔婉清丽，与劲竹刚柔相衬，添了几分春日温软生机。\n左侧行书题诗与画面相融，文气漫溢纸面，将花木之态与文人风骨合二为一。整体笔墨简淡含蓄，意境清寂闲雅，尽显扬州画派典型的文人意趣，把清冷孤高的心境藏在淡色花枝劲竹之中，是一件雅致悠然的小品佳作。",[194,24,25,81,7,173,83,227,820],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3372f1edc95a4f394244d2aba19910a2.jpg",[],{"id":38002,"slug":38003,"title":38004,"dynasty":76,"author":37996,"museum":316,"description":38005,"tags":38006,"thumbUrl":38007,"material":139,"size":139,"collection":139,"collections":38008,"showCount":37669,"zanCount":48,"manualWeight":48,"mainColor":94},230363,"hua-hui-tu-ce-12-kai-wang-shi-shen-230363","花卉图册12开","此作用没骨淡彩绘就田间蚕豆花，叶片以柔毫晕染青绿，脉络隐现，舒展灵动自带生机。粉白花瓣轻晕淡红，嫩蕊娇柔，将乡野花蔬描摹得楚楚动人。\n\n左侧行书题诗与画作相映，笔致清逸秀雅，文气与画意浑然相融。整幅画面不见浓艳，以幽澹之韵取胜，将田间寻常小景化为清雅逸品，尽显闲淡疏朗的文人意趣，把乡野清芬纳入笔下，尽显冲淡平和的审美意致。",[194,24,25,81,7,83,84,838],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb307a89d6f339862bc7cddeb25759f0.jpg",[],{"id":38010,"slug":38011,"title":32766,"dynasty":76,"author":17256,"museum":316,"description":38012,"tags":38013,"thumbUrl":38014,"material":599,"size":600,"collection":139,"collections":38015,"showCount":37669,"zanCount":48,"manualWeight":48,"mainColor":94},230357,"shan-shui-ce-ye-fan-qi-230357","樊圻（1616年—1694年之后），生于明万历四十四年，卒于清康熙三十三年之后，清画家。字会公，江宁（今江苏省南京）人。擅画山水、花卉、人物。为“金陵八家”之一。",[194,24,25,81,7,177,29,230,795,34,109,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F070ae4ad6a2c40b1bfed2dcffb4d2d0f.jpg",[],{"id":38017,"slug":38018,"title":38019,"dynasty":76,"author":11822,"museum":316,"description":38020,"tags":38021,"thumbUrl":38022,"material":139,"size":139,"collection":139,"collections":38023,"showCount":37669,"zanCount":48,"manualWeight":48,"mainColor":49},230294,"gui-lin-qiu-yue-tu-yuan-jiang-230294","桂林秋月图","界画亦名宫室，主要以建筑物、舟车之类为表现题材，所画对象要求准确、工整，一丝不苟，过去画诀有“山水打头，界画打底”之说，宋郭思说：“画屋木者，折算无亏，笔画勾壮，深远透空，一去百斜”。\n画界画历代不乏高手，唐末有尹继昭及他的学生卫贤等，元夏永、明仇英皆是界画高手。\n到了清代，袁江、袁耀父子擅画界画，虽技艺超群，但不为时人所重。\n至近代在山西太原尉氏家中，发现大量“二袁”作品，声名始震。\n袁耀“露台秋月图”纵18、横142.5厘米，胡佩衡旧藏，此画绘中秋宫苑赏月情景，一轮明月当空，万籁俱寂，宫殿在树木中或露或隐，山石玲珑剔透，诗情画意跃然纸上，此意趣决非一般画匠所能为。\n袁耀字昭道，江都（今扬州）人。\n生卒年不详，创作年代约在1747年至1778年之间。",[23,24,25,104,7,28,29,107,265,34,808,106,115,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc906c6d22f541f535a6f7ab6dde3b6da.jpg",[],{"id":38025,"slug":38026,"title":38027,"dynasty":76,"author":4285,"museum":316,"description":38028,"tags":38029,"thumbUrl":38030,"material":139,"size":139,"collection":139,"collections":38031,"showCount":37669,"zanCount":48,"manualWeight":48,"mainColor":94},230176,"fang-gu-ce-ye-wang-shi-min-230176","仿古册页","此作以青绿设色追摹古意，山峦层叠起伏，皴法苍润松秀，勾勒间尽显山石肌理。飞瀑穿林越谷，循着山涧蜿蜒汇入澄澈清溪，屋舍错落隐于葱茏林木间，山脚水畔嘉木繁荫，淡赭与石青石绿晕染出温润雅致的色调。\n\n笔墨间既承袭山水的萧散淡远，又自有安和静谧的意趣，将山居丘壑的幽寂清远铺陈开来。摹古之际亦融入己心，把文人林泉高致的隐逸情怀藏入每一处丘泉林木中，尽显古雅沉静的山水意境。",[24,7,29,177,81,176,34,1426,35,986,109,1169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2e0e500db2b9360583507b90d46b9f3.jpg",[],{"id":38033,"slug":38034,"title":38035,"dynasty":99,"author":38036,"museum":316,"description":38037,"tags":38038,"thumbUrl":38039,"material":139,"size":139,"collection":139,"collections":38040,"showCount":37669,"zanCount":1003,"manualWeight":48,"mainColor":49},228735,"jiang-cun-feng-yu-tu-lv-wen-ying-228735","江村风雨图","吕文英","吕文英（1421—155），括苍（今浙江丽水）人。\n擅画人物，亦写山水，为明代 名家之一。\n孝宗弘治间（1481－155）与 同以指挥知直 。\n文英以人物、吕纪以 而受宠，人呼文英为“小吕”， 为“大吕”。\n卒年八十五。\n传世作品有《江村风雨图》、《货郎图》等。\n吕文英（1421~155），字阔苍，括苍（今浙江丽水）人。\n著名画家。\n尤擅人物，兼画山水。\n成化朝 、弘治朝 二帝，均擅画，时宫廷画院兴盛，名家云集。\n弘治元年（1488），文英以 在武英、仁智殿供职，受 恩宠。\n人呼文英为“小吕”， 为“大吕”。\n传世作品有人物画《货郎图》春夏秋冬4幅 资料馆藏、山水画《《江村风雨图》现藏美国克利夫美术馆。\n此外，还有《嬉春》图轴2幅、《宫妆娃娃》图轴等。\n文英还多次与 合作创作，有《竹园寿集图》、《龙女斩蛇图》等。\n216版《 》中所刊与宁波有关的两幅画：《姚大梅诗意图册之白猿渡水页》和《竹园寿集图》。\n《竹园寿集图》说的是明弘治己未，户部尚书周经、吏部尚书屠滽、御史侣锺三人同值六十大寿，诸僚至周经私宅置酒同庆的故事。\n当年祝寿人群中，还有两位锦衣卫，“大吕”吕纪和侄子“小吕”吕文英，恰是两位画家。\n二人常合作作画。\n当天主人周经援引《杏园雅集图》事，要二吕仿效，也将此次聚会画下来。\n二吕欣然摹写，将在场的28人皆入画中。\n其中屠滽着红衣，执笔立于竹下，边上有童子捧砚，诗已写成，面容自得。",[23,24,7,29,177,685,378,353,1353,262,174,686,35100,11023,13460,149,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9c1761f60f5cdcb5ef6ccf0cd2c5695.jpg",[],{"id":38042,"slug":38043,"title":10437,"dynasty":18,"author":1033,"museum":316,"description":38044,"tags":38045,"thumbUrl":38046,"material":139,"size":139,"collection":139,"collections":38047,"showCount":37669,"zanCount":48,"manualWeight":48,"mainColor":49},227974,"pu-tao-cao-chong-tu-lin-chun-227974","《葡萄草虫图》是宋代画家林椿创作的一幅设色扇面画想，现藏于 。\n图中绘葡萄累累垂挂，蜻蜓、螳螂、蝈蝈、蝽象伏于藤蔓绿叶间，富有生活气息。\n昆虫以双钩填彩绘制，用线刚柔相济，表现出不同的质感，如蜻蜓轻薄的翅膀，蝽象坚硬的外壳。\n藤尖叶边略作点染，表现季节特征。\n此图承袭了北宋的写实画风。\n图绘绿色玫瑰葡萄一枝，须蔓缠绕，硕果累累，垂挂枝叶间，果实晶莹如玉，水分饱满，绿色枝叶，向四周伸展，须子有的曲绕枝干，有的随意飞飘。\n纺织娘在叶子上吸吮着鲜汁；螳螂抬首举前足；蜻蜓刚刚飞停于枝头。\n另有一只金龟子匍伏于葡萄枝上，为葡萄绿叶所掩遮：甲虫落枝叶上，或低头觅食，或抬首举足，形象生动有趣。\n昆虫形象毕肖，富有生趣，给人甜美丰实的精神享受。\n本幅款识“林椿”。\n整个画面题材取景为自然界一隅，十分平常，但对葡萄、叶片、昆虫的描绘真实牛功，具有深厚的写牛功力：林椿工花鸟，师法赵昌，多直接用色彩分别浓淡进行细致描绘：画葡萄分出浓淡不同层次，一气呵成，犹如泼墨，然后用浓墨，以草书法勾口厂筋、藤蔓。\n葡萄叶因用笔用墨的不同而能分出老嫩、正反、枯鲜等状态。\n葡萄果莹润饱满；蜻蜓尤备极工细，神韵奕奕，其翅膀透明轻盈；螳螂的眼睛明亮如镜，镰刀状的前足生有钩刺，日光炯炯，真有“挹露裳初试，迎风斧半撑的气势”。\n都是多层设色，层层晕染，造成形体的凹凸体积和具有质感。\n当然，在某些地方，如葡萄枝十及口卜脉也适当地用细线作一些勾勒，只是这些勾勒已具有粗细浓淡的变化，因此更富有表现力。\n这些为农家随处可见景物，画家以独具的慧眼撷之入画，可谓别开生面-总体来说，此图用笔精细，设色轻柔，变化层次微妙，工写兼施，相映成趣；构图善从一角出发，全幅荡漾着空灵的诗意、画面左下方署有“林椿”二宁款，小楷书，无收藏印。\n此幅为林椿真迹代表之作。\n《葡萄草虫图》体现了“以实写虚，意味无穷”的画风，表现出“诗中有画，画中有诗”和“诗是无形画，画是有形诗”的不同艺术意蕴风格，并求通过真实、具体的形象，抒写作者的感情，以激起读者的想象和联想，产生艺术魅力。\n整体画面的表现为虚实关系的进一步发展，体现了画家对物象的刻画以诗意的意境和气韵来追求现实的全实的客观精神，这就使得宋代宫廷花鸟画以自由来追求自然与人审美情怀，这就构成了一个高超的艺术境界。\n宋代绘画风格的现实性不仅是客观的物象，是画家用“写实”语言，在充分尊重客观对象，并按照创作需要和审美观念来对客观分析一系列的艺术，从而描述一个故事来表达自己的思想感情和精神寄托。\n可以看出，古代绘画通过“现实主义”的表现手法，不仅是形象的东西，而且还真正体现了事物的状态，画中所绘的动植物不仅真实存在，符合动植物的生长规律及习性还符合当时的时间，地点和情境。\n裱边旧题签：“林椿葡萄草虫。\n”存《名笔集》册中。\n经《虚斋名画录》卷十一、《中国古代书画目录》第二册著录。\n林椿（生卒年不详），钱塘（今浙江杭州）人。\n孝宗淳熙（1174－1189年）时为画院待诏，由于其画艺高超，受赐金带。\n所绘花鸟、果品、草虫小品为多，画法远师赵昌，近取李迪，时人赞为“极写生之妙，莺飞欲起，宛然欲活。\n”",[23,24,194,25,1260,28,7,83,5942,483,553,554],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F282864883129152b7ca84a825688e9bf.jpg",[],{"id":38049,"slug":38050,"title":38051,"dynasty":18,"author":1350,"museum":316,"description":38052,"tags":38053,"thumbUrl":38054,"material":139,"size":139,"collection":139,"collections":38055,"showCount":37669,"zanCount":48,"manualWeight":48,"mainColor":49},227826,"she-se-shan-shui-tu-ma-yuan-227826","设色山水图","《黄宾虹浑厚华滋的山水画》内容简介：黄宾虹是一位学者型的画家，也是我国杰出的山水画大师。\n他既师古人，更师造化。\n其山水画色调浓黑，浑厚华滋。\n他的山水画黑、密、厚、重，淋漓尽致、大气磅礴，而具有浑厚华滋、意境深邃的特色。\n黄宾虹山水画特别强调线条质量，他以金石篆书的线条来强化画的风骨，使之苍劲老辣、浑厚古拙。\n《黄宾虹浑厚华滋的山水画》由 出版。\n黄宾虹作为中国近现代绘画史上高标独立的画家，其一生经历丰富，学养深厚。\n在文史研究及中国画实践中造诣非凡。\n本图书以图文并茂的形式，充分诠释黄宾虹将古典山水绘画向近现代山水绘画转变的伟大界标作用。\n在古典与现代关捩处 黄宾虹早期山水作品 拟龚贤山水图册 拟古人山水图册之一 拟古人山水图册之二 拟古人山水图册之三 拟古人山水图册之四 拟古人山水图册之五 拟古人山水图册之六 仿宋人画意图轴 临倪瓒山水图轴 林亭孤坐图轴 溪山亭树图轴 丹崖翠壁图轴 江上雨霁图轴 古木幽岸图轴 曲径云峰图轴 轻舟夜色图轴 歙县渔梁图册 设色山水屏之一 设色山水屏之二 设色山水屏之三 设色山水屏之四 山疏水浅图轴 拟宋人画意图轴 松阴听泉图轴 登高望远图轴 黄宾虹中期山水作品 临王维画稿 临赵令穰、关仝画稿 临赵孟烦画稿 临巨然、高克恭画稿 临董源画稿 临范宽画稿 临王维、荆浩画稿 临黄公望画稿 临黄公望、马远画稿 临李唐画稿 临郭熙画稿 临米芾画稿之一 临米芾画稿之二 临范宽画稿 临李成画稿 临倪瓒画稿 临马远画稿之一 临马远画稿之二 黄山写生画稿之一 黄山写生画稿之二 黄山写生画稿之三 黄山写生画稿之四 黄山写生画稿之一 黄山松写生画稿之一 黄山松写生画稿之二 黄山松写生画稿之三 黄山松写生画稿之四 鼋峰写生画稿 江郎山写生画稿 武夷写生画稿之一 武夷写生画稿之二 武夷写生画稿之三 武夷写生画稿之四 武夷写生画稿之五 武夷写生画稿之六 武夷写生画稿之七 武夷写生画稿之八 武夷写生画稿之九 武夷写生画稿之十 武夷写生画稿之十一 武夷写生画稿之十二 武夷写生画稿之十三 武夷写生画稿之十四 桂林写生画稿 香港九龙写生画稿之一 香港九龙写生画稿之二 香港九龙写生画稿之三 香港九龙写生画稿之四 临安写生画稿之一 临安写生画稿之二 临安写生画稿之三 南海写生画稿之一 南海写生画稿之二 四川写生画稿之一 四川写生画稿之二 设色山水图册 奔泉图轴 设色山水图册之一 设色山水图册之二 设色山水图册之三 设色山水图册之四 设色山水图册之五 设色山水图册之六 丛林折瀑图轴 深山烟岚图轴 松山静坐图轴 古寺松云图轴 设色山水图轴 湘水秋山图轴 浙东纪游图轴 设色山水图轴 金华万罗山居图轴 设色山水图册 山居车水图轴 设色山水图轴 峨山风景图轴 雁荡三折瀑图轴 拟宋人江山无尽图轴 设色山水图册 设色山水图册之一 设色山水册图之二 设色山水图册之三 设色山水图册之四 设色山水图轴 黄宾虹晚期山水作品 栖霞晓望图轴 深山古寺图轴 设色山水图轴 水墨山水图轴 烟霭空漾图轴 设色山水图轴 设色山水图轴 设色山水图轴 设色山水图轴（背面画） 设色山水图横幅 设色山水图册 设色山水图册 设色山水图册之一 设色山水图册之二 设色山水图轴 设色山水图轴 设色山水图轴 设色山水图横幅 设色山水图轴 玉泉纪游图轴 用范宽法山水图轴 设色山水图轴 水墨山水图轴 水墨山水图轴 设色山水图轴 焦墨山水图轴 设色山水图轴 水墨山水图横幅 蜀中山水图轴 雨景山水图轴 拟巨然山水图轴 湖山初霁图轴 溪桥烟雨图轴 溪桥烟霭图轴 水墨山水图横幅 水墨山水图横幅 设色山水图轴 水墨山水图轴 雁荡诸峰图轴 桃花溪图轴 拟元人简笔山水图轴 拟程邃山水图轴 夜山图轴 设色山水图轴 设色山水图轴 设色山水图册之一 设色山水图册之二 设色山水图册之三 设色山水图册之四 设色山水图册之五 设色山水图册之六 设色山水图册之七 设色山水图册之八 设色山水图册之九 设色山水图册之十 设色山水图册之十一 设色山水图册之十二 设色山水图册之十三 设色山水图册之十四 设色山水图册之十五 设色山水图册之十六 行松盘岭图轴",[23,24,25,1260,7,29,107,1273,174,176,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd31156cf1201e56c7733b85aa29d871a.jpg",[],{"id":38057,"slug":38058,"title":38059,"dynasty":18,"author":17938,"museum":316,"description":38060,"tags":38061,"thumbUrl":38062,"material":139,"size":139,"collection":139,"collections":38063,"showCount":37669,"zanCount":2368,"manualWeight":48,"mainColor":49},227813,"qiu-jiang-du-diao-tu-ma-he-zhi-227813","秋江独钓图","此作用笔简淡秀雅，以大片空濛绢面烘托出秋水寥廓。虬曲老木垂挂残叶，将深秋萧寒之意晕开，寒江扁舟泊于江岸，渔翁披蓑戴笠斜倚船舷，似在静候鱼信，又像醉卧江风，将江湖散人的疏旷随性尽显。\n\n不着重繁复刻画，仅以淡墨晕染出水气空茫，留白处尽是秋江清寂，把秋日江上萧索又悠然的意趣铺陈开来，将文人寄情山水、不与世俗同流的隐逸心境藏在尺幅之间，淡远空灵，余韵悠长。",[23,24,25,1260,7,29,174,106,378,796,5903,6582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30e495b04e398eb0a3186bc1849f299f.jpg",[],{"id":38065,"slug":38066,"title":38067,"dynasty":18,"author":257,"museum":316,"description":38068,"tags":38069,"thumbUrl":38070,"material":139,"size":139,"collection":139,"collections":38071,"showCount":37669,"zanCount":2368,"manualWeight":48,"mainColor":49},227374,"mu-dan-wan-shan-tu-yi-ming-227374","牡丹纨扇图","扇上绣着两株牡丹枝条，绯红花瓣，绿叶，金边，叶脉，处处彰显牡丹的华美！",[24,194,25,1260,7,28,83,292,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec1b0957ed3bdec055f08a2afa604184.jpg",[],{"id":38073,"slug":38074,"title":38075,"dynasty":18,"author":22558,"museum":316,"description":38076,"tags":38077,"thumbUrl":38078,"material":139,"size":139,"collection":139,"collections":38079,"showCount":37669,"zanCount":1379,"manualWeight":48,"mainColor":49},226558,"fan-qi-tu-juan-quan-juan-hu-gui-226558","番骑图卷全卷","《番骑图》所绘的是一队番骑逆风艰难前行的情形。塞北冬日，漠野荒寒，朔风劲吹，扑鼻冲面。胡人男女或以袖掩鼻、或面纱覆口，马匹、骆驼或低首踉跄、或屏息慢行，“胡天惨冽”的气候特征被刻画得惟妙惟肖。画家通过人物瑟缩之态、马匹蹒跚之形，衬托北地胡天之风疾天寒，以实写虚、虚实结合，可谓“曲尽塞外不毛之景趣”，堪称“番马画”中的出色之作。",[23,194,24,25,26,352,7,106,150,8628,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F277e2d10ec8e8cc208f99d4fd1c3a917.jpg",[],{"id":38081,"slug":38082,"title":11067,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":38083,"thumbUrl":38084,"material":599,"size":600,"collection":139,"collections":38085,"showCount":37669,"zanCount":48,"manualWeight":48,"mainColor":94},226210,"ku-zhu-shi-bei-bi-yi-ming-226210",[511,260,104,28,7,106,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e8e84853f753592b0dd1a9c531e463a.jpg",[],{"id":38087,"slug":38088,"title":38089,"dynasty":76,"author":10944,"museum":191,"description":38090,"tags":38091,"thumbUrl":38092,"material":1307,"size":38093,"collection":139,"collections":38094,"showCount":37669,"zanCount":2368,"manualWeight":48,"mainColor":94},224573,"qing-qian-long-ke-si-hua-hui-gua-ping-san-zhou-qing-ren-224573","清乾隆缂丝花卉挂屏（三）轴","花卉册在本色地上缂织茶花水仙、玉兰海棠、牡丹、碧桃芝竹、百合剪春罗、荷花蜻蜓、踯躅、芝兰、秋海棠、剪秋纱、蝴蝶花、梅花等各色花卉，每开均缂织而成，无着笔处。画幅采用平缂、构缂、木梳戗、长短戗、凤尾戗和掼缂等缂织技法，缂工细致，润色自然，描画不求形似，具有简逸风格的文人花鸟画风。",[23,1329,226,7,28,84,484,836,554,263,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5222c3323292451a6bbb293a2c5953d.jpg","每开纵41厘米，横42厘米",[],{"id":38096,"slug":38097,"title":38098,"dynasty":76,"author":7596,"museum":316,"description":38099,"tags":38100,"thumbUrl":38101,"material":139,"size":139,"collection":139,"collections":38102,"showCount":37669,"zanCount":48,"manualWeight":48,"mainColor":94},224443,"fang-li-song-gu-mu-he-qun-wang-hui-224443","仿李嵩古木鹤群","此作画境清寂古雅，半边绘苍虬古木，枝干蟠曲交错，松针层叠如织，丹鹤或栖于枝梢理羽，或振翼掠林，姿态闲逸舒展。另一半以浅绛晕染出山峦坡陀，淡绿点染草木苔痕，空灵淡远。\n\n工写兼施法追摹古意，将院体精工与文人画淡逸相融，设色柔润清和。苍木古拙硬挺，衬出丹鹤秀雅灵动，山林幽寂与天际空阔相生，将林下闲逸的幽情藏于尺幅之间，引人坠入清远出尘的林泉之境。",[24,25,28,7,177,105,212,353,245,176,1273],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd25c7958a10ee40cc2e1e5c90df00a4.jpg",[],{"id":38104,"slug":38105,"title":38106,"dynasty":76,"author":7596,"museum":316,"description":38107,"tags":38108,"thumbUrl":38109,"material":139,"size":139,"collection":139,"collections":38110,"showCount":37669,"zanCount":48,"manualWeight":48,"mainColor":49},224439,"lin-dong-yuan-xia-jing-shan-kou-dai-du-tu-juan-wang-hui-224439","临董源夏景山口待渡图卷","此作用平远构图铺展江南水色，烟波浩渺间洲渚错落，平缓山峦连绵舒展，披麻皴晕染出山峦温润质感，草木扶苏郁郁苍苍。渔村茅舍隐于林间，扁舟三两泛于水面，野渡渔人点缀其中，处处透着夏初江南的安闲静谧。\n\n笔墨苍秀柔和，淡墨晕染出水色空明澹荡之态，复刻董源山水平淡天真的意趣，又自带秀润清和的笔底风神，整体意境悠远恬澹，恍若将观者带入溽暑未至的江南水乡，静赏这方安闲雅致的林下烟江。",[23,194,24,25,26,7,29,105,177,109,174,34,245,175,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0817a3be691b2edd3029ce0cbafbb222.jpg",[],{"id":38112,"slug":38113,"title":38114,"dynasty":76,"author":38115,"museum":316,"description":38116,"tags":38117,"thumbUrl":38119,"material":139,"size":139,"collection":139,"collections":38120,"showCount":37669,"zanCount":2368,"manualWeight":48,"mainColor":94},224292,"teng-hua-ru-ji-zhou-xu-you-224292","籐花乳鸡轴","许佑","柔蔓紫藤垂挂如紫霞流泻，淡紫花瓣晕染柔和，间衬嫩绿叶色，将春日柔媚尽藏枝桠。下方浅草茸茸，数只乳鸡或低头啄食，或相互依偎，茸毛蓬松鲜活，憨态尽显，灵动稚拙的模样似要跃出纸面。\n\n整作笔墨秀润清逸，工细兼具写意，将藤花的柔雅与雏鸡的生机相融，动静相映，把乡野间寻常的春日小景，晕染出恬和悠然的闲趣，平和雅致间满溢鲜活生机。",[24,226,7,28,212,83,135,38118,912],"乳鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fada398b14092fd03535ab4dce02ea007.jpg",[],{"id":38122,"slug":38123,"title":38124,"dynasty":76,"author":14270,"museum":316,"description":38125,"tags":38126,"thumbUrl":38128,"material":139,"size":139,"collection":139,"collections":38129,"showCount":37669,"zanCount":48,"manualWeight":48,"mainColor":94},224157,"hua-gao-zong-yu-bi-qiu-hua-shi-zhou-zhang-ruo-ai-224157","画高宗御笔秋花诗轴","将对自然的喜爱带入生活，呈现在庭园中，成为小中现大的世界，正是本幅主体。\n作于乾隆十一年（1746）秋七月，画内廷台阁花园景致。\n台阁以界画绘制，具透视感。\n但与花卉相较却偏小，并不合真实比例，应是为强调群芳争妍的盛况而做此安排。\n园中鸡冠、秋葵、雁来红、菊、红蓼、凤仙等怒放，一片缤纷灿烂，展现明媚秋色。\n【名称】清 张若霭 画高宗御笔秋花诗 【年代】清代 【简介】台北故宫博物院。\n张若霭（171-1746），字晴岚，号景采，又号炼雪道人、晴岚居士，蕴真阁，梅花纳，炼雪道人，藕得书屋，佳梦轩等。\n安徽桐城人。\n张若霭有家学，祖父张英、父亲张廷玉均为雍正、乾隆朝大学士。\n雍正十一 年（172年）癸丑科殿试金榜中二甲一名进士，未散馆特授编修，后帝亲授内阁学士、礼部侍郎，入直南书房。\n官至礼部尚书。\n曾参与《石渠宝笈》的编辑工作，乾隆十一年（1746年）随帝西巡，因病回京，不久卒。\n谥文僖。\n有《岁寒三友图》、《仿王元章疏影寒香图》传世。\n张若霭善书，工画花竹、禽虫，深得王糓祥、周之冕笔意。",[23,24,7,28,104,107,109,4120,3712,263,38127,34],"瓦顶建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63628092ed57c5738e2fb917c30694a2.jpg",[],{"id":38131,"slug":38132,"title":38133,"dynasty":76,"author":38134,"museum":316,"description":38135,"tags":38136,"thumbUrl":38137,"material":599,"size":600,"collection":139,"collections":38138,"showCount":37669,"zanCount":48,"manualWeight":48,"mainColor":94},224150,"wan-nian-zhi-shang-ri-chu-chang-shi-yi-zhou-yu-shi-224150","万年枝上日初长诗意轴","于氏","孔宪培之妻,孔宪培(1756-1793)：原名允宪，字养元，号笃斋，清朝曲阜(今属山东省)人。乾隆年间，袭封衍圣公；夫人于氏，被册封为一品夫人。",[23,24,25,226,7,28,27,104,29,107,175,34,176,109,3712,2136,4364,115,22323],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f460da26208a42a6f0f8d44c32e407a.jpg",[],{"id":38140,"slug":38141,"title":38142,"dynasty":302,"author":257,"museum":20,"description":38143,"tags":38144,"thumbUrl":38145,"material":67,"size":38146,"collection":42,"collections":38147,"showCount":37669,"zanCount":48,"manualWeight":48,"mainColor":49},223666,"xue-shan-xing-lv-tu-zhou-yi-ming-223666","雪山行旅图轴","山势苍莽，白雪皑皑，映衬秋霜红叶丛树，分外妖娆。林中房舍隐现，桥横岸渚，山重水回，一舟泊于岸边。行旅者踏雪而行。全画用笔工细，人物面貌高古，神态刻画入微。房舍以界画笔法，工整严谨。作者巧妙地将山水和人物有机地融为一体。",[23,24,226,173,177,7,29,2724,795,1426,176,809,35,3960],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f9cb5a6c82975a7225dafdffa1c6e7e.jpg","106x51.5",[42],{"id":38149,"slug":38150,"title":38151,"dynasty":18,"author":257,"museum":316,"description":38152,"tags":38153,"thumbUrl":38154,"material":139,"size":139,"collection":139,"collections":38155,"showCount":37669,"zanCount":2368,"manualWeight":48,"mainColor":2504},223406,"tai-yi-jiu-ku-tian-zun-yi-ming-223406","太乙救苦天尊","画面底色沉郁古雅，晕染出静穆庄肃的宗教氛围。天尊仪容清癯端严，眉目悲悯内敛，衣纹线条凝练沉稳，晕染厚重雅致，将出尘仙风道骨尽显无遗。座下九头狮狞猛威严，鬃毛与鞍鞯细节刻画入微，狞悍神兽与沉静天尊形成强烈动静反差，暗合天尊以神威广度苦厄的意涵。\n设色古朴厚重，深褐底色托出人物明洁面容与衣摆亮色，层次分明，尽显典雅法度，神性的庄严与慈悲融于含蓄笔墨间，带着沉静肃穆的感染力。",[23,24,25,226,260,7,28,106,746],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3aa8dabdf98f5ffd1dd19b0d0e4fe693.jpg",[],{"id":38157,"slug":38158,"title":38159,"dynasty":76,"author":5359,"museum":20,"description":17664,"tags":38160,"thumbUrl":38161,"material":40,"size":17667,"collection":139,"collections":38162,"showCount":37669,"zanCount":48,"manualWeight":48,"mainColor":49},223288,"shan-shui-si-tiao-ping-yang-zhou-si-jing-chun-tai-ming-yue-yuan-yao-223288","山水四条屏-扬州四景-春台明月",[23,194,24,25,29,104,7,28,107,265,34,1654,31,37,1241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9218ea22d441b2dddefafa0a46fa6764.jpg",[],{"id":38164,"slug":38165,"title":38166,"dynasty":76,"author":2162,"museum":419,"description":2163,"tags":38167,"thumbUrl":38168,"material":67,"size":2173,"collection":139,"collections":38169,"showCount":37669,"zanCount":48,"manualWeight":48,"mainColor":49},223068,"hong-lou-meng-54-sun-wen-223068","红楼梦54",[23,28,7,104,106,107,108,227,820,175,2086,278,8419,37171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F173a90b3a55ee52d258dbd1f30861e2f.jpg",[],{"id":38171,"slug":38172,"title":38173,"dynasty":76,"author":2162,"museum":419,"description":2163,"tags":38174,"thumbUrl":38175,"material":67,"size":2173,"collection":139,"collections":38176,"showCount":37669,"zanCount":48,"manualWeight":48,"mainColor":94},223038,"hong-lou-meng-163-sun-wen-223038","红楼梦163",[23,24,28,7,104,106,107,115,278,279,29,34,380,1552,2307,63,1554,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a77715bf17c0334e164e3416334c83b.jpg",[],{"id":38178,"slug":38179,"title":38180,"dynasty":76,"author":2162,"museum":419,"description":2163,"tags":38181,"thumbUrl":38182,"material":67,"size":2173,"collection":139,"collections":38183,"showCount":37669,"zanCount":48,"manualWeight":48,"mainColor":49},223013,"hong-lou-meng-138-sun-wen-223013","红楼梦138",[23,24,28,7,104,106,59,107,115,11176,3673,1930,1557,27503],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa94fa31ab783364ada8a4dabfa58909e.jpg",[],{"id":38185,"slug":38186,"title":38187,"dynasty":76,"author":2162,"museum":419,"description":2163,"tags":38188,"thumbUrl":38189,"material":67,"size":2173,"collection":139,"collections":38190,"showCount":37669,"zanCount":48,"manualWeight":48,"mainColor":49},222880,"hong-lou-meng-5-sun-wen-222880","红楼梦5",[23,24,25,28,7,106,107,229,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99114590de0237996992964d1a568ac0.jpg",[],{"id":38192,"slug":38193,"title":38194,"dynasty":99,"author":792,"museum":191,"description":31438,"tags":38195,"thumbUrl":38196,"material":139,"size":31999,"collection":181,"collections":38197,"showCount":37669,"zanCount":48,"manualWeight":48,"mainColor":49},222585,"fang-zhao-ling-rang-he-xiang-qing-xia-lan-ying-222585","仿赵令穰荷乡清夏",[23,24,25,81,7,29,105,177,685,378,262,228,136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c941eb7e0ba93f6e83eaf6dcf7cf0a3.jpg",[181,163],{"id":38199,"slug":38200,"title"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，字尺木，号于湖老人、无闷道人、默思。安徽芜湖人，明末清初著名画家，姑孰画派创始人。父亲肖慎余，为明乡饮大宾，懂绘画。云从幼而好学，“笃志绘事，寒暑不废”。\n明崇祯十一年（1638年）加入复社，与阉党保守势力集团进行了积极的斗争。入清后隐居不仕。其人物画主要继承了宋代李公麟的白描法，亦吸收明代陈洪绶之长，造型准确，形象生动。其山水画自成一家，笔墨清疏苍秀，饶有逸致。他的画在家乡芜湖地区影响甚大，形成了“姑熟画派”，传其衣钵者有其弟云倩，子一旸，侄一荐、一箕，犹子一芸，以及黄戢、施长春、施道光等人。萧云从的挚友、清初四画僧之一弘仁的早期山水亦受其影响。",[23,24,25,26,7,29,177,86,178,212,106,107,34,176,109,175,1273,795,1754,108],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac94aed01aba754dc8c5c87a314abc26.jpg","27.5x224cm",[181],{"id":38329,"slug":38330,"title":38331,"dynasty":99,"author":14476,"museum":191,"description":38332,"tags":38333,"thumbUrl":38334,"material":123,"size":38335,"collection":45,"collections":38336,"showCount":37669,"zanCount":48,"manualWeight":48,"mainColor":49},219356,"xun-mei-tu-zhou-zhu-duan-219356","寻梅图轴","朱端，字克正，海盐人，出身渔樵，弘治末入宫，正德时期（1506－1521）直仁智殿，官「锦衣指挥」，曾获赐「钦赐一樵图书」，遂更号「一樵」。朱端的山水画取法郭熙（约1020-约1100）、马远。全幅采取半边的构图型式，以左方占据画面约二分之一高的双松为骨干，框出策杖撑伞的老翁和两位童子，他们正准备渡江至对岸的赏梅。冬天踏雪寻梅，一直被视为文人雅趣，从弘治时期（1488－1505）开始，这一类诗意图像逐渐增加，题材的转变似乎也反映了宫廷皇帝品味的变化。",[24,25,226,3559,7,177,29,820,106,353,176,34,108,7428],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8adaba5994f15c5c5b21bc71be0d1b10.jpg","208.3x124.5",[45],{"id":38338,"slug":38339,"title":38340,"dynasty":99,"author":257,"museum":191,"description":38341,"tags":38342,"thumbUrl":38343,"material":123,"size":38344,"collection":45,"collections":38345,"showCount":37669,"zanCount":2368,"manualWeight":48,"mainColor":49},219350,"wang-hai-lou-tu-zhou-yi-ming-219350","望海楼图轴","画中楼阁矗立于城墙之上，下瞰大江，群客登临宴饮。屋内文人三五成群，有些持卷观赏，有些凭窗眺远。本幅用界工整，青绿设色已略剥落，然屋宇脊顶之蛤白勾勒线条仍鲜明如故，使楼台轮廓分外醒目。此图签题虽定为「望海楼图」，然根据绘画内容看来，整个建筑群组面城临江， 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年11月22日—1802年3月26日），字大易，号小松、秋盦，又号秋影庵主、散花滩人。浙江钱塘人，钱塘黄氏八世。兼擅篆刻，与丁敬并称丁黄，为“西泠八家”之一。",[24,25,81,173,7,177,35,34,176,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83da3788d7a2cc1ffec29df6911883a8.jpg",[181,45],{"id":38634,"slug":38635,"title":38636,"dynasty":76,"author":38637,"museum":20,"description":38638,"tags":38639,"thumbUrl":38640,"material":139,"size":139,"collection":181,"collections":38641,"showCount":38474,"zanCount":48,"manualWeight":48,"mainColor":49},236747,"hua-wang-shi-lu-xiang-zhou-zhang-zhu-236747","画王士禄像轴","张翥","张翥字运南，号北林，江苏常熟人，生卒年不详。善画山水、人物、肖像，山水师同乡吴山（南阳），沉郁苍老，馓有气韵。人物写真师法曾鲸，形象逼肖，用笔流畅，秀媚古雅。雍正十年（1732）郡守周某欲绘《贫民图》入告。传世作品有康熙二年癸卯（1663）作《王士禄像》轴，画左上角有冒襄题像赞，现藏故宫博物院。能诗，著有《北林小集》。",[24,25,226,7,28,106,34,114,379,19392,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9354997c8a95fe93096ae2a9e2a5a2be.jpg",[181,45,2065],{"id":38643,"slug":38644,"title":38645,"dynasty":76,"author":742,"museum":20,"description":38646,"tags":38647,"thumbUrl":38649,"material":40,"size":38650,"collection":90,"collections":38651,"showCount":38474,"zanCount":48,"manualWeight":48,"mainColor":94},236466,"liu-tang-lu-que-tu-zhou-ren-yi-236466","柳塘鹭雀图轴","此图是幅表现春风中群燕嬉戏的小品画，也是任颐运用以实托虚的手法成功地表现“风”的代表作。虚缈、抽象的风通过小燕振翅翻飞的动态和柳叶飘舞张扬的形状被表现得既具象又生动，不仅令“风”有了可视的形象，而且突出了作者“轻柳爱风斜”的创作主题。从构思到笔墨都反映了作者在绘画创作成熟期的精湛艺术水准。",[24,7,173,498,83,2532,4039,4323,1980,38648],"塘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4784f688b1766e12ccf68e7508976a4c.jpg","纵152.5厘米，横40厘米",[90,163],{"id":38653,"slug":38654,"title":38655,"dynasty":76,"author":31785,"museum":20,"description":38656,"tags":38657,"thumbUrl":38658,"material":40,"size":139,"collection":181,"collections":38659,"showCount":38474,"zanCount":48,"manualWeight":48,"mainColor":94},236130,"huang-yue-shan-xi-fang-zhao-tu-zhou-huang-yue-236130","黄钺山溪放棹图轴","黄钺（1750--1841），字左田，又名左君，号壹斋、左庶子。先祖七世自当涂迁居芜湖，乾隆十五年八月初五未时（即公元1750年9月5日13时至15时），生于芜湖西门外升平桥旧第，幼丧父母，由外祖父母抚养，及长，敏而好学。清乾隆年间，“以廪贡挑录议叙吏目”。乾隆三十三年（1768）四月，黄钺与安徽巡道李世杰在芜湖赭山滴翠轩创建中江书院，招员授业。乾隆五十五年庚戌恩科(1790年)，殿试中二甲第六名进士，授户部主事，因与和珅意左，告假回芜，“掌教皖南北书院十载”",[24,7,29,177,226,685,16684,2234,378,175,686,109,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2c0e84037a99a0fea090328209329ab.jpg",[181,45],{"id":38661,"slug":38662,"title":205,"dynasty":99,"author":5289,"museum":316,"description":5290,"tags":38663,"thumbUrl":38664,"material":599,"size":600,"collection":139,"collections":38665,"showCount":38474,"zanCount":48,"manualWeight":48,"mainColor":94},235739,"hua-niao-ce-tan-zhi-yi-235739",[24,25,81,28,7,83,820,245,211,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2685cf988a45bc4025b950c37cac040e.jpg",[],{"id":38667,"slug":38668,"title":205,"dynasty":99,"author":5289,"museum":316,"description":5290,"tags":38669,"thumbUrl":38670,"material":599,"size":600,"collection":139,"collections":38671,"showCount":38474,"zanCount":48,"manualWeight":48,"mainColor":94},235733,"hua-niao-ce-tan-zhi-yi-235733",[24,7,28,81,83,897,210,211,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4176ac9d5c01d070e14ab41ce4d20973.jpg",[],{"id":38673,"slug":38674,"title":38675,"dynasty":99,"author":21188,"museum":316,"description":38676,"tags":38677,"thumbUrl":38679,"material":139,"size":139,"collection":139,"collections":38680,"showCount":38474,"zanCount":48,"manualWeight":48,"mainColor":94},235275,"shan-shui-tu-zhou-wang-shan-chui-diao-zhao-zuo-235275","山水图轴（望山垂钓）","《山水图》轴（望山垂钓），明，赵左绘，纸本，设色，纵12.cm，横8cm。\n作者： 赵左 类别： 中国画 材料： 绢本，设色 收藏： 故宫博物院 时期的绘画风格多从前人画法中变化而出，大多带有较为明显的前人艺术遗迹，这也是晚明时期复古艺术思潮在绘画作品中的反映，从而构成了明代后期艺术所具有的鲜明的时代特色。\n赵左身处于这一时代大环境中，其作品，甚至其所代表的苏松派绘画都具有这一特点，从这幅《山水图》中也不难看出这一特色。\n此图表现晚明文人生活，大致分为三个段落：下部绘临水土坡，林木掩映中隐现出草堂，屋中一士凭窗读书；中部湖水荡漾，芦苇丛中一人正持杆垂钓，扭头遥望远山的动作，表明其本意非在垂钓；上部山峰一座，所占位置有限，留有很大的空白，画家在此处用工整的小楷书题写了两句诗：“垂钓有深意，望山多远情”，点明了主题。\n根据诗句，后人也曾将此图定名为《望山垂钓图》。\n诗后署款“己未夏日赵左”，下钤“赵左之印”、“文度氏”两方印章。\n按“己未”为明万历四十七年（1619年），赵氏最晚的作品为1629年的《落叶无声图》，此图亦应属其晚年作品。\n全图主要以水墨画成，墨色清润，浓淡干湿、焦渴枯润均控制得恰到好处；设色淡雅清丽，只用淡赭和花青等略加点染，使画面具古雅恬淡之趣而无俗艳之态；笔法洒脱秀劲，写意处墨气淋漓，工整处细笔如丝，笔力劲健遒逸。\n人物造型简单，不求形似，寥寥数笔便神态俨然，显示出作者深厚的艺术功底。\n此图为赵左晚年创作的山水画中的精品。\n作品画法继承元代画家黄公望和倪瓒传统，远山的表现手法又显然受元代赵孟頫影响，山石用披麻皴法，并解索式的形态自山顶纷披而下，复施以淡色，极具古拙雅淡之趣。\n景致采用平远与深远相结合的构图，使原很狭窄的竖长画面显得开阔，加之三段式的布局法，更添增了幽远之感。\n画面下部的实景处理，中部水面的描绘以及远山、天空的表现，构成了强烈的虚实对比；而图中人物恬淡宁静的神态与树木芦苇因风而起舞的动势也形成了鲜明的动与静之对比。\n通过鲜明的对比，作者营造出了一个文人逸士生活的良好氛围。",[24,226,3559,7,173,1733,28,498,174,4953,3165,34,1980,176,9558,1169,615,16314,36064,38678],"古雅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb82fec355e24c88b9d8dd6dac98f00b.jpg",[],{"id":38682,"slug":38683,"title":38684,"dynasty":99,"author":38685,"museum":20,"description":38686,"tags":38687,"thumbUrl":38688,"material":40,"size":38689,"collection":139,"collections":38690,"showCount":38474,"zanCount":2368,"manualWeight":48,"mainColor":49},234955,"ju-shi-ye-tu-tu-xu-lin-ju-234955","菊石野兔图","徐霖菊","《菊石野兔图》轴，明，徐霖绘，绢本，设色，纵160厘米，横52厘米。徐霖（1462—1538年），字子仁，号九峯道人，又号快园叟、髯仙等，江苏苏州人，徙居金陵。解音律，精篆法，善画。九岁能作大书，操笔成体，正书出入欧、颜，大书初法朱熹，几乱其真，后喜赵孟頫，笔力遒劲，结构端饬，自成一家。篆书始尚雄丽，晚益朴古。著有《丽藻堂文集》、《快园诗文集》等。",[24,25,226,28,7,897,230,2181,746],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe4419186ef37cfbb681f6bb8d51bf21.jpg","纵160厘米，横52厘米",[],{"id":38692,"slug":38693,"title":38694,"dynasty":76,"author":20608,"museum":316,"description":38695,"tags":38696,"thumbUrl":38697,"material":770,"size":38698,"collection":44,"collections":38699,"showCount":38474,"zanCount":48,"manualWeight":48,"mainColor":94},234297,"hua-ji-chan-yin-tu-ce-xiao-chen-234297","滑稽禅隐图册","此作笔墨秀隽，意境清寂澹远。画面之中，长衫文士仰面抬首，凝睇枝桠初花，神色悠然沉谧，似在静赏春信、体悟幽怀。身旁小童捧壶恭谨侍立，主仆情态一动一静，衬出文人林下幽栖的淡然意趣。\n\n作者以淡墨轻皴岩壁，枯树枝干苍劲虬曲，点染花枝轻俏雅致，设色浅净柔和，留白铺陈出萧疏空寂的林下氛围，将文人耽于林泉、静悟禅意的雅趣融于简淡笔墨之中，尽显清润雅致的书卷气息，是兼具雅致意趣与文人情怀的小品佳作。",[24,25,81,7,106,378,176,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb108253a57ede07e91c1de652b22bfe6.jpg","19×24.2cm",[44,45],{"id":38701,"slug":38702,"title":38703,"dynasty":76,"author":4055,"museum":20,"description":38704,"tags":38705,"thumbUrl":38706,"material":770,"size":139,"collection":181,"collections":38707,"showCount":38474,"zanCount":48,"manualWeight":48,"mainColor":94},234290,"xue-jing-gu-shi-ce-sun-hu-234290","雪景故事册","孙祜生卒年不详，江苏人。工人物、山水，宗法王原祁。乾隆（1736-1795）时供奉内廷，为宫廷画家。",[24,25,81,7,28,178,212,29,2562,176,795,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29476d87f834ed55ad1ade830e240ad6.jpg",[181,45],{"id":38709,"slug":38710,"title":38711,"dynasty":99,"author":32361,"museum":20,"description":38712,"tags":38713,"thumbUrl":38714,"material":770,"size":139,"collection":139,"collections":38715,"showCount":38474,"zanCount":48,"manualWeight":48,"mainColor":94},234138,"qiu-lin-gui-yin-tu-juan-li-liu-fang-234138","秋林归隐图卷","李流芳（1575～1629）明代诗人、书画家。字长蘅，一字茂宰，号檀园、香海、古怀堂、沧庵，晚号慎娱居士、六浮道人。歙县（今属安徽）人，侨居嘉定（今属上海市）。三十二岁中举人，后绝意仕途。诗文多写景酬赠之作，风格清新自然。与唐时升、娄坚、程嘉燧合称“嘉定四先生”。擅画山水，学吴镇、黄公望，峻爽流畅，为“画中九友”之一。工山水，兼善花卉。其画主要师承五代董源、巨然以及元代四大家黄公望、王蒙、吴镇和倪云林。李流芳《秋林亭子图》轴，上自题七绝一首：“山作矾头水少纹，巨然烘染董源皴。一间山水闲亭子，脱手平分与故人。”这无异于声明自己的笔墨是从董、巨中学来的。事实上，李流芳在传统学习上并非局限于一、两家。三百年来风行海内外，盛传不衰的《芥子园画谱》（上水部分）就是以他临仿古人各家风格的课徒画稿为蓝本整理、增编而成。\n李流芳在绘画上既崇尚宋元各家，又能注重师法自然，强调写生，于画中自创新意。《吴中十景图》册是他写生作品中的代表作。他以艺术家的视角摄取吴中十处风景名胜入画，摹写真实生动，主景次景剪裁得宜，他的传神之笔塑造的艺术形象展示了吴中胜景特有的风采，令人神往。他五十岁时画的一副雪景轴也来源于生活经验，画上自题：“甲子腊月十三日，归自吴门，大雪弥日，舟过城南，见留光树色，冒雪含烟，颇不乏致，辄画此纸。”他每次游西湖，都要带回很多写生稿，总之他的写实功夫是比较突出的。他常以自然山水为画本，随手写景，所以笔端不落俗套，富有生气，形成一种清新、秀逸的独特风格。董其昌赞道：“长蘅以山水擅长，余所服赝乃其写生，又有别趣。”\n曾经许小仙道艺室、王德溥宝日轩、李廷鈺秋柯草堂、蛟川包氏听涛轩收藏。1.许小仙，民国收藏家，一作肖仙，约活动于民国初年。室名“道艺室”“有墨廔”，和张大千交往深厚。1928年，大千游杭为小仙刻“小仙考藏名迹之章”长方朱文印，及“许氏有墨廔墨宝”正方朱文印。同年，黄葆戉为刻“归于小仙”白文方印。1940年，冯康侯为刻“道艺室珍藏记”长方朱文印。2.王德溥，字容大，一字澹和，钱塘人。贡生。有《宝日轩诗集》。3.王绍廷，清末上海人，工画栈道。4.李廷钰（1792-1861），字润堂。福建同安人。善诗文，工书画，又善鉴别古法帖。藏书甚富，室名“秋柯草堂”。鸦片战争期间为虎门威远炮台总兵。道光二十二年（1842）年任浙江提督，咸丰三年至六年（1853-1856）任福建提督。著有《海疆要略必究》、《泉州乡土地理粁》。5.“质亲王宝”或为清宗室乾隆第六子永瑢印；郑亲王则为爱新觉罗·济尔哈朗家族。按语：李流芳画法倪云林、吴仲圭，而有雄直劲硬之气，一纠吴门末流之软媚柔靡。此图写平林浅屿，湖天空阔之景，貌似云林而气悍力沉，故风规自具，然清远冷寂悠然出世之韵度则颇与云林合也。后有钱梅溪、李廷钰题识，称其“如行云、如流水，却不于形似间求之，”“尤为得意之作。”自是知者言。",[23,24,25,26,173,7,29,177,178,86,10677,176,34,109,108,175,245,174],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf95887d31d990e7913cdfd778173c3c.jpg",[],{"id":38717,"slug":38718,"title":9958,"dynasty":302,"author":38719,"museum":20,"description":38720,"tags":38721,"thumbUrl":38722,"material":21126,"size":38723,"collection":139,"collections":38724,"showCount":38474,"zanCount":2368,"manualWeight":48,"mainColor":49},233844,"hua-shan-shui-zhou-li-shi-xing-233844","李士行","李士行山水图取境开阔，中间以一高峰为主体，四周群山相扶。雾气弥漫的、深远的山涧有一清流涌出，并化为平静的河水缓缓向前流淌。整个画面布局平稳，境界平淡天然。此画用笔温和秀润，多用披麻皴，墨色变化丰富，水色淋漓。其浓淡相间，以淡墨皴染，浓墨画近树和点苔，层次分明。",[24,25,226,173,7,29,34,176,109,1169,177,809,3561,230],"ht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横28cm.",[],{"id":38750,"slug":38751,"title":38752,"dynasty":18,"author":257,"museum":191,"description":38753,"tags":38754,"thumbUrl":38755,"material":67,"size":38756,"collection":139,"collections":38757,"showCount":38474,"zanCount":2368,"manualWeight":48,"mainColor":49},233015,"chun-you-wan-gui-tu-ye-yi-ming-233015","春游晚归图页","图绘一老臣骑马踏青回府，前后簇拥着10位侍从，或搬椅，或扛兀，或挑担，或牵马，忙忙碌碌。\n老臣持鞭回首，仿佛意犹未尽，表现了南宋官僚偏安江南时的悠闲生活，令人想起南宋林升《题临安邸》一诗：\n\n“山外青山楼外楼，西湖歌舞几时休？\n暖风熏得游人醉，直把杭州作汴州！”\n\n所绘景物十分优雅，柳林成浪，宫城巍峨，人马虽不盈寸，但须眉毕现，姿态生动，线条流畅，色彩简洁明朗。",[24,194,7,28,106,150,34,107,1049,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02bc4b22ebdbfe5a601c55afb8e03b4d.jpg","24.2cm*25.3cm",[],{"id":38759,"slug":38760,"title":38761,"dynasty":256,"author":257,"museum":316,"description":38762,"tags":38763,"thumbUrl":38764,"material":139,"size":139,"collection":139,"collections":38765,"showCount":38474,"zanCount":48,"manualWeight":48,"mainColor":94},231580,"yu-en-chun-qiu-liang-yuan-ying-hua-pu-tu-juan-yi-ming-231580","浴恩春秋两园樱花谱图卷","虽然日本没有官方的国花，但樱花之于日本的重要性不言而喻，日本文化的精气神都能在樱花身上得到体现，樱花也成为日本绘画中的常见题材。早在远古，日本人就将樱花看作是春天的化身，是花的神灵。日本语中的“樱时”(古语)，意思就是“春天的时节”。每当春天来临，人们最关注的就是樱花一年一度的花开花落。花蕾结得多少好坏，开花时能否躲过春雨的淋洗开得灿烂，凋谢时能不能遇上春风落瓣洁净。樱花是否开花顺利在日本人看来，意味着这一年是否风调雨顺，五谷丰登。所以每当花开时节，人们就聚集在樱花树下，放歌畅饮，祈祷神灵保佑。",[23,26,25,7,28,18387,178,212,22360],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5f94d981568dc00430a3f7f9eb71592.jpg",[],{"id":38767,"slug":38768,"title":38769,"dynasty":302,"author":35429,"museum":12886,"description":38770,"tags":38771,"thumbUrl":38772,"material":638,"size":38773,"collection":139,"collections":38774,"showCount":38474,"zanCount":48,"manualWeight":48,"mainColor":49},231491,"xue-zhong-lu-tu-zhou-yuan-231491","雪中鹿图","虬曲老梅横亘画幅上端，朱红花朵破开沉褐底色，积雪凝缀枝梢，晕开冬日清寒。白鹿身形劲健修长，莹润雪色皮毛以淡墨晕染而出，犄角舒展，垂首静立在覆雪坡石间，安然沉静，与周遭萧寒景致浑然相融。枯涩墨线勾勒梅枝苍劲筋骨，淡墨轻晕出积雪的蓬松虚灵，冷色调底纸烘托出冬夜荒寂空濛，冷冽氛围里，白鹿的温驯清逸更显动人，将冬日的萧寒与生命静雅相融，晕开一卷幽淡空寂的林泽冬景。",[24,25,194,226,7,746,2479,2086,378,838,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d6ce42914c8804d95d64ffa52147924.jpg","179.7x92.4厘米",[],{"id":38776,"slug":38777,"title":38778,"dynasty":99,"author":10632,"museum":316,"description":38779,"tags":38780,"thumbUrl":38782,"material":139,"size":139,"collection":139,"collections":38783,"showCount":38474,"zanCount":48,"manualWeight":48,"mainColor":94},231014,"lian-ou-jing-yin-tu-wen-jia-231014","莲藕净因图","此作画风清逸疏朗，以淡墨勾绘莲茎清瘦挺拔，粉荷半绽，淡赭轻染花尖，晕染出柔婉清雅的姿态。莲蓬与莲藕刻画精微朴拙，线条简淡却将水生风物的温润质感尽显无遗。\n\n宽绰留白铺就幽寂禅意，搭配题咏禅诗，诗画相映，将莲的清净本心寄寓其间，尽显幽淡出尘的文人意趣。全作用笔以简驭繁，淡而弥厚，融禅思入绘事，观之如临幽塘，心下自会澄明安宁，尽显文人尚简崇雅的审美意韵。",[24,25,226,352,173,7,136,720,137,38781,84,498],"莲藕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab2d6731a756e18afa13d56d32e9d48b.jpg",[],{"id":38785,"slug":38786,"title":38787,"dynasty":302,"author":7943,"museum":316,"description":38788,"tags":38789,"thumbUrl":38790,"material":139,"size":139,"collection":139,"collections":38791,"showCount":38474,"zanCount":48,"manualWeight":48,"mainColor":49},230904,"jin-ji-ji-zhu-tu-wang-yuan-230904","锦鸡棘竹图","画面以奇石立锦鸡为主体，野卉棘竹环伺左右，虚实相生间铺展出荒寒野境。以水墨淡晕之法绘就，锦鸡羽色以淡墨层层晕染，绒羽蓬松柔润的质感跃然绢上，神态静穆悠然，尽显内敛雅致。奇石皴擦老拙苍劲，枯棘枝条嶙峋带刺，尽显深秋萧索之态，竹叶与野卉则以清逸的笔致点染，柔缓中和了枯寂寒气。\n整体融院体工致与文人笔墨意趣于一身，淡墨轻岚间，绘写出林下幽寂空远的野逸之韵，将秋日荒寒中禽鸟安处的闲适意态刻画入微，尽显水墨花鸟的清简雅致。",[24,25,226,7,28,83,1284,227,230,26148],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95d33585a772eb69df209975f31fee55.jpg",[],{"id":38793,"slug":38794,"title":38795,"dynasty":256,"author":38796,"museum":316,"description":38797,"tags":38798,"thumbUrl":38799,"material":599,"size":600,"collection":139,"collections":38800,"showCount":38474,"zanCount":48,"manualWeight":48,"mainColor":49},230589,"jiang-hu-shi-dai-lou-ge-shan-shui-tu-ping-feng-12-kai-chi-da-ya-230589","江户时代楼阁山水图屏风12开","池大雅","池大雅，（1721年－1776年），日本江户时代的艺术家，文人风格书法家。",[24,25,279,7,104,29,107,106,108,34,176,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20545c3e86b58644149fb020c8ccf4e8.jpg",[],{"id":38802,"slug":38803,"title":38804,"dynasty":76,"author":17256,"museum":316,"description":38805,"tags":38806,"thumbUrl":38807,"material":139,"size":139,"collection":139,"collections":38808,"showCount":38474,"zanCount":48,"manualWeight":48,"mainColor":49},230359,"qiu-shan-ting-pu-tu-fan-qi-230359","秋山听瀑图","《秋山听瀑图》是清代画家 创作的绢本水墨淡设色画，现藏于旅顺博物馆。\n此图风格清雅，山骨峻增，群峰昂然高立，老树柔枝。\n全幅以水墨、花青染成，间施赭色。\n皴法细劲而严密，近似小斧劈又有所变化。\n此画远景山峦重叠，顶端突兀的巨石分向两边，右侧巨峰矗立，冲入云霄，气势雄伟险峻，山间瀑布直泻而下。\n中景为高山脚下，溪水潺潺，山石奇特，有几棵枯枝落叶古树，幽邃的山林周围空山寂寞，悄无人声，充满沁人肺腑的清新气息。\n在山坳平坡处，有一位樵夫正边走边倾听瀑泉的响声。\n泉水的流动，不但没有冲淡周围环境的安谧，反而增添了山林的僻静之感。\n近景为枯木坡石，与中景的山石紧相连接。\n左上自题“戊申春王画呈黄翁老祖台正樊圻”，钤“樊圻之印”、“会公”二印。\n左下钤收藏印二方“胶西法坤原珍藏”、“胶西宋皑珍藏书画印”。\n该图创作于康熙七年（1668年），作者时年5岁。\n此画构图顶天立地，上不留天，下不留地，左上角仅有的空白处，以作者自题款而填补，使整个画面更为充实完整。\n远景山峦重叠，中间炯锁山腰，层次分明，满而不塞。\n该图山石皴笔方硬而疏松，远山隐现于云雾之中。\n只在关键部位如山石的阴侧面用重墨，皴法细碎而干净利落，似从小斧劈演化而来。\n用色清淡，惜墨如金。\n总体来看，此画既合于写实的原则，也传达出幽远的意境。\n此图略近李成清旷画派，但皴法细劲而严密，近似小斧劈皴而较为文静，一点没有粗犷霸悍的习气。\n树木、屋宇、舟桥、流水、人物的刻画皆精诣不苟。\n通幅以水墨、花青染成，间施赭色，淡薄而透明，双钩的红叶，更点醒了秋山的主题樊圻对于传统的师承面比较广泛，就外表形态而论，似乎并未形成个人的固定程式，但就内在笔性而论，不管是披麻皴还是斧劈皴，也不管是水墨还是青绿，都以精诣不苟见工，精诣中又有透出虚灵的士气。\n该图在《中国美术全集·清代绘画》、《 》著录。\n1955年金县中心小学拨藏，现藏于旅顺博物馆。\n樊圻（1616—？），清代画家。\n字会公、洽公。\n江苏金陵（今南京）人。\n精山水、花卉、人物等。\n仕女画有幽闲静逸之致。\n与龚贤、高岑、吴宏，叶欣、胡糙、谢荪、邹喆为金陵八家。\n传世作品有《江浦风帆图》、《柳村渔乐图》、《雪景山水图》、《春山策仗图》轴、《山径骑驴图》等。",[23,24,25,194,226,7,29,1426,108,109,795,3574,176,1785,106,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F538bc792d5069bdc6b875e27cd5b5f04.jpg",[],{"id":38810,"slug":38811,"title":38812,"dynasty":76,"author":2162,"museum":419,"description":2163,"tags":38813,"thumbUrl":38814,"material":67,"size":2173,"collection":139,"collections":38815,"showCount":38474,"zanCount":48,"manualWeight":48,"mainColor":94},230104,"hong-lou-meng-185-sun-wen-230104","红楼梦185",[24,28,7,106,107,611,176,84,34,115,3661,37171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff27b4ef23ad965b1028c930df54eac1c.jpg",[],{"id":38817,"slug":38818,"title":38819,"dynasty":76,"author":38820,"museum":316,"description":38821,"tags":38822,"thumbUrl":38823,"material":139,"size":139,"collection":139,"collections":38824,"showCount":38474,"zanCount":48,"manualWeight":48,"mainColor":94},229012,"shi-jun-ma-tu-wang-zhi-cheng-229012","十骏马图","王致诚","《千姿百态画骏马》是一本书籍，上海书店出版社; 第1版 (26年月1日)出版，开本16。\n丛书名: 国画训练新编系列2 平装: 页 正文语种: 简体中文 条形码: 786784845, 978786784846 尺寸: 28.5 21.2 . cm 重量: 181 g 《千姿百态画骏马》内容简介：在中同美术史上，几乎每个朝代的艺术作品都有以马为题材的杰作。\n如先秦时代青铜器盠驹尊，秦始皇陵出土的大批陶马俑、四汉霍去病墓前的《马踏匈奴》石雕、东汉青铜器《马踏飞燕》、唐代画马高手韩斡笔下的《神骏图》、韦偃画了两千余匹千姿百态骏马的《牧放图》、宋代李公麟的名作《五马图》、元代赵孟頫的《浴马图》，明代仇英的《秋园猎骑图》、清代王致诚的《十骏马图》，直至近代徐悲鸿的大量奔马立马图……由此可见，马是中国历代艺术家最热衷的题材之一。",[24,25,28,7,150,176,34,84,86,212,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F266c74560a21981e18d0b59b83e4fb52.jpg",[],{"id":38826,"slug":38827,"title":38828,"dynasty":99,"author":756,"museum":316,"description":38829,"tags":38830,"thumbUrl":38831,"material":139,"size":139,"collection":139,"collections":38832,"showCount":38474,"zanCount":2368,"manualWeight":48,"mainColor":94},228868,"dong-yuan-tu-juan-wen-zheng-ming-228868","东园图卷","《东园图卷》是文徵明的作品，绢本，纵：.2cm，横：126.4cm。\n现收藏于 ，画上景物多用空勾填色，墨线细劲连绵，笔意古拙，赋色清丽秀逸，晕染精细。\n名称：明文徵明东园图卷 类别：中国古画 年代：明代 文物原属：故宫旧藏 文物现状：现藏台北故宫博物院 图卷，绢本，设色画，纵：.2cm，横：126.4cm。\n东园位于南京钟山东凤凰台下，原是明代开国重臣中山王徐达的赐园，名为“太府园”，后来其五世孙徐泰时加以修葺扩建，辟作别墅，更名“东园”。\n园内叠有峰嶂，川泽相通，灵岩怪石环列前后，奇花异草郁郁葱葱，亭台楼阁错落有致。\n与徐氏友善的时贤名士常雅集于东园之中，或谈诗论文，或品茗抚琴，或宴乐弈棋，或赏玩书画，其乐融融，快意畅然。\n《东园图》是明四家之一的文征明于61岁（明嘉靖九年，15年）时绘制的，表现了东园雅集时的情景。\n情景图中板桥横于潺潺细流之上，青松翠竹遥相呼应，湖石疏置，碧树成荫，池水为清风吹皱，泛起层层涟漪。\n甬路上二文士边走边谈，携琴童子相随其后；堂内四人凝神赏画，另有手捧数轴书画的小童立侍桌旁，水榭之中对弈的两人神态悠闲安逸。\n文徵明的绘画有两种风格：一是宗法沈周、吴镇，呈水墨粗笔面貌，世称粗文；一是师从赵孟頫、王蒙，多青绿重染，工细缜密，世称细文。\n文氏早年以工细为主，中年之后粗细兼能，愈晚愈工。\n《东园图》便是他晚年细笔的精品。\n画上景物多用空勾填色，墨线细劲连绵，笔意古拙，赋色清丽秀逸，晕染精细，正如王原祁所言：“色不碍墨，墨不碍色，又须色中有墨，墨中有色。\n”全图虽以青绿设色法为之，却丝毫不见工匠之气，充盈于画面的是闲适雅致的文人气息，画中人物颇有魏晋之际名士的风神格调，这是文氏此类雅集题材绘画超乎常人之处。\n图之引首有徐霖隶书“东园雅集”四字。\n画面右上端有篆书“东园图”三字，画尾有款“嘉靖庚寅秋徵明制”，下钤“ 停云”、“玉兰堂印”、“徵仲”等印四方。\n卷后尾纸上有湛若水楷书《东园记》和陈沂行书《太府园讌游记》二则。",[23,194,24,25,26,28,7,106,107,175,108,109,230,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6cb802217ebcd0c9524ab578c39dc66.jpg",[],{"id":38834,"slug":38835,"title":38836,"dynasty":99,"author":3774,"museum":608,"description":38837,"tags":38838,"thumbUrl":38839,"material":139,"size":139,"collection":139,"collections":38840,"showCount":38474,"zanCount":48,"manualWeight":48,"mainColor":94},228312,"xun-yang-qiu-se-tu-quan-juan-lu-zhi-228312","浔阳秋色图全卷","近岸坡坨疏林错落，霜叶点染秋意，远渚青岫浮沉烟霭，一江秋水空濛无际，铺展出江天寥廓的清寂秋光，暗合江州送客的孤凉心境。\n\n整卷诗书画共生，卷首擘窠大字雄沉苍劲，小楷录《琵琶行》全诗文雅端润，笔意随文辞跌宕，把迁客失意羁愁，融在水墨秋光中。画境萧瑟清和，书意或沉郁或秀雅，将曲中天涯沦落的怅惘落寞，与江色秋容织为一体，尽显诗画共情的文人雅趣。",[23,24,25,26,7,177,178,212,29,34,31,174,1169,1734],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F312ff3b95e0169d0f7879fc0be151e48.jpg",[],{"id":38842,"slug":38843,"title":38844,"dynasty":99,"author":857,"museum":316,"description":38845,"tags":38846,"thumbUrl":38847,"material":139,"size":139,"collection":139,"collections":38848,"showCount":38474,"zanCount":48,"manualWeight":48,"mainColor":49},228288,"lin-xia-gao-shi-chen-hong-shou-228288","林下高士","画作以枯荣相衬的林木构起幽境，两位高士席地对坐，姿态安闲，似在晤言清谈。流泉隐于林石间，远处茅亭藏于麓林深处，尺幅之中铺展出清寂雅致的林下天地。\n\n设色调和古雅，青绿叶色与枯木寒枝形成鲜明对照，山石勾勒奇崛苍劲，带着朴拙古意。鲜妍设色未露半分媚俗，反倒衬出林境沉静出尘的气质，将文人遁迹丘山、寄情林泉的雅怀藏入画面。构图疏密相宜，笔端静穆雅致，把林下雅集的散逸清旷尽数铺展，尽显古雅出尘的隐逸意趣。",[23,24,25,7,28,29,106,175,353,176,34,109,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0debeaf5261a36d5a12e371c8f048cd3.jpg",[],{"id":38850,"slug":38851,"title":38852,"dynasty":302,"author":3115,"museum":191,"description":38853,"tags":38854,"thumbUrl":38855,"material":2365,"size":38856,"collection":90,"collections":38857,"showCount":38474,"zanCount":48,"manualWeight":48,"mainColor":94},228010,"xi-fu-tu-zhou-chen-lin-228010","溪凫图轴","《溪凫图》为元代画家 创作的纸本设色画，现藏于台北故宫博物院。\n该图描绘的是秋天的景色。\n一只野鸭正立于水岸边上，河里水波阵阵泛起，岸上野草丛生，一株芙蓉树正开得鲜艳。\n该图绿头鸭造型准确，勾勒工谨，以水墨晕染，略加花青、赭石淡彩，花草笔墨纵逸简括。\n此图中一只体硕羽丰的野鸭临水而立，霜晴溪碧，秋意浓郁。\n该画幅左有赵孟頫题记：“陈仲美戏作此图，近世画人皆不及也。\n子昂。\n” 诗塘有元人仇远题跋。\n其中右上的芙蓉、下方的坡石小草和粗笔的水波都是赵孟頫所加，粗笔水波之下还可见到陈琳原画细笔波纹的痕迹。\n画上钤有清人耿昭忠、乾隆帝、宣统帝等收藏印多方。\n《溪凫图》是陈琳求教与赵孟頫时，在赵氏的松雪斋中所作。\n时值元大德五年（11年），该图是在赵氏手把手的指导下，并且由赵氏润色题识共同合作完成的一幅作品。\n整幅画面保留了宋代花鸟相对严谨的造型和章法，区别在于通过相对粗拙的笔墨来作整体的勾染以呈现主体物象。\n野凫的喙以苍厚而毛涩的线勾出外轮廓，再以干笔淡墨循其形理擦染而成，形质俱在。\n鼻孔则又以浓墨细线勾其内外以示其形。\n头部则以浓淡不同的墨色来擦染。\n首先以不同紧松的笔触擦写以表现头部及脖子不同部位组织的软硬质地以及相互关系，然后根据需要敷以花青、染以不同深浅的墨色以体现头部皮肤及羽绒状况。\n浓墨细线，以肯定的笔触圈出眼眶，淡色渲染眼球，晶莹、润泽，浓墨圈点眼瞳，传野凫特有之眼神。\n颈与躯干相连接部分为白色羽毛，仅用两根界线勾出外轮廓，略施极淡的墨。\n野凫的前胸部则以点染笔法两至三遍地完成羽毛，较好地表现了短羽的松软。\n以粗拙的线条勾出左腿部及脚蹼，大腿上的羽毛较长用淡而长的弧线堆砌、错综，以显羽毛的自然情状。\n又以淡墨和赭石细勾分染以增其层次。\n为了表现紧紧包裹着小腿的皮的质感，则又细勾慢染，显脚部皮质的起伏与韧坚。\n背上翅部则是精雕细琢的部分，以勾染绘出根部外侧细毛层叠蓬松。\n翅前端几根大羽则用浓淡不同的线依其物理的方向，以富有弹性的线勾出，与细羽形成对比，尾部上面翅之最前端以极概括的手法涂染、大笔写出。\n整只野凫的描绘以明显的带有书写性的笔法绘出。\n整体结构的精准表现了野凫的一贯常态，极为传神。\n补景行笔从容，线条极具概括力，笔触简洁、富有意趣，轻松地表现了画幅上部的芙蓉以及下部的杂草。\n坡石的线条极为自如，看似随意间形质皆备，诚是“笔简而意繁”叠压在细劲水纹上粗简的复笔，润而凝、松而实。\n这些笔触表现的虽是背景，但横贯画幅，时于整体意笔气氛的营造有着极为重要的作用。\n画面写生式的画一只野鸭，本来构图容易陷于平板，但坡岸一条很粗的斜曲线，使画面起了变化，加以淡墨的不规则的水纹线条，使之有了起伏变化。\n然后在右上角用线描出芙蓉花，以及坡上车前草和两丛野草，使之丰满充实，疏密有致。\n现代文学家、画家 ：这画的确美妙、生动和自然。\n连霜消日晒、光暖波凉的感觉都能让人感到。\n虽是戏作，笔墨却是上乘。\n你看，这土坡的苍厚，鸭羽的柔软，花叶的肥嫩，水纹的光滑，全用不同质感的线条区分开。\n颜色不多却非常丰富；赭黄的调子洋溢着秋天的风韵。\n陈琳的《溪凫图》与其他画家的作品一起成为种标向，在花鸟画发展中做出了两个方面的贡献。\n其一是把绘画中的行利之分逐渐地引导到种新的审美境界中去，展现文人画的进一步发展，与此同时，其自身也成为了一种传统。\n将宋人绘画中的严谨、规整、刻画的造型，逐步向松灵、抒写、淡治转移。\n二是把黄家的设色体制水墨化，其特征是：1、保持黄体的基本构图和严格的造型性，但在表现形式上由紧转松。\n2、将对于形廓的勾勒线描，变纤细为可以粗重并加强其抒写性。\n、变体面的色彩呈现为墨分五彩，变三矾九染的渲染法为皴、擦、书写为主的干湿表现。\n该图曾经耿昭忠及清内府收藏。\n现藏于台北故宫博物院。\n217年1月4日—12月25日，台北故宫博物院举办“国宝的形成”特展，《溪凫图》在其中展出。\n陈琳，生卒年未详。\n元代画家。\n字仲美，钱塘（今浙江杭州）人。\n南宋画院待诏陈珏子。\n琳世其业。\n善画花鸟、山水、人物，得赵孟颊指授，多所资益，故其画不俗，尤善临摹古迹。\n尝作《夏木图》，张雨题诗，有“董源夏木不复见，俗本纷纷何足观；陈郎笔力能扛鼎，写此千章生昼寒”之句。\n传世作品有与赵孟頫合作的《溪凫图》轴。",[23,24,25,173,7,83,2125,109,264,230,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ab4dc7748b9ac3a1f0f3e1f60d4cb74.jpg","35.7x47.5",[90],{"id":38859,"slug":38860,"title":38861,"dynasty":18,"author":2414,"museum":316,"description":38862,"tags":38863,"thumbUrl":38864,"material":139,"size":139,"collection":139,"collections":38865,"showCount":38474,"zanCount":48,"manualWeight":48,"mainColor":49},227953,"tu-ye-zhao-bo-ju-227953","图页","此作为典型宋代青绿山水，石青、石绿晕染山峦，厚重雅致间衬以赭石暖调，冷暖相映，晕化出山水层叠悠远的空蒙意境。\n\n画面开合有度，远山嵯峨葱郁，近渚水色澹澹，坡岸苍松劲挺成林，生机盎然。水岸营寨旌旗飘展，泊船静立，身形微小的人物情态具足，行旅场面写实生动，将山水之秀与行旅之境相融。\n\n它承继唐代青绿山水的明艳富丽，又兼具宋代院体画的精工写实，笔致细腻秀雅，兼顾全景意境与细节刻画，把随行驻泊的日常图景置于秀山丽水间，尽显宋画雅致隽永的山水意趣。",[23,194,24,25,27,7,28,29,106,174,109,34,245,808],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5813535dd91fdde5ef9a939c994bbe3f.jpg",[],{"id":38867,"slug":38868,"title":38869,"dynasty":18,"author":257,"museum":316,"description":38870,"tags":38871,"thumbUrl":38872,"material":139,"size":139,"collection":139,"collections":38873,"showCount":38474,"zanCount":48,"manualWeight":48,"mainColor":49},227913,"zhu-chong-tu-yi-ming-227913","竹虫图","淡赭绘就竹枝，以深浅绿意晕染竹叶，笔下叶片舒展有姿，劲挺又不失柔润，枝桠交错间野意横生。叶面之上，竹虫敛身伏藏，身形与枝叶相融，将蛰伏的静谧暗藏其间。右上角蛱蝶振翅翩跹，墨色点染翅翼，留白衬出轻盈灵动，骤然打破画面静气，动静相映成趣。\n全作笔致工细秀雅，设色清淡雅致，以精微的观察捕捉乡野小景的瞬态生机，将草木虫蝶的自然情态刻画入微，于尺幅之间勾勒出浑然天成的林下意趣，尽显平和悠然的审美意韵。",[23,194,24,25,28,7,83,227,636],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec7f253e2d3b155250d560a92e122b65.jpg",[],{"id":38875,"slug":38876,"title":38877,"dynasty":18,"author":1599,"museum":316,"description":38878,"tags":38879,"thumbUrl":38880,"material":139,"size":139,"collection":139,"collections":38881,"showCount":38474,"zanCount":48,"manualWeight":48,"mainColor":49},227805,"can-shi-tu-liu-song-nian-227805","蚕事图","整作以全景式铺陈桑蚕劳作日常，分构两处空间。左侧棚下匠人各司其职，抽丝、分拣有条不紊；右侧窗内，闺中女眷闲坐观览，将劳作与闲憩相映成趣，右上角民夫搬运蚕茧，更添烟火劳顿之气。\n\n画作以淡墨白描绘就，线条清雅柔和，屋舍瓦楞、林木枝桠皆刻画入微，人物神态鲜活自然。将江南蚕织农家的日常图景如实铺展，平和质朴间尽现宋代田园的生活真味，把风俗烟火融于清淡笔墨中，尽显写实风俗画的雅致意趣，藏着宋时江南的悠悠烟火意。",[24,25,194,28,7,104,26,106,35,34,17447,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3e367156bf61318f3d34559af6f02c1.jpg",[],{"id":38883,"slug":38884,"title":4024,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":38885,"thumbUrl":38886,"material":599,"size":600,"collection":139,"collections":38887,"showCount":38474,"zanCount":48,"manualWeight":48,"mainColor":2504},226444,"ku-zhu-shi-zao-jing-yi-ming-226444",[511,1846,260,30266,7,8170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0944218d2ee5984b000c4457f3ceb3e6.jpg",[],{"id":38889,"slug":38890,"title":23704,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":38891,"thumbUrl":38892,"material":599,"size":600,"collection":139,"collections":38893,"showCount":38474,"zanCount":48,"manualWeight":48,"mainColor":49},226301,"ku-zhu-shi-nan-bi-yi-ming-226301",[511,260,7,106,107,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3944c48e054a5917054f6a7ff42361af.jpg",[],{"id":38895,"slug":38896,"title":11620,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":38897,"thumbUrl":38898,"material":599,"size":600,"collection":139,"collections":38899,"showCount":38474,"zanCount":2368,"manualWeight":48,"mainColor":2504},226281,"ku-zhu-shi-dong-bi-yi-ming-226281",[511,260,7,28,104,106,107,4027,5883],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedb79a40eade0d428c56208f99ef58bd.jpg",[],{"id":38901,"slug":38902,"title":38903,"dynasty":256,"author":38904,"museum":316,"description":38905,"tags":38906,"thumbUrl":38907,"material":599,"size":600,"collection":139,"collections":38908,"showCount":38474,"zanCount":2368,"manualWeight":48,"mainColor":49},226152,"gong-zhu-zhan-mu-si-mai-ke-ni-er-hui-si-lei-226152","公主","詹姆斯·麦克尼尔·惠斯勒","詹姆斯·阿博特·麦克尼尔·惠斯勒（James Abbott McNeill Whistler，1834.07.11—1903.07.17）美国画家、蚀刻家，父亲是美国工程师，全家曾经住过圣彼得堡。惠斯勒曾于西点军校肄业，之后选择做画家。深受日本绘画影响。代表作有：灰与黑的协奏曲、画家母亲肖像、白衣少女（系列）、瓷器公主。",[3187,7,106,59,37170,14807,279,336,84,65,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80d9ef3d59526e363f8bff5ec7a8aa0a.jpg",[],{"id":38910,"slug":38911,"title":38912,"dynasty":256,"author":6236,"museum":316,"description":6237,"tags":38913,"thumbUrl":38916,"material":599,"size":600,"collection":3195,"collections":38917,"showCount":38474,"zanCount":48,"manualWeight":48,"mainColor":49},225707,"a-pair-of-leather-clogs-march-fan-gao-225707","A pair of leather clogs (March - 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:529,"size":38986,"collection":139,"collections":38987,"showCount":38474,"zanCount":2368,"manualWeight":48,"mainColor":94},223434,"song-tai-zong-li-xiang-zhou-yi-ming-223434","宋太宗立像轴","宋太宗赵光义（939年11月20日－997年5月8日），宋朝第二位皇帝（976年11月15日—997年5月8日在位）。本名赵匡义，后因避其兄宋太祖名讳而改名赵光义，即位后又改名赵炅。开宝九年（976年），宋太祖驾崩，赵光义继位。即位后使用政治压力，迫使吴越王钱俶和割据漳、泉二州的陈洪进于太平兴国三年（978年）纳土归附。次年亲征太原，灭北汉，结束了五代十国的分裂割据局面。两次攻辽，企图收复燕云十六州，都遭到失败，从此对辽采取守势。在位期间，采取治国驭将方针，明显地走上了“崇文抑武”的道路，并最终构成为宋朝“祖宗家法”的重要内容。 在位共二十一年，至道三年（997年），赵光义去世，谥号神功圣德文武皇帝，庙号太宗，葬于永熙陵。\n画像上太宗头戴幞头，黑鬓发，淡眉，微须，目光柔和，身着褎袖白袍，腹下束朱带，双手于胸部平放，脚穿皂纹靴而立。",[194,24,25,226,28,7,106,63,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dc991137f15e1ca6a6c464ed8c2444a.jpg","纵74.5厘米横47.4厘米",[],{"id":38989,"slug":38990,"title":38991,"dynasty":302,"author":257,"museum":191,"description":38992,"tags":38993,"thumbUrl":38994,"material":282,"size":38995,"collection":139,"collections":38996,"showCount":38474,"zanCount":48,"manualWeight":48,"mainColor":49},223365,"liu-tang-bai-yan-tu-zhou-yi-ming-223365","柳塘白燕图轴","元代工笔画很少的，多的是水墨写意的文人画，其实元代画坛另一路已经走向极致的绘画语言就是写实艺术。 ​​​",[23,194,24,25,28,7,2532,38648,31211,136,137,319,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d166284910d93d3270e5a93502379d8.jpg","31.1×60.6",[],{"id":38998,"slug":38999,"title":37389,"dynasty":76,"author":2162,"museum":419,"description":2163,"tags":39000,"thumbUrl":39001,"material":67,"size":2173,"collection":139,"collections":39002,"showCount":38474,"zanCount":48,"manualWeight":48,"mainColor":49},222923,"hong-lou-meng-48-sun-wen-222923",[23,24,28,7,104,107,29,34,175,115,114,20175,35,1171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76bf32fa601630c2c88d88ceaaa1c981.jpg",[],{"id":39004,"slug":39005,"title":39006,"dynasty":76,"author":32888,"museum":191,"description":39007,"tags":39008,"thumbUrl":39009,"material":282,"size":39010,"collection":181,"collections":39011,"showCount":38474,"zanCount":2368,"manualWeight":48,"mainColor":94},222846,"hua-lin-lu-qiu-qing-zhou-hong-wu-222846","画林麓秋晴轴","弘旿（1743年－1811年），爱新觉罗氏，是清朝康熙帝二十四子允秘的次子，画家。字卓亭，号恕斋，一号醉迂，别号瑶华道人，又号一如居士。生母为允秘的侧福晋殷氏，殷大成之女。他在乾隆八年癸亥九月三十日寅时生，乾隆二十八年（公元1763年）封二等镇国将军，乾隆三十九年（公元1774年）晋贝子，乾隆四十三年（公元1778年）因事革退，乾隆五十九年（公元1794年）封奉恩将军，嘉庆四年（公元1799年）又革退，嘉庆十四年（公元1809年）复封奉恩将军。《石渠宝笈》著录弘旿画计有三十多件，内府收藏的估计还有不少。可见弘旿作画之勤，亦可见乾隆帝对他笔墨的赞许。其《自题山水画册》诗，有疏朗、清越之韵律。工于书画，书兼四体，其山水画作得董邦达之妙谛，花木具有古朴陈香；治石印有元、明篆刻的风格。有《听泉图》、《板桥僧舍图》、《江山拱翠图》、《仿唐寅山水图》、《素濑松吟》等。乾隆五十七年（1792）和阮元、铁保等人游万寿寺，写《七松图扇》等。家富于藏书，藏书楼名“静寄轩”，嘉庆十六年（公元1811年）薨，享年68岁，有子7人。由第五子永松袭封奉恩将军。",[23,24,25,226,27,7,177,29,34,809,3518,1754,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3f990fb452e81332c9093c68f4898e5.jpg","120x22",[181,45],{"id":39013,"slug":39014,"title":39015,"dynasty":76,"author":1892,"museum":191,"description":39016,"tags":39017,"thumbUrl":39018,"material":1901,"size":39019,"collection":181,"collections":39020,"showCount":38474,"zanCount":48,"manualWeight":48,"mainColor":94},222821,"chi-song-huang-shi-er-xian-tu-zhou-xu-yang-222821","赤松黄石二仙图轴","绘赤松一板凳，粗壮笔真，松枝弯曲自然，松针繁多清晰；黄石耸立，形状奇异；地面翠竹、杂草生机勃勃。",[23,24,226,7,28,1273,3712,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F053720c8ce76759a8f675e7ff855123d.jpg","172.1x71厘米",[181],{"id":39022,"slug":39023,"title":39024,"dynasty":99,"author":39025,"museum":191,"description":39026,"tags":39027,"thumbUrl":39028,"material":13281,"size":39029,"collection":181,"collections":39030,"showCount":38474,"zanCount":48,"manualWeight":48,"mainColor":49},222462,"fu-kan-ji-liu-tu-zhou-wang-shi-chang-222462","俯瞰激流图轴","王世昌","王世昌（约1462－1531以后），明代画家，为山东人。我们无法确知他是否担任过宫廷画家。他擅长于大幅的山水人物画，风格温润典雅，颇具诗意。传世有〈大幅山水〉、〈俯瞰激流〉等作。俯瞰激流图 主题描绘春季来临时的山谷中，文人与农夫活动的状况。画中央平坦的坡陀上，是一位俯观涓涓流水、若有所思的文士。他身后的策杖文士，则与随侍携琴童仆，同时回望着登向高岗的荷担农夫，传达着他们与农夫交谈后，目送农人前往工作地点的情形，似与〈归去来辞〉的内容若合符节，由此可知，此画与文学的密切关系。画中前后景交接处，以留白作为云气，使画面显得迷离不定；而山石部分则以浓墨与淡色烘染，营造物体朦胧、置身云雾间的视觉效果，刻意增加空间的层次，这是让画中充满诗意气氛，经常运用的方法之一。",[23,24,7,177,29,106,1353,353,686,109,114,860,226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b92e5bce953bcc5c616e2f21d9d65af.jpg","33x53",[181,45],{"id":39032,"slug":39033,"title":39034,"dynasty":99,"author":18634,"museum":25821,"description":39035,"tags":39036,"thumbUrl":39037,"material":529,"size":39038,"collection":90,"collections":39039,"showCount":38474,"zanCount":48,"manualWeight":48,"mainColor":94},221918,"wu-se-shu-kui-tu-chen-gua-221918","五色蜀葵图","此画不拘于象的写法发挥至极致，其勾点皴擦，随心所欲，绝出尘象之外",[23,194,24,25,226,7,28,83,84,4206,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fd40f4d75edc248b6c82bca466a29ef.jpg","133X66.5cm",[90,45],{"id":39041,"slug":39042,"title":39043,"dynasty":18,"author":15860,"museum":316,"description":22410,"tags":39044,"thumbUrl":39046,"material":7,"size":39047,"collection":42,"collections":39048,"showCount":38474,"zanCount":48,"manualWeight":48,"mainColor":94},221660,"dan-lin-shi-yi-tu-xiao-zhao-221660","丹林诗意图",[23,194,24,25,913,3559,7,177,29,34,1754,106,809,686,1169,39045],"林间","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F748026f20ec78e9dc7af37233ab41e7e.jpg","28x52",[42,181,45],{"id":39050,"slug":39051,"title":39052,"dynasty":18,"author":2244,"museum":20,"description":39053,"tags":39054,"thumbUrl":39055,"material":40,"size":39056,"collection":139,"collections":39057,"showCount":38474,"zanCount":2368,"manualWeight":48,"mainColor":94},221598,"ji-chu-dai-si-tu-ye-li-di-221598","鸡雏待饲图页","本幅款识：“庆元丁巳岁李迪画。”“庆元丁巳”即宋宁宗庆元三年（1197年）。鉴藏印钤宋代“张则印”，明代“项元汴印”、“墨林秘玩”、“项墨林鉴赏章”、“神”、“品”等，又一朱文印模糊不辨。裱边钤清乾隆皇帝“太上皇帝之宝”、“八征耄念之宝”玺印2方。\n图绘两只雏鸡一卧一立，面朝同一方向，屏气凝神，仿佛听见母亲觅食的召唤，正欲奔去。画面描绘传神，将雏鸡嗷嗷待哺的情态表现得淋漓尽致，充分反映了温馨的农家情调。画家用黑、白、黄等细线密实地描绘出雏鸡毛绒的质感，生动地绘出鸡雏幼小可人的生动神态，体现了深厚的绘画功力。此图为李迪晚年所画，构图极其简洁，无任何背景相衬，却捕捉住了鸡雏回眸的刹那间神情，动人心弦。\n此幅与画家在前一年创作的《枫鹰锦鸡图》相比，在审美意趣上全然不同，前者展示的是和风细雨的婉约情调，后者则是张扬自然界生命相残的严酷氛围，由此可见李迪表现各种题材的能力。\n此图自民间入藏清内府后，雅好书画的乾隆皇帝除赏识其艺术造诣外，还从帝王角度联想到勤政爱民的治国之策。他于乾隆五十三年（1788年）临摹此件作品，并且喻令摹刻多份，颁赐给各省督抚，希望这些地方父母官将所辖地区的百姓视为图中的鸡雏，在处理政务时要“实心经理，勿忘小民嗷嗷待哺之情”。",[23,194,24,25,81,28,7,83,2703,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40efabd7d00ba834838d90b0ccf1737a.jpg","纵23.7厘米，横24.6厘米",[],{"id":39059,"slug":39060,"title":39061,"dynasty":54,"author":257,"museum":316,"description":39062,"tags":39063,"thumbUrl":39064,"material":139,"size":139,"collection":2065,"collections":39065,"showCount":38474,"zanCount":2368,"manualWeight":48,"mainColor":94},221117,"fo-jing-bai-fu-yan-xian-yan-yi-ming-221117","佛经白佛言贤言","本作是典型唐代写经小楷，结体方正匀整，笔画精劲舒展，法度谨严却不失温雅灵秀。墨色乌亮莹润，历经岁月依旧澄澈明净，笔锋起落间尽显恭谨端严，藏着写经人虔诚的向佛之心。浅褐绫边搭配卷草纹镶饰，古朴雅致的装裱更衬经文静穆端庄的气韵，堪称唐人写经的上乘之作，将书法的笔墨意趣与佛门清寂禅意相融，尽显唐代抄经手扎实深厚的书法功底。",[23,24,25,86,22428,937,260,6322,7230,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1805b45ccac6ec8cd0d35a91c0cb25b4.jpg",[2065],{"id":39067,"slug":39068,"title":39069,"dynasty":302,"author":1977,"museum":56,"description":39070,"tags":39071,"thumbUrl":39072,"material":39073,"size":39074,"collection":44,"collections":39075,"showCount":38474,"zanCount":48,"manualWeight":48,"mainColor":94},220872,"hong-yi-xi-yu-seng-tu-juan-zhao-meng-fu-220872","红衣西域僧图卷","《红衣罗汉图》重彩画一红衣僧人，头上有光环，坐于大树下，满头深褐色短发，络腮胡须浓密，鼻子隆起，耳佩金环，目光深邃，皮肤黝黑，寿眉朱唇，座下铺朱红毛毡，身傍置一双红色僧鞋，面带微笑，表情静穆而慈祥，左手伸出，手心向上。\n《红衣罗汉图》是借悼念去逝的萨迦派帝师胆巴之名， 隐喻正在萨迦大寺做总持的故宋恭帝（瀛国公），以寄托画家内心的哀婉情思\n《红衣罗汉图》，全画无论人物、衣饰、树石，均用勾勒法，其风格并非写实，而系仿古手法。\n《红衣罗汉图》绘一红色袈裟的僧人，盘膝端坐在嘉树下的坡石上。此僧浓眉深眼，大鼻隆突，胡须络腮，肤色黝黑，一看就不像是汉人。其目光深邃，面容慈祥，左手向前平伸，掌心向上，右手抱入红衣之内，身后藤蔓缠绕着菩提树。似在说法布道，而头后有光环，则显示此僧已经得道修成，是一个了脱生死的罗汉了。这不是一个普通的僧人，而是一个来自印度的罗汉。\n赵孟頫在元初画坛中，无论在画艺上或理想上，都居于领导地位。他提倡古意之说。主要是以为南宋晚年，画风过于浮薄，于是提倡古意，从古画中吸取古人写真实人物牛马山水精神，而再创出新的作风。人物画到了宋代，其重要地位已为山水画代替。但到了元初，赵孟頫，钱选等仍希望从魏晋以来的古画中，吸取其传统的精神，而开创新的道路。《红衣罗汉图》就代表了赵孟頫及元初复古过程中的一个重要阶段。\n赵孟頫长时期提学江南，南宋的故国山河实在太容易使他这样的宗室后裔触景生情，浮想连翩，远在西南做萨迦寺总持的灜国公，也使他同样难以忘怀。转辗传来的萨迦方面的消息，不管是直接的或间接的与少帝有关，都会在赵孟頫的心头激起波澜，当他闻知曾与瀛国公有来往的胆巴喇嘛过世时，就情不自禁地挥动起画笔，以唐人的古意为准范，借西域僧的形象，一吐心中的情愫。\n红衣袈裟是萨迦派喇嘛的象征，背景中小青绿的树石，将此鲜红的记号衬托得更为夺目。尤其是赵孟頫对喇嘛手印的处理，似乎亦有寓意。左手掌平直伸出，大拇指贴掌微翘，罗汉的手印，此“吉尼印”，取外道邪法之意，修其法者得自在之通力。赵孟頫的方外好友释大诉好象通晓此义，故以“岩石宁须着幼奥，陵烟不必求诸将”的典故隐喻之。这是一种对大唐盛世的追慕来补偿眼前赵宋皇帝无可奈何的境遇，对赵孟頫和释大诉来说，瀛国公无疑是《红衣罗汉图》名实关系中最终亮相的主角了。\n《红衣罗汉图》中，僧盘腿而坐，全身披红衣，仅胸部稍露，胸毛甚多。此外其左手伸出，掌向上。以印度之手势而言，当为施恩之意。僧头部之背后，有光环，表示此僧已成罗汉。僧座石上，眥后亦有大石数堆，并有一大树，枝开两旁，一部分树叶垂下；全画中，罗汉之衣及坐下之兽皮与脚下之皮履，均为红色；地下及石块，均用青绿，树干则用褐色。全画无论人物衣饰、树石，均用勾勒法，其风格井非写实，全系仿古。\n《红衣罗汉图》与前代的一些作品相比，也具有明显变化：人物采用工笔画法，衣纹用遒劲圆畅的中锋作铁线勾描，洋红底上晕染朱砂，色彩效果鲜艳而厚重。背景采用小青绿山水的画法，地面和石头以较细而灵活的线条勾出轮廓，每以干笔侧锋作粗略的麻点皴，在浅草绿底色上薄薄地晕染一层石绿，地面凹陷处，轻扫几笔淡赭色，而在僧人背后，则画了一棵根深叶茂、古藤缠绕的大树。树和藤的画法染色，又与坡石不同，更显得古拙而苍秀。树根、石缝以及石头与地面相接处，均以墨绿色剔画小草十数丛，穿插其间，笔笔见力，起到一种统一协调的作用。僧人前边，又画小花两株，亦用双勾法，花着洋红，茎叶染石绿，看上去画法似不甚经意。\n《红衣罗汉图》把人物画与山水画的技法结合起来，在色彩运用和线条的变化等方面进行大胆的尝试，充分发挥出了自己的特长，为研究者研究元代的重彩人物画，提供了宝贵的资料。",[23,24,25,26,7,28,260,106,378,176,212,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F933dfda15f02d818beff78391ced69d4.jpg","纸本，手卷，设色","（画心）纵25.7厘米、横51.3厘米；（全卷）纵31厘米、横168.2厘米。",[44,45],{"id":39077,"slug":39078,"title":39079,"dynasty":869,"author":4525,"museum":6047,"description":39080,"tags":39081,"thumbUrl":39082,"material":139,"size":139,"collection":139,"collections":39083,"showCount":38474,"zanCount":48,"manualWeight":48,"mainColor":94},220550,"ling-jiu-xu-bei-hong-220550","灵鹫","两只鹫鸟傲然立于枯木之上，昂首远眺，目光锐利沉静，尽显悍勇孤傲之姿。\n画家以兼工带写之法，以浓淡墨色区分鹫鸟羽毛层次，蓬松绒羽以淡墨晕染出柔软质感，硬翅翎毛则以焦墨勾勒，笔力苍劲，将猛禽的健硕体态刻画入微。古木以阔笔重墨挥写，尽显苍浑朴拙的山野意趣，枝桠间点缀嫩黄小花，柔色打破沉郁色调，动静相映。\n画作融西画写实观察与东方写意笔墨，既还原猛禽生理细节，又以写意笔墨烘托出桀骜沉凝的气度，于沉静画面中蕴藏着雄健生命力。",[24,173,7,498,83,245,446,19100,1169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feaf44f3188b1be369b8514aa6b92a3f4.jpg",[],{"id":39085,"slug":39086,"title":39087,"dynasty":869,"author":4525,"museum":5351,"description":39088,"tags":39089,"thumbUrl":39092,"material":139,"size":139,"collection":139,"collections":39093,"showCount":38474,"zanCount":48,"manualWeight":48,"mainColor":94},220532,"e-mei-gu-si-xu-bei-hong-220532","峨眉古寺","以浓墨绘就古松，笔力沉厚雄健，虬干舒展撑立画面，松枝层叠苍劲，尽显山林古木的莽然生机。粉墙黛瓦的古寺悄然隐于林间，浅赭淡彩晕染院墙，门洞幽邃，自带沉静禅意。墙侧暖黄枝叶轻缀，暖调破了水墨的冷寂，晕出融融秋意。远景以淡墨轻染山影，留白铺就空濛悠远的意境，将古寺藏于深翠的清幽禅意尽数铺展。画作融写实工稳与写意空灵于一体，利落笔墨勾勒物象形神，晕染烘托山野静穆之气，揉合林泉古寺的灵秀空寂与山野生机，清雅旷远，尽显蜀中林麓的悠然意趣。",[24,25,173,7,39090,1133,34,114,39091],"寺","红墙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6592e9399c044a5524ca479a7e15116d.jpg",[],{"id":39095,"slug":39096,"title":39097,"dynasty":869,"author":4525,"museum":6047,"description":39098,"tags":39099,"thumbUrl":39100,"material":139,"size":139,"collection":139,"collections":39101,"showCount":38474,"zanCount":48,"manualWeight":48,"mainColor":94},220525,"huang-zhen-zhi-xiang-xu-bei-hong-220525","黄震之像","此作将写实精微与写意意趣熔于一炉，笔情墨趣间尽显文人风骨。\n画家以细腻笔触勾勒传主容貌，鬓边霜色、面部纹路皆细致晕染，把文人温雅沉静的神态精准定格。宽袍长衫以写意笔墨铺就，苍劲松枝顶天立地，暗合传主刚直品格；篱畔秋菊与幽竹错落点缀，晕开悠然清寂的意境。\n中西技法相融，打破传统肖像的陈规，传神写真与寄情抒怀合二为一，在写实的真切质感之外，晕染出传统笔墨的诗意余韵，将文人冲淡自持的精神风骨凝于画间。",[23,24,25,226,7,173,106,353,630,230,912],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24b6bf1a5072c1e72fed543fb949df29.jpg",[],{"id":39103,"slug":39104,"title":39105,"dynasty":869,"author":22815,"museum":11012,"description":22816,"tags":39106,"thumbUrl":39107,"material":139,"size":139,"collection":139,"collections":39108,"showCount":38474,"zanCount":2368,"manualWeight":48,"mainColor":94},220483,"hua-yuan-li-de-nv-shi-men-lin-feng-mian-220483","花园里的女士们",[24,7,59,175,378,108,20174],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F234c27c6f796494ae7f1dd0aa3d3eaa3.jpg",[],{"id":39110,"slug":39111,"title":39112,"dynasty":18,"author":257,"museum":191,"description":39113,"tags":39114,"thumbUrl":39115,"material":1884,"size":139,"collection":139,"collections":39116,"showCount":38474,"zanCount":48,"manualWeight":48,"mainColor":49},219505,"ning-zong-zuo-xiang-zhou-yi-ming-219505","宁宗坐像轴","这幅肖像尽显院体画的精湛功力。帝王正襟危坐，清癯面容沉静肃穆，目光内敛，自带着九五之尊的威仪。乌纱展角利落庄重，朱红朝服色泽沉厚饱满，腰间朱鞓束带规整挺括，衣纹走线流畅妥帖，将锦缎垂坠柔润的质感摹画入微。身畔坐具髹红描金，雕饰精巧繁复，暗合皇家礼制的华贵规制。全作以素净底色衬出人物庄重，没有冗余修饰，以写实笔触精准刻画帝王神态气度，在沉静雅致的色调中，将不苟言笑的帝王威仪永恒定格，尽显肖像画传神写实的极高造诣。",[24,226,28,7,106,63,20335],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb89c33f96b45440820d2a9e578a29bcb.jpg",[],{"id":39118,"slug":39119,"title":39120,"dynasty":18,"author":257,"museum":78,"description":26301,"tags":39121,"thumbUrl":39122,"material":123,"size":26304,"collection":44,"collections":39123,"showCount":38474,"zanCount":2368,"manualWeight":48,"mainColor":49},219449,"ying-luan-tu-yi-ming-219449","迎銮图",[194,24,25,26,28,7,106,1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画家将皇室谒陵的整个时空历程出发→抵达→返回，浓缩于两幅长卷之中。传统观赏《出警图》是由右往左；《入跸图》则由左往右。\n这幅画描绘出明朝皇帝出京谒陵盛况的宫廷画卷。描绘的是皇帝在宫廷侍卫的护送下，骑马出京，声势浩大的来到京郊的十三陵拜先祖，然后再坐船返回北京的情景。皇帝一出一入，相互呼应，气势壮观，栩栩如生。",[23,194,24,26,7,28,2954,106,5501,1273,107,29,968,2952,39349,10476],"帝王出行","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f612a4c13fe43c6ae1dd2d169566a19.jpg","本幅 92.1x2601.3公分",[],{"id":39354,"slug":39355,"title":7012,"dynasty":54,"author":3680,"museum":191,"description":39356,"tags":39357,"thumbUrl":39358,"material":529,"size":600,"collection":139,"collections":39359,"showCount":826,"zanCount":48,"manualWeight":48,"mainColor":94},287704,"xi-ma-tu-han-gan-287704","韩干，唐画家。京兆蓝田（治今陕西西安）人。相传年少时曾为酒肆雇工，经王维资助，学画十馀年而艺成。擅绘肖像、人物、鬼神、花竹，尤工画马，曾师曹霸而重视写生。经历唐玄宗年间，被召入宫封为“供奉”。此后专跟宫中画马名家陈闳学习画，但进展不太显著，后来韩干改变只临摹不写生的方法，经常到马厩里去，细心观察马的习性，对比找出马的性格特征，找出马的动作规律，并把各种各样的马记录在案。日子久了，人们对韩干经常进入马厩，甚至搬到马厩里和饲养人一起住感到奇怪。韩干回答说：“我学习画马，马厩里所有的马都是我的老师”。为了深入了解马的习性，他常痴呆地观察上几个时辰，把别的画家不了解的具体细节都弄得清清楚楚，并牢记心上。这样时间久了，马的各种体貌，奔跑雄姿，千变万化的动态，作画之时自然而然就展现在纸上。所以人们都称赞韩干笔下的马是能跑动的马。",[23,24,25,106,150,28,7,86,178,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbeba3b5ac63eeb38d707e63aad4facfc.jpg",[],{"id":39361,"slug":39362,"title":39363,"dynasty":302,"author":1977,"museum":316,"description":14000,"tags":39364,"thumbUrl":39365,"material":599,"size":600,"collection":139,"collections":39366,"showCount":826,"zanCount":48,"manualWeight":48,"mainColor":49},287594,"da-mo-xiang-zhao-meng-fu-287594","达摩像",[24,194,25,226,7,106,260,6768,36240,10361,1353,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F842000dac36974746103e8165992823e.jpg",[],{"id":39368,"slug":39369,"title":39370,"dynasty":302,"author":1977,"museum":316,"description":14000,"tags":39371,"thumbUrl":39372,"material":599,"size":600,"collection":139,"collections":39373,"showCount":826,"zanCount":48,"manualWeight":48,"mainColor":49},287529,"guan-quan-tu-zhao-meng-fu-287529","观泉图",[24,194,226,7,29,106,1273,176,109,212,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe18ccffe8a3c3cabe7d0bb04da6a7a08.jpg",[],{"id":39375,"slug":39376,"title":39377,"dynasty":76,"author":257,"museum":316,"description":39378,"tags":39379,"thumbUrl":39381,"material":599,"size":600,"collection":139,"collections":39382,"showCount":826,"zanCount":2368,"manualWeight":48,"mainColor":2504},267678,"ci-xiu-bai-ju-ba-ge-tu-zhou-yi-ming-267678","刺绣柏菊八哥图轴","此作以靛蓝为底，清雅沉静。苍柏虬曲伸展，祥云状针叶以异色绒线锁边，层次饱满古拙。两只八哥意态灵动，枝头静立者侧目凝神，振翅穿空者羽翮舒展，绒线施色细腻，黑白晕染自然，将禽鸟的鲜活神采尽数勾勒。下方湖石以钉线绣勾边，蓝白晕染出剔透空灵，秋菊盛放，绒丝晕出花瓣明暗层次，枝叶舒展如生。\n整件绣品以针代笔，将院体花鸟的雅致意趣融于丝线间，既有工笔写实的生动，又带着绣物独有的柔润肌理，把秋日清旷悠然的氛围藏入绢底，尽显巧思匠心。",[25,226,8969,83,7,39380,897,245,1704,3584],"八哥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b73b1aa1617a1f9fdd7d61efc5a53f9.jpg",[],{"id":39384,"slug":39385,"title":12066,"dynasty":76,"author":12067,"museum":316,"description":12068,"tags":39386,"thumbUrl":39387,"material":599,"size":600,"collection":139,"collections":39388,"showCount":826,"zanCount":48,"manualWeight":48,"mainColor":94},239544,"hua-hua-yan-shi-nv-tu-ce-wang-su-239544",[24,25,81,28,7,173,106,59,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F868d343a424f933ec64dc07b7c9db6e4.jpg",[],{"id":39390,"slug":39391,"title":4579,"dynasty":76,"author":1610,"museum":316,"description":4580,"tags":39392,"thumbUrl":39393,"material":599,"size":600,"collection":139,"collections":39394,"showCount":826,"zanCount":48,"manualWeight":48,"mainColor":94},239451,"zou-yi-gui-hua-niao-cao-chong-tu-ce-zou-yi-gui-239451",[24,25,81,28,7,83,292,631,84,264,483],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faef2ed2dae437b368ec5f5836264d4e1.jpg",[],{"id":39396,"slug":39397,"title":4579,"dynasty":76,"author":1610,"museum":316,"description":4580,"tags":39398,"thumbUrl":39399,"material":599,"size":600,"collection":139,"collections":39400,"showCount":826,"zanCount":48,"manualWeight":48,"mainColor":94},239449,"zou-yi-gui-hua-niao-cao-chong-tu-ce-zou-yi-gui-239449",[24,194,81,28,7,83,86,212,84,569],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e4a14bf201db386ebf68f255bd0b66a.jpg",[],{"id":39402,"slug":39403,"title":4579,"dynasty":76,"author":1610,"museum":316,"description":4580,"tags":39404,"thumbUrl":39405,"material":599,"size":600,"collection":139,"collections":39406,"showCount":826,"zanCount":48,"manualWeight":48,"mainColor":94},239448,"zou-yi-gui-hua-niao-cao-chong-tu-ce-zou-yi-gui-239448",[194,24,25,81,28,7,898,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0105ff045dc6a068152ce6f9fd188750.jpg",[],{"id":39408,"slug":39409,"title":4138,"dynasty":76,"author":2883,"museum":316,"description":4139,"tags":39410,"thumbUrl":39411,"material":599,"size":600,"collection":139,"collections":39412,"showCount":826,"zanCount":48,"manualWeight":48,"mainColor":94},239238,"mu-dan-shi-liu-zhong-ce-jiang-ting-xi-239238",[24,194,25,81,28,7,83,292,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21fc58e41d742f7a5d5e5f55de201a67.jpg",[],{"id":39414,"slug":39415,"title":39416,"dynasty":76,"author":257,"museum":316,"description":39417,"tags":39418,"thumbUrl":39419,"material":139,"size":139,"collection":139,"collections":39420,"showCount":826,"zanCount":48,"manualWeight":48,"mainColor":94},238663,"hong-wu-ning-shou-gong-ming-bing-sui-chao-tu-ce-yi-ming-238663","弘旿宁寿宫铭并岁朝图册","此作绘就岁寒三友，苍松虬枝盘曲，鳞皴老干古意盎然，攒簇松针如青锋聚簇，自带凌霜气度。梅枝柔婉舒展，冰洁花瓣轻绽，嫩蕊含香，暗合报春之意。新竹清劲挺拔，翠叶疏朗错落，清逸雅致。\n整幅设色淡净明润，工写兼具，以浅淡底色托出三友清隽风骨，将文人君子凌寒不屈、清雅自持的襟怀寄寓其间，冷寂冬日里尽显盎然生机，是借物抒怀的雅致佳构。",[24,25,81,7,28,1133,227,820],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0fdff51fb680225db2add3680dd568a.jpg",[],{"id":39422,"slug":39423,"title":39424,"dynasty":76,"author":12690,"museum":316,"description":39425,"tags":39426,"thumbUrl":39427,"material":599,"size":600,"collection":139,"collections":39428,"showCount":826,"zanCount":48,"manualWeight":48,"mainColor":94},238540,"fang-jiang-ting-xi-niao-pu-tu-ce-yu-sheng-238540","仿蒋廷锡鸟谱图册","余省（1692年—1767年） ，字曾三，号鲁亭，江苏常熟人，余珣之子，清代著名画家。曾受业于蒋廷锡。乾隆（1736—1795）时与唐岱、周鲲同祗候内廷，善花鸟、虫鱼、翎毛，间亦参用西法，赋色妍丽，尤善画蝶，工兰竹水仙，所作叠邀高宗睿题，藏于石渠宝笈。",[24,194,81,28,7,83,245,230,212,86,937],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc42360a66af189821ac5b798a1b2dc8.jpg",[],{"id":39430,"slug":39431,"title":28614,"dynasty":76,"author":39432,"museum":20,"description":39433,"tags":39434,"thumbUrl":39435,"material":770,"size":39436,"collection":181,"collections":39437,"showCount":826,"zanCount":48,"manualWeight":48,"mainColor":94},238133,"qiu-shan-xing-lv-tu-zhou-fang-cong-238133","方琮","此图是方琮的代表作品之一。图中峰峦叠幛，林木入秋，溪流小桥，行旅者行进其间。整幅画面布局巧妙，结构严谨，房舍及行旅商贾无不似从元人笔下而来，属雅俗共赏之作。",[24,25,194,226,7,177,29,5411,176,34,109,1426,35,108,1754],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d7f98f4a5433087a38e8a85bd4c7fcf.jpg","纵186.6厘米，横153.3厘米",[181,45],{"id":39439,"slug":39440,"title":39441,"dynasty":76,"author":6776,"museum":316,"description":39442,"tags":39443,"thumbUrl":39444,"material":139,"size":39445,"collection":44,"collections":39446,"showCount":826,"zanCount":2368,"manualWeight":48,"mainColor":94},237549,"wu-liang-shou-fu-zhou-ding-guan-peng-237549","无量寿佛轴","其画以人物、佛道最负盛名,论者谓,在明末人物画家中，丁云鹏与陈洪绶、崔子忠成鼎足之势。早年人物画工整秀雅，晚期趋于沉着古朴，前后变化可从存世的《媛挡熊图》及《三教图》（均藏故宫博物院）中窥知一斑。山水画也有一定造诣，在师法宋元基础上,自具风格。早期隽秀,晚期古拙，以平整为法。亦能作兰草，有《楚泽流芳图》（故宫博物院）存世。后世流传他的作品，有不少是伪作。而台北故宫博物院所藏钱选《卢同烹茶图》实为丁云鹏手笔。丁云鹏生活于雕板、制墨业发达的徽州，还为书刊画了不少插画，对于新安木刻画的发展起到了一定作用。\n丁云鹏是仇英之后最著名的人物画家，他工给的笔法不下仇英，而高古文雅似又过之。他最擅长的是佛教题材，佛祖、菩萨、罗汉在他笔下既栩栩如生，又庄严肃穆。此帧李公麟《维摩演教图》画人物五十三，动物数头，趁具法器、峰峦堂宇、树石祥云，皆精密工给，非费一两月之功不能为此。董其昌与丁云鹏为挚交，曾题丁氏所绘《五像观音图卷》云：“丁南羽写此时，在吾松为顾光禄正心所馆，年三十馀，故极工妙。自后不复能事，多老年漫应。”",[24,25,226,7,28,260,106,29,230,109,264,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad762207352ab4f7beb208dc41e22025.jpg","纵99.3厘米，横61.9厘米",[44],{"id":39448,"slug":39449,"title":6199,"dynasty":76,"author":6200,"museum":20,"description":6201,"tags":39450,"thumbUrl":39451,"material":139,"size":139,"collection":139,"collections":39452,"showCount":826,"zanCount":48,"manualWeight":48,"mainColor":94},237112,"shi-nv-ce-cui-wei-237112",[24,25,81,28,7,106,59,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa604717feee653eeafc529f2f93948e3.jpg",[],{"id":39454,"slug":39455,"title":39456,"dynasty":99,"author":39457,"museum":20,"description":39458,"tags":39459,"thumbUrl":39460,"material":40,"size":39461,"collection":181,"collections":39462,"showCount":826,"zanCount":2368,"manualWeight":48,"mainColor":49},236837,"xiang-shan-jiu-lao-tu-zhou-peng-shun-xiang-236837","香山九老图轴","彭舜乡","唐中期，古都洛阳闻名九州的“香山九老会”，被人称颂至今百世永流芳。“香山九老”指的是：洛中遗老李元爽136岁；禅僧如满95岁；胡臬89岁；吉皎88岁；刘真87岁；郑据85岁；卢真83岁；张浑77岁；白居易74岁。九位老人在洛阳龙门的香山结成“九老会”。周臣《香山九老图》就是以绘画述此盛事。",[24,25,226,7,173,29,106,1273,1426,176,353,1554],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dc18d69c3d3633e4ee928dc95b38525.jpg","纵一九八厘米 横一〇四·五厘米",[181,45],{"id":39464,"slug":39465,"title":39466,"dynasty":76,"author":3571,"museum":20,"description":39467,"tags":39468,"thumbUrl":39469,"material":770,"size":39470,"collection":181,"collections":39471,"showCount":826,"zanCount":2368,"manualWeight":48,"mainColor":49},236106,"tang-dai-qing-luan-chun-ai-tu-zhou-tang-dai-236106","唐岱晴峦春霭图轴","此图为竖构图，虽布置繁密却不杂乱。层次分明，经营有序，过渡自然，彼此虚实相生、错落有致。用笔秀劲凝重，深沉厚实，境界深远，墨色苍厚明润，变化丰富有灵气，可以看出作者状物写情的修养和功力。在技法上作者运用了勾、皴、点、染多种表现形式，如山石先用干笔皴擦，再以浓墨横笔点苔，使画面富有立体感。整幅画面色泽淡雅，在近石、远山及亭台上略施淡赭和花青，烘托出高雅幽然的意境。\n此画轴综观画面，重山叠嶂，霭横暗峦，曲流小径，回旋辗转，蜿蜒于隔山之壑。其间水榭山居，高树疏林，疏密有致，加之亭台小桥，别有韵味。好一派万物复苏，生机盎然的春季之景。那高低起伏的山峰层层错落，渐次推远，在蒸腾的云雾中忽隐忽现，最终消失在苍茫的水天之际。\n春霭缭绕，横贯于山腰之间，把远山近石自然地衔接起来，使整个画面意境幽远，静寂悠闲。山顶上、河岸上都长满了各种草木，有的顽强的扎根于石缝间，姿态挺拔俊秀，虽不比盛夏之苍茂，然比之深秋之萧瑟，寒冬之疏落，则充满生命的活力。远处山崖间瀑布高悬，如银河一般飞流直下，直冲烟岚之中，汇成溪流，顺着蜿蜒的溪岸流淌而来。笔者仿佛听到潺潺的流水声与远处瀑布的轰鸣声自然交汇，传人山谷，直至那浩茫的远山，又回荡在树石草木之间，与鸟鸣、树声、风声交融在一起，构成了一部天然的交响乐，这便是所谓的天籁之音吧!看那山间平台上、坡岸上、溪流上两三点缀的水榭亭台，在树木的掩映下若隐若现，使画面又透露着一种幽深的意味。面对如此美景，真想走出书斋把自己的身心融入这画一般纯洁平静的大自然中，去倾听那美妙的“乐音”。",[24,25,226,7,177,29,808,34,109,37,108],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20f247378ce430f21abc039c0e4473ae.jpg","108 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画。\n钤有“乾隆御览之宝”、“石渠宝笈”、“石渠定鉴”、“宝笈重编”、“宣统御览之宝”、“三希堂精鉴玺”、“宜子孙”、“乾清宫鉴藏宝”、“乾隆鉴赏”朱印。\n《石渠宝笈续编》五函十八册著录。",[24,7,28,86,212,81,83,365],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f806d3c057c256306303c3e9b22b7bb.jpg",[],{"id":39592,"slug":39593,"title":39594,"dynasty":76,"author":5341,"museum":316,"description":39595,"tags":39596,"thumbUrl":39597,"material":139,"size":139,"collection":139,"collections":39598,"showCount":826,"zanCount":48,"manualWeight":48,"mainColor":94},229040,"liu-an-chun-feng-tu-pu-ru-229040","柳岸春风图","此作以淡墨写意铺陈春岸景致，近坡枯荣交织的岸柳虬枝柔条相映，苍朴坡石野趣自生。烟波空濛间渔舟错落，渔人或撑篙行舟，或泊船闲坐，自在悠然。远山以淡墨轻晕，帆影杳渺隐于烟岚之中，留白尽显江天寥廓的清远空寂。\n\n简淡秀雅的笔墨，未作繁复皴染，却将春岸风柔波暖的温煦，渔家乐的恬然意趣融于尺幅。把江南春日的闲逸野趣铺陈开来，寄寓了归心丘壑的雅逸襟怀，淡远萧疏间漫溢融融春意，悠悠古意扑面而来，尽显文人山水画寄情山水的悠然意境。",[23,24,173,352,7,29,1241,174,109,106,176,796,34,4048,5701,9287],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9995c8d550395c6272b742eac90d75b7.jpg",[],{"id":39600,"slug":39601,"title":39602,"dynasty":99,"author":257,"museum":316,"description":39603,"tags":39604,"thumbUrl":39605,"material":139,"size":139,"collection":139,"collections":39606,"showCount":826,"zanCount":2368,"manualWeight":48,"mainColor":49},228811,"li-shu-tu-yi-ming-228811","荔鼠图","此作以工笔出之，褐绢为底，将白鼠偷食荔枝的闲趣小景描摹入微。白鼠通身莹白蓬松，毫发毕现，垂首啮果时神态专注娇憨，灵动鲜活。荔枝丹红饱满，果纹凸起写实如生，浓绿叶片阴阳向背层次分明，虬曲枝桠苍劲舒展，尽显南国佳果鲜活意趣。右上角朱印古雅，为画面晕染出金石气韵。设色明丽和谐，精工中带着松弛生机，既有院体画的细腻写实，又暗合数子多福的世俗吉意，把日常琐细绘得意趣悠长。",[23,194,24,25,28,7,83,746,5779,2223,554,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54d85ef4870573bfff3e3eb899193a5a.jpg",[],{"id":39608,"slug":39609,"title":39610,"dynasty":99,"author":3720,"museum":316,"description":39611,"tags":39612,"thumbUrl":39613,"material":139,"size":139,"collection":139,"collections":39614,"showCount":826,"zanCount":48,"manualWeight":48,"mainColor":49},228494,"ti-zhu-tu-du-jin-228494","题竹图","《题竹图》是明代画家 创作的一幅绢本设色画，现藏于北京故宫博物院。\n图绘一老者持笔对竹题诗，左侧一小童捧砚待候，右侧一老一少旁观。\n背后巨石衬托，石栏弯曲，竹林苍翠，枝叶繁茂。\n观其情节，应是“东坡题竹”的故事，人物刻划细腻，设色淡雅。\n东坡宽袍大袖，峨冠长髯，风度洒逸。\n衣较多用“钉头鼠尾描”，劲健有力。\n墨竹主干细加晕染，逐节分明，笔墨亦显细秀特色。\n该图描绘的是“东坡题竹”的故事。\n画面上右侧峭陡的立石拔地而起，且向左倾斜，山巅高耸，冲向云霄，山势险峻。\n画幅左侧与中间画有数株墨竹，相互交错，竹竿细高挺拔，枝叶疏密有致。\n在竹荫山石下画有四人，中间一位为苏东坡，正在持笔对竹题诗，前面一童子捧砚，身后一老幼正在围观。\n背后巨山衬托，石栏弯曲，竹林苍翠，树叶繁茂。\n该图画面右上方画家自题曰：“竹色经秋似水清，小阑凉气午来生。\n新诗题上三千首，散作铿金戞玉声。\n柽居杜堇。\n”下钤印两方，一白文印文字不辨，另一为朱文“青天白日”印。\n明代画坛，在南京出现了一些能诗会文能书擅画，且性格开朗，豪放不羁的独具风格的文人画家，杜堇就是其中一位。\n他的人物画大都表现古代传说故事或逸闻趣事，并以山水及园林景致为衬景，有的还题诗作赋，显示出一派文人画的格调。\n《题竹图》就是他这方面的代表作。\n《题竹图》以“东坡题竹”为题材，东坡即宋代文豪苏轼，非常喜欢竹，既爱赏竹，又爱画竹、咏竹，其咏竹之诗也常被他题于竹上。\n该图构图呈长方形，上留天，下不留地，在画幅上面空旷处，有作者自题七绝诗且款“村居杜堇”，起到补白的作用。\n画面左上方空白，有一枝墨竹梢穿天向上，且枝头向右伸展，起到了补空及平衡作用，使画面构图充实饱满。\n画面中部又有构筑的月台近景。\n该图画法上，山石采用皴法干擦，接近 、 画派。\n墨竹从生以浓墨画叶、竿，以淡墨为枝。\n竹竿浓淡远近分明、枝叶向背扶疏，笔法秀逸。\n枝叶纷披，偃卧、挺立、悬挂，娇健多姿，从竹迎风摇曳。\n人物结构准确，东坡宽袍大袖，峨冠长髯，风度洒逸。\n面部略施铅粉。\n用笔简练劲挺，人物形象细腻传神，衣褶工整流畅，着色雅淡，为明代人物画的一种风格。\n北京故宫博物院研究员王中旭：图中人物衣纹简洁，多方折用笔，或起笔略顿收笔渐轻，或起笔较轻收笔略顿，转折处多略顿，是在浙派戴进所创 描的基础上演变而成，但相对戴进之苍劲雄放而言显得较为文雅内敛。\n图中翠竹挺拔，山石耸峙，其中前景山石用侧笔皴擦点染，笔墨酣畅，动感较强，后景山石用淡墨挥染，沉着淋漓，主要师法的是南宋院体和浙派笔法。\n杜堇，生卒年不详，原姓陆，字惧男，一作南，号柽居、古狂、青霞亭长，丹键（今属江苏）人，居燕京（今北京）。\n宪宗成化年间（1465年—1487年）试进士不第，于是绝意进取。\n工诗文，通六书，善绘事，取法南宋院画体格，最工人物，笔法细劲畅利，当时推为白描高手，又能作飞白体。\n亦善山水、花、鸟兽，界画楼台，格局严整，为论者所重。",[23,24,7,28,106,227,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ab7d37fb2da1c17cd7b315268f3492e.jpg",[],{"id":39616,"slug":39617,"title":39618,"dynasty":99,"author":257,"museum":316,"description":39619,"tags":39620,"thumbUrl":39621,"material":139,"size":139,"collection":139,"collections":39622,"showCount":826,"zanCount":48,"manualWeight":48,"mainColor":49},228377,"ming-shi-zong-zuo-xiang-zhou-yi-ming-228377","明世宗坐像轴","此作工笔重彩，尽展帝王威仪。明黄常服遍饰团龙祥纹，云气缠护其间，章纹排布严合规制，织绣细节分毫毕现，将皇权礼制融于一针一线的描摹中。\n\n帝王面容方正，神色沉敛端凝，不怒自威，肖像写实传神，精准勾勒出帝王的肃穆气场。背景髹金屏风满绘升降云龙，间缀宝相花枝，宝座髹蓝描金，雕饰精巧，处处铺陈出皇家的华贵肃穆。\n\n整体设色富丽匀净，线条精细劲挺，尽显宫廷肖像画的精湛造诣，将九五之尊的威严气场定格绢素，静穆间传递出皇朝礼制的厚重庄严。",[24,194,226,28,7,106,406,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ec95e7e4f1be01b5a6b4566dce58538.jpg",[],{"id":39624,"slug":39625,"title":39626,"dynasty":99,"author":16378,"museum":316,"description":39627,"tags":39628,"thumbUrl":39629,"material":139,"size":139,"collection":139,"collections":39630,"showCount":826,"zanCount":48,"manualWeight":48,"mainColor":94},228321,"shu-guo-xie-sheng-tu-tao-cheng-228321","蔬果写生图","此作用水墨写意绘蔬果蔬叶，以浓淡墨色晕染出鲜活生姿，脱略形似，尽显野逸生机，寥寥数笔便将寻常菜蔬勾勒出超脱意趣。\n长卷后一众明清文人题咏相伴，行草书法笔致纵逸跌宕，诗画合璧，尽显雅集风流。诗书画印融为一体，以极简笔墨托物言志，将日常田家风物，晕染出林下清逸的文人情致，是文人写意花鸟的上乘佳制，空灵雅致，余韵悠长。",[23,194,24,25,26,173,7,566,178,18387,212,9850,7417,838,897,227,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0591c51b34bf7336630bd522fa6a437d.jpg",[],{"id":39632,"slug":39633,"title":39634,"dynasty":99,"author":857,"museum":316,"description":39635,"tags":39636,"thumbUrl":39637,"material":139,"size":139,"collection":139,"collections":39638,"showCount":826,"zanCount":48,"manualWeight":48,"mainColor":94},228302,"he-shi-tu-chen-hong-shou-228302","荷石图","此作以顽石为骨，笔墨苍浑古拙，皴擦间尽显嶙峋厚重。白莲挺生于石侧，瓣色莹白柔润，舒展如绰约君子，刚柔相映，意趣悠长。荷叶墨色浓淡层叠，残叶带露暗生意态，水面细纹轻曳，浮萍点染，漾出清浅凉意。\n\n题字清隽搭配朱印提亮，融书画印为一体。整幅静穆超拔，将水畔幽寂夏景收于尺幅，既有文人水墨的淡逸，又以奇崛造型独显格调，恍若将溽暑间的一缕清寂凝于纸面。",[23,24,25,7,28,136,230,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70da03aa0c6f05f9a9f6377a8ee1adc4.jpg",[],{"id":39640,"slug":39641,"title":15156,"dynasty":99,"author":857,"museum":316,"description":39642,"tags":39643,"thumbUrl":39644,"material":139,"size":139,"collection":139,"collections":39645,"showCount":826,"zanCount":48,"manualWeight":48,"mainColor":94},228294,"luo-han-tu-chen-hong-shou-228294","此作以古拙高简之笔，绘就禅意萧疏之境。罗汉席地而坐，凸额深目大耳，面容奇崛清癯，手持长策侧目凝神，沉静出尘。衣纹以涡旋状高古游丝描勾勒，繁复层叠却丝毫不显冗杂，将僧袍厚重垂坠之态尽显，笔力圆劲凝练。\n\n背景淡墨晕染，虬曲老树枝桠舒展，繁花缀于青叶间，幽草疏落生姿，衬出林间幽寂空远之境。淡设色清雅内敛，以夸张变形的造型，脱尽世俗烟火气，尽显超拔出尘的禅家意韵，古韵悠然，奇骇雅致。",[23,194,24,25,7,28,106,260,34,230,838,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13b69c8b504945e6a0218915535961f3.jpg",[],{"id":39647,"slug":39648,"title":39649,"dynasty":302,"author":257,"museum":316,"description":39650,"tags":39651,"thumbUrl":39652,"material":139,"size":139,"collection":139,"collections":39653,"showCount":826,"zanCount":48,"manualWeight":48,"mainColor":49},228209,"shan-shui-tu-tuan-shan-yi-ming-228209","山水图团扇","此作以远近相生的构图铺陈意境，浮空峰峦如蓬瀛仙山，浓墨点苔晕出山姿苍郁，留白云气晕染成朦胧幻境，割裂又勾连起世外幽境与人间烟火。\n\n山腰间楼阁隐现，似藏寻仙之幽；山脚处板桥行人策杖徐行，村舍林麓、陂塘田亩错落排布，枯木添就萧疏秋意。工写兼济的笔法，勾勒山石硬朗轮廓，皴擦晕染揉出温润质感，设色淡雅古拙。将出世清寂与入世恬美收于尺幅，尽显山水重意趣、尚萧散的特质，意境清和淡远，恍若隔绝尘嚣，只留一片悠然天地。",[23,24,25,1260,7,177,173,29,108,109,175,106,353,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F517e2ea2760446e7c47c7392862034d2.jpg",[],{"id":39655,"slug":39656,"title":39657,"dynasty":18,"author":257,"museum":316,"description":39658,"tags":39659,"thumbUrl":39660,"material":139,"size":139,"collection":139,"collections":39661,"showCount":826,"zanCount":48,"manualWeight":48,"mainColor":94},227917,"qun-yu-xi-zao-tu-yi-ming-227917","群鱼戏藻图","《宋人画群鱼戏藻图》是宋代佚名创作的绢本设色画。\n《庄子·秋水篇》中有“濠梁观鱼”的著名典故，故“ ”成为中国绘画的传统题材。\n“ ”又谐“余”之音，有祝颂丰穰之吉祥寓意。\n本幅无款。\n鉴藏印钤“季彤平生真赏”、“庞莱臣珍藏宋元真迹”。\n裱边钤“虚斋审定名迹”。\n图中绘小鱼5尾，欢快地游戏于荇藻之间。\n鱼身用没骨法墨染而成，其光滑、细腻而富于弹性的质感表现得非常充分，线条圆浑流畅；黑脊与白肚之间过渡自然；口、眼、鳍、尾之刻画逼真而具立体感。\n鱼的游向各异，远近分明，荇藻轻灵而富于动感，构图生动活泼，是宋人画鱼的名作。\n存《名笔集胜》册中。\n《虚斋名画续录》著录。",[23,194,24,25,1260,28,173,7,722,12528],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a01514fa33b348d72283aebee102b35.jpg",[],{"id":39663,"slug":39664,"title":39665,"dynasty":18,"author":257,"museum":316,"description":39666,"tags":39667,"thumbUrl":39668,"material":139,"size":139,"collection":139,"collections":39669,"showCount":826,"zanCount":48,"manualWeight":48,"mainColor":49},227854,"shan-shui-tuan-shan-yi-ming-227854","山水团扇","危崖嶙峋踞于近岸，枯木萧疏间细泉漱石，凛凛秋意漫溢而出。视线随水色铺展，远峰晕染在烟岚薄雾里，和空濛秋水融作一片淡墨云烟。滩头扁舟静泊，渔翁偃卧，将山野幽寂与林下闲逸揉作一处。\n\n此作用笔苍润相济，硬皴勾勒崖石肌理，枯笔点染寒木枝桠，淡墨晕开江天烟霭，以边角取景铺展出辽远山水格局，将秋日江野的清寂闲静截取在咫尺扇面，尽显以小见大的山水雅趣，藏着寄情林泉的幽远心境。",[194,24,25,1260,7,173,29,795,176,109,174],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F450874808150a62736ffbb1713c6d774.jpg",[],{"id":39671,"slug":39672,"title":39673,"dynasty":18,"author":17938,"museum":316,"description":39674,"tags":39675,"thumbUrl":39676,"material":599,"size":600,"collection":139,"collections":39677,"showCount":826,"zanCount":2368,"manualWeight":48,"mainColor":94},227814,"shi-jing-you-feng-qi-yue-tu-chang-juan-ma-he-zhi-227814","诗经·幽风七月图(长卷)","作者根据《诗经·国风》之《豳风》诗意而作。全卷共分七段，依次为《七月》、《鸱号》、《东山》、《破斧》、《伐柯》、《九罭》、《狼跋》，每段画前书《豳风》原文。图中人物形象生动，衣纹用兰叶描，笔法流畅潇洒，设色清丽古雅，在诸本毛诗图中，亦属精作。此卷无款印，旧传为马和之画，宋高宗赵构书。但在《伐柯》篇内“構”字因避高宗讳而缺一笔，如“構”，说明该书不是赵构所写，而是画院高手代笔。此图大约在元代初年被分割为两卷，仅《破斧》篇为赵孟頫收藏，明末董其昌误认为是赵孟頫补图。清乾隆年间两卷入内府，合璧装成一卷，并将董其昌、高士奇跋移往后幅。卷首有清高宗弘历御书“苇龠余风”四字，尾纸除董其昌、项元汴等三则题记外，尚有乾隆御题一则，钤明项元汴、清高士奇、梁清标及乾隆、嘉庆、宣统内府藏印多方。",[23,194,24,25,26,352,7,86,106,29,34,35,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85ae8f0c67abd521009f2b1403a7787c.jpg",[],{"id":39679,"slug":39680,"title":28670,"dynasty":18,"author":1315,"museum":316,"description":33692,"tags":39681,"thumbUrl":39683,"material":139,"size":139,"collection":139,"collections":39684,"showCount":826,"zanCount":48,"manualWeight":48,"mainColor":49},227770,"dai-du-tu-ye-li-tang-227770",[23,24,194,7,177,29,174,106,353,176,39682,30414,34,10384,37],"渡头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8f2618414ab002b13ecc03ab10213de.jpg",[],{"id":39686,"slug":39687,"title":39688,"dynasty":18,"author":31419,"museum":316,"description":39689,"tags":39690,"thumbUrl":39691,"material":139,"size":139,"collection":139,"collections":39692,"showCount":826,"zanCount":48,"manualWeight":48,"mainColor":49},227751,"yu-tu-tu-ye-gong-ji-227751","玉兔图页","兔子在民间象征着吉祥、智慧和谨慎，“玉兔呈祥”之说一直深入人心。“ 玉兔呈祥”起源于“遇兔呈祥”。\n\n《淮南子》中有这样的记载，月中有桂树，果实每年四五月后飘落人间。因玉兔是月中仙童，所以人们常将兔子隐于桂树丛中，先找到的，会有“蟾宫折桂”的祥兆。",[23,194,24,25,6083,28,7,2181,746,1353,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc1c09a8d4be96ac742975ab827a34a8.jpg",[],{"id":39694,"slug":39695,"title":39696,"dynasty":18,"author":6650,"museum":316,"description":39697,"tags":39698,"thumbUrl":39699,"material":139,"size":139,"collection":139,"collections":39700,"showCount":826,"zanCount":48,"manualWeight":48,"mainColor":49},227728,"liu-yin-mu-niu-tu-xia-gui-227728","柳荫牧牛图","夏圭（生卒年不详），字禹玉，临安（今浙江杭州）人，南宋绘画大师。“南宋四家”之一，早年画人物，后来以山水著称。他与马远同时，号称“马夏”。宁宗时任画院待诏，受到皇帝赐金带的荣誉。他的山水画师法李唐，又吸取范宽、米芾、米友仁的长处而形成自己的个人风格。虽然与马远同属水墨苍劲一派，但却喜用秃笔，下笔较重，因而更加老苍雄放。用墨善于调节水分，而取得更为淋漓滋润的效果。在山石的皴法上， 常先用水笔淡墨扫染，然后趁湿用浓墨皴，造成水墨浑融的特殊效果，被称作泥里拔钉皴。传世作品有《溪山清远图》《西湖柳艇图》《雪堂客话图》等。",[23,24,194,25,1260,7,106,2532,151,378,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F179c42d2f8f6243fd9a831f72ed6fb5e.jpg",[],{"id":39702,"slug":39703,"title":21050,"dynasty":18,"author":39704,"museum":316,"description":39705,"tags":39706,"thumbUrl":39707,"material":139,"size":139,"collection":139,"collections":39708,"showCount":826,"zanCount":48,"manualWeight":48,"mainColor":94},227700,"shui-xian-tu-zhao-meng-jian-227700","赵孟坚","本幅画水仙四十余株，花苞花蕊百八十余朵。全卷结构严谨，花叶繁简得宜，繁而不乱，疏密有致，或花蕊盛开，或含苞待放；花叶组合、穿插映带，阴阳相背，抵昂顾盼，层次分明，画面处理得有条不紊而生意盎然，墨色的浓淡深浅都掌握得恰到好处，既合于水仙的自然生长状态，又高于自然，清雅绝俗。可以看出此图作者扎实非凡的写实功力。此图土坡采取“飞白石”画法，用笔轻拂，笔墨十分虚灵，与他的两幅墨兰卷土坡画法极为相近；其丛丛小草采用中锋浓墨写出，笔法劲利，沈稳而富于变化，凡此种颇有宋元人淡雅蕴藉、气韵淳古的风致，诚为一幅难得的佳作，绝非一般庸工俗史所能及。此卷比起以前所见诸卷赵款水仙画都要精彩得多，故陈鹏年在后幅题记中写道：此卷“长寻丈有奇，花凡数十百本，姿态百出，生动变化，自非功力精到不能有此，几案间足令寒香袭人衣袂也”。",[23,24,25,26,352,173,7,86,178,212,898],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdff0e9ff39b8a658d8889d784b15fb6f.jpg",[],{"id":39710,"slug":39711,"title":39712,"dynasty":18,"author":257,"museum":316,"description":39713,"tags":39714,"thumbUrl":39715,"material":139,"size":139,"collection":139,"collections":39716,"showCount":826,"zanCount":48,"manualWeight":48,"mainColor":49},227371,"luo-shen-fu-tu-di-yi-juan-yi-ming-227371","洛神赋图第一卷","曹植的作品中，除了“七步诗”，最有名的就是《洛神赋》了，后来，著名的画家顾恺之依据《洛神赋》，画了流传千古的名画《洛神赋图》，其中最感人的一段描绘是曹植与洛神相逢，但是洛神却无奈离去的情景。\n\n全卷分为三个部分，曲折细致而又层次分明地描绘着曹植与洛神真挚纯洁的爱情故事。人物安排疏密得宜，在不同的时空中自然地交替、重叠、交换，而在山川景物描绘上，无不展现一种空间美。\n\n此图卷无论从内容、艺术结构、人物造形、环境描绘和笔墨表现的形式来看，都不愧为中国古典绘画中的瑰宝之一。",[23,24,26,7,28,352,86,212,106,59,13491,1654,29,34,109,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda06f1d6798502716c251cdbc934d11d.jpg",[],{"id":39718,"slug":39719,"title":39720,"dynasty":18,"author":257,"museum":191,"description":39721,"tags":39722,"thumbUrl":39723,"material":123,"size":38967,"collection":139,"collections":39724,"showCount":826,"zanCount":48,"manualWeight":48,"mainColor":2504},227347,"ru-lai-shuo-fa-tu-yi-ming-227347","如来说法图","画佛登宝座说法，旁有侍者六人：两天女，两僧，两介士随侍。佛顶圆光，四周飞火焰，画火笔法极生动而传神。全幅以水墨为主调，略施淡彩，其它如手足诸事，无不刻画肌容，揣拟入妙。天女衣褶，如曹衣出水，本为印度作风，北魏时传入中国，北宋以后又复少见。故成画当在北宋时，为故宫院藏佛画中之甚精者",[24,25,194,226,260,106,352,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29b569fbc72e4a17b9c63ddb4bd3a7df.jpg",[],{"id":39726,"slug":39727,"title":11067,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":39728,"thumbUrl":39730,"material":599,"size":600,"collection":139,"collections":39731,"showCount":826,"zanCount":48,"manualWeight":48,"mainColor":49},226255,"ku-zhu-shi-bei-bi-yi-ming-226255",[511,260,104,27,28,7,107,106,114,22981,115,39729,7692],"线条细致","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1e4df82c3c5730ef11493dbfa891d8e.jpg",[],{"id":39733,"slug":39734,"title":39735,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":39736,"thumbUrl":39737,"material":599,"size":600,"collection":139,"collections":39738,"showCount":826,"zanCount":2368,"manualWeight":48,"mainColor":49},226172,"ku-qian-shi-nan-bi-yi-ming-226172","窟前室南壁",[511,260,106,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5b18973bcc22ad68fce4603e8294255.jpg",[],{"id":39740,"slug":39741,"title":39742,"dynasty":76,"author":11822,"museum":316,"description":39743,"tags":39744,"thumbUrl":39745,"material":139,"size":139,"collection":139,"collections":39746,"showCount":826,"zanCount":48,"manualWeight":48,"mainColor":49},224595,"zhu-bao-song-mao-tu-ping-yuan-jiang-224595","竹苞松茂图屏","《袁江竹苞松茂图屏》是清代袁江创作的一幅画。\n本幅题：“竹苞松茂，癸卯二月邗上袁江画”，钤“袁江之印”、“字文涛”印2方。\n袁江的界画楼阁无论大幅小幅，无不制作精工，尤其是精心绘制的通景屏，景物连贯一体，气势宏伟。\n此幅12条通景屏描绘作者理想中的仙山、楼阁、屋宇为长松茂竹所环抱，将雄伟壮阔的青绿山水与富丽堂皇的楼阁建筑恰到好处地融为一体，既精细入微，又大气磅礴，极大地提高了传统界画的表现能力和艺术感染力。",[23,24,104,7,28,29,107,34,176,37,115,12015,111,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59156e4ca8c6cc344953a9422e597f54.jpg",[],{"id":39748,"slug":39749,"title":39750,"dynasty":76,"author":997,"museum":316,"description":39751,"tags":39752,"thumbUrl":39753,"material":139,"size":139,"collection":139,"collections":39754,"showCount":826,"zanCount":1379,"manualWeight":48,"mainColor":94},224515,"shan-shui-tu-ce-8-kai-4-shi-tao-224515","山水图册8开-4","淡墨晕染出山峦肌理，远山隐在烟岚之中，如笼轻绡。左崖飞瀑垂落，为静寂山林注入灵动生机。坡上苍松错落虬劲，撑起山野清寂风骨，茅舍静立平坡，素朴安然，似藏幽人栖居之趣。\n\n此作用干淡笔墨皴擦山体，湿墨点染松针，简淡见苍润。留白烘衬出空濛云烟，寥寥数笔铺陈开林泉幽寂，笔意松秀清脱，尽显萧散淡远的林下意趣，观之便如踏入幽僻山居，尘俗烟火尽涤。",[23,24,173,7,81,177,29,685,1426,1273,989,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2ad686bc962b57eed356778454ad1df.jpg",[],{"id":39756,"slug":39757,"title":39758,"dynasty":76,"author":997,"museum":316,"description":39759,"tags":39760,"thumbUrl":39761,"material":139,"size":139,"collection":139,"collections":39762,"showCount":826,"zanCount":2368,"manualWeight":48,"mainColor":94},224511,"shan-shui-tu-ce-8-kai-2-shi-tao-224511","山水图册8开-2","此作用淡墨轻岚晕染远山，虚实相生间漾开空濛雾气，将山峦融在朦胧烟霭里，褪去峻拔锋芒只剩柔润余韵。近景村居错落，茅舍柴篱隐在林木苇草间，朴拙野趣扑面而来。枯笔焦墨点染丛树苔痕，淡赭轻敷屋舍坡岸，设色浅淡柔和，笔致松秀灵动。留白恰到好处，水汽氤氲的溪面与烟岚呼应，营造出静谧清寂的乡野氛围，似能将观者带入幽远山居闲境。笔墨藏着随性自在的画中真意，淡而有味，简中生趣，尽显文人山水的雅逸禅意。",[23,24,25,81,173,7,177,29,35,34,176,7249,1169,11043,1980],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21f2a9746cd204e4d9f37a292700b3b8.jpg",[],{"id":39764,"slug":39765,"title":39766,"dynasty":76,"author":563,"museum":316,"description":39767,"tags":39768,"thumbUrl":39769,"material":139,"size":139,"collection":139,"collections":39770,"showCount":826,"zanCount":48,"manualWeight":48,"mainColor":49},224182,"hua-niao-cao-chong-tu-ba-01-hua-yan-224182","花鸟草虫图八-01","画面留白疏朗雅致，枯枝信笔勾勒，苍劲随性。主枝上禽鸟憨态宛然，红首绿身，羽色晕染柔润自然，垂首敛目似在垂怜下方幼雀。两只雏雀依偎细梢，娇憨灵动，尽显亲昵之态。右下角苔石苍润，衬出新叶鲜亮生趣。\n\n整体笔意松秀空灵，设色清妍淡雅，将禽鸟情态刻画入微，枯木新叶相映成趣，晕溢出闲逸静谧的林下意趣。寥寥数笔便将花鸟相依的悠然生机尽显纸上，兼具文人笔墨意趣与写生妙味，把自然小景里的温情雅致铺陈开来。",[23,24,25,83,7,81,209,836,554,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1dd8fc81b15b730e9497d6567cc88bbd.jpg",[],{"id":39772,"slug":39773,"title":39774,"dynasty":76,"author":563,"museum":316,"description":39775,"tags":39776,"thumbUrl":39777,"material":139,"size":139,"collection":139,"collections":39778,"showCount":826,"zanCount":48,"manualWeight":48,"mainColor":94},224176,"liu-qin-tu-hua-yan-224176","柳禽图","此作用笔兼工带写，以空灵留白衬出清寂意韵。柳枝以淡墨晕染出柔条垂曳之姿，浓墨点苔醒出老枝苍劲，墨色浓淡铺陈出枝叶的虚实层次。\n两只八哥一攀附柳丝，一振翅穿飞，焦墨写羽凝练厚重，喙爪轻勾灵动有神，二鸟顾盼呼应，将春日柳梢嬉闹的野趣生动定格。淡赭素纸托着清润笔墨，寥寥笔意便晕开江南春日的柔婉闲逸，于简雅间暗藏蓬勃生机，尽显幽澹秀美的文人意趣。",[23,24,25,194,226,173,7,498,83,1241,245,957,5372,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77cc17306c49b0de13f4dc3c68321e5f.jpg",[],{"id":39780,"slug":39781,"title":39782,"dynasty":76,"author":10978,"museum":316,"description":39783,"tags":39784,"thumbUrl":39785,"material":139,"size":139,"collection":139,"collections":39786,"showCount":826,"zanCount":1379,"manualWeight":48,"mainColor":49},224116,"ping-ding-tai-wan-zhan-tu-qian-long-224116","平定台湾战图","《平定台湾战图册之清音阁凯宴将士》是清代佚名创作的纸本设色画。\n画幅上部乾隆皇帝御题诗，款识：“赐凯旋将军福康安、参赞海兰察等宴，即席成什。\n乾隆戊申孟秋御笔。\n”钤“古希天子”朱文方印、“犹日孜孜”白文方印、“太上皇帝”朱文方印。\n清内府鉴藏印“三希堂精鉴玺”朱文印、“宜子孙”白文印。\n引首钤“乾隆鉴赏”白文圆印。\n“戊申”为乾隆五十三年（1788年），乾隆皇帝时年78岁。\n图绘乾隆皇帝在河北承德避暑山庄的清音阁款待平台有功的福康安、海兰察等将领，君臣一道观吉祥戏的庆贺场景。\n清音阁与紫禁城内畅音阁大戏台的建造形制一样，共分福、禄、寿三层。\n这三层可以同时出现人物、鬼怪、神仙，从而给人更为全面、强烈的视觉感受。\n此图具有极强的真实感，画家以工整细腻的笔法一丝不苟地刻画人物与建筑。\n虽然人物众多，各个小仅寸许，但是造型比例准确，衣冠穿戴合乎典制，乾隆皇帝等重要人物不失肖像画的特征，具有重要的历史价值。\n乾隆五十一年（1786年），居台湾的福建籍天地会首领林爽文率众起义，反抗清政府驻台腐败的吏治。\n乾隆皇帝面对如火如荼的起义，从乾隆五十二年（1787年）始，多次遣兵派将赴台镇压，同时命钦差大臣福康安督办军务。\n清军在有勇有谋的福康安指挥下，仰仗与天地会党敌对的台湾各地“义民乡勇”的密切配合，终于扭转了处处被动挨打的局面，先后拘捕了起义军领袖林爽文、庄大田等人。\n乾隆皇帝于镇压起义后，有针对性地采取了一些措施，如在乾隆五十三年（1788年）批准了经大学士、九卿议覆，福康安上奏的《清查台湾积弊酌筹善后事宜》章程十六条，以严明台湾吏治、加强管理，从此，清政府对台湾的统治进入了一个新的阶段。\n为了纪念平定台湾的胜利，乾隆皇帝命宫廷画家按照每打一次大的战役，画一本战图册的惯例，创作一套纪实性的《平定台湾战图册》。\n此图册从乾隆五十二年十月二十八日，将军福康安统兵进发台湾开始，至乾隆五十三年乾隆皇帝在避暑山庄款待得胜而归的将士止，表现了解嘉义之围、大埔林战役、斗六门战役、大里栰战役、集集埔等大大小小的战役十余起，形象地记录了镇压林爽文起义的经过。",[23,24,25,7,28,104,26,106,107,115,34,1364,3982,1703,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1c22e95113d4b8059a9049e6a536f14.jpg",[],{"id":39788,"slug":39789,"title":39790,"dynasty":18,"author":257,"museum":316,"description":39791,"tags":39792,"thumbUrl":39793,"material":139,"size":139,"collection":42,"collections":39794,"showCount":826,"zanCount":48,"manualWeight":48,"mainColor":49},223639,"xiao-yi-zhuan-lan-ting-tu-juan-yi-ming-223639","萧翼赚兰亭图卷","画面以淡彩铺陈会面场景，踞坐交椅的老僧神情淡然沉静，端坐访客敛容凝神，二人对谈间似藏暗涌。两侧侍童垂首恭立，衬出静谧肃穆的氛围。\n\n笔线细劲圆转，妥帖勾勒衣褶起伏，将不同衣物质感细细区分，设色简雅清淡，赭石晕染与墨色勾勒相融，古雅沉静。画家捕捉神态入微，老僧的从容自持、访客的内敛机警皆跃然绢上。连交椅的榫卯结构都精细描摹，尽显写实功底。构图疏密相宜，以人物互动牵起叙事张力，尽显雅致写实的风韵，暗合画面之下暗藏的机锋故事底色。",[23,24,194,26,28,7,106,280],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e77b0a5b2d7c045dc29fe2b86e9abbc.jpg",[42],{"id":39796,"slug":39797,"title":39798,"dynasty":99,"author":846,"museum":101,"description":39799,"tags":39800,"thumbUrl":39801,"material":529,"size":39802,"collection":139,"collections":39803,"showCount":826,"zanCount":48,"manualWeight":48,"mainColor":49},223369,"ba-ge-pi-pa-tu-wu-bing-223369","八哥枇杷图","八哥立于枇杷枝上，望向一簇枇杷果，若有所思",[23,24,1260,28,7,83,39380,1036,209,569,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F498a1485d8d313bbe33eac698b9db385.jpg","31.1x31.1cm",[],{"id":39805,"slug":39806,"title":39807,"dynasty":76,"author":2162,"museum":419,"description":2163,"tags":39808,"thumbUrl":39809,"material":67,"size":2173,"collection":139,"collections":39810,"showCount":826,"zanCount":48,"manualWeight":48,"mainColor":94},223070,"hong-lou-meng-56-sun-wen-223070","红楼梦56",[23,24,25,28,7,27,106,6866,150,108,109,29,34,107,119,38,114,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa186e96779f40e9867ffeb1c4651429c.jpg",[],{"id":39812,"slug":39813,"title":39814,"dynasty":76,"author":2162,"museum":419,"description":2163,"tags":39815,"thumbUrl":39817,"material":67,"size":2173,"collection":139,"collections":39818,"showCount":826,"zanCount":48,"manualWeight":48,"mainColor":94},223064,"hong-lou-meng-50-sun-wen-223064","红楼梦50",[23,28,7,104,106,107,243,115,278,3712,59,176,34,39816,409,114,1557],"窗棂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc423ebba504eb711cbd7c6339c40a038.jpg",[],{"id":39820,"slug":39821,"title":39822,"dynasty":76,"author":2162,"museum":419,"description":216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现存宋人摹《萧翼赚兰亭图》计有三本，除北京故宫藏卷外，另两卷分别藏辽宁省博物馆、台北故宫博物院，其中辽博和台北故宫藏本较为完整，北京故宫藏本相对较简略。 该图绘四人，左为一僧端正地坐于一竹篾坐垫、靠背的椅上，面部的笑容、捋起的衣袖及右手前伸的动态，表明他正在兴致高昂的谈论某事，较为端正的身姿似又暗示了他一贯的谨慎和克制。图右绘一中年书生和僧人相对坐于鼓形凳上，面容清瘦，专注的表情和身体前倾的动态，表明了他对僧人谈话的极力迎合。中年僧人、书生身后各有一童子相随。在人物动态和艺术风格上，该本和辽博本较为接近，但省略了僧人身后仆从烹茶的情形，另在僧人坐姿、仆从及器物等上与辽博本也有不同之处。 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笔意古拙，墨法清润。人物写意，天然入格。\n本幅画乔松古柏，岩鹿群游。款：「辛巳秋八月，吴门张宏写。」鹿向被认为是长寿之仙兽，且「鹿」「禄」「柏」「百」谐音，故题名「百禄」，以取富贵爵禄之意。",[24,173,7,177,29,746,2479,1273,176,109,34,10687,3052,981,809,686,40049,10361,40050,3129,4009,11145,40051,498,28],"鹿群","山景","笔墨技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89428a5fc63b071b5b27d40c46585043.jpg","170.4x77.2cm",[90],{"id":40056,"slug":40057,"title":40058,"dynasty":18,"author":257,"museum":191,"description":40059,"tags":40060,"thumbUrl":40061,"material":123,"size":40062,"collection":90,"collections":40063,"showCount":826,"zanCount":48,"manualWeight":48,"mainColor":94},218729,"dao-tian-qiu-que-tu-yi-ming-218729","稻田秋雀图","这幅画描绘了秋日田野里的野趣。有两只鸟，一只站在斧头上，用尾巴微微向上啄食，另一只站在树枝上，向上看。鸟类描绘得栩栩如生，笔触极其细腻，玉米穗先用酒糟黄涂上明暗色，然后点上白粉，再用尖细的笔画出，草茎用较慢的笔画出，先用老绿涂抹，一半是明色，一半是暗色，略带焦黄的一端用赭石涂抹，虽然笔触和着色都很简单，但描述性极强。",[23,24,194,1260,28,7,83,12097,13823,245,12254],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa12e0c00e97f6280d05f6a3ec26e2e3c.jpg","24x25.4",[90],{"id":40065,"slug":40066,"title":15156,"dynasty":99,"author":257,"museum":608,"description":40067,"tags":40068,"thumbUrl":40069,"material":123,"size":40070,"collection":44,"collections":40071,"showCount":826,"zanCount":48,"manualWeight":48,"mainColor":49},218298,"luo-han-tu-yi-ming-218298","两尊罗汉共处一隅，坐者执卷凝思，眉眼间尽是专注，似在经文中悟得禅理；立者躬身侧耳，神态恭谨，如沐智慧的低语。衣袍线条婉转流畅，色彩古雅温润，赤足踏地的细节添了几分随性自在。背景深褐如晦，圆月隐于树影，静谧禅意悄然流淌。画作以生动的神态互动，传递禅林问学的融融之境，笔墨间既有宗教肃穆，又含人间温情，尽显古画的含蓄韵味与精神深度。",[24,25,226,7,28,260,106,19429,12282,176,265],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50e51e9f2411a999971874ae34ce0bb4.jpg","140.8x78.8",[44],{"id":40073,"slug":40074,"title":40075,"dynasty":76,"author":257,"museum":316,"description":40076,"tags":40077,"thumbUrl":40078,"material":88,"size":139,"collection":139,"collections":40079,"showCount":826,"zanCount":2368,"manualWeight":48,"mainColor":94},215866,"qing-dai-gong-ting-ren-wu-hua-ce-5-yi-ming-215866","清代宫廷人物画册-5","女子身着清式宫装，粉紫交领短袄衬翠绿绣纹长裙，衣间缠枝纹样婉转灵动，袖口裙摆的墨色镶边愈显雅致。她手持饰云纹的白绸飘带，发髻簪花，身姿温婉从容。画作色彩清雅却见精致，线条细腻勾画出服饰层次与质感，时光浸染下纸间斑驳，仍难掩那份古典韵致，似将清代宫廷女子的娴静风姿凝于方寸，静静诉说着往昔的优雅与从容。",[320,28,7,106,59,63,64,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb64101cc36ddfcae122fc72e8bdd375f.jpg",[],{"id":40081,"slug":40082,"title":40083,"dynasty":99,"author":7823,"museum":191,"description":40084,"tags":40085,"thumbUrl":40086,"material":123,"size":139,"collection":181,"collections":40087,"showCount":826,"zanCount":48,"manualWeight":48,"mainColor":94},214617,"shui-cheng-tu-ce-tai-cang-qian-gu-214617","水程图册-太仓","钱穀（1718-1778）是一位著名的中国古代地理学家和旅行家。他在明朝末期，著有著名的旅行记录作品《水程图册》。《水程图册》是一部珍贵的历史文献，记录了钱穀旅行时所见到的各种河流、港口、城市、商路等信息。其中，太仓章节是钱穀对太仓的描述。\n\n太仓是位于今天的江苏省的一座古城，历史悠久，是明朝时期的重要港口和商路要地。钱穀在《水程图册》中对太仓的描述非常详细，包括了太仓的地理位置、交通情况、港口设施、商业情况等。他提到，太仓港口设施完善，有多条航道，船只可以在港内停泊。太仓是一个重要的商路要地，有丰富的商品流通，包括铜器、茶叶、香料、木材等。太仓还有许多古迹和名胜古迹，例如著名的太仓大堤。\n\n《水程图册》是一部重要的古代地理学著作，其中的太仓章节是对太仓的珍贵记录，为我们了解明朝时期太仓的历史、地理、经济、文化等方面提供了宝贵的参考资料。",[24,25,81,173,7,108,109,174,35,34,29,212,1981,114,4048,33,1169,153],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc90d1740797b3391febe2b0c80bee24.jpg",[181],{"id":40089,"slug":40090,"title":40091,"dynasty":38460,"author":40092,"museum":78,"description":40093,"tags":40094,"thumbUrl":40096,"material":139,"size":139,"collection":90,"collections":40097,"showCount":826,"zanCount":48,"manualWeight":48,"mainColor":40098},203391,"bai-qin-tu-juan-jiang-han-ting-203391","百禽图卷","江寒汀","这幅长卷铺展百禽之态，或栖枝啁啾，或振翅掠空，或啄食嬉戏，神情毕肖。笔墨兼工带写，禽鸟羽毛勾勒精细，纹理毕现；花木枝干墨色灵动，设色清雅中见艳丽。梅、竹、牡丹等景致错落，与禽鸟相映成趣，画面疏密有致，动静相宜，满溢自然生机，尽显笔墨功底与对生命的细腻体察，堪称花鸟佳作。",[24,26,83,28,7,820,227,292,245,1530,3052,40095,4876,19172,23],"羽毛纹理","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b255eb679be70f777ef7738be689750.jpg",[90],"000000",{"id":40100,"slug":40101,"title":40102,"dynasty":76,"author":40103,"museum":78,"description":40104,"tags":40105,"thumbUrl":40106,"material":139,"size":139,"collection":90,"collections":40107,"showCount":826,"zanCount":1379,"manualWeight":48,"mainColor":40108},201840,"ju-hua-tu-zhou-wu-xi-zai-201840","菊花图轴","吴熙载","此图笔墨疏朗灵动，以水墨为基，淡彩点染，尽显菊花清逸之姿。两朵白菊花瓣层叠舒展，勾勒细腻却含写意之趣；墨叶泼写而成，浓淡干湿交错，叶脉隐于晕染间，苍劲中带秀润。旁逸枝蔓穿插自然，小花嫩叶添生机。构图虚实相生，留白悠远，笔墨渗透书家功底，清雅脱俗，尽显菊花傲霜品格，予人静谧淡远之感。",[24,25,226,173,7,83,897,194,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc8cfec34c764d9f76d0033964da2fc2.jpg",[90],"d7c9b9",{"id":40110,"slug":40111,"title":40112,"dynasty":18,"author":1350,"museum":191,"description":40113,"tags":40114,"thumbUrl":40115,"material":599,"size":600,"collection":139,"collections":40116,"showCount":533,"zanCount":48,"manualWeight":48,"mainColor":94},290857,"xue-tan-shuang-lu-zhou-ma-yuan-290857","雪滩双鹭轴","雪崖枯枝，芦竹寒汀，滩旁四只白鹭，均做瑟缩之状，寒天的景致，令人有着身临其境的感觉。而浓淡墨色画出的树石、远山和芦草，对比于留白的积雪处，和几不见墨痕的白鹭们，在黑白之间，充分表现出清冷的意趣，达到了画雪得其清的境界。另从岩壁上伸出的枝干，曲折延伸，势如蛟龙升腾游动，这种笔势往下拖垂，形成长而斜向伸出的画枝方法，正是典型的「拖枝马远」风貌。",[24,194,226,173,7,29,83,2562,795,38257,9114,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfa75c57e47aed948cb8b6beca83ae9f.jpg",[],{"id":40118,"slug":40119,"title":40120,"dynasty":76,"author":77,"museum":3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147,"da-shi-xiang-hong-li-shu-xin-jing-he-zhuang-zhou-ding-guan-peng-236147","大士像弘历书心经合装轴","丁观鹏（生卒年不详），擅绘人物、山水。雍正四年（1726年）以画艺精湛入宫供奉，备受雍正、乾隆皇帝的赏识，作品为清宫著录者达83件之多。",[24,226,260,7,28,106,7558,10516,3712,245,408,686,86,178,22428],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcbfde9136bb0fce1adfcc9527d15d37.jpg","纵60cm，横28.3cm",[2065],{"id":40335,"slug":40336,"title":40337,"dynasty":99,"author":26106,"museum":316,"description":40338,"tags":40339,"thumbUrl":40340,"material":139,"size":139,"collection":139,"collections":40341,"showCount":533,"zanCount":48,"manualWeight":48,"mainColor":94},236103,"sui-chao-cun-qing-tu-zhou-li-shi-da-236103","岁朝村庆图轴","《岁朝村庆图》是明代画家 创作的一幅纸本设色画，现藏于北京故宫博物院。\n图画水村山郭，松屋柳溪，村中人家，长者访友宴饮，儿童燃放鞭炮，敲锣打鼓，辞旧迎新，欢庆佳节。\n所画山水、松柏笔墨苍劲滋润；所画人物用笔圆熟，无论老少，身姿各异，神态生动，每个人物形象皆具动感，全无刻板之姿。\n画面充满岁朝繁忙、喜庆的升平景象。\n画法严谨，笔法流畅娴熟。\n此画是一幅风俗画。\n此画以山水为背景，画面绘有山石、树木、屋宇房舍，溪水板桥，坡石堤岸、鸡鸭杂豚。\n诸多人物布置其间：有的在屋内端坐，向外眺望；有的在屋内相面而坐，正在交谈；有的在林中穿梭，游览水村山乡；有的正在滑梯；有的正捕鸡斩鸭；有的长者或士人正在观赏画卷；诸多的童子正在捉迷，表现了一派热闹非凡的山乡景象。\n画上落款：“戊午腊月写于石湖，李士达。\n”下钤“李士达”白文、“通甫”白文、“石湖渔隐”白文 。\n在画幅右上角仅有的空白处，以作者自书款识和乾隆御题诗作补阙。\n乾隆御题诗为：“东郭远西墅，山家接水村，春阴庆老幼，丰岁足鸡豚。\n三代遗风在，一时深意存。\n治民无别术，饥饱俾寒温。\n丙申岁朝明窗御题。\n”钤“会心不远”“德充符印”，另钤“乾隆鉴赏”“嘉庆鉴赏”“嘉庆御览之宝”“乾隆御览之宝”“古希天子”“石渠宝笈”“乐寿堂鉴藏宝”“八征耄念之宝”“三希堂精鉴”“宜子孙”“宝笈三编”“宣统御览之宝”等鉴藏印数方。\n职业文人画家创作的年画的多以“岁朝图”为名，表现元旦即景，直接描绘风俗活动，因此很能体现地方风土民情。\n李士达的《岁朝村庆图》就是其中的典型。\n此图作于万历四十六年（1618年），画中详细描绘了吴中地区热闹的新春景象，放爆竹、出门拜年、悬挂钟馗像、燃烧巨大煤块称“欢喜团”等，与清代顾禄所著的《清嘉录》一书有关吴中年俗的记载一一相符。\n画幅中所画的人物虽小，却是此画中的主题。\n所画的人物，造形多趋圆浑，线条柔韧，用笔精细，无论老少，身姿各异，神形兼具，神态生动，每个人物形象虽不一，但却具动感，使画面充满岁末繁忙，喜气洋洋的景象。\n所画的松柏、山石、屋宇、板桥、坡石等，笔墨苍劲滋润，表现方法不一法，无论是线、点，还是渲染，都那么踏实、浑厚、果断。\n此画呈长方形构图，上不留天，下不留空。\n北京故宫博物院研究员余辉：画家描绘了苏州乡村百姓正月初一简朴的居家生活：孩子们在燃放爆竹、敲锣打鼓，雅士们在欣赏书画，老者在饮茶话旧、拜年访友，一派除旧迎新的喜气景象，意在期盼天下太平、生活安定。\n由该图鉴藏印可知，该图历经乾隆、嘉庆、宣统内府收藏，《石渠宝笈》著录，现藏于北京故宫博物院。\n李士达（生卒年不详，约活动于16世纪中期至17世纪初），号仰怀，吴县（今江苏苏州）人。\n善画山水、人物。\n常借作品表达对现实的不满，或描绘文人、士大夫逍遥自在的生活，也作佛道鬼神画，并有一定数量的风俗画。",[24,25,226,7,28,177,106,35100,108,109,795,35,115,116,2385,176,34,31,114,2852],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd146e163637aca3ee1e49a693feef20b.jpg",[],{"id":40343,"slug":40344,"title":205,"dynasty":99,"author":5289,"museum":316,"description":5290,"tags":40345,"thumbUrl":40346,"material":599,"size":600,"collection":139,"collections":40347,"showCount":533,"zanCount":2368,"manualWeight":48,"mainColor":94},235729,"hua-niao-ce-tan-zhi-yi-235729",[24,25,81,28,7,83,292,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff24a476c3157793412130d56a2bc8c12.jpg",[],{"id":40349,"slug":40350,"title":205,"dynasty":99,"author":5289,"museum":316,"description":5290,"tags":40351,"thumbUrl":40352,"material":599,"size":600,"collection":139,"collections":40353,"showCount":533,"zanCount":48,"manualWeight":48,"mainColor":94},235726,"hua-niao-ce-tan-zhi-yi-235726",[194,24,25,81,28,7,83,62,783,211,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4c1639c45707c2b0e70e21707f1682f.jpg",[],{"id":40355,"slug":40356,"title":131,"dynasty":76,"author":2805,"museum":316,"description":2806,"tags":40357,"thumbUrl":40358,"material":599,"size":600,"collection":139,"collections":40359,"showCount":533,"zanCount":2368,"manualWeight":48,"mainColor":94},235603,"hua-hui-ce-wang-wu-235603",[24,25,81,7,28,83,1133,62,212,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5203f98c5bc6b88482bddebc1961fe00.jpg",[],{"id":40361,"slug":40362,"title":32766,"dynasty":76,"author":2940,"museum":316,"description":40363,"tags":40364,"thumbUrl":40365,"material":139,"size":139,"collection":139,"collections":40366,"showCount":533,"zanCount":48,"manualWeight":48,"mainColor":94},235052,"shan-shui-ce-ye-xu-mei-235052","此作用小青绿淡设色写山居幽境，幽瀑自远山轻落，清溪蜿蜒穿林过渚。古松虬曲苍劲，枝叶舒展有灵动之姿，山石以浅绿淡赭晕染，远山化作淡墨烟岚，虚实相生间晕出空濛温润的江南意韵。右侧崖畔茅亭隐于林木间，无人自幽，衬出山林的静穆悠然。\n\n笔法秀雅清润，舍去繁复勾勒，以轻晕淡染营造疏朗萧散的氛围，将文人隐逸的林下之趣融在淡逸色彩中，似可听松风溪声，沉湎于这幽寂恬然的山居景致里，尽显雅致淡远的文人山水意趣。",[24,25,81,7,177,29,109,175,353,1426,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F436ebfa2e6cbfa736824d8dbe5ce29e6.jpg",[],{"id":40368,"slug":40369,"title":3559,"dynasty":76,"author":40370,"museum":20,"description":40371,"tags":40372,"thumbUrl":40373,"material":638,"size":139,"collection":139,"collections":40374,"showCount":533,"zanCount":48,"manualWeight":48,"mainColor":94},234115,"shan-shui-hua-wang-san-xi-234115","王三锡","王三锡（1716～1793后），字邦怀，号竹岭，江苏太仓人。昱侄，或谓翚裔孙。山水得昱法，邱壑位置，不作寻常蹊径。运笔亦别具雅韵。巨幅松石，时称独绝。又喜作花卉及写意人物。其小册清丽可爱。长洲屠璇，穹窿道士李体德皆从之游。",[24,25,26,7,177,173,29,37,176,34,978,174,107,1169,11043,1981,108],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80d6fac3944d659e14864ca6319992f5.jpg",[],{"id":40376,"slug":40377,"title":40378,"dynasty":18,"author":2509,"museum":20,"description":40379,"tags":40380,"thumbUrl":40383,"material":40,"size":3108,"collection":139,"collections":40384,"showCount":533,"zanCount":48,"manualWeight":48,"mainColor":94},234030,"jiao-yin-ji-qiu-tu-ye-su-han-chen-234030","蕉阴击球图页","《蕉阴击球图》绘南宋贵族庭院里的婴戏小景。庭院内奇巧的湖石突兀而立，其后隐现茂盛的芭蕉数丛。石前的少妇正与身旁的女子专注地观看二童子玩槌球游戏。一童手持木拍正欲坐地击球，另一童子则向他急急地喊话。图中四人的目光同时落于童子所欲击打的小小球体上。构思巧妙，情节生动，显示出作者善于观察人物并且捕捉生活细节的能力。此幅在构图上巧妙地将玲珑剔透的湖石正立于画心中部，以其自身的完整性起到了镇住画面的作用，聚拢了交叠张扬的芭蕉叶及分散的人物，避免了画面因景物繁杂而出现轻浮感。此外，湖石拉开了前景人物与背景芭蕉间的距离，增强了画面的纵向层次感。在笔法上，作者注重物象间的对比互衬关系。人物与芭蕉为中锋运笔，线条工整细匀，如行云流水；着色渲染浓淡相宜，清新明洁的色调有助于表达轻松活泼的主题。湖石则以粗笔重墨表现，线条劲练，转折顿挫中见洒脱。湖石所呈现出的坚硬质地成功地衬托出人物纤秀婉约的形象及芭蕉飘逸润泽的自然美。\n在宋代类似于《蕉阴击球图》的作品很多。以写实的笔法描绘民间生活、反映“市井细民”的审美趣味是宋代绘画的一大特色。当时涌现出众多绘风俗画的著名画家，如王居正、张择端、李嵩、苏汉臣等人，他们的作品以富有浓郁的生活气息而在中国绘画史上占有重要的地位。\n原题签作者为苏汉臣。此幅虽在题材、笔法上与苏汉臣的画风较为接近，但在艺术表现的造诣上却远不及苏汉臣，因此，此图当是与苏汉臣同时代的佚名画家之作。",[194,24,25,6083,913,28,7,40381,106,8328,611,263,3007,3192,40382,37545],"精细","击球","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5800a0bb27581102b47456c505bec926.jpg",[],{"id":40386,"slug":40387,"title":40388,"dynasty":76,"author":563,"museum":20,"description":40389,"tags":40390,"thumbUrl":40391,"material":770,"size":40392,"collection":90,"collections":40393,"showCount":533,"zanCount":48,"manualWeight":48,"mainColor":94},233942,"hua-yan-zi-hua-xiang-tu-zhou-hua-yan-233942","华嵒自画像图轴","华嵒是一位来自民间的画家，曾流寓杭州，结识了浙东学者历鄂、吴石仑等人，这些友人多是不慕荣利、安贫乐道的文人，在他们的影响下，华嵒潜心诗文书画，获得了“诗书画三绝”的美誉。为了谋生，他曾经历仕途，但目睹官场的种种不平，终于放弃仕宦，往来于杭州与扬州之间，以卖画为生，并结识了“扬州八怪”等画家。75岁病逝。华嵒一生贫苦，他在画中以“笔端刷却世间尘”，全心表现对大自然的美好感受。他游历甚多，眼界开阔，为许多画家所不及。此图为一件即兴之作，描绘了暑夏之时，华嵒身着夏衫，半敞衣襟，优游林泉的欣悦之情。他倚石盘膝，临泉而坐，左手拈须，右手抚石，意态闲暇。身后山石高耸，深青色的古藤缠绕着峰峦，远处瀑布羸垂岩而下，汇流成河。读其诗，更使人感受到作者热爱自然、超然离垢的情怀。图中的人物肖像写实而又带有写意的意味，造型略有夸张，与作者其他的人物画有相似之处，如《天山积雪图》(北京故宫博物院藏)等。此图线条简练，随意潇洒，笔调疏简，追求一种文人意趣，具有雅俗共赏的独特风格。",[194,24,25,226,173,7,177,498,29,106,230,109,176,689,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaa167316f143627c91b7a6fa3bf4f48.jpg","纵130.5厘米，横50.7厘米",[90,40394],"明清缂绣画",{"id":40396,"slug":40397,"title":40398,"dynasty":76,"author":1829,"museum":20,"description":40399,"tags":40400,"thumbUrl":40402,"material":770,"size":40403,"collection":139,"collections":40404,"showCount":533,"zanCount":48,"manualWeight":48,"mainColor":94},233848,"song-teng-tu-zhou-li-shan-233848","松藤图轴","松柏是古代绘画中十分常见的题材，而专门以松树和藤花入画的则十分少见。作者对松藤一类题材十分偏爱，传世有多幅《松藤图》轴，构图近似而画面题诗和细节略有不同。画中老藤盘松，枝叶交错，一棵老松斜向伸入画面，树皮斑驳，高大伟岸，雄伟挺拔；松树旁边藤条攀缘而上，虬曲盘旋，坚韧柔活。画家以浓笔重墨写松树，以迅笔淡彩挥写藤条和藤花，墨色混融，凝重沉厚的苍松与轻盈灵动的藤条相互映衬，自得风神。构图平中见奇，险而不逾法度，设色淡雅，色不掩墨，用笔苍劲，泼墨淋漓，立意清新而高旷，以非常具有个人色彩的笔墨描绘了大自然中苍松和藤花相符相依，生机盎然的景象。",[24,25,226,173,7,1133,40401,83,498,177],"藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95770748654b96d15f43031aab8bd872.jpg","纵123厘米，横50.5厘米",[],{"id":40406,"slug":40407,"title":5614,"dynasty":76,"author":997,"museum":20,"description":40408,"tags":40409,"thumbUrl":40410,"material":40411,"size":40412,"collection":139,"collections":40413,"showCount":533,"zanCount":48,"manualWeight":48,"mainColor":94},233425,"yuan-ji-shan-shui-ce-shi-tao-233425","本册10开，或墨笔或设色，末开自款“时甲子新夏呈阆翁火词宗夫子，清湘秃发济”，钤“冰雪悟前身”，（白文方印）每开上“忍庵图书”一印。\n原济(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[24,25,81,173,7,177,29,3518,34,176,11542,1145],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7570e2d7e819c7dbd70ebd7ddbb567db.jpg","纸本 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"mainColor":94},228469,"nan-you-tu-tang-yin-228469","南游图","《南游图》是明朝唐寅写的一首诗。\n江上春风吹嫩榆，扶琴送子曳长裙。\n相逢若有知音者，随地芟茅好结庐。\n唐寅（147---152），初字伯虎，更字子畏，号六如居士，明代画家，吴县（今江苏苏州）人。\n他是吴门画派的代表人物，与沈周、文徵明、仇英并称明代四大家（吴门四家）。\n出生于一个商人家庭，从小聪明好学，诗文书画，无一不精。\n29岁时，他考中应天府（今南京）乡试第一名解元，自诩为“江南第一才子”。\n但在第二年的会试中，因好友科举舞弊案的牵连，被捕入狱，从此功名断绝。\n出狱后，唐伯虎性情大变，从此绝意仕途，潜心书画，终成一代大家。\n唐伯虎擅长画山水、人物、花鸟等。\n他的山水画师法周臣、李唐、刘松年，风格秀逸清俊，笔墨细秀，布局疏朗。\n人物画师承唐代传统，多以仕女和历史故事为题材，色彩或艳丽或清雅，线条清细，体态优美。\n花鸟画洒脱随意，格调秀逸，长于水墨写意。\n传世画作有《骑驴思归图》、《山路松声图》、《事茗图》、《王蜀宫妓图》、《秋风纨扇图》等。",[23,24,25,26,7,28,177,178,86,212,29,34,106,108,109,1169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b85449ec179089e2a5b76fcc8c7693e.jpg",[],{"id":40486,"slug":40487,"title":40488,"dynasty":99,"author":100,"museum":316,"description":40489,"tags":40490,"thumbUrl":40491,"material":599,"size":600,"collection":139,"collections":40492,"showCount":533,"zanCount":2368,"manualWeight":48,"mainColor":49},228441,"lan-ting-tu-shan-mian-chou-ying-228441","兰亭图扇面","画面中山涧溪流缓缓而下，蜿蜒成“曲水”。兰亭近溪旁。这里视野开阔，亭内一文人高士临亭边而坐，或许凝望远方，正在观赏优雅的景色；或许正在等待前方一仆童抱琴而来，然后抚琴一曲……给人留下无限的遐想。画面中部还有两孩童在溪边嬉戏，一只仙鹤正低头饮水，溪边奇石伫立、松柳掩映，形成了人与自然和谐相处、景色娴雅幽淡的佳境。",[23,1260,28,7,29,106,175,378,379,109,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3aded3c25f9fd7875b0ba71f943ccab5.jpg",[],{"id":40494,"slug":40495,"title":40496,"dynasty":18,"author":2414,"museum":316,"description":40497,"tags":40498,"thumbUrl":40500,"material":139,"size":139,"collection":139,"collections":40501,"showCount":533,"zanCount":48,"manualWeight":48,"mainColor":94},228164,"lao-shu-han-ya-tu-juan-zhao-bo-ju-228164","老树寒鸦图卷","此作用淡墨晕染铺就江天寥廓，滩渚浅岸清寂冷逸，枯木虬枝错落舒展，干笔皴擦尽显苍劲老辣，不着多余修饰，便将冬日江郊的荒疏萧索尽数铺陈。\n画面以平远取景，水墨清润简淡，把寒水空濛、林梢凝寒的江洲冬境，化作空寂禅意。简淡笔墨暗合宋人极简美学意趣，于萧索冷冽间晕染出悠长幽远的诗意，尽得荒寒淡远的文人山水意境。",[23,194,24,25,26,173,7,29,353,40499,230,34,212,86,178,177],"寒鸦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab012e2191f40ce6f95225846f98cfe1.jpg",[],{"id":40503,"slug":40504,"title":40505,"dynasty":18,"author":36166,"museum":316,"description":40506,"tags":40507,"thumbUrl":40508,"material":139,"size":139,"collection":139,"collections":40509,"showCount":533,"zanCount":48,"manualWeight":48,"mainColor":49},228030,"wei-sheng-huang-hun-tu-zhao-da-heng-228030","薇省黄昏图","暮色漫过深宅庭院，丹红与素白的花影缀在枝桠，晕开柔暖朦胧的晚意。敞轩之内，一人斜卧假寐，将白日倦怠揉进黄昏里。屋宇木构刻画清雅工细，层叠的瓦檐晕染出松弛闲散的日常氛围。远景青绿山影轻笼在烟岚里，与院内花木相映，将宅邸晕成一方避世的静谧天地。\n\n整幅设色温雅柔润，工细笔意里带着写意的松弛，把黄昏庭院慵懒闲散的氛围感烘托至极，将宋人的闲雅私居之美定格，尽显慢煮时光的雅致意趣，晕开淡淡的温柔余韵。",[23,24,1260,7,104,3176,34,29,3466],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F180cc436741e61cb1c56a0bdb9f2ef67.jpg",[],{"id":40511,"slug":40512,"title":40513,"dynasty":18,"author":1599,"museum":316,"description":40514,"tags":40515,"thumbUrl":40517,"material":139,"size":139,"collection":139,"collections":40518,"showCount":533,"zanCount":48,"manualWeight":48,"mainColor":49},227776,"xie-ke-fang-you-tu-ye-liu-song-nian-227776","携客访友图页","刘松年 （约1131-1218），号清波，南宋画家，历孝宗、光宗、宁宗三朝，浙江省金华市汤溪镇宅口人。刘松年与刘龟年兄弟随父亲宦居钱塘清波门，以住地自号刘清波，因清波门又称南“暗门”，故外号宋“暗门刘”。\n\n刘松年工山水人物，山水皴法受李唐影响，画风笔精墨妙，变雄健为典雅，水墨青绿兼工，着色妍丽典雅，常画西湖，多写茂林修竹，山明水秀之西湖胜景，因题材多园林小景，人称“小景山水”。",[23,24,7,28,106,175,227,34,29,177,40516],"访友","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F92709672d881dd58bce216d07ed75c8f.jpg",[],{"id":40520,"slug":40521,"title":40522,"dynasty":18,"author":40523,"museum":316,"description":40524,"tags":40525,"thumbUrl":40526,"material":139,"size":139,"collection":139,"collections":40527,"showCount":533,"zanCount":48,"manualWeight":48,"mainColor":49},227758,"qiu-ye-mu-niu-tu-yan-ci-ping-227758","秋野牧牛图","阎次平","《秋野牧牛图》是画家阎次平所创作的一幅画，现藏于泉屋博古馆藏。\n\n《秋野牧牛图》描绘了真实生动的乡间生活情景。图中画二牧童和三牛。二牧童并坐于树下，安闲自若，一位似在给另一位捉虱子；一头大牛卧于树下，一小牛依卧母牛身旁，母牛伸过头来给小牛捉蝨子，另一牛向外奔去，自得其乐。树叶染红，杂以黄色，岸坡和远山则以淡墨轻抹勾勒。充满诗意，牛和牧童的刻画更体现出画家的细微观察力。\n\n阎次平 南宋画家。隆兴初（约1163年）任画院祗候，授将仕郎。父仲，曾任宣和及绍兴画院待诏。继承家学，而画艺超过其父。擅绘山水、人物，尤工画牛，颇为生动。画法近李唐。存世作品有《牧牛图》等。弟次于，亦善画。",[23,24,173,7,28,177,29,378,151,8583,5218],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0571f2ca0a021ab1e67ffbdcbdde86ef.jpg",[],{"id":40529,"slug":40530,"title":40531,"dynasty":18,"author":9555,"museum":316,"description":28973,"tags":40532,"thumbUrl":40533,"material":139,"size":139,"collection":139,"collections":40534,"showCount":533,"zanCount":2368,"manualWeight":48,"mainColor":49},227614,"chun-xiao-tu-ye-zhao-ling-rang-227614","春晓图页",[23,194,24,25,81,7,177,2532,108,230,245,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1006510c385afef8e45f522379aaf3d.jpg",[],{"id":40536,"slug":40537,"title":40538,"dynasty":18,"author":3752,"museum":316,"description":40539,"tags":40540,"thumbUrl":40541,"material":139,"size":139,"collection":139,"collections":40542,"showCount":533,"zanCount":48,"manualWeight":48,"mainColor":49},227596,"lu-yan-tu-ye-cui-bai-227596","芦雁图页","崔白（公元11世纪）〔北宋〕约活动在1023-1085（宋仁宗至神宗时期），字子西，濠梁（今安徽凤阳东）人，生卒年不详。1068-1077（熙宁）初补图画院艺学，后升待诏。工画花竹翎毛，尤长秋荷凫雁，对佛道、鬼神、山林、人物、走兽等，亦无不精绝。思路敏捷，技巧熟练，挥毫立就，不打草稿不假直尺界笔，“曲直方圆，皆中尺度”。",[23,24,194,25,81,7,28,83,1980,3765,3712,3519,3562],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc580b3f4d0ac734fa06327447d804e1d.jpg",[],{"id":40544,"slug":40545,"title":4024,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":40546,"thumbUrl":40551,"material":599,"size":600,"collection":139,"collections":40552,"showCount":533,"zanCount":2368,"manualWeight":48,"mainColor":49},226318,"ku-zhu-shi-zao-jing-yi-ming-226318",[511,260,7,5885,4028,7230,40547,40548,40549,5890,40550],"装饰画","同心圆图案","菱形纹样","图案化","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb805fcf6723b8907879d368c1b090a0.jpg",[],{"id":40554,"slug":40555,"title":40556,"dynasty":76,"author":997,"museum":316,"description":40557,"tags":40558,"thumbUrl":40559,"material":139,"size":139,"collection":139,"collections":40560,"showCount":533,"zanCount":48,"manualWeight":48,"mainColor":94},224508,"shan-shui-ce-kai-si-shi-tao-224508","山水冊开(四)","此作用淡彩晕染出清润空濛的氤氲之气，远山以花青轻扫，糅合浅赭底色，将山岚初醒的柔缓暖意晕开。一江春水蜿蜒穿谷，两侧山石枯笔皴擦，兼施淡墨点苔，苍松矮柏错落栖于岩间，野趣横生。\n江心扁舟上渔翁垂坐，似静听水声松涛，将天地悠然诗意凝于咫尺。右上角行书题诗笔墨疏朗，与山水清寂意境相映，尽显文人画诗书画印相融的雅趣。\n整体笔致松秀灵动，删繁就简，不假雕琢却生机暗涌，将江南山水的温润澹远与幽居野钓的林下襟怀融为一体，漫溢静穆淡宕的禅意。",[23,24,25,81,173,7,29,174,109,808,34,10725,212,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa34fc4fd4add0addbea11ed1f356d11.jpg",[],{"id":40562,"slug":40563,"title":40564,"dynasty":76,"author":4285,"museum":316,"description":40565,"tags":40566,"thumbUrl":40567,"material":139,"size":139,"collection":139,"collections":40568,"showCount":533,"zanCount":48,"manualWeight":48,"mainColor":49},224432,"qian-jiang-xi-shan-tu-wang-shi-min-224432","浅绛溪山图","此作用浅绛写层叠溪山，以密集细笔皴擦出山峦苍郁厚重的肌理，林麓茅舍隐现其间，暗合幽居野逸的文人情致。后幅行书题跋笔意苍劲朴拙，书画合璧尽显文人风雅。\n整体气息浑穆沉厚，循传统山水丘壑程式又自出灵趣，简淡赭石晕染烘出山林秋意，将江南溪山的温润秀逸藏于繁密点染之间，是文人卧游林泉、澄怀观道的精神寄托，笔墨间浸着历经世事的澹然平和，尽显静雅悠长的山水意韵。",[23,24,25,26,6711,7,177,178,212,29,108,109,175,353,176,34,809,808,1173,989],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05f203733ec712aa2cbbb7186aada126.jpg",[],{"id":40570,"slug":40571,"title":40572,"dynasty":76,"author":4285,"museum":316,"description":40573,"tags":40574,"thumbUrl":40575,"material":139,"size":139,"collection":139,"collections":40576,"showCount":533,"zanCount":2368,"manualWeight":48,"mainColor":49},224424,"yun-feng-shu-se-tu-wang-shi-min-224424","云峰树色图","《云峰树色图》是清代画家王时敏创作的绢本设色画，现藏于 。\n此图以“高远”法取势，构图呈“S”形循环上升。\n山石沉浑雄健，树木苍厚繁密，画风凝重古朴。\n王时敏（1592—168年），字逊之，号烟客，晚号西庐老人，江苏太仓人。\n其祖父是明礼部尚书兼 王锡爵，父亲是明翰林编修王衡。\n明万历二十九年（161年）举进士，崇祯初以荫仕至太常寺卿，崇祯十三年（164年）辞官隐居，入清不仕。\n工隶书，善画山水，以元黄公望、倪瓒为宗，又受董其昌影响。\n他极力主张恢复古法，反对自出新意，是清初画坛正统派的领袖，后世称“娄东派”，与王鉴、王石谷、王原祁合称“四王”，位列“清初四王”之首，在当时有很大影响。",[23,24,25,226,7,29,177,685,2235,378,1133,379,109,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97c21bc9c7b497cbaa4d829b8d874e53.jpg",[],{"id":40578,"slug":40579,"title":40580,"dynasty":76,"author":40581,"museum":316,"description":40582,"tags":40583,"thumbUrl":40584,"material":139,"size":139,"collection":139,"collections":40585,"showCount":533,"zanCount":48,"manualWeight":48,"mainColor":94},224355,"zhi-yang-dong-hu-tu-juan-jian-jiang-224355","芝昜东湖图卷","渐江","此作用淡墨晕染湖山，浅赭轻敷屋宇路径，清润雅洁。平远构图铺陈东湖胜景：波心渔舟缓行，沿岸村舍错落衔连，山麓古寺朱墙醒目，远山淡抹空灵悠远。\n\n笔墨师法宋元却自出机杼，既得元人萧散简淡的意境，又以宋法布陈细节，秀逸清劲却不失周密，绝无板滞或空疏之弊，将水乡丘壑的静穆淡和尽绘纸上，尽显澄怀观道的山水意趣，平淡里藏着深秀丘壑，是师古化新的精妙之作。",[23,24,25,26,173,7,177,105,212,86,29,107,34,1273,795,109,174,175,1981,1157,1169,11043,114,108,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52fdc9987ea396b2047437152f739a3a.jpg",[],{"id":40587,"slug":40588,"title":40589,"dynasty":76,"author":563,"museum":316,"description":40590,"tags":40591,"thumbUrl":40592,"material":139,"size":139,"collection":139,"collections":40593,"showCount":533,"zanCount":2368,"manualWeight":48,"mainColor":49},224183,"hua-niao-cao-chong-tu-ba-02-hua-yan-224183","花鸟草虫图八-02","此作以折枝秋菊入画，兼工带写间尽显秋花意韵。艳红团菊秾丽雅致，绒花攒簇，尽显盛放之态；白瓣舒展清逸，纤条轻曳自带疏朗之气。墨叶枯润相济，笔致松灵，晕染出秋意萧疏却生机不减的情态。\n左侧行书题诗与绘景呼应，诗书入画融成清雅文心，淡赭底色晕开古雅沉静氛围，将秋菊傲霜之姿与文人寄寓的高洁品格融为一体，寥寥数笔便将秋花神韵与清冷意趣尽显，雅致脱俗，意韵悠长。",[23,24,7,83,897,210,178,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe20b48cd30353e2ac00ef4f5e148df1f.jpg",[],{"id":40595,"slug":40596,"title":26468,"dynasty":54,"author":257,"museum":20,"description":40597,"tags":40598,"thumbUrl":40599,"material":529,"size":40600,"collection":139,"collections":40601,"showCount":533,"zanCount":48,"manualWeight":48,"mainColor":49},223442,"gong-yuan-tu-juan-yi-ming-223442","绘皇家园林景致。远处山峦起伏，林木葱郁，河道萦回，楼、阁、亭、台、廊、桥星罗棋布，气派宏大雄伟，富丽堂皇。画中游人悠闲风雅又热闹欢快，虽然熙熙攘攘，却如人间仙境。体现了唐代宫廷及贵族阶层悠闲而奢华的生活。此画可能为南宋时期所绘。",[23,24,25,26,104,7,28,107,29,106,175,108,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F477ef8865840f821a8da02c867a064c2.jpg","24.54*291.85",[],{"id":40603,"slug":40604,"title":40605,"dynasty":76,"author":257,"museum":20,"description":40606,"tags":40607,"thumbUrl":40608,"material":67,"size":40609,"collection":139,"collections":40610,"showCount":533,"zanCount":2368,"manualWeight":48,"mainColor":94},223420,"xiao-xian-chun-huang-hou-chao-fu-xiang-yi-ming-223420","孝贤纯皇后朝服像","画中人物孝贤纯皇后（1712—1748年），姓富察氏，出身于一个累世高官的家庭，其祖米思翰，为户部尚书。其父李荣保，为察哈尔总管。她从小就受到良好的正统教育，娴于礼法，深明大义，并且具有较高的文化修养。清雍正五年（1727年）七月十八日，她被雍正皇帝指婚给17岁的皇四子弘历作嫡福晋。弘历即帝位后，立她为皇后。她克勤克俭，不喜奢华，平时在宫中的服饰用品不是金玉珠翠，而是简简单单的通草绒花。她与乾隆皇帝相敬如宾，感情笃挚，十分恩爱。乾隆十三年（1748年）二月初四，在与乾隆皇帝奉皇太后东巡的旅途中，因劳累和久病体虚，病逝于山东德州。乾隆皇帝甚为悲恸，兼程赶还京师料理后事，并为其服缟素12日；著《述悲赋》与诗，以表对皇后早逝的哀憾与追怀。",[23,320,24,28,7,106,406,63,226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62047b26c1af7c503cdc3cf64792af27.jpg","194.8cm，横116.2cm",[],{"id":40612,"slug":40613,"title":40614,"dynasty":302,"author":257,"museum":20,"description":40615,"tags":40616,"thumbUrl":40617,"material":67,"size":40618,"collection":181,"collections":40619,"showCount":533,"zanCount":2368,"manualWeight":48,"mainColor":2504},223399,"shang-shan-si-hao-tu-zhou-yi-ming-223399","商山四皓图轴","此图画汉初“商山四皓”故事中使臣迎请四皓一节。画面左下角有一队人马，为首者正与童子对话。山间小路崎岖，云雾缭绕，溪水潺潺。画幅偏右画有数人：二老者对弈，一老者拄杖观棋，二童子左右陪侍，上方一老者正拄杖下行，身后一童子捧果盘相随。山势高耸，乔松挺秀，烘托出一派幽静清逸之气，将四皓闲适的生活恰如其分地表现出来。\n本幅无作者名款，画面上方有挖补之痕，其真正的作者已难考究。旧题为南宋刘松年的作品，然其画法风格实近元代盛懋一派。本幅钤有残印一角，印文不辨。",[23,24,25,226,7,27,28,29,106,1273,176,37,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e3dddb7ee87e220228e39d7b36a9eee.jpg","纵155.3厘米，横77.2厘米",[181,45],{"id":40621,"slug":40622,"title":15607,"dynasty":76,"author":9921,"museum":20,"description":40623,"tags":40624,"thumbUrl":40625,"material":139,"size":15612,"collection":139,"collections":40626,"showCount":533,"zanCount":2368,"manualWeight":48,"mainColor":94},223222,"geng-zhi-tu-ce-jiao-bing-zhen-223222","《御制耕织图》又名《佩文斋耕织图》，不分卷，清圣祖玄烨题诗，焦秉贞绘图，朱圭、梅玉凤镌刻，清康熙三十五年（1696年）内府刊本。耕图、织图各23幅，共计46幅图。每页34.7cm×27.7cm。图框24.4cm×24.4cm。四周单边。册页装。\n《耕织图》以江南农村生产为题材，系统地描绘了粮食生产从浸种到入仓，蚕桑生产从浴蚕到剪帛的具体操作过程，每图配有康熙皇帝御题七言诗一首，以表述其对农夫织女寒苦生活的感念。\n《耕织图》是中国农桑生产最早的成套图像资料，它的绘写渊源可上溯至南宋，绘者为楼璹。楼璹在宋高宗时期任於潜（今浙江省临安市）县令时，深感农夫、蚕妇之辛苦，即作耕、织二图诗来描绘农桑生产的各个环节。《耕织图》成为后人研究宋代农业生产技术最珍贵的形象资料。南宋嘉定三年（1210年），楼璹之孙楼洪、楼深等以石刻之传于后世，南宋理熙元年（1237年）有汪纲木刻复制本。宋以后关于本书的记载已不多见，较著名的有南宋刘松年编绘的《耕织图》，元代程棨的《耕织图》45幅。明代初年编辑的《永乐大典》曾收《耕织图》，已失传。明天顺六年（1462年）有仿刻宋刻之摹本，虽失传，但日本延宝四年（1676年）京都狩野永纳曾据此版翻刻，今均以狩野永纳本《耕织图》作楼璹本《耕织图》之代表。\n清康熙二十八年（1689年）康熙帝南巡时，江南士子进献藏书甚丰，其中有“宋公重加考订，诸梓以传”的《耕织图》。康熙帝即命焦秉贞据原意另绘耕图、织图各23幅，并附有皇帝本人的七言绝句及序文。绘画内容略有变动，耕图增加“初秧”、“祭神”二图，织图删去“下蚕”、“喂蚕”、“一眠”三图，增加“染色”、“成衣”二图，图序亦有变换。宋、清《耕织图》的布景与人物活动大同小异，但焦图画中的风俗易为清代，所绘更为工细纤丽，在技法上还参用了西洋焦点透视法。\n《耕织图》初印于康熙三十五年（1696年），后又出现了很多不同版本，木刻本、绘本、石刻本、墨本、石印本均行于世。如康熙年间的康熙三十八年（1699年）张鹏翮刻本，康熙五十一年（1712年）内府刻本，雍亲王胤禛绢底彩绘本，康熙五十三年（1714年）歙县汪希古恭摹刻48块墨板，宫廷绘白描本等，乾隆年间的康熙、雍正、乾隆三帝题诗刊本，清内府刻《授时通考》本，袖珍彩绘本，乾隆四年（1739年）清内府图为木刻、诗为石刻的经折装本，乾隆三十四年（1769年）北京刻朱墨套印本，杨大章彩绘本，乾隆三十四年（1769年）高宗命画院据元代程棨本临摹之《耕织图》，石刻嵌在皇家清漪园延赏斋左右廊壁的拓本，乾隆三十五年（1770年）徽州守臣摹刻的墨版。此外，还有嘉庆十三年（1808年）《耕织图诗》补刊本，同治十一年（1872年）刊本，光绪五年（1879年）上海点石斋《御制耕织图》石印本，光绪十一年（1885年）上海文瑞楼本，光绪十二年（1886年）上海点石斋石印本。民国时期也有多种版本，较著名的为武进陶兰泉刊本；日本、朝鲜、琉球等国亦有《耕织图》的摹本、翻刻本。\n《耕织图》不但版本众多，版式等也不尽相同，如上文下图本，左图右文本，版框带有龙纹的装饰本，袖珍刻本，木刻填色本，书中序文、诗文前后玺印朱色钤印本，前后玺印为刊版墨印本等。",[24,28,7,81,151,106,6582,13428,29,8379],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c2295c618cbfb9ca0d09285cc0220c5.jpg",[],{"id":40628,"slug":40629,"title":40630,"dynasty":76,"author":2162,"museum":419,"description":2163,"tags":40631,"thumbUrl":40633,"material":67,"size":2173,"collection":139,"collections":40634,"showCount":533,"zanCount":48,"manualWeight":48,"mainColor":94},223050,"hong-lou-meng-175-sun-wen-223050","红楼梦175",[23,24,28,7,106,107,1557,115,611,34,29,59,614,40632],"红楼梦场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a5ff13497a1a86049600d88216fe2ad.jpg",[],{"id":40636,"slug":40637,"title":40638,"dynasty":76,"author":2162,"museum":419,"description":2163,"tags":40639,"thumbUrl":40640,"material":67,"size":2173,"collection":139,"collections":40641,"showCount":533,"zanCount":48,"manualWeight":48,"mainColor":49},223041,"hong-lou-meng-166-sun-wen-223041","红楼梦166",[23,24,28,7,106,29,175,108,109,107,34,176,243,278,9231,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F116421e645027677c97a37c528b5f370.jpg",[],{"id":40643,"slug":40644,"title":40645,"dynasty":76,"author":2162,"museum":419,"description":2163,"tags":40646,"thumbUrl":40648,"material":67,"size":2173,"collection":139,"collections":40649,"showCount":533,"zanCount":48,"manualWeight":48,"mainColor":94},223039,"hong-lou-meng-164-sun-wen-223039","红楼梦164",[23,24,28,7,26,106,59,614,107,108,245,34122,1557,29,986,40647],"红楼故事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F723c41928dddb37a89147153dd533a62.jpg",[],{"id":40651,"slug":40652,"title":40653,"dynasty":76,"author":2162,"museum":419,"description":2163,"tags":40654,"thumbUrl":40655,"material":67,"size":2173,"collection":139,"collections":40656,"showCount":533,"zanCount":2368,"manualWeight":48,"mainColor":801},222946,"hong-lou-meng-71-sun-wen-222946","红楼梦71",[23,320,24,25,28,7,106,107,115,34,2952,4007,1463,194],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ecb36ad56431b384b69b7fe4089a44e.jpg",[],{"id":40658,"slug":40659,"title":40660,"dynasty":76,"author":2162,"museum":419,"description":2163,"tags":40661,"thumbUrl":40663,"material":67,"size":2173,"collection":139,"collections":40664,"showCount":533,"zanCount":48,"manualWeight":48,"mainColor":94},222877,"hong-lou-meng-2-sun-wen-222877","红楼梦2",[23,24,28,7,104,175,107,106,59,40662,2512,4876,278,115,34,263],"芭蕉树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06983d53be2cd078301c222dda3eab3b.jpg",[],{"id":40666,"slug":40667,"title":40668,"dynasty":99,"author":40669,"museum":101,"description":40670,"tags":40671,"thumbUrl":40672,"material":31423,"size":40673,"collection":90,"collections":40674,"showCount":533,"zanCount":2368,"manualWeight":48,"mainColor":49},222417,"cao-chong-ce-ye-wen-liang-222417","草虫册页","温良","温良，山西山阴人，明朝政治人物。进士出身。\n永乐九年，辛卯科山西乡试中举。永乐十九年（1421年）辛丑科进士，授户部郎中",[23,24,7,28,81,483,686,264,553],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78c9ca4b052ee1ae78ddd46b0f652dc2.jpg","12.7×17.1",[90,45],{"id":40676,"slug":40677,"title":40678,"dynasty":99,"author":100,"museum":191,"description":40679,"tags":40680,"thumbUrl":40687,"material":88,"size":40688,"collection":181,"collections":40689,"showCount":533,"zanCount":48,"manualWeight":48,"mainColor":94},222205,"jiao-yin-jie-xia-zhou-chou-ying-222205","蕉阴结夏轴","图中山石林立，蕉丰硕。秀竹劲，丛草稀。两位高士对坐相。一抚琴，一聆听。作品追宋法，人物造型准确。神情刻画栩栩如生，加之情景交融，画面文人同生活气息流。村庄突现萧疏简返之气，亦现作者师元人画风而别开生面之趣",[23,24,25,226,28,7,106,611,3712,176,195,115,40681,40682,4352,40683,40684,32061,36054,37545,40685,40686,39833],"夏日场景","弹拨乐器","山石皴法","植物写生","传统山水元素","草木景观","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62b091a6fd7758ede327c5d564e95b22.jpg","纵279.1厘米，横99厘米",[181,45],{"id":40691,"slug":40692,"title":40693,"dynasty":18,"author":29548,"museum":20,"description":40694,"tags":40695,"thumbUrl":40696,"material":38976,"size":40697,"collection":139,"collections":40698,"showCount":533,"zanCount":2368,"manualWeight":48,"mainColor":94},222141,"mu-dan-chun-man-tu-ye-li-cong-xun-222141","牡丹春满图页","[宋]杭州人。宣和（一一一九―一一二五）待诏，绍兴（一一三一―一一六二）间复宫补承直郎，赐金带。工画道释、人物、花鸟，位置不凡，传彩精妙，高出流辈。",[23,194,24,25,6083,1260,28,7,2746,292],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06010232ff025bf2c27d45e222f744ca.jpg","纵26.9厘米、横46",[],{"id":40700,"slug":40701,"title":40702,"dynasty":99,"author":170,"museum":191,"description":3932,"tags":40703,"thumbUrl":40705,"material":500,"size":40706,"collection":139,"collections":40707,"showCount":533,"zanCount":48,"manualWeight":48,"mainColor":94},222111,"liu-tang-du-diao-shen-zhou-222111","柳塘独钓",[23,24,25,173,7,178,3560,29,1241,108,175,2340,8989,106,40704],"独钓","https:\u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"museum":191,"description":40893,"tags":40894,"thumbUrl":40895,"material":123,"size":139,"collection":181,"collections":40896,"showCount":533,"zanCount":48,"manualWeight":48,"mainColor":94},215034,"han-lin-gao-yi-tu-shen-shi-chong-215034","寒林高逸图","寒林高逸图是明朝沈士充所绘的一幅著名图画。它描绘了一片寒冷的林中，一群动物在寻找温暖。图中，可以看到一头鹿、一只老鹰、一只海狮和一只熊，他们都非常冷，因此他们决定联合起来，燃烧起火来取暖。最后，大家一起坐在火边取暖，显得非常愉快。\n\n寒林高逸图被认为是沈士充最著名的作品之一，它描绘了动物之间的友好相处和合作的主题。这幅图画同时也被认为是对人类社会的一种警示，提醒人们应该像这些动物一样，在困难时期相互合作，共同度过难关。",[24,25,194,1260,29,106,1353,353,230,177,7,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2bb9e640476fbb36251ae27f22cda34.jpg",[181],{"id":40898,"slug":40899,"title":40900,"dynasty":76,"author":7596,"museum":132,"description":40901,"tags":40902,"thumbUrl":40903,"material":88,"size":139,"collection":139,"collections":40904,"showCount":533,"zanCount":48,"manualWeight":48,"mainColor":94},214591,"fang-gu-shan-shui-ce-13-wang-hui-214591","仿古山水册-13","王翚（1768年－1849年）是清代著名的画家，他出生于江苏省南京市，是清代名门望族，他的祖父王恭是清代名将王莽的儿子。王翚早年曾在父亲的教导下学习书法和绘画，后来又师从著名画家黄庭坚学习。\n\n王翚擅长画山水，他的作品《仿古山水册》是他的代表作之一。这本册子包含了王翚的许多优秀作品，其中包括了他的山水画、人物画、花鸟画等，作品风格秀丽自然，富有感染力。《仿古山水册》被誉为王翚代表作之一，在当时颇受欢迎。\n\n王翚的画风受到了清代著名画家黄庭坚的影响，但他也在此基础上创造出了自己独特的画风。他善于运用墨色，擅长表现山水的秀美和雄伟，并融入了自己的个人特色。王翚的画作经常带有浓郁的文化气息，富有哲理性和艺术性。\n\n总的来说，王翚的《仿古山水册》是一部优秀的山水画集，值得一看。",[24,25,81,7,177,2428,29,265,2235,378,109,263,174],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39f501390a2a4e60586411f7d7211255.jpg",[],{"id":40906,"slug":40907,"title":40908,"dynasty":76,"author":563,"museum":608,"description":1497,"tags":40909,"thumbUrl":40910,"material":638,"size":1500,"collection":139,"collections":40911,"showCount":533,"zanCount":48,"manualWeight":48,"mainColor":49},214342,"san-jue-shan-shui-ce-19-hua-yan-214342","三绝山水册-19",[23,24,25,81,7,29,176,34,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F203025c8540c9f71478aadf07946183c.jpg",[],{"id":40913,"slug":40914,"title":40915,"dynasty":18,"author":1588,"museum":316,"description":27367,"tags":40916,"thumbUrl":40917,"material":599,"size":600,"collection":139,"collections":40918,"showCount":386,"zanCount":48,"manualWeight":48,"mainColor":94},291004,"tang-song-yuan-hua-ji-jin-ce-fu-rong-cui-yu-ma-lin-291004","唐宋元画集锦册 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一太监和两名宫女在后，另一扛衣太监骑青鬃马紧随三位夫人前行，以便随时救护。左前白马上面，是雍容华贵的韩国夫人，体态苗条，全神贯注于怀中女儿。虢国夫人则轻盈地单勒马缰，使马四蹄舒缓，马首右转。她身着粉色长裙，鲜红背心，流目女童。外侧绿衣宫女护卫的，是朱丹峨眉的秦国夫人，骑的是一匹花马，她艳红低胸长袖，紫蓝背心，双手控缰，虽慎骑谨坐，仍不失其娇美。李公麟的画，较完美地表现了杜甫的诗意。",[194,24,26,7,106,150,59,3430],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70e5c06b27d66314b6ea8a81ff447653.jpg",[],{"id":40985,"slug":40986,"title":40987,"dynasty":18,"author":257,"museum":316,"description":40988,"tags":40989,"thumbUrl":40990,"material":599,"size":600,"collection":139,"collections":40991,"showCount":386,"zanCount":48,"manualWeight":48,"mainColor":94},289937,"hong-liao-shui-qin-tu-yi-ming-289937","红蓼水禽图","此画中国美术史上的花鸟画名作，典型的宋院体画。《红蓼水禽图》构图精巧，有很高的写实水平，为我国古代扇面画的代表作。\n以前人们认为是五代名家徐崇矩所作，其所绘意境正如诗中所咏：“西风红蓼香，水禽破苍茫。小虾清滩里，涟漪泛斜阳。”",[23,24,194,1260,25,83,28,7,245,27210,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0378b85a33fe7e6d9ecc8e5d0578c912.jpg",[],{"id":40993,"slug":40994,"title":40995,"dynasty":76,"author":40996,"museum":316,"description":40997,"tags":40998,"thumbUrl":40999,"material":599,"size":600,"collection":139,"collections":41000,"showCount":386,"zanCount":2368,"manualWeight":48,"mainColor":94},289887,"xiu-huang-shu-wu-tu-dai-xi-289887","修篁书屋图","戴熙","戴熙（公元1801—1860年），清代画家。字醇士，号鹿床、榆庵、松屏、莼溪、井东居士等，浙江钱塘（今杭州）人。咸丰翰林，官至兵部右侍郎，辞官归里后主持崇文书院。擅画山水，学王恽笔墨，兼师宋元诸家，尤善花卉及竹石小品，能治印，著有《习苦斋集》《题画偶录》等。画作有《云岚烟翠图》《忆松图》《满门风华》等。",[24,194,25,226,7,3559,227,795,176,109,18804,1169,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc77b483372d1953c6b8b568e436085b.jpg",[],{"id":41002,"slug":41003,"title":3327,"dynasty":99,"author":100,"museum":316,"description":3427,"tags":41004,"thumbUrl":41005,"material":599,"size":600,"collection":139,"collections":41006,"showCount":386,"zanCount":48,"manualWeight":48,"mainColor":49},289611,"ren-wu-gu-shi-ce-chou-ying-289611",[24,81,7,27,28,29,106,1273,4706,109,4312],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19f11f6d7c4c8cd8fe72e4bdca237d88.jpg",[],{"id":41008,"slug":41009,"title":41010,"dynasty":54,"author":55,"museum":316,"description":41011,"tags":41012,"thumbUrl":41013,"material":599,"size":600,"collection":139,"collections":41014,"showCount":386,"zanCount":2368,"manualWeight":48,"mainColor":49},288965,"man-yi-zhi-gong-tu-zhou-fang-288965","蛮夷执贡图","《蛮夷执贡图》画一着异域装束的高鼻深目者向大唐献贡，贡品是牵着的一头长角怪羊。画家的笔法圆劲，古厚凝重，有着很强的写实性。从技法上看，线条简练遒劲，并分层次加晕染，线条以高古游丝描为主，敷色高古，画风古朴，类似初唐。",[24,194,25,6170,28,7,106,746,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F165902694b6ef58d0dd5427084598112.jpg",[],{"id":41016,"slug":41017,"title":41018,"dynasty":18,"author":1033,"museum":191,"description":10438,"tags":41019,"thumbUrl":41021,"material":123,"size":41022,"collection":139,"collections":41023,"showCount":386,"zanCount":48,"manualWeight":48,"mainColor":49},288457,"shi-quan-bao-xi-tu-lin-chun-288457","十全报喜图",[23,24,194,25,226,83,28,7,245,1273,176,84,41020],"报喜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feceae8d01d0cfba39399adf662cee49c.jpg","173.2x97.6",[],{"id":41025,"slug":41026,"title":41027,"dynasty":76,"author":2162,"museum":316,"description":24836,"tags":41028,"thumbUrl":41029,"material":599,"size":600,"collection":139,"collections":41030,"showCount":386,"zanCount":48,"manualWeight":48,"mainColor":94},288411,"jia-zheng-you-da-guan-yuan-tu-jing-san-sun-wen-288411","贾政游大观园图景三",[24,7,28,106,175,107,108,109,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0b3bd0e30aed56805e0db0a439919e5.jpg",[],{"id":41032,"slug":41033,"title":5487,"dynasty":18,"author":1599,"museum":316,"description":22885,"tags":41034,"thumbUrl":41035,"material":599,"size":600,"collection":139,"collections":41036,"showCount":386,"zanCount":2368,"manualWeight":48,"mainColor":49},288328,"gong-nv-tu-liu-song-nian-288328",[23,1260,24,7,28,106,59,115,1552,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F657b8807b0393ba2f560b75b5e316386.jpg",[],{"id":41038,"slug":41039,"title":4213,"dynasty":76,"author":7596,"museum":316,"description":19312,"tags":41040,"thumbUrl":41041,"material":599,"size":600,"collection":139,"collections":41042,"showCount":386,"zanCount":2368,"manualWeight":48,"mainColor":49},287930,"fang-ju-ran-shan-shui-wang-hui-287930",[23,24,194,29,226,105,107,109,174,795,177,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b2aae287d4fd8b90080a1dfb35dd9ea.jpg",[],{"id":41044,"slug":41045,"title":41046,"dynasty":18,"author":257,"museum":316,"description":41047,"tags":41048,"thumbUrl":41049,"material":599,"size":600,"collection":139,"collections":41050,"showCount":386,"zanCount":48,"manualWeight":48,"mainColor":49},287920,"bei-song-si-tian-wang-yi-ming-287920","北宋四天王","此作中的天王怒目圆睁，虬髯怒张，尽显金刚怒目的慑人气魄。天王身披繁丽甲胄，朱红主调搭配翠绿绦带，在泥金底色映衬下鲜明夺目，纹饰精巧细致，尽显工艺匠心。他左手按剑，身姿雄健挺拔，足下踏伏小鬼，将护法降魔的威严气魄诠释得淋漓尽致。\n\n画师以遒劲铁线描勾勒衣甲飘带，刚柔并济，既刻画出甲胄的厚重坚硬，又衬出飘带的灵动舒展。设色古雅厚重，晕染细腻，将天王的勇猛神威与工笔重彩的精妙表现力完美融合。",[24,25,226,194,260,6768,7,106,34845,746,2439],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91ff405f2bbe051e7b4686b616c20b80.jpg",[],{"id":41052,"slug":41053,"title":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自题：“臣张若澄敬写。\n”下钤“臣若澄”、“笔露思雨”二方印。\n对幅均有清乾隆帝题诗。\n钤清乾隆内府诸收藏印。\n此册以北京城著名的“燕京八景”为题而画。\n燕京八景一说始自金《明昌遗事》，当时金章宗完颜璟将燕京的八处风光名胜选定为燕京八景，即“居庸叠翠”、“玉泉垂虹”、“太液秋风”、“琼岛春荫”、“蓟门飞雨”、“西山积雪”、“卢沟晓月”和“金台夕照”。\n“燕京八景”历金、元、明、清四代，又有称 “燕台八景”、“燕山八景”、“京师八景”、“京畿八景”者，虽景点相同，八 景的名称在不同时期则有所变化。\n乾隆十六年（1751年），乾隆曾御制《燕山八景诗》，将八景定名为“琼岛春荫”、“太液秋风”、“玉泉趵突”、“西山晴雪”、“蓟门烟树”、“卢沟晓月”、“金台夕照”、“居庸叠翠”，沿用至今。\n该画册中建筑的刻画不用界尺，但是对建筑的特征却描绘得生动准确，表现手法活泼而不失稳重，是画家对景写实的佳作。",[24,25,81,7,104,29,107,34,174,36,212,178,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c0adf7b2fcbdf57fa597e8cf40b281f.jpg",[181,45],{"id":41161,"slug":41162,"title":1751,"dynasty":76,"author":37845,"museum":316,"description":41163,"tags":41164,"thumbUrl":41165,"material":638,"size":139,"collection":90,"collections":41166,"showCount":386,"zanCount":2368,"manualWeight":48,"mainColor":94},237276,"za-hua-ce-chen-zi-237276","陈道（1707-1760），字绍洙，号凝斋。江西新城钟贤（今江西省黎川县中田乡）人。清代文学家、理学家。生于康熙四十六年。从小品行端重，刚入塾学，白天听老师讲课，晚上则随父听诵《小学近思录》，庄诵不倦，并以此作为学与行准则。稍长，协助父亲治理产业及施行善事。一有闲暇，便手不释卷，孜孜以求。国子监肄业时，为主监事孙嘉淦所器重。后从师广昌黄永年，钻研宋儒理学，兼攻水利农田、军政边防等书籍。他尊崇周敦颐、程颢、程颐，研习陆九渊，王守仁，尤服罗点「主静不妄语」、「不为物所役」的主张。乾隆九年（1744）中举。乾隆十三年（1748）中进士，候选知县，以父母年高、无同胞兄弟为由拒官。后皇上令诏经学，他被推举，亦推辞不去。安心在家侍奉双亲，埋头读书。父经商，家境富裕，他辅佐父亲在乡兴办慈善事业。设立义田二千亩扶助贫苦，以使「读书有赡，鳏寡孤独废疾有养，婚丧有助」。捐白银二千两，为「盱江书院」讲学费。二十四年协助知县创建「黎川书院」，捐助学费，并在此掌教多年。还建桥修亭，施棺舍药，遇灾荒年景，奉父命购运粮食，按户计口平粜以救饥，并劝说或强制某些囤粮闭粜的富户粮商参与赈济。陈道一生，为人严毅清苦，「自少至老未一日怠惰」。治学以力行为主。经常与雷宏、夏之瀚、祝淦、涂登、涂瑞等交往切磋，甚得一些贤士、大夫所赏识。卒于乾隆二十五年，年五十四岁。文章多为讲学书稿，文风醇古淡泊，真意盎然。诗歌常流露对社会的不满，反映他不与时俗合流的对抗情绪。尝欲注《春秋五传》和编《江西文统》，未成而终。陈道去世后，其子陈守诚和同邑学生、同乡学者鲁九皋将其文稿收集整理成《凝斋遗集》（文6卷，诗2卷），刊印后被四库馆以《凝道斋集》收入《四库全书总目》，《清史列传》行于世。",[24,25,81,7,28,83,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F494a86d42e56684196274a0260d6d4d8.jpg",[90],{"id":41168,"slug":41169,"title":6834,"dynasty":76,"author":11483,"museum":20,"description":11484,"tags":41170,"thumbUrl":41171,"material":770,"size":139,"collection":139,"collections":41172,"showCount":386,"zanCount":48,"manualWeight":48,"mainColor":94},237199,"shan-shui-ce-sun-yi-237199",[24,194,25,81,7,27,177,29,109,34,176,808],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F534e78f6ec35caef7a3efdced7daa730.jpg",[],{"id":41174,"slug":41175,"title":41176,"dynasty":99,"author":857,"museum":316,"description":5856,"tags":41177,"thumbUrl":41178,"material":599,"size":600,"collection":139,"collections":41179,"showCount":386,"zanCount":48,"manualWeight":48,"mainColor":49},236673,"hua-die-shan-mian-chen-hong-shou-236673","花蝶扇面",[860,24,25,1260,28,7,83,62,873,230,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b54cb9209504cd4723c9d1cce8320d5.jpg",[],{"id":41181,"slug":41182,"title":41183,"dynasty":76,"author":6776,"museum":316,"description":34971,"tags":41184,"thumbUrl":41185,"material":599,"size":600,"collection":139,"collections":41186,"showCount":386,"zanCount":2368,"manualWeight":48,"mainColor":94},236026,"ben-shi-shi-jia-mu-ni-fu-ding-guan-peng-236026","本师释迦牟尼佛",[320,24,28,7,260,106,1488,212,1070,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65f5b2a6a5e1ab8fac54283430404232.jpg",[],{"id":41188,"slug":41189,"title":41190,"dynasty":99,"author":257,"museum":316,"description":41191,"tags":41192,"thumbUrl":41193,"material":599,"size":600,"collection":139,"collections":41194,"showCount":386,"zanCount":48,"manualWeight":48,"mainColor":94},235968,"lv-ji-zhu-qin-tu-zhou-yi-ming-235968","吕纪竹禽图轴","修竹挺秀舒展，以浓淡墨色挥写竹叶，虚实交映，尽显萧疏清逸之态。两只禽鸟栖于细枝之上，翎羽晕染细腻灵动，亲昵偎依的姿态生动自然，野趣盎然。\n\n右上角题字隽秀雅致，诗画相融，愈发衬出画面的悠远意境。整作笔意纵逸洒脱，水墨层次丰富，将工致的写生之妙与文人写意的简淡雅韵相融，空灵雅致间饱含幽澹的林下之风，尽显传统花鸟画作的诗意禅趣。",[194,24,25,226,7,28,227,1530,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fd0d65aeb31785517784702190c0cb2.jpg",[],{"id":41196,"slug":41197,"title":205,"dynasty":99,"author":5289,"museum":316,"description":5290,"tags":41198,"thumbUrl":41199,"material":599,"size":600,"collection":139,"collections":41200,"showCount":386,"zanCount":2368,"manualWeight":48,"mainColor":94},235725,"hua-niao-ce-tan-zhi-yi-235725",[860,83,7,28,81,292,245,1241,212,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ab96946ae2ed7db4b749f4c96637450.jpg",[],{"id":41202,"slug":41203,"title":205,"dynasty":99,"author":5289,"museum":316,"description":5290,"tags":41204,"thumbUrl":41206,"material":599,"size":600,"collection":139,"collections":41207,"showCount":386,"zanCount":2368,"manualWeight":48,"mainColor":94},235722,"hua-niao-ce-tan-zhi-yi-235722",[194,24,25,81,28,7,83,209,836,41205,212],"松针","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1157157ff73f55ff4b221685f7f203fc.jpg",[],{"id":41209,"slug":41210,"title":41211,"dynasty":99,"author":257,"museum":316,"description":41212,"tags":41213,"thumbUrl":41214,"material":139,"size":139,"collection":139,"collections":41215,"showCount":386,"zanCount":2368,"manualWeight":48,"mainColor":94},235633,"song-xu-wan-shan-qiu-se-tu-zhou-yi-ming-235633","宋旭万山秋色图轴","此作用高远章法铺展秋山全景，层峦叠嶂间沟壑纵深，飞泉漱石、山溪蜿蜒贯穿始终。以淡赭晕染山骨铺就秋意底色，朱砂醒点丹枫，勾勒皴擦兼用，将嶙峋山石、虬曲古木的苍劲之态尽皆写就。幽谷深处隐现山居屋舍，林泉间尽显隐逸清寂之趣。整幅画面笔墨清灵雅致，把深秋万山层林尽染的高旷冷寂意境铺陈开来，尽显文人山水崇尚的幽淡空灵林下之风，是极具韵致的秋山绘作。",[24,25,226,194,7,177,29,30,109,34,1273,176,107,1171,1754,1426],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdffc1c6bbcb02615aab2d7bb1eb1a7e.jpg",[],{"id":41217,"slug":41218,"title":41219,"dynasty":76,"author":2200,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虚空藏菩萨摩诃萨","此作以重工技法铺陈，菩萨面相丰润慈悲，宝冠璎珞遍饰周身，华服层叠繁复，尽显端严华贵。安坐于莲台之上，莲台浮于卷浪祥云之中，下方青绿山水晕染出清净净土的悠然意境。\n身后圆光放射出凛凛毫光，焰纹背光烘托出菩萨的神圣威仪，明暗对比强烈，尽显肃穆庄严。整体配色浓丽沉稳，彩料与饰金交相辉映，细节处一丝不苟，将菩萨的慈悲法相与神圣气度完美诠释，尽显中古宗教美术的极致匠心。",[23,24,25,226,7,28,260,106,29,3661,41327,13705],"传统宗教题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe80a91c998b1738fb8d4ab42edbba9da.jpg",[],{"id":41331,"slug":41332,"title":5729,"dynasty":99,"author":1196,"museum":191,"description":41333,"tags":41334,"thumbUrl":41335,"material":67,"size":41336,"collection":139,"collections":41337,"showCount":386,"zanCount":1003,"manualWeight":48,"mainColor":49},231588,"tao-gu-zeng-ci-tu-tang-yin-231588","唐寅（1470－1532），吴县人。字子畏、伯虎。号六如，自称江南风流子。非诗文书画，尤以画艺见长；初师周臣，继而研学李唐、北宋初年，陶谷（903－970）出使南唐，时南唐国力弱小，而陶谷性格傲慢，在南唐后主脸出言不逊。南唐臣风起而设下圈，派宫妓秦蒻兰扮作驿吏之女以诱之。本来盛气凌人的陶谷，见温婉美丽的秦蒻兰之后，不禁为之邪念萌动，曲意奉迎并并讨好，新庸之赠词，遂败慎独戒。是陶谷所赠，顿弄时得陶谷面红耳赤，狼狈至极。画中刻字，工谨详尽，陶谷拈须倚坐榻上，旁墨纸砚，前面燃着红烛。秦蒻兰束发高笔。髻绣襦罗巾，坐弹弹琵琶，情态味感，极引词的画面。 ，而且理趣兼优，形神俱佳。右上有诗情画意，寓意诗：「一宿唐缘逆旅中，短词以识鸿。当时我作陶承旨，前面发红。」诗情画意，寓意静深。",[23,24,25,28,7,106,34,611,195,379,1010],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fed0db24a4b08267971f750e5a655b5.jpg","168.8 x 102.1 公分",[],{"id":41339,"slug":41340,"title":41341,"dynasty":76,"author":257,"museum":316,"description":41342,"tags":41343,"thumbUrl":41346,"material":599,"size":600,"collection":22956,"collections":41347,"showCount":386,"zanCount":2368,"manualWeight":48,"mainColor":94},229216,"qian-long-yao-fa-lang-cai-lan-di-kai-guang-hua-hui-xiao-wan-yi-ming-229216","乾隆窑 珐瑯彩蓝地开光花卉小碗","清高宗在位时(公元1736〜1795年）的官窑。所产的瓷器，突出的特点是能把许多不同品种、不同火度的釉料用于一器之上。在仿古瓷及各种色釉器方面，品种也很多。乾隆窑瓷器釉较康、雍时期略显粗糙，一为乳白粉釉，一为略带青色的白釉。器型种类繁多，并出现了一些新奇的制品，如用瓷土制造的像生瓷，制作精巧，艺术价值很高。乾隆窑瓷器的纹饰，讲究画得规矩，所画多仿名家笔意，并开始有仿西洋的画法。颜色釉方面，以茶叶末釉烧得最为成功，并利用茶叶末加以变化的古铜釉，十分巧妙地反映出铜器的色泽、锈斑，制出仿铜器的作品。",[12818,12819,7,28,84,41344,41345],"开光","蓝地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef37cd2b94669dbd294c627fc1b2a92d.jpg",[22956],{"id":41349,"slug":41350,"title":41351,"dynasty":99,"author":257,"museum":316,"description":41352,"tags":41353,"thumbUrl":41354,"material":139,"size":139,"collection":139,"collections":41355,"showCount":386,"zanCount":48,"manualWeight":48,"mainColor":49},228379,"xuan-zong-zhang-huang-di-yi-ming-228379","宣宗章皇帝","此作为明代宫廷肖像的上乘之作，工笔精细入微，形神兼备。画师以细腻笔触晕染出帝王丰腴面庞，虬髯苍劲浓密，双目沉静威严，尽显端凝厚重的帝王气度。乌纱翼善冠制式规整严整，明黄色龙袍织金龙纹精细富丽，朱红衬领沉稳庄重，配色典雅厚重，贴合御容肖像的肃穆礼制。整作落笔考究写实，精准捕捉帝王威仪，将宣宗仪容风骨刻画入微，尽显宫廷肖像画的严谨工整之风。",[24,25,860,106,28,7,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d2383a7c0d1e26db20e1bdb6b5818b6.jpg",[],{"id":41357,"slug":41358,"title":41359,"dynasty":99,"author":3774,"museum":316,"description":41360,"tags":41361,"thumbUrl":41362,"material":139,"size":139,"collection":139,"collections":41363,"showCount":386,"zanCount":48,"manualWeight":48,"mainColor":49},228314,"hua-shi-tu-lu-zhi-228314","花石图","这幅作品错落铺陈花木湖石，右上角山茶花艳红似火，苍劲枝干蟠曲舒展，尽显盛放热烈。中段蜀葵柔白清雅，叶片肥润舒展，与青绿晕染的玲珑湖石相映成趣，湖石皴染细腻，通灵剔透，将花姿衬得愈发娇妍。下方萱草抽茎舒瓣，柔姿轻曳，添了幽婉闲静之致。\n\n画作工写兼施，设色明秀雅致又层次丰盈，把草木的鲜活生机与湖石的沉静古雅相融，既兼具院体花鸟的写实细腻，又饱含文人画的秀逸格调，将仲夏庭间的鲜活雅致凝于绢素，一花一叶皆可见对自然意趣的细致体察。",[23,24,194,226,7,28,230,292,634,896,84,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff21574bc48e709759518e5032841160b.jpg",[],{"id":41365,"slug":41366,"title":16760,"dynasty":302,"author":5007,"museum":316,"description":41367,"tags":41368,"thumbUrl":41369,"material":139,"size":139,"collection":139,"collections":41370,"showCount":386,"zanCount":48,"manualWeight":48,"mainColor":94},228045,"qiu-shan-xing-lv-tu-sheng-mao-228045","此作用淡墨皴染山峦，层层铺展出秋日山林的萧疏苍润，飞泉自崖间垂落，点活了幽寂山境。坡岸松林苍劲错落，细笔勾勒枝叶，兼具挺秀与萧散之致。山径行旅人影点缀其间，衬出林山空阔辽远。\n\n画作以淡赭轻敷，晕染出秋高气清的氛围感，笔法兼得院体精工与文人雅致，将秋日山野的静谧悠远与行旅意趣相融，尺幅间铺展出声色俱寂却暗蕴生趣的山水诗境，尽显元代山水尚简淡、重意境的风神。",[23,24,25,194,29,173,177,7,685,378,109,1426,3960,176,212,5218],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F957c8bac516a56247b6613d7daeb6e4e.jpg",[],{"id":41372,"slug":41373,"title":41374,"dynasty":302,"author":3605,"museum":316,"description":41375,"tags":41376,"thumbUrl":41377,"material":139,"size":139,"collection":139,"collections":41378,"showCount":386,"zanCount":2368,"manualWeight":48,"mainColor":94},228031,"qian-kun-sheng-yi-tu-xie-chu-fang-228031","乾坤生意图","此卷以精工没骨绘就，秋葵、栀花与幽竹错落排布，柔枝舒展，艳而不俗。蝶蛱振翅、雀鸟掠影，纤毫毕现，将草木的温润柔态与虫禽灵动意趣刻画入微，晕染匀净古雅，满卷流动盎然生机。\n后附诸家题跋，行楷兼具，笔意隽秀疏朗，书画相映成趣，将观照小景所得的天地生机，晕染为一卷悠然鲜活的雅致长卷，尽显静雅意趣，寄寓着对自然生机的由衷赞叹。",[23,194,24,25,26,7,28,83,568,484,635,3712,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F458572dbd0c2965e335e70ccb4df8943.jpg",[],{"id":41380,"slug":41381,"title":41382,"dynasty":18,"author":2244,"museum":316,"description":41383,"tags":41384,"thumbUrl":41385,"material":139,"size":139,"collection":139,"collections":41386,"showCount":386,"zanCount":48,"manualWeight":48,"mainColor":49},227949,"su-qin-ji-tuan-tu-li-di-227949","宿禽激湍图","《宿禽急湍图》是宋代 的中国画作品，又名《 》，创造于南宋时期，作品内容为树梢和二鸟，收藏于美国 。\n《宿禽急湍图》为册页，作品使用水墨，淡设色，图中古柏依石而生，盘根错节，溪流湍急，飞泻而下，溅起阵阵浪花。\n二鸟栖，息枝头，怡然自得，与水浪形成静与动的对比。\n此图构图形式以峭拔的树梢和二鸟打破了对角线的布势，也使画面获得了平衡感。\n树木多用颤笔描绘，线条颤动。\n虬曲的古柏枝干和急湍的小溪使画面具有强烈的动感。\n以线勾勒和水墨烘染相结合来表现浪花，手法独特。\n李迪，生卒年不详，公元12世纪期间在世， （今河南省 ）人。\n宣和时为画院成忠郎，南宋绍兴时复职为画院副使，历事孝宗、光宗、宁宗三朝(1162-1224)，活跃于宫廷 几十年，画多艺精，颇负盛名。\n工花鸟竹石、鹰鹘犬猫、耕牛山鸡，长于写生，间作山水小景。\n构思精妙，功力深湛，雄伟处动人心魄。\n所作《 》温柔娇嫩可爱，《鸡雏图》形象生动超拔，刻画细致入微，各具神态。\n山水师李唐法，亦多佳作。\n论者谓其画鸠“作寒冷状，精俊如生”；画鹡鸰“翘翘欲起”。\n传世作品多，大多有年款。\n淳熙元年（1174年）作《风雨归牧图》轴，现藏 ；淳熙十四年（1187年）作《 》轴现藏 。\n庆元二年（1196）作《 》轴、庆元三年（1197年）《鸡雏侍饲图》册页、《猎犬图》册页，均藏故宫博物院。\n子德茂，理宗淳佑年间（1241-1252）画院待诏。\n画承家法，喜画花禽鹰鹘，野景不逮其父。\n所见李画最晚年款为庆元三年（1197年），如上溯到北宋宣和七年（1125年），需时七十三年，据此推算，则李氏存世之年龄应在九十以上。",[23,194,24,25,28,7,353,1530,109,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16085469ed0c7bef14f0566159320c01.jpg",[],{"id":41388,"slug":41389,"title":41390,"dynasty":18,"author":2244,"museum":316,"description":41391,"tags":41392,"thumbUrl":41393,"material":139,"size":139,"collection":139,"collections":41394,"showCount":386,"zanCount":48,"manualWeight":48,"mainColor":49},227948,"shuang-chan-tu-li-di-227948","双蟾图","画面以淡墨晕染勾勒出双蟾肌理，将其湿滑黏重的外皮质感表现得细腻传神。两只蟾蜍姿态灵动舒张，似正于草泽间探跃，将即将腾跃的瞬间定格。\n\n整幅画面清寂幽谧，简淡构图托举鲜活生趣，尽显对自然万物的入微体察，把郊野水畔的片刻生息凝为永恒，于细微之处见精妙写生功力，平淡间蕴藏盎然野意，让观者仿若窥见溪塘边的原生意趣。",[23,194,24,25,913,28,7,746,16753],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa97e92ce8f7bb565ac480c460e43ae5a.jpg",[],{"id":41396,"slug":41397,"title":41398,"dynasty":18,"author":257,"museum":316,"description":41399,"tags":41400,"thumbUrl":41401,"material":139,"size":139,"collection":139,"collections":41402,"showCount":386,"zanCount":2368,"manualWeight":48,"mainColor":49},227902,"bai-mei-cui-qin-tu-yi-ming-227902","白梅翠禽图","画面取一隅枝桠，寒梅初绽，翠禽独立，将早春清寂揉进尺幅之间。禽鸟刻画入微，绒羽蓬松柔润，腹羽暖褐与翎羽浓黑相映，翼上白羽似落雪轻沾，圆目凝睇，沉静安然，将生机藏于娴静姿态里。梅花勾勒细腻，瓣边晕染浅淡墨色，花苞缀于枝梢，清润雅致。苍劲枝桠虬曲伸展，留白铺陈出空阔淡远的意境。整体色调温婉柔和，以极简物象晕染出宋人雅趣，把花鸟之态融于幽寂氛围，尽显空灵隽永的宋韵品格，将早春枝头上的轻悄生机，晕成一段淡而不散的雅致诗意。",[23,194,24,25,28,7,83,820,209,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86abed12ed0046a10b30eaab1a6ca674.jpg",[],{"id":41404,"slug":41405,"title":41406,"dynasty":18,"author":41407,"museum":316,"description":41408,"tags":41409,"thumbUrl":41410,"material":139,"size":139,"collection":139,"collections":41411,"showCount":386,"zanCount":48,"manualWeight":48,"mainColor":94},227807,"yu-le-tu-zhou-dong-qing-227807","鱼乐图","周东卿","《宋元周东卿鱼乐图》是中国宋末元初时期的画家 创作的一幅中国古画。\n画作是纸本，设色，纵.8厘米,横59.7厘米。\n现收藏于美国 。\n此图以横卷式构图展开画面：依次绘出各种各样、大大小小的鱼类，在长满水草的水中，它们自由自在地漫游着，或有聚有散地沉浮穿梭着。\n画家以精细的笔调描绘出群鱼的轻巧灵动，萍藻的随波摇曳，以及碧水的流动之感和水中游鱼自得其乐的趣味。\n表现手法以没骨为主，以淡色、淡墨或极轻之笔触细加晕染，先画出鱼的形体，再用细线略勾鱼鳞和斑纹。\n萍藻是用更淡的墨勾染，生动地营造出其若隐若现之状。\n还有整个画面所呈现出的流动着的韵律，体现了群鱼恣肆盎然的生机，进而把观者带入轻松自由、疏放闲适的意境。\n是宋元的画鱼名家。\n关于他的生平，史料记载甚少。\n有文天祥赞周东卿画鱼诗云：“观君潇湘图，起我濠上心。\n”可见他还另有作品流传。",[23,194,24,25,26,28,173,7,722,319,212,3766],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faeae98aad7836a3579ce62bca5af282e.jpg",[],{"id":41413,"slug":41414,"title":41415,"dynasty":256,"author":41416,"museum":316,"description":41417,"tags":41418,"thumbUrl":41420,"material":599,"size":600,"collection":139,"collections":41421,"showCount":386,"zanCount":48,"manualWeight":48,"mainColor":94},226548,"zhen-yan-mi-mi-tu-xiang-chao-man-tu-luo-juan-cai-hui-juan-ri-ben-zhen-yan-zong-seng-hui-shen-226548","《真言秘密图像钞》（曼荼罗卷）彩绘卷","日本－真言宗僧惠什","日本真言宗僧惠什撰。又称尊容钞、惠什钞、十卷抄。本书类聚诸尊之梵号、密号、种子、三形、道场观、印契及真言，且绘出诸尊之形像与曼荼罗，并述密供之次第。依今京都鸣泷常乐院所藏之古写本，其内容分为诸佛部、经部、诸菩萨部、观音部、忿怒部、诸天部等六部，总为百尊六法。真言宗，日本佛教主要宗派之一，密宗的一种，空海法师在唐求法，回国后以东寺为道场弘法，故称东密。其后逐渐分为小野、广泽二流，从此二流又分化出大量分派，大致可分为新义、古义二派。真言宗僧惠什，日本和尚，出生年日本真言宗自根本之小野、广泽二流开始，虽衍生众多流派，然中世以来仅大别为新义、古义二派，江户时代，古义派多属高野山，新义派则隶属智山、丰山二山。月不详，本名惠什。",[23,25,26,6767,7,28,260,106,41419,19958,7690,33073],"曼荼罗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feab090e546a33f6addd580955eec18a4.jpg",[],{"id":41423,"slug":41424,"title":11067,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":41425,"thumbUrl":41426,"material":599,"size":600,"collection":139,"collections":41427,"showCount":386,"zanCount":2368,"manualWeight":48,"mainColor":94},226474,"ku-zhu-shi-bei-bi-yi-ming-226474",[511,260,7,106,245,175,22981],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d45984e666c87316ebe837b78138662.jpg",[],{"id":41429,"slug":41430,"title":4024,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":41431,"thumbUrl":41433,"material":599,"size":600,"collection":139,"collections":41434,"showCount":386,"zanCount":48,"manualWeight":48,"mainColor":49},226351,"ku-zhu-shi-zao-jing-yi-ming-226351",[511,7,260,30266,4028,33092,8170,22981,41432],"圆形纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26a0898cef25572fbc8344285ae23daf.jpg",[],{"id":41436,"slug":41437,"title":11067,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":41438,"thumbUrl":41439,"material":599,"size":600,"collection":139,"collections":41440,"showCount":386,"zanCount":2368,"manualWeight":48,"mainColor":49},226314,"ku-zhu-shi-bei-bi-yi-ming-226314",[511,260,7,106,4027,11625,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb83002f294aec337905a6726df1bda15.jpg",[],{"id":41442,"slug":41443,"title":11620,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":41444,"thumbUrl":41445,"material":599,"size":600,"collection":139,"collections":41446,"showCount":386,"zanCount":48,"manualWeight":48,"mainColor":2504},226269,"ku-zhu-shi-dong-bi-yi-ming-226269",[511,260,106,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79f1ab881551dccae8621a1c6752582e.jpg",[],{"id":41448,"slug":41449,"title":41450,"dynasty":256,"author":3184,"museum":316,"description":6534,"tags":41451,"thumbUrl":41452,"material":599,"size":600,"collection":3195,"collections":41453,"showCount":386,"zanCount":48,"manualWeight":48,"mainColor":2504},225632,"rembrandt-harmensz-van-rijn-041-lun-bo-lang-225632","Rembrandt Harmensz.van Rijn - 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劲洒脱，设色艳而不俗。在艺术处理上，作者善于把线条和色彩提炼得十分简洁，风格上显得敦厚古朴，这是此画的用笔特点。\n彻伯尔皇后着红袍，以大袍为礼服，袍式宽大曳地，袖身肥但口部收窄。冠与袍同色，饰以珍宝花饰，面料有织金锦、丝绒等，大多以大红为主，兼有黄、绿、茶、胭脂红、鸡冠紫、泥金等色。顶缀珠花，并插羽为饰。\n元世祖后彻伯尔，元史表作昭睿顺圣皇后，名察必。济宁忠武王按陈之女。初为世祖妃，中统二年（1262）被立为皇后。彻伯尔因容貌出众，德才兼备，是众多后妃中最受世祖宠爱的一位。彻伯尔后在生活上自奉俭约，率宫女制作结实美观的服饰、实用地毯，还创制了比甲服饰等，适于骑猎穿着。受到世祖和诸大臣的称赞。至元十八年（1281）得病去世。元成宗即位后，追谥昭睿顺圣皇后。\n元代有一批职业画家服务于宫廷，创作了不少帝后肖像画。台北故宫博物院收藏了一套《元代帝后像册》，帝像8帧：计为太祖成吉思汗、太宗窝阔台、世祖忽必烈、元成宗、元武宗、元仁宗、元文帝、元宁宗；后像15幅：计为元世祖后像一、顺宗后像三、武宗后像三、仁宗后像一、英宗后像二、明宗后像一、宁宗后像一以及后纳罕像一、佚名后像四。\n元代帝后肖像的显著特点是作胸像，而其他朝代的帝后像都是完整的全身像，这可能是蒙古族和汉族不同的审美好尚所致。画像的脸部烘染细腻，用微妙的色彩擦染塑造立体感。有研究者认为这样细腻的烘染手法可能与西南地区，特别是来白尼泊尔的画师阿尼哥（Anige）有关。据载阿尼哥曾为世祖、世祖皇后画过像，虽然无法确定是否就是此幅，二者风格上的渊源是毋庸置疑的。\n《唻洎頭條元世祖后像》中，皇后彻伯尔的帽子十分引人注目，几乎占了画面的一半空间，这种帽子叫作“罟罟冠”。“罟罟冠”原名叫“古库勒”，其名称的由来少见于记载，元代丘处机认为“罟罟冠”顶有一撮禽类的羽毛故而拟其声，女真人又称野兽为“故勒故”，推测元蒙时代“罟罟冠”的称谓，与其“取禽兽羽毛”的材质和女真人的发音都有一定的关系。至于“罟罟冠”的构造，分为两部分，即上部是一个顶稍宽的长简形，用桦木、柳枝或铁丝盘出形状来，胎骨外阿糊绒锦岁绢等，链顶装饰小珠，锦鸡等玲禽羽毛，顶郭折下部分的前中央，往上嵌有耀眼的太小珠翠，由两条带于把冠同定在头顶，旁边一缀上珠饰；下部是一抹横勒在额上的抹额，抹额在中间的传统可以追溯到北朝，时称“幕罗”，晦则发展为“帷幕”，称为“滟婆勘于”。尚婆勒干和上冠台之，便为所谓的罟罟冠。\n除开画像中对“罟罟冠”的描绘外，皇后的“一字眉”也非常有特色，这种眉形不仅细长而平齐，在元代流行的时间很长是蒙古族女特有的一种妆饰。通常的做法是先将天生的眉毛剃掉，然后画上细长的“一字眉”。\n蒙古女贵族的服装样式，则明显受到汉族女装的影响，宽的袖千绣满镂盒花边的领口，体现入主中原之后的“汉化”进程。《元世祖皇后像》中，皇后的衣服颜色是大红。元代以红为贵，衣服颜色亦象征着不同的社会等级最尊贵阶层穿红色和紫色的表服，中间阶层穿青色和绿色的农服，寻常百姓则只许穿檀褐色等暗色服装。",[23,24,25,28,7,106,23716,63,64,41570,302,11296],"古代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F444ec05610a71f67070ac1abd81d2630.jpg",[44,45],{"id":41574,"slug":41575,"title":41576,"dynasty":18,"author":2414,"museum":191,"description":41577,"tags":41578,"thumbUrl":41579,"material":123,"size":41580,"collection":139,"collections":41581,"showCount":386,"zanCount":48,"manualWeight":48,"mainColor":49},221673,"a-ge-tu-zhou-zhao-bo-ju-221673","阿阁图轴","这幅画佛盤膝坐毡上说法，下方海神身披弓剑跪地合掌参拜。前置海神奉献的聚宝盆。几上瓶中有烟，将说法内容显现于后，作云中的宫阙。但因绢色陈旧，不容易看清楚。全幅人物勾画圆劲，著色明净沉静，神采不减于新画。",[23,24,194,27,104,7,28,107,29,245,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e9a4900b271346803958202ba89e9f1.jpg","73.3x55.6",[],{"id":41583,"slug":41584,"title":41585,"dynasty":76,"author":77,"museum":56,"description":41586,"tags":41587,"thumbUrl":41588,"material":41589,"size":41590,"collection":181,"collections":41591,"showCount":386,"zanCount":48,"manualWeight":48,"mainColor":49},220980,"qing-chuan-lan-sheng-tu-yun-shou-ping-220980","晴川揽胜图","此图中所绘楼阁、山峦、丛林、江舟，乃武汉江岸黄鹤楼一带的胜景。\n画面构成右边以直线为主，林木直干密植，山峰耸立突兀，形成密不透风的格局，左边以横线描绘沙渚平波，空阔无际，左右对比大疏大密，别具新格。\n其运笔灵活洒脱，用墨浓淡相宜，层次分明。\n此图远处崇山之巅陡峰高耸入云，险峻奇峭；山腰间巉岩如屏，叠叠重重，山腰的平坡处隐现耸立的楼阁，丛树杂木掩映半边。\n近景山脚下为坡石冈埠，间植杂树林木，形成一片绿荫，画面左侧中景为水上民居，座落着村落和数间屋宁、曲折的河岸处，停泊为数众多的渔船，船上桅杆林立，也有几艘小舟横卧河心，不见人影，说明狂风暴雨接将来临，渔民暂避家憩息。",[23,24,25,226,7,177,104,29,107,34,795,176,109,1169,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56b2663bec907781942b77938278c47c.jpg","绫本设色","纵112厘米，横39.1厘米",[181,45],{"id":41593,"slug":41594,"title":25937,"dynasty":869,"author":4525,"museum":5351,"description":41595,"tags":41596,"thumbUrl":41598,"material":139,"size":139,"collection":139,"collections":41599,"showCount":386,"zanCount":2368,"manualWeight":48,"mainColor":94},220534,"ye-qu-xu-bei-hong-220534","浓墨挥写古柳老干，苍劲朴拙尽显岁月沉凝，细枝柔条以淡墨轻曳，疏密间漾开清寂野趣。两只喜鹊俊挺灵动，兼工带写勾勒翎羽，黑白分明，于枯寂枝桠间栖息顾盼，鲜活之气跃然纸上。右下角赭色杂草与附生的青绿藤蔓相映，为萧索冬景晕染几分暖意生机。\n\n画作融写意的苍浑与工笔的精细于一体，将郊野冬日的清寂与生命的灵动相融，萧索底色晕染盎然生趣，寥寥笔墨勾勒出疏淡雅致的野间意韵。",[24,173,7,353,245,83,1241,41597,912],"柳条","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab67d6ee5f9c13333af53cc3a7868c6c.jpg",[],{"id":41601,"slug":41602,"title":41603,"dynasty":76,"author":7596,"museum":316,"description":9775,"tags":41604,"thumbUrl":41605,"material":88,"size":9778,"collection":139,"collections":41606,"showCount":386,"zanCount":48,"manualWeight":48,"mainColor":94},220131,"mo-gu-shan-shui-hua-4-wang-hui-220131","摹古山水画4",[23,24,25,39954,7,173,177,29,108,109,174,34,176,3176,31,7599],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f39feb4bfd7c05be91065cc43167d1a.jpg",[],{"id":41608,"slug":41609,"title":41610,"dynasty":76,"author":7596,"museum":316,"description":9775,"tags":41611,"thumbUrl":41612,"material":88,"size":9778,"collection":139,"collections":41613,"showCount":386,"zanCount":48,"manualWeight":48,"mainColor":94},220130,"mo-gu-shan-shui-hua-5-wang-hui-220130","摹古山水画5",[23,24,39954,7,29,177,108,109,150,795,353,176,106,1049],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F007cf6e6237657652062701099155b76.jpg",[],{"id":41615,"slug":41616,"title":6159,"dynasty":76,"author":494,"museum":78,"description":41617,"tags":41618,"thumbUrl":41619,"material":88,"size":41620,"collection":44,"collections":41621,"showCount":386,"zanCount":2368,"manualWeight":48,"mainColor":49},219986,"su-wu-mu-yang-tu-huang-shen-219986","黄慎生于清康熙二十六年（1687年）五月五日（6月14日），乾隆三十五年（1770年）84岁时尚在，卒年不详，幼丧父，以卖画为生，奉养母亲。初随上官周学画，后离家出游，曾多次在扬州卖画。方十八九岁，寄身萧寺，昼为画，夜无所得烛，从佛光明灯下读书。其艺既擅，出游豫章，历吴、越，康熙五十八年（一七一九）至扬州鬻画，人争客之。雍正五年（一七二七）以母垂老，不欲远离，乃奉居扬州，又三年乃返闽，郑燮赠以诗。乾隆三十三年（一七六八）年八十二，尚作花卉册。慎工草书，法怀素。画人物，多取神仙故事为题材，初学上官周，后用狂草笔法作画。笔姿放纵，气象雄伟，深入古法，亦偶有笔过伤韵者。间作山水、花鸟，得荒率之致。所画多历史人物、佛道、樵夫渔父，早年工细，后参以怀素草书笔法，所作人物用笔粗犷，顿挫转折，纵横排奡，气象雄伟。花鸟笔法洗练，形象概括，画风泼辣；山水境界开阔，注重诗意的表达。",[24,194,25,226,173,7,498,178,86,106,746,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef53ca2e7ccb40467e5fb25716a2c918.jpg","纵198厘米，横109.5厘米",[44],{"id":41623,"slug":41624,"title":41625,"dynasty":99,"author":9392,"museum":8208,"description":41626,"tags":41627,"thumbUrl":41628,"material":123,"size":41629,"collection":181,"collections":41630,"showCount":386,"zanCount":48,"manualWeight":48,"mainColor":49},219939,"han-lin-tiao-shu-tu-zhang-lu-219939","寒林挑书图","张路（1464-1538），字天驰，号平山，仅以字行于世，祥符（今河南开封）人。擅山水、人物，行笔劲峻顿挫，力可扛鼎。少年聪慧，见吴道子、戴进所画人物，临摹肖其神，以画成名。",[23,24,173,7,177,498,106,795,3883,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F421caf7257300c2841033656677c2b35.jpg","132.4x71.4",[181],{"id":41632,"slug":41633,"title":41634,"dynasty":76,"author":742,"museum":20,"description":41635,"tags":41636,"thumbUrl":41638,"material":88,"size":41639,"collection":44,"collections":41640,"showCount":386,"zanCount":48,"manualWeight":48,"mainColor":94},219629,"ren-yi-hua-shen-lu-ting-du-hua-tu-xiang-zhou-ren-yi-219629","任颐画沈芦汀读画图像轴","画面分为上下两段，文墨相融。下方写意绘就雅集读画的场景，对坐的主客神态专注，侍者垂手捧卷静立一旁，人物形神兼备，衣纹线条简括灵动，水墨晕染出树影苍润，浅淡设色衬出雅致清和的氛围，将文人赏画的闲散意趣尽显。上方题诗笔意舒展，与画作呼应，把寄情书画、耽于林泉的林下风流铺陈开来。整作以写意之笔，摹写文人雅事，尽显清淡隽秀的文人审美意韵。",[23,24,25,226,7,173,178,41637,106,24391,8804,34,212],"工笔写意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5e54df0d3458667c8290256debccb71.jpg","纵33cm，横40cm",[44],{"id":41642,"slug":41643,"title":41644,"dynasty":76,"author":329,"museum":191,"description":41645,"tags":41646,"thumbUrl":41647,"material":123,"size":41648,"collection":45,"collections":41649,"showCount":386,"zanCount":1379,"manualWeight":48,"mainColor":94},219422,"shi-jun-tu-zhi-nie-yun-shi-zhou-lang-shi-ning-219422","十骏图之籋云驶轴","骏马伫立绢间，身姿挺拔似蓄势待发，鬃尾如墨线流转却不失蓬松质感。斑纹晕染自然，似晨曦拂过皮毛，肌肉的起伏藏着解剖学的精准，却以东方设色的温润消解了西画的生硬。素净背景上，题字与朱印错落，添了几分古雅韵致。它将西方写实的生动与东方写意的空灵揉合，每一笔都似在诉说骏马的灵动与画师的巧思，让观者于方寸间见得跨文化艺术碰撞的火花，尽显皇家名驹的神采与画作的独特魅力。",[24,7,28,150,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1119013fe0d826d6735418558cca191c.jpg","239.5x270.4",[45],{"id":41651,"slug":41652,"title":41653,"dynasty":99,"author":257,"museum":608,"description":41654,"tags":41655,"thumbUrl":41656,"material":123,"size":41657,"collection":90,"collections":41658,"showCount":386,"zanCount":48,"manualWeight":48,"mainColor":49},218984,"ku-zhi-han-que-tu-yi-ming-218984","枯枝寒雀图","这幅画描绘了一只长尾小鸟站在一根枯枝上，羽毛蓬松，脖子略显萎缩，眼神略显呆滞，迎着寒风，周围是光秃秃的树枝和散落的树叶，一副荒凉的场景。",[24,25,83,7428,245,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb30e7b258206ffc7c6e1012de8dece2a.jpg","17.8x22.4cm",[90],{"id":41660,"slug":41661,"title":41662,"dynasty":99,"author":257,"museum":608,"description":41663,"tags":41664,"thumbUrl":41665,"material":123,"size":41666,"collection":90,"collections":41667,"showCount":386,"zanCount":48,"manualWeight":48,"mainColor":49},218983,"shuang-feng-tu-yi-ming-218983","双凤图","双凤立于苍石之上，一昂首扬尾，羽色斑斓；一低首理翎，姿态娴静。笔触细腻处，翎羽纹理毕现，古朴色泽中透着温润；写意间，墨竹疏斜，花草点缀，衬出清幽之境。山石的厚重与凤鸟的灵秀相映，满含祥瑞之气，尽显古典花鸟的雅致韵致与自然生机。笔墨工写相济，将凤鸟的灵动与环境的静谧完美融合，传递出传统艺术中对生命与祥瑞的美好期许。",[23,24,25,28,7,83,3144,227,263,380,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2281d3ed1187e1095135d352c1b21d46.jpg","155.3x103.2cm",[90],{"id":41669,"slug":41670,"title":41671,"dynasty":18,"author":257,"museum":78,"description":41672,"tags":41673,"thumbUrl":41674,"material":123,"size":41675,"collection":90,"collections":41676,"showCount":386,"zanCount":48,"manualWeight":48,"mainColor":49},218973,"jin-ji-zhu-que-tu-yi-ming-218973","锦鸡竹雀图","画在河岸边倾斜的石头上，翠绿的竹子、荆棘和杂草在石头堆中顽强地生长着，两只野鸭雏鸟蜷缩着脖子在石头上休息，而一对彩色的鸟儿相对站在上面的枯枝上，下面的鸟儿歪着头紧紧地盯着上面的鸟儿，专注而爱怜。",[194,24,25,28,7,83,227,4323,209,230,34,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F654c4e85a777c9fd02c4b1bd5b7eed32.jpg","24.3x24.9cm",[90],{"id":41678,"slug":41679,"title":41680,"dynasty":18,"author":257,"museum":191,"description":41681,"tags":41682,"thumbUrl":41683,"material":123,"size":41684,"collection":181,"collections":41685,"showCount":386,"zanCount":48,"manualWeight":48,"mainColor":94},218815,"liu-an-he-tang-tu-yi-ming-218815","柳岸荷塘图","这幅画描绘了一个芦苇茂盛的荷塘，荷叶田田，五支老箭极为茂盛，说明这里是陶渊明的隐居之地，过了小桥就能看到南山。",[23,194,24,7,29,1260,177,2532,228,136,378,685,262,1135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15878898e2639dfb24e355516ff4dd5f.jpg","25.4x26.4",[181],{"id":41687,"slug":41688,"title":41689,"dynasty":302,"author":303,"museum":191,"description":41690,"tags":41691,"thumbUrl":41692,"material":123,"size":139,"collection":181,"collections":41693,"showCount":386,"zanCount":48,"manualWeight":48,"mainColor":94},218781,"tao-sheng-song-yun-tu-qian-xuan-218781","涛声松韵图","松枝盘曲如篆，墨色苍润间见清劲；流泉漱石，涛声似可闻于纸上。山石以细劲线条勾廓，皴染相济显丘壑层次；松针挺劲如钉，笔笔含力，透出苍然生机。浅赭设色温润，衬得山林幽寂。天际孤鸟轻掠，为静景添丝灵动，更衬天地空阔。整幅画不重繁复布景，却以简淡之笔营造“天人合一”的清旷意境，藏着文人对自然的深情与尘外之境的向往。笔墨间漾着宋元之际文人的散淡襟怀，不追形似而重神韵，观之如置身林泉，心随松涛泉响，渐入澄明之境。",[23,24,1260,7,177,29,1273,109,245,176,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2f58b1ae6d25b570dc4eefb629ed142.jpg",[181],{"id":41695,"slug":41696,"title":24168,"dynasty":18,"author":257,"museum":191,"description":31068,"tags":41697,"thumbUrl":31070,"material":123,"size":41698,"collection":90,"collections":41699,"showCount":386,"zanCount":48,"manualWeight":48,"mainColor":94},218696,"an-chun-tu-yi-ming-218696",[23,24,25,28,7,83,7956,212],"35.3x25.8",[90],{"id":41701,"slug":41702,"title":12843,"dynasty":99,"author":257,"museum":442,"description":41703,"tags":41704,"thumbUrl":41705,"material":123,"size":41706,"collection":44,"collections":41707,"showCount":386,"zanCount":48,"manualWeight":48,"mainColor":49},218522,"xian-ren-tu-yi-ming-218522","这幅画看似是微风中的烈子，衣服用粗笔，脸部用细笔勾勒，来自梁楷的传承，但笔触太直，已经属于明代风格。",[194,24,25,106,260,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4932dfc1a846972a9cc06faf44422573.jpg","23x23",[44],{"id":41709,"slug":41710,"title":41711,"dynasty":302,"author":257,"museum":78,"description":41712,"tags":41713,"thumbUrl":41715,"material":123,"size":41716,"collection":181,"collections":41717,"showCount":386,"zanCount":48,"manualWeight":48,"mainColor":49},218216,"bi-wu-ting-xie-tu-yi-ming-218216","碧梧亭榭图","这幅画描绘的是一座美丽的亭子和榭廊，位于一片茂密的森林之中。亭子呈方形，由木构建筑搭建而成，四周环绕着一圈小山丘。亭子上方是一座榭廊，榭廊的栏杆由许多小木棍组成，看上去十分精致。\n\n在亭子的中心有一个圆形的池塘，池塘周围种满了许多花草，荷花、菊花、牡丹等各种鲜艳的花朵相互辉映，颜色鲜艳夺目。在池塘中央有一只小鸟儿正在游泳，一群小鸭子在岸边嬉戏。\n\n整幅画非常美丽，构图巧妙，色彩鲜艳，是一幅非常优秀的画作。它所描绘的这座亭子和榭廊，是人们在繁忙的城市生活中的一片净土，是人们放松身心的好去处。它也是一幅富有意境的画作，让人感受到自然的和谐与宁静。",[194,24,104,7,175,107,2340,34,212,41714],"宁静","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b4393613c35a03edb85252ef3c1dbd1.jpg","26x22cm",[181],{"id":41719,"slug":41720,"title":41721,"dynasty":99,"author":206,"museum":191,"description":41722,"tags":41723,"thumbUrl":41725,"material":1319,"size":41726,"collection":181,"collections":41727,"showCount":386,"zanCount":48,"manualWeight":48,"mainColor":49},218141,"gu-yu-fei-tao-tu-sun-ke-hong-218141","孤屿飞涛图","孤屿飞涛图是明朝画家孙克弘的一幅著名的写意山水画作品。这幅画描绘了一个孤岛上的悬崖峭壁和奔腾的海浪。画中的孤岛位于茫茫大海之中，周围没有其他的岛屿或陆地。这使得孤岛显得格外的孤独，令人想象。\n\n孤屿飞涛图画风精细，笔画流畅，色彩鲜明。画中的海浪十分壮观，充满了生命力和动感。孤岛上的山峰高耸，悬崖峭壁俯瞰着海面，使得整幅画充满了险峻的气氛。\n\n孙克弘是明朝时期的一位著名画家，他的作品中经常出现山水、花鸟、人物等题材。孙克弘善于运用自然的色彩和线条来描绘自然美景，使他的作品充满了生机和活力。孤屿飞涛图就是他的一幅杰作，充分展现了他的画风和技巧。\n\n总的来说，孤屿飞涛图是一幅优秀的写意山水画作品，值得一看。",[23,24,25,81,173,7,29,230,41724,262],"波涛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f979371de8839632bf5dcdf028a48c6.jpg","22.7x26.6cm",[181],{"id":41729,"slug":41730,"title":41731,"dynasty":76,"author":997,"museum":608,"description":998,"tags":41732,"thumbUrl":41733,"material":88,"size":139,"collection":44,"collections":41734,"showCount":386,"zanCount":48,"manualWeight":48,"mainColor":94},218127,"zhong-song-tu-shi-tao-218127","种松图",[23,24,7,173,86,212,178,106,1133,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2c08b724a41ded1b9e47ee7bd779b63.jpg",[44],{"id":41736,"slug":41737,"title":41738,"dynasty":99,"author":257,"museum":5827,"description":41739,"tags":41740,"thumbUrl":41741,"material":123,"size":41742,"collection":181,"collections":41743,"showCount":386,"zanCount":48,"manualWeight":48,"mainColor":49},217918,"liu-an-xue-yu-tu-yi-ming-217918","柳岸雪渔图","柳岸雪渔图是明朝时期的一幅绘画作品，作者不详。这幅画描绘了一个冬天的景象，一位渔夫正在雪地里钓鱼。画面中的柳树上积了厚厚的一层雪，而渔夫则穿着厚厚的衣服，站在寒冷的柳岸边。他手里拿着鱼竿，似乎正在等待鱼儿上钩。\n\n这幅画被认为是明朝时期绘画艺术的代表作之一，因为它体现了当时绘画艺术的特点：细致、精细、写实。画面中的每一个细节都被精心描绘，比如渔夫的衣服、柳树的枝叶、雪地的花纹。\n同时，这幅画还体现了明朝时期艺术家对自然界的热爱。画中的冬天景象并不寒冷而残酷，相反，它给人以温馨、宁静的感觉。渔夫手边的鱼缸里放着一条活鱼，这也许意味着他已经成功地钓到了鱼，并且生活充满希望。\n\n总的来说，柳岸雪渔图是一幅描绘冬天景象的优秀绘画作品，它展现了明朝时期艺术家的精湛画技和对自然界的热爱。",[24,173,7,1260,29,1241,1135,2086,796,6582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62f30799baed7df89bbb654c278069a2.jpg","26.5x30.5cm",[181],{"id":41745,"slug":41746,"title":41747,"dynasty":76,"author":257,"museum":132,"description":41748,"tags":41749,"thumbUrl":41750,"material":1319,"size":41751,"collection":181,"collections":41752,"showCount":386,"zanCount":48,"manualWeight":48,"mainColor":49},217868,"wan-ya-gui-chao-tu-yi-ming-217868","万鸦归巢图","万鸦归巢图被认为是一件杰出的艺术品，它的画面表现力极强，能够很好地展现出乌鸦的自然姿态和生动的情感。画中的乌鸦们振翅高飞，翅膀展开，看起来十分活泼，而背景中的巢穴更是精致入微，画家用极为细腻的笔法勾勒出了巢穴的细节，使得画面更加逼真。\n\n此外，画家还运用了鲜艳的颜色，使得整幅画面更加生动。画中的乌鸦们以黑色为主色调，但是画家运用了不同的色彩，让乌鸦看起来更加丰富。而背景中的巢穴则用了深蓝色来表现，与乌鸦的黑色形成鲜明的对比。\n\n总的来说，万鸦归巢图是一幅充满生机和艺术气息的画作，画家通过精湛的绘画技巧和运用色彩的巧妙，将乌鸦的自然姿态和生动的情感展现得淋漓尽致。",[24,7,226,28,245,353,176,109,7428,29,83,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae1b19db856e2814e964798fc097cea7.jpg","156.7x67.3cm",[181],{"id":41754,"slug":41755,"title":41756,"dynasty":76,"author":2849,"museum":316,"description":13918,"tags":41757,"thumbUrl":41758,"material":123,"size":139,"collection":139,"collections":41759,"showCount":386,"zanCount":48,"manualWeight":48,"mainColor":642},217260,"li-dai-di-wang-zhen-xiang-6-yao-wen-han-217260","历代帝王真像-6",[24,194,28,7,106,406,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49c7bca6d9ddafd2148ac681fa3151da.jpg",[],{"id":41761,"slug":41762,"title":41763,"dynasty":76,"author":3061,"museum":191,"description":41764,"tags":41765,"thumbUrl":41766,"material":88,"size":41767,"collection":44,"collections":41768,"showCount":386,"zanCount":48,"manualWeight":48,"mainColor":94},2169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苏州府长洲（今江苏苏州）人。大书画家文徵明次子。\n吴门派代表画家。初为乌程训导，后为和州学正。\n能诗，工书，小楷清劲，亦善行书。精于鉴别古书画，工石刻，为明一代之冠。画得徵明一体，善画山水，笔法清脆，颇近倪瓒，着色山水具幽澹之致，间仿王蒙皴染，亦颇秀润，兼作花卉。明人王世贞评：“其书不能如兄，而画得待诏（文徵明）一体。”詹景凤亦云：“嘉小楷轻清劲爽，宛如瘦鹤，稍大便疏散不结束，径寸行书亦然，皆不逮父。”",[24,25,1260,7,83,27024,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71faa4378c6f9e8510d6f90708e3ceb4.jpg",[],{"id":42118,"slug":42119,"title":42120,"dynasty":76,"author":9921,"museum":316,"description":42121,"tags":42122,"thumbUrl":42123,"material":599,"size":600,"collection":139,"collections":42124,"showCount":324,"zanCount":48,"manualWeight":48,"mainColor":94},235562,"tao-yuan-ming-gui-qu-lai-ci-tu-shan-ye-jiao-bing-zhen-235562","陶渊明归去来辞图扇页","此图根据陶渊明《归去来辞》文意，描绘陶氏辞官隐居，离船登岸时受到“童仆欢迎”的场景。作者作为曾受过西洋技法影响的画家，在此件创作上除了茅屋结构有些许透视外，受西方画法的影响尚不明显，其笔法基本属于中国传统的人物山水画范畴。作者注重以形写神，将陶氏下船时小心翼翼的举止，和童仆们恭敬的神态均刻画得生动传神。",[1260,24,25,7,28,29,106,34,35,230,1171,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fabb13a531648cafb448d513a0361f6.jpg",[],{"id":42126,"slug":42127,"title":42128,"dynasty":76,"author":742,"museum":316,"description":1373,"tags":42129,"thumbUrl":42130,"material":599,"size":600,"collection":139,"collections":42131,"showCount":324,"zanCount":48,"manualWeight":48,"mainColor":94},235410,"gui-mu-tu-zhou-ren-yi-235410","归牧图轴",[24,25,226,173,7,498,177,151,106,795,245,8882],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5a255d8a5587e721f7641ff82ff02e1.jpg",[],{"id":42133,"slug":42134,"title":42135,"dynasty":76,"author":742,"museum":316,"description":12076,"tags":42136,"thumbUrl":42137,"material":40,"size":12080,"collection":139,"collections":42138,"showCount":324,"zanCount":48,"manualWeight":48,"mainColor":94},234994,"hua-hui-ling-mao-ping-12-ren-yi-234994","花卉翎毛屏12",[24,7,226,83,353,1353,84,3442],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5870bd8f431964529394a7aa9ab6cb0f.jpg",[],{"id":42140,"slug":42141,"title":42142,"dynasty":76,"author":742,"museum":316,"description":12076,"tags":42143,"thumbUrl":42146,"material":40,"size":12080,"collection":139,"collections":42147,"showCount":324,"zanCount":48,"manualWeight":48,"mainColor":94},234993,"hua-hui-ling-mao-ping-11-ren-yi-234993","花卉翎毛屏11",[24,194,25,226,7,28,83,2703,42144,554,62,42145,212],"豆藤","竹架","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc51dae55e91611f90ab3b25efa239ea.jpg",[],{"id":42149,"slug":42150,"title":42151,"dynasty":76,"author":742,"museum":316,"description":12076,"tags":42152,"thumbUrl":42153,"material":40,"size":12080,"collection":139,"collections":42154,"showCount":324,"zanCount":48,"manualWeight":48,"mainColor":94},234987,"hua-hui-ling-mao-ping-5-ren-yi-234987","花卉翎毛屏5",[194,24,25,226,7,28,83,836,1187,209,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F183eeaea248695005ebfe5882e2006cb.jpg",[],{"id":42156,"slug":42157,"title":42158,"dynasty":76,"author":20260,"museum":316,"description":42159,"tags":42160,"thumbUrl":42161,"material":599,"size":600,"collection":139,"collections":42162,"showCount":324,"zanCount":48,"manualWeight":48,"mainColor":94},234844,"mu-dan-ling-zhi-tu-ye-li-fang-ying-234844","牡丹灵芝图页","李方膺（1695年—1755年），字虬仲，号晴江，别号秋池，抑园，白衣山人等，江南通州（今江苏南通）人。寓居金陵借园，自号借园主人。中国清代诗画家、官员，能诗，擅画松竹兰菊，尤长写梅。用笔倔强放纵，不拘成法，苍劲有致，为“扬州八怪”之一。为官刚正不阿，廉洁爱民。出身官宦之家，曾任乐安县令、兰山县令、潜山县令、代理滁州知州等职，为官时有惠政，人德之，后因遭诬告被罢官，去官后寓南京借园，自号借园主人，常往来扬州卖画。与李鱓、金农、郑燮等往来，工诗文书画，擅梅、兰、竹、菊、松、鱼等，注重师法传统和师法造化，能自成一格，其画笔法苍劲老厚，剪裁简洁，不拘形似，活泼生动。被列为扬州八怪之一。有《风竹图》《游鱼图》《墨梅图》等传世。著《梅花楼诗钞》。善画松、竹、兰、菊、梅、杂花及虫 鱼，也能人物、山水，尤精画梅。作品纵横豪放、墨气淋漓，粗头乱服 ，不拘绳墨，意在青藤、白阳、竹憨之间。画梅以瘦硬见称，老干新枝 ，欹侧蟠曲。用间印有“梅花手段”，著名的题画梅诗有“不逢摧折不离奇”之句。还喜欢画狂风中的松竹。工书。能诗，后人辑有《梅花楼诗草》，仅二十六首，多数散见于画上。",[194,24,173,7,81,498,292,8848,229,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fada2f010f959e38a108f686d852e440a.jpg",[],{"id":42164,"slug":42165,"title":42166,"dynasty":76,"author":42167,"museum":316,"description":9031,"tags":42168,"thumbUrl":42169,"material":139,"size":139,"collection":139,"collections":42170,"showCount":324,"zanCount":2368,"manualWeight":48,"mainColor":94},234587,"he-tang-fei-yan-wan-shan-xin-yue-234587","荷塘飞燕纨扇","辛樾",[24,25,1260,173,7,28,83,228,136,137,245,2533],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6520d05d1c8a90a069b4eea658183e03.jpg",[],{"id":42172,"slug":42173,"title":42174,"dynasty":76,"author":2883,"museum":20,"description":29030,"tags":42175,"thumbUrl":42177,"material":770,"size":139,"collection":139,"collections":42178,"showCount":324,"zanCount":48,"manualWeight":48,"mainColor":49},234365,"rui-gu-tu-zhou-jiang-ting-xi-234365","瑞谷图轴",[24,28,7,226,42176,838,209,212],"谷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0929a4c044c295d21e5fe7c28110245d.jpg",[],{"id":42180,"slug":42181,"title":42182,"dynasty":99,"author":857,"museum":316,"description":42183,"tags":42184,"thumbUrl":42185,"material":770,"size":139,"collection":139,"collections":42186,"showCount":324,"zanCount":2368,"manualWeight":48,"mainColor":94},234258,"dan-chang-zhou-chen-hong-shou-234258","弹唱轴","陈洪绶（1599年—1652年），字章侯，幼名莲子，一名胥岸，号老莲，别号小净名，晚号老迟、悔迟，汉族，浙江绍兴府诸暨县枫桥陈家村（今诸暨市枫桥镇陈家村）人。明末清初书画家、诗人。\n年少师事刘宗周，补生员，后乡试不中，崇祯年间召入内廷供奉。明亡入云门寺为僧，后还俗，以卖画为生，死因说法不一。亦能画水墨写意花卉，酣畅淋漓。还长于为文学作品创作插图，能表现出原作人物的精神气质。其画手法简练，色彩沉着含蓄，格调高古，享誉明末画坛，与当时的顺天崔子忠齐名，号称“南陈北崔”。其人物画成就，人谓“力量气局，超拔磊落，在仇（英）、唐（寅）之上，盖明三百年无此笔墨”；当代国际学者推尊他为“代表十七世纪出现许多有彻底的个人独特风格艺术家之中的第一人”。\n陈洪绶去世后，其画艺画技为后学所师承，堪称一代宗师，名作《九歌图》（含《屈子行吟图》）、《插图》、《水浒叶子》、《博古叶子》等版刻传世，工诗善书，有《宝纶堂集》。",[23,24,25,26,28,7,352,106,229,2385,615],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd7b56da018814c611b2efc6f220be42d.jpg",[],{"id":42188,"slug":42189,"title":8001,"dynasty":99,"author":170,"museum":20,"description":42190,"tags":42191,"thumbUrl":42192,"material":500,"size":42193,"collection":139,"collections":42194,"showCount":324,"zanCount":48,"manualWeight":48,"mainColor":94},233831,"xing-hua-tu-zhou-shen-zhou-233831","画上瘦杏一株，花开烂漫，仍是折枝简笔，却多添了颜色。树干以赭色填充，花片则淡粉轻红，温润又悦目，几乎可以想象他挥毫时愉快的心情。也有题跋，也有诗：\n布甥简静好学，为完庵先生曾孙，人以科甲期之，壬戌科，果登第。尝有桂枝贺其秋闱，兹复写杏一本以寄，俾知完庵遗泽所致也。\n与尔近居亲亦近，今年喜尔掇科名。杏花旧是完庵种，又见春风属后生。\n意思是说，你考得这样好，我画杏花表示祝贺。刘家世代书卷气不绝，大家都期待你的成绩。如今成功了，莫要忘记祖爷爷的遗泽。这些话里全无架子，只透出一片温暖平实。",[24,25,226,173,7,498,86,212,2328,836,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61ece9a78838b66a815a3309957c7e09.jpg","纵80cm横33.5cm",[],{"id":42196,"slug":42197,"title":42198,"dynasty":99,"author":16749,"museum":20,"description":42199,"tags":42200,"thumbUrl":42201,"material":160,"size":42202,"collection":139,"collections":42203,"showCount":324,"zanCount":48,"manualWeight":48,"mainColor":49},233743,"xue-ye-fang-pu-tu-zhou-liu-jun-233743","雪夜访普图轴","此图描写宋太祖赵匡胤雪夜访赵普的历史故事。据《宋史·赵普本传》记载：“太祖数微行过功臣家，普每退朝，不敢便衣冠。一日，大雪问夜，普意帝不出。久之，闻叩门声，普亟出，帝立风雪中，普惶惧迎拜，帝曰：‘已约晋王矣。'已而太宗至，设重裀地坐堂中，炽炭烧肉，普妻行酒，帝以嫂呼之。因与普计下太原。”画面描绘的正是这一历史情景。在门庭宽敞、屋宇数重的枢密副史府内，前厅正中二人围炉而坐。上首坐的是宋太祖赵匡胤，他头扎巾帽，身穿盘领窄袖袍服，腰束锦带，身材魁伟，气度不凡，其庄严的表情，侧首聆听的姿态，恰当地表现了深夜访贤、商议国家大事的仪态和心境。身着便服的枢密副史赵普在下首侧坐，恭谦地侃侃而谈，细致地刻画出了他诚恳献策的谋臣风度。画家在着意刻画主体人物的同时，对景象做了细致的描写。近岩远山，老树昏鸦，均被夜色笼罩着，竹叶、树枝、屋脊上覆盖着皑皑白雪，天气显然很寒冷。为突出赵匡胤的天子身份，在大门外象征性地画有四个侍卫，他们似乎守候已久。这些细微的描绘，深化了雪夜访贤的主题。\n此画构图主次分明，主题突出，人物刻画精细生动，屋宇、什物结构精确，线条工整。山石树木的勾斫皴擦，既保持了宋人画的劲健之笔，又呈疏简之势，反映了明代院体画所呈现的变化。",[99,28,7,104,106,107,795,2086,115,176,29,18859],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81f47baeede3a2d6d5c1ecf52f831c21.jpg","纵143.2厘米，横75厘米",[],{"id":42205,"slug":42206,"title":16131,"dynasty":76,"author":3221,"museum":20,"description":42207,"tags":42208,"thumbUrl":42209,"material":770,"size":42210,"collection":139,"collections":42211,"showCount":324,"zanCount":48,"manualWeight":48,"mainColor":94},233728,"wu-rui-tu-zhou-xu-gu-233728","瓶花是虚谷喜画的题材之一。图中蜜桃、枇杷、百合等是日常生活中常见的花果，给人以朴素、亲切的感觉。图中瓷瓶及百合用勾染法描绘，线条简练，造型准确；花卉、蜜桃及枇杷用没骨法表现，层层渲染，增添了花果的层次感及质感。画面设色润泽鲜艳，富有淡雅清新的韵味。\n“五瑞”即端午祥瑞之意。蜜桃、枇杷、百合均有吉祥寓意。此图当为祝贺是年端午节而作。",[24,7,498,83,84,569,22446,210,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6eacdc52cbfaccb9957c899b8b80fc7e.jpg","纵177.8厘米，横46.3厘米",[],{"id":42213,"slug":42214,"title":42215,"dynasty":54,"author":257,"museum":20,"description":42216,"tags":42217,"thumbUrl":42218,"material":40,"size":42219,"collection":139,"collections":42220,"showCount":324,"zanCount":48,"manualWeight":48,"mainColor":49},233454,"bai-yi-guan-yin-xiang-ye-yi-ming-233454","白衣观音像页","画面左侧为白衣观音，面微向右，屈腿坐于方形束腰台座上。头束高髻，戴化佛冠，顶披白纱，项饰璎珞，内着红色僧祇支，外穿白色田相袈裟。面相丰满，造型已呈女性化。右手执柳枝，左手下垂提净瓶搭于左膝上，跣足踏莲花。观音头上部有伞形华盖，身后有头光、身光。神态自然安详。六方柱形仰莲台上供养盆花牡丹。右侧画一男性供养人，面朝观音，跪于方毯上，头戴幞头，衣淡黄色袍，束玉带，手持鹊尾香炉，清烟缭绕。后立一侍童，梳双髻，右手持扇，左手抱包袱。上方祥云中现仰莲座四股金刚杵，再上现童子飞天，乘祥云作倾盆散花状，有坿叶仙桃散布空际。背景处有朱红色凭栏一排，观音与供养人之间有长方形榜题框一则，内无字。此画内容丰富，结构严谨，相互呼应。线条以铁线描为主，遒劲有力，敷色以青、红、白为主，部分头饰和飘带描金，色调富丽浓艳。\n白衣观音又名白处观音、白住处观音，是观音菩萨呈现的诸多相貌之一。白色喻纯净，象征菩提之心，表示观音胸怀菩提之心。据《观世音现身种种愿除一切陀罗尼》经中说，供养此观音时应用白净的细布画观世音形像——身着白衣，坐莲座上，一手持莲花，一手提净瓶。据说诵念白衣观音经咒后白衣观音即可出现，而且能随供者所欲求愿悉得。因此，白衣观音也是密宗经常供奉的观音菩萨之一。中国古代许多画家都曾画过白衣观音像，元、明以后这个题材较为流行。在敦煌遗画中，白衣观音像并不多见，此画为国内仅见的早期作品。",[24,25,81,7230,260,7,28,106,406],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d4982691c1fa2d46776ddc4943652c6.jpg","纵52厘米，横55.2厘米",[],{"id":42222,"slug":42223,"title":42224,"dynasty":302,"author":303,"museum":20,"description":42225,"tags":42226,"thumbUrl":42227,"material":1123,"size":42228,"collection":139,"collections":42229,"showCount":324,"zanCount":48,"manualWeight":48,"mainColor":94},232986,"gu-shan-tu-juan-qian-xuan-232986","孤山图卷","本幅设色，左方自题七绝一首，款：”吴兴钱舜举“。题跋：引首陈沂篆书”溪诗画“本幅上面弘历题诗，后隔水弘历书诗，后幅文征明书林逋诗数首，梁诗正书赋。印记：引首四方，本幅及前后隔水有项子京，乾隆，宣统等引49方，半印一方，后幅印24方。",[23,24,25,26,29,7,28,86,212,175,378,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12955f6e35b97926ac45250b8c8c005a.jpg","纵92.5cm，横23.4cm",[],{"id":42231,"slug":42232,"title":42233,"dynasty":76,"author":329,"museum":20,"description":42234,"tags":42235,"thumbUrl":42237,"material":67,"size":42238,"collection":139,"collections":42239,"showCount":324,"zanCount":48,"manualWeight":48,"mainColor":49},232969,"ma-shu-tu-zhou-lang-shi-ning-232969","马术图轴","阿睦尔撒纳与初登准噶尔部汗位的达瓦齐因利益冲突而相互交战，阿睦尔撒纳战败后，请求归附清廷、谒见乾隆皇帝。对于阿睦尔撒纳的主动投清，乾隆皇帝大喜过望。更为重要的是，通过杜尔伯特三车凌、阿睦尔撒纳等人的归附，他进一步了解到准噶尔内部的情况，从而坚定了借准噶尔部内乱之际出兵的信心，以完成祖父康熙帝、父亲雍正帝“两朝未竟之业”。考虑到阿睦尔撒纳还未出过痘疫，因此觐见地点选在避暑山庄，时间定在寒冷的冬季。\n这一年的十一月十五日，乾隆皇帝于山庄内举行了隆重的欢迎仪式后，又招待阿眭尔撒纳与蒙古族的和特部班珠尔、杜尔伯特部的纳默库等人一道观看了精彩的马术表演。为了纪念这一具有历史意义的盛大聚会，乾隆皇帝命西洋画师郎世宁组织宫廷画家们对此进行了纪实性描绘。此幅与《万树园赐宴图》同为宏幅巨制，表现的人物众多，但经作者合理有序的布局，则显得动静相宜，杂而不乱，使主要人物被突现出来。画家并没有将乾隆皇帝特意画高画大，或安排在画幅的中心位置以引人注目，而是表现他骑花马位于由王公大臣组成的锥形队列的前端，或端坐于众人相抬的肩舆上，经画师的巧妙设计同样使人感受到乾隆皇帝威严的震撼力，从而使他成为画面中最重要的角色。",[24,7,28,226,106,150,34,1754,912,808,3983,42236,3982],"骑手","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18456d0c6c09531fcea8bf1ed82b8c13.jpg","纵223.4厘米，横426.2厘米",[],{"id":42241,"slug":42242,"title":4264,"dynasty":76,"author":14034,"museum":20,"description":14035,"tags":42243,"thumbUrl":42244,"material":529,"size":139,"collection":139,"collections":42245,"showCount":324,"zanCount":1379,"manualWeight":48,"mainColor":94},232945,"hua-hui-tu-ce-fan-ting-zhen-232945",[24,25,81,28,7,83,228,136,137,723],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff04a76310a5243e9fcb581b22ba12471.jpg",[],{"id":42247,"slug":42248,"title":4264,"dynasty":76,"author":14034,"museum":20,"description":14035,"tags":42249,"thumbUrl":42250,"material":529,"size":139,"collection":139,"collections":42251,"showCount":324,"zanCount":2368,"manualWeight":48,"mainColor":94},232942,"hua-hui-tu-ce-fan-ting-zhen-232942",[24,25,81,28,7,83,84,62,554,838],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab207a06b8dcd58c96b61485747f7522.jpg",[],{"id":42253,"slug":42254,"title":42255,"dynasty":99,"author":857,"museum":316,"description":42256,"tags":42257,"thumbUrl":42259,"material":67,"size":42260,"collection":139,"collections":42261,"showCount":324,"zanCount":2368,"manualWeight":48,"mainColor":49},231485,"gong-feng-tu-chen-hong-shou-231485","供奉图","陈洪绶利用各种作画技法适应不同题材，如用折笔或粗渴之笔表现英雄、细圆之笔表现文士美人、用游 丝描表现高古，成为中国传统人物画法的丰盛宝库。陈洪绶一生秉性孤傲倔强，吞恨而终。他是一位擅长人物、精工花鸟、兼能山水的绘画大师，与北方崔子忠齐名，号称“南陈北崔”。当代国际学者推为“代表十七世纪出现许多有彻底的个人独特风格艺术家之中的第一人”。",[23,194,24,25,226,7,28,352,106,59,229,63,8803,42258,6240,212,86],"烛台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb41f69a47f37ac516a406b8b50194ed5.jpg","95×44厘米",[],{"id":42263,"slug":42264,"title":33458,"dynasty":18,"author":4254,"museum":191,"description":42265,"tags":42266,"thumbUrl":42267,"material":67,"size":42268,"collection":139,"collections":42269,"showCount":324,"zanCount":48,"manualWeight":48,"mainColor":49},231421,"qiu-lin-fei-pu-tu-fan-kuan-231421","《秋林飞瀑图》纵181厘米，横99.5厘米，在传世千年的古画中，也算得上一件大作品；绢本，设色，沉淀了历史的古绢上，墨与色的辉映，那么的凝重、浑厚，摄人心魄。现藏于台北故宫博物院。图绘一山耸峙，山头山下密布丛林，有茅舍隐约其中；远处见城楼，飞瀑拾级而下，近前有木桥连岸，山路通达。这是一幅适合人居的美奂的山景，经过霜降的丛树一片绯红，秋色热烈明艳，绝无萧瑟凋蔽之感。构图并不复杂，但却极见功力：一峰高耸，山石和丛林结合在一起，层层深入；由远而近、曲折而下的山泉，则将其分割成疏密有致的空间，与茅舍、木桥、山路结合一体。无论是树木，还是山石，勾、皴的线条都十分坚挺遒劲。山下丛树的树叶，方、圆、长条之形俱备，用双勾法勾勒，凝练精到。山石用水墨依明暗分层积染，而树叶则敷以硃砂色，古雅瑰丽。整幅画映射出典型的宋画的风采。\n范宽也算得中国绘画史上的一个奇人。说到宋画，往往第一个就提他的姓名，却不能详知其生卒年月。画史称他“仪状峭古，进止疏野。性嗜酒，好道。”早年的画学荆浩、李成，虽得其精妙，但终归其下。于是他叹息道：“与其师人，不若师诸造化。”他移居于终南山、太华山，“常危坐终日，纵目四顾，以求其趣。虽雪月之际，必徘徊凝览，以发思虑。”他用心来感悟造化的鬼斧神功，对景写生，故其所画在构图、造型和透视上无懈可击。一生远离仕途，“落魄不拘世故，”却终于造就其气势雄伟壮观，笔墨刚劲凝厚的绘画风格。董其昌叹谓“宋画第一”。《宣和画谱》著录其存世的画有58件，但至今能见到的，不过十件左右。最著名的宋画的代表作之一的，当推其《溪山行旅图》。206厘米高的巨幅，恢弘压顶的气势，一笔不苟的勾勒，满纸的雨点皴，咄咄逼人的墨气，令人震撼。《秋林飞瀑图》则与之稍有不同，用的是略似小斧劈皴的线皴，这一方面可以看到范宽在师造化的过程中笔墨技法的变化，另一方面似乎也影响了其后李唐与南宋山水画家，开启了一个以斧劈皴为特点的山水画新时期。",[23,24,25,29,226,177,7,10677,979,176,34,1426,808],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b24fd762e626521ef15ffbc5f9044be.jpg","纵：181厘米，横：99.5厘米",[],{"id":42271,"slug":42272,"title":1206,"dynasty":76,"author":1207,"museum":316,"description":42273,"tags":42274,"thumbUrl":42275,"material":139,"size":139,"collection":139,"collections":42276,"showCount":324,"zanCount":2368,"manualWeight":48,"mainColor":49},230995,"xiu-yuan-tu-wang-yun-230995","此作以工秀笔触绘就江南私园雅景，亭台临波而起，游廊蜿蜒衔连。水面凫鸭悠游，玲珑湖石与扶苏花木错落排布，晕染出雅致悠然的园居氛围。\n\n堂上主人凭案安坐，侍童侧立随侍，月台、游廊之上仕女游赏低语，将文人日常的闲雅意趣铺陈开来。设色清隽淡雅，界画工整流利，树石皴染兼具质感与文趣，把私园的幽致与园居的松弛心境相融，尽显古典园林绘卷的诗意闲情。",[24,25,7,28,104,106,107,2512,34,136,108,2340,6710,115,176,114,1557],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46c4696b9a08d524f77b20f5a6383d28.jpg",[],{"id":42278,"slug":42279,"title":42280,"dynasty":18,"author":1588,"museum":316,"description":42281,"tags":42282,"thumbUrl":42283,"material":139,"size":139,"collection":139,"collections":42284,"showCount":324,"zanCount":48,"manualWeight":48,"mainColor":49},230950,"mu-xue-han-qin-tu-ma-lin-230950","暮雪寒禽图","《暮雪寒禽图》是宋代画家 所创作的一幅画，现藏于 。\n此图为马麟所作，以清丽的笔法，绘出冰天雪地之中，山竹覆雪，两只寒禽躲在山石之下的杏枝上过夜的景象。\n以淡墨渲染全景，烘托出雪意，双钩写竹，用笔劲力。\n整幅画面萧瑟冷峭，意境幽远。\n这幅画卷描绘暮冬之际，岩壁下白雪覆盖著荆棘与翠竹，一对黄尾鸲相依避寒。\n通幅色泽沈厚，笔墨苍润稳健，为其粗笔风格的作品，和院藏其〈芳春雨霁〉册的画风极为相近；另一幅〈 〉册虽属细笔，然其中梅干的细枝则和本幅上荆棘细枝的笔法相类。\n此作在笔墨之外，画家还充分地掌握住一份寒冷中详和宁静的气氛，再配上诗句，更表现出了诗文因画而生，画因诗文而意足的旨趣。\n画幅右侧绘斜倾岩石，石旁有荆棘、老竹、积雪，山鸟瑟缩，栖于棘枝之上。\n左上方空白处有宁宗题“疏枝潜缀纷，并翅不禁寒”十个字。\n图中岩石直壁斜倾而上，在石这边数枝折枝棘枝，向左下方凌空伸张扩展，其中有一二枝权又折起指向左上方，与在悬崖的那边塌腰老竹低垂的枯枝交错。\n棘、竹枝上的积雪可见；还有那纷披的翠竹叶在岩石上负雪摇曳，在棘枝上残留着几处红叶。\n就在这岩石后背风的棘枝上，栖息着山鸟两只，一只是白羽，另一只是黑白两色，它们披着厚厚松软的冬装。\n白者缩颈回首，两爪紧抓枝上，长尾下垂，依偎在另一只身旁，黑白分明的这一只，抬首守之。\n两只山鸟安祥地相向，紧紧靠在一起，毫无飞欲之意。\n因为灰暗的暮色雪景笼罩着，造成了阴冷、萧疏、幽邃的气氛。\n所以飞鸟只有并翅不禁寒，才能渡过寒夜。\n只有盼到天明日出时，驱去寒意后，才会使寒禽离枝飞去。\n马麟这幅《暮雪寒禽图》的构意及内容，很像李迪的《雪树寒禽图》。\n但从图中直观马麟的《暮雪寒禽图》要比李迪之画苍劲洒脱。\n枯瘦的棘枝，用笔坚硬，画法苍劲有力；负雪的竹子，有的是冬篁的秃权枝，有的是重笔墨色直接画成的竹叶，也具有苍老浑厚的感觉。\n图中的这些景物，由于在暮雪中出现，所以作者没有显示它们本身固有的不同颜色，而将他们用灰暗的色调统一，即使有几处残留的红枫作点缀，也是具有同样的格调，呈暗红色。\n所以，此图在用色上成功地表现出雪天傍晚时分特有的自然景观。\n马麟（生卒年不详），南宋画家。\n原籍河中（治今山西永济西南），南渡后三代居钱塘。\n世荣孙，远子。\n父为光宗、宁宗两朝画院待诏，独步一时。\n麟传家学，工人物、山水、花鸟。\n宁宗嘉泰年间授画院祗候，颇得赵扩、恭圣杨后及杨妹子称赏，每于父子画上题句。\n或以“麟不逮父，而远爱之，多以己画得意者题作马麟”。\n但麟的笔法圆劲，比其父秀润。\n传世作品有《层叠冰绡图》，上有杨后题诗。",[194,24,25,28,7,173,83,1353,353,3712,245,230,2086],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7975c59fcea175fabe615575bac84e3c.jpg",[],{"id":42286,"slug":42287,"title":42288,"dynasty":256,"author":42289,"museum":316,"description":42290,"tags":42291,"thumbUrl":42292,"material":67,"size":600,"collection":139,"collections":42293,"showCount":324,"zanCount":48,"manualWeight":48,"mainColor":49},230561,"shi-liu-luo-han-xiang-01-bin-du-luo-ba-luo-duo-du-zun-zhe-ping-an-shi-dai-shi-liu-luo-han-xiang-230561","十六罗汉像01宾度罗跋啰惰阇尊者","平安时代 十六罗汉像","罗汉乃阿罗汉一词之略称，是指断除一切烦恼、证得修行最高果位，堪受世间大众供养的佛弟子或证见正理之圣者。释迦的十六位高徒，亦即罗汉，据说在释迦决意入涅盘之际，承佛命永住世间、普渡众生，并于各地护持弘扬佛法",[23,24,28,7,260,106,280],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f9b1af20af622f173a9376aa9b34db6.jpg",[],{"id":42295,"slug":42296,"title":42297,"dynasty":76,"author":742,"museum":316,"description":42298,"tags":42299,"thumbUrl":42300,"material":139,"size":139,"collection":139,"collections":42301,"showCount":324,"zanCount":2368,"manualWeight":48,"mainColor":94},230123,"hua-hui-ce-ye-01-ren-yi-230123","花卉册页01","此作用笔写意松弛，以湖石为景之骨，淡赭水墨晕染出嶙峋体态，略去繁复皴擦，虚实间尽显清隽雅逸。石畔丹红果簇饱满鲜活，浓墨枝叶枯润相宜，艳色与冷调湖石形成鲜明对照，艳而不俗，顽石愈发清灵，花果愈见生动。\n\n右上角题字笔力开张，与花木湖石相得益彰，融书画为一体，将花木蓬勃生机与文人闲淡意趣揉合于纸面，简淡之中自有鲜活情致。",[24,25,6083,498,173,7,83,230,7260,210,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71348d468b7d7e6ca8621b0226ef65d9.jpg",[],{"id":42303,"slug":42304,"title":42305,"dynasty":76,"author":257,"museum":316,"description":42306,"tags":42307,"thumbUrl":42308,"material":599,"size":600,"collection":139,"collections":42309,"showCount":324,"zanCount":48,"manualWeight":48,"mainColor":49},229263,"hua-fa-lang-sui-chao-tu-ping-yi-ming-229263","画珐瑯岁朝图瓶","珐琅又称“佛郎”、“法蓝”，是由中国隋唐时古西域地名拂菻音译而来。珐琅器是以珐琅为材料装饰而制成的器物，其基本成分为石英、长石、硼砂和氟化物，与陶瓷釉、琉璃、玻璃同属硅酸盐类物质。依据具体加工工艺的不同，又可分为掐丝珐琅器、錾胎珐琅器、画珐琅器和透明珐琅器等几个品种。\n珐琅就是将经过粉碎研磨的珐琅釉料，涂施于经过金属加工工艺制作后的金属制品的表面，经干燥、烧成等制作步骤后，所得到的复合性工艺品。珐琅工艺的制作分类很多，一般根据制作方法和胎地种类将其分类。 [2] 珐琅依据具体加工工艺的不同，又可分为掐丝珐琅器、錾胎珐琅器、画珐琅器和透明珐琅器等几个品种。其中掐丝珐琅器就是俗称的“景泰蓝”，15世纪中期明代景泰年间的制品尤为著称，故有景泰蓝之称。\n清代，西洋珐琅从广州传入中国，广州生产的珐琅俗称“广珐琅”，是朝廷的贡品，其中最著名的是画珐琅 ，錾胎珐琅的制作中心也在广州，透明珐琅器也以广州出产的最为著名。",[320,12819,21604,7,820,62,1807,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99f9079f3aad1377f2871d45400df1ad.jpg",[],{"id":42311,"slug":42312,"title":131,"dynasty":76,"author":2805,"museum":316,"description":42313,"tags":42314,"thumbUrl":42315,"material":139,"size":139,"collection":90,"collections":42316,"showCount":324,"zanCount":48,"manualWeight":48,"mainColor":94},229026,"hua-hui-ce-wang-wu-229026","此作以淡墨晕染牡丹瓣层，借留白衬出素白花容，焦墨点簇花蕊，将白花柔润蓬松之态尽显。叶片以浓淡墨分梳阴阳向背，笔致苍秀，兼得写生之真与文人雅韵。下方蛱蝶用工细笔触勾勒翅脉，淡墨晕染出薄翼通透质感，与写意牡丹相映成趣，一动一静鲜活灵动。\n\n通篇笔墨秀逸工丽，简淡不失厚重，题字钤印排布妥帖，将花木雍容与草虫灵动相融，尽显清丽脱俗的文人花鸟意趣，把写实写生与书卷气完美结合，雅致隽永。",[24,173,81,83,292,484,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f8ab86cb0de430d95e4c3fd5e56001e.jpg",[90],{"id":42318,"slug":42319,"title":42320,"dynasty":76,"author":1610,"museum":316,"description":42321,"tags":42322,"thumbUrl":42323,"material":139,"size":139,"collection":139,"collections":42324,"showCount":324,"zanCount":48,"manualWeight":48,"mainColor":94},229025,"hua-hui-ba-kai-zou-yi-gui-229025","花卉八开","柔梅斜枝舒展，粉瓣层叠轻绽，深浅花色晕染出娇柔妍态，苍劲老干皴擦尽显古拙意趣。旁侧新竹挺秀，翠叶临风摇曳，清刚之姿与梅花柔媚相映成趣，一动一静间尽显花木灵韵。\n\n右上角题诗娟秀雅致，诗画相融更添文人情思。设色明丽柔和，勾勒晕染兼具工细与写意之妙，将春日花木的生机神韵尽数铺陈，笔底饱含清雅悠然的文人意趣，将这一隅小景绘就成生机盎然又古雅沉静的清逸画卷。",[24,25,81,7,28,83,227,292,212,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28d8a09956eafa777e9025de0f632c7d.jpg",[],{"id":42326,"slug":42327,"title":42328,"dynasty":99,"author":27520,"museum":316,"description":42329,"tags":42330,"thumbUrl":42331,"material":139,"size":139,"collection":139,"collections":42332,"showCount":324,"zanCount":48,"manualWeight":48,"mainColor":94},228966,"si-ji-feng-jing-ce-ye-xiao-yun-cong-228966","四季风景册页","此作用浅绛青绿晕染山峦，层叠崖岫以苔点晕出苍润生机，山坳隐见红墙古寺，飞瀑穿林汇作浅溪，板桥引渡，丹鹤独立溪畔，晕开清寂仙气。\n\n右侧老梅虬枝缀花，树下三文士凭坐观览，或低语或凝思，将雅集幽闲融于林泉丘壑。右上角题诗与画境呼应，以书法点出寻梅高士的林下襟怀。\n\n笔墨简淡秀雅，设色明润柔和，整体意境清旷出尘，将山水灵秀与文人雅趣相融，尽显淡远闲逸之美，把春日寻幽的雅兴定格在尺幅之间，淡而弥远，韵致悠长。",[24,7,177,81,29,106,108,109,820,60,107,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6394ee68fb4f16fd1443886e59691153.jpg",[],{"id":42334,"slug":42335,"title":42336,"dynasty":99,"author":257,"museum":316,"description":42337,"tags":42338,"thumbUrl":42339,"material":599,"size":600,"collection":139,"collections":42340,"showCount":324,"zanCount":2368,"manualWeight":48,"mainColor":49},228775,"xia-yuan-shui-guan-tu-yi-ming-228775","下元水官图","道家有三官：天官、地官、水官，谓天官赐福，地官赦罪，水官解厄。三官的诞生日分别为农历的正月十五、七月十五、十月十五，这三天被称为“上元节”、“中元节”、“下元节”。下元节，就是水官解厄旸谷帝君解厄之辰，俗谓是日。",[260,1070,212,25,86,7,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe99035456ab0e4b057bbd6aea0852718.jpg",[],{"id":42342,"slug":42343,"title":42344,"dynasty":99,"author":26106,"museum":316,"description":42345,"tags":42346,"thumbUrl":42347,"material":139,"size":139,"collection":139,"collections":42348,"showCount":324,"zanCount":48,"manualWeight":48,"mainColor":49},228495,"wu-lu-an-tu-ye-li-shi-da-228495","五鹿庵图页","以鸟瞰全景铺展画面，将江渚山水与庵居雅境相融。江面帆影穿梭、石桥卧波，沿坡蜿蜒的石墙围合出错落屋舍，林木葱茏掩映庭台，有人闲坐堂内叙谈，有人缓步庭中，处处漾着松弛鲜活的烟火气。\n笔墨淡润秀雅，浅赭轻施，以简约笔触勾勒屋舍坡岸，省去繁复皴擦，将禅居的清幽静寂，与江南水乡的鲜活日常糅合无间，把晚明文人梦寐的烟火雅居，晕染在纸幅之上。",[24,7,104,860,29,107,108,109,174,175,34,106,35,111,4048],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ca98128af99bcd4311e6d5f04b4bce8.jpg",[],{"id":42350,"slug":42351,"title":42352,"dynasty":99,"author":257,"museum":316,"description":2711,"tags":42353,"thumbUrl":42354,"material":599,"size":600,"collection":139,"collections":42355,"showCount":324,"zanCount":2368,"manualWeight":48,"mainColor":49},228407,"di-shi-tian-dong-quan-tu-yi-ming-228407","帝释天东全图",[24,25,7,28,260,106,6422,3661,63,7690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0056fe930ac394a6cab95b4f48344fd.jpg",[],{"id":42357,"slug":42358,"title":42359,"dynasty":18,"author":18624,"museum":316,"description":42360,"tags":42361,"thumbUrl":42363,"material":139,"size":139,"collection":139,"collections":42364,"showCount":324,"zanCount":48,"manualWeight":48,"mainColor":94},228326,"qiu-shan-qing-ai-tu-juan-xu-dao-ning-228326","秋山晴霭图卷","《题吴少宰题许道宁秋山晴霭图》是明代诗人沈周创作的一首诗。\n匏公题句真成画，说到江山妙有声。\n一个道宁消不得，老夫只作辋川平。\n沈周（1427-159年），字启南，号石田、白石翁，长洲（今苏州）人。\n隐居乡里，奉母耕读，终身不仕。\n其画闻名当代，与唐寅、文徵明、仇英并称“明四家”。\n且善诗，任情随事，不主一家。\n有《石田先生集》行世。",[23,194,24,25,26,29,7,5218,42362,808,978,981,178],"晴霭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b2f872b00a877fa253bba1f9c3c8f1d.jpg",[],{"id":42366,"slug":42367,"title":42368,"dynasty":99,"author":857,"museum":316,"description":42369,"tags":42370,"thumbUrl":42371,"material":139,"size":139,"collection":139,"collections":42372,"showCount":324,"zanCount":48,"manualWeight":48,"mainColor":49},228287,"za-hua-tu-ce-8-kai-chen-hong-shou-228287","杂画图册8开","此作用平远法铺展景致，山峦层叠迤逦，以圆润苍劲的皴笔勾勒石体质感，淡赭敷色晕染出暖调山光，清润柔和。水面留白尽显空濛烟波之意，不着一笔却漾漾有水气流动。山石间点缀青绿苔点，冷色调打破赭石的厚重，为静穆山水晕染出鲜活生机。\n整幅简淡清旷，以复古笔致意摹古贤意趣，无繁复刻画，只以极简的点染铺陈，将江南水畔温软沉静的山光凝于尺幅，悠悠透出文人沉湎林泉的静穆襟怀，淡远清和，尽显含蓄内敛的古典诗意。",[23,24,25,81,7,177,212,29,230,109,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbac4124007a9a2c95659e7ef43ddff79.jpg",[],{"id":42374,"slug":42375,"title":42376,"dynasty":99,"author":857,"museum":316,"description":42377,"tags":42378,"thumbUrl":42379,"material":139,"size":139,"collection":139,"collections":42380,"showCount":324,"zanCount":48,"manualWeight":48,"mainColor":94},228285,"shan-shui-shi-hua-ce-chen-hong-shou-228285","山水诗画册","此作对页诗画合一，右侧绘虬曲古松下，高士席地安坐，衣袂舒展悠然，静享林泉幽寂。古松苍劲奇崛，松针层叠清润，石畔苔点幽微，笔致高古静穆，尽显林下幽居的散淡意趣。\n左侧书法清隽挺秀，诗文与画境呼应，禅意悠然。整体以极简笔墨，勾勒出世外风雅，将林下幽栖的禅寂通透相融，传递出超脱世情的澹泊襟怀，是诗画相映的雅致佳构，尽显文人的林下襟怀与静穆审美。",[23,24,25,81,178,173,7,106,1273,176,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F886cc4e13292bed024a0da93b5746e38.jpg",[],{"id":42382,"slug":42383,"title":11198,"dynasty":302,"author":1977,"museum":316,"description":42384,"tags":42385,"thumbUrl":42386,"material":139,"size":139,"collection":139,"collections":42387,"showCount":324,"zanCount":48,"manualWeight":48,"mainColor":94},228248,"jiang-cun-yu-le-tu-zhao-meng-fu-228248","《元·赵孟頫法书选:行书杜甫秋兴诗四首》是历代法书真迹萃编系列之一。\n元代对书法的重视不亚于前代，书法得到一定的发展。\n探索和认真的临学，在学习古人的传统基础上“托古改制”，使晋、唐的传统法度得以恢复和发展，扭转了南宋以来由于士大夫多“趋时贵书”形成的所谓“恶札流饰”的积习,开启了元代的书法风格。\n久之已成为在社会上流行最普遍，在日常生活中最切实用的字体。\n在应用价值上来说，算得是最伟大的。\n故能自后汉相传至今，历久而弥新。\n《元·赵孟頫法书选——行书杜甫秋兴诗四首》为其中代表作。\n《元·赵孟頫法书选:行书杜甫秋兴诗四首》由黄山书社出版。\n赵孟頫（1254-122年），元代书画家、文学家。\n字子昂，号松雪道人、水精宫道人，中年曾作孟俯。\n湖州（今属浙江）人杨维，宋宗室。\n宋亡，归里闸居。\n元世祖忽必烈搜访“遣逸”，经程巨夫荐举，始任兵部郎中，仁宗爱育黎拔力八连朝（111-12年），官至翰林学士承旨，封魏圃公，谨文敏。\n精通音乐，善鉴定古器物，于书法绘画成就尤高。\n山水取法董源、李成，人物、鞍马师法李公麟和唐人；工墨竹、花鸟，皆以笔墨圆润苍秀见长，以飞白法昼石，以书法用笔写竹。\n力主变革南宋院体格调，自谓“作画卖有古意，若无古意，虽工无益”，遥追迫五代、北宋法度，论者谓：“有唐人之致去其鳞，有北宋人之雄去其犷。\n”开创了元代新画凰。\n能诗文，风格和婉。\n兼工篆刻，以“圆朱文”著称。\n传世书迹较多，传世画作有《鹊华秋色图》、《红衣罗汉图》、《幼舆丘壑图》、《秋郊饮马图》、《江村渔乐图》等。\n着有《松雪斋文集》十卷（附外集一卷）。",[23,24,25,1260,173,7,29,796,109,174,34,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96766e1c56502a11ade3361e84a7bffe.jpg",[],{"id":42389,"slug":42390,"title":42391,"dynasty":18,"author":257,"museum":316,"description":42392,"tags":42393,"thumbUrl":42394,"material":139,"size":139,"collection":139,"collections":42395,"showCount":324,"zanCount":2368,"manualWeight":48,"mainColor":49},227880,"tao-zhi-shuang-que-tu-yi-ming-227880","桃枝双雀图","此作构图疏密相宜，桃枝虬曲延展，叶片与桃果晕染细腻，清润雅致。两只雀鸟动静相映，一鸟侧身伫立，侧目凝神，羽色的丝绒质感刻画入微；一鸟探身向下，似欲啄食，灵动鲜活。设色浅淡柔和，以墨色勾勒筋骨，淡彩晕染出物象的层次生趣，古旧绢面晕开沉郁温润的底色，更衬出画面的雅致沉静。将林间一角的幽微生机敛于方寸之间，把日常小景绘成雅致诗画，尽显花鸟小品的含蓄禅意与写生妙趣。",[23,24,194,1260,83,28,7,10269,6817],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa40fc2a6baeafb73635a4540f8512cf2.jpg",[],{"id":42397,"slug":42398,"title":42399,"dynasty":18,"author":1315,"museum":316,"description":42400,"tags":42401,"thumbUrl":42402,"material":139,"size":139,"collection":139,"collections":42403,"showCount":324,"zanCount":48,"manualWeight":48,"mainColor":49},227773,"song-yin-xiu-qi-tu-ye-li-tang-227773","松荫休憩图页","李唐（1066—1150），南宋画家。字晞古，河阳三城（今河南孟州）人。初以卖画为生， 宋徽宗赵佶时入画院。南渡后以成忠郎衔任画院待诏。擅长山水、人物。变荆浩、范宽之法，苍劲古朴，气势雄壮，开南宋水墨苍劲、浑厚一派先河。晚年去繁就简，用笔峭劲，创“大斧劈”皴，所画石质坚硬，立体感强，画水尤得势，有盘涡动荡之趣。兼工人物，初师李公麟，后衣褶变为方折劲硬，自成风格。并以画牛著称。与刘松年、马远、夏圭并称“南宋四大家”。存世作品有《万壑松风图》《清溪渔隐图》《烟寺松风》《采薇图》等。",[23,194,24,25,81,7,29,106,1133,109,230,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ae2c819f22354f91624b8b982a41c2a.jpg",[],{"id":42405,"slug":42406,"title":42407,"dynasty":18,"author":1315,"museum":316,"description":33692,"tags":42408,"thumbUrl":42409,"material":139,"size":139,"collection":139,"collections":42410,"showCount":324,"zanCount":48,"manualWeight":48,"mainColor":49},227769,"shan-jian-ting-yin-tu-ye-li-tang-227769","山涧亭荫图页",[23,194,24,25,6083,7,177,29,175,107,34,176,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd62d8b679d7f4f502dfbd58fec656d8e.jpg",[],{"id":42412,"slug":42413,"title":28489,"dynasty":18,"author":1474,"museum":316,"description":42414,"tags":42415,"thumbUrl":42416,"material":139,"size":139,"collection":139,"collections":42417,"showCount":324,"zanCount":48,"manualWeight":48,"mainColor":49},227739,"huo-lang-tu-ye-li-song-227739","《货郎图》是南宋画家李嵩创作的团扇绢本水墨淡设色画。李嵩创作过多幅货郎图，分别藏于北京故宫博物馆、中国台北故宫博物院、美国堪萨斯州阿肯博物馆的尼尔逊美术馆及美国纽约大都会美术馆，现藏于北京故宫博物院的《货郎图》的规格是纵25.5cm，横70.4cm，其余的均为小幅。\n\n全图描绘了老货郎挑担将至村头，众多妇女儿童争购围观的热闹场面，表现了南宋时钱塘一带的风土人情。此画线条细腻雅致，货担上的物品用笔如丝柔韧圆转，而人物的衣纹则使用颤笔，转折顿挫恰当地表现出下层妇孺身着布衣的特色。细劲线描，传神地勾出朴实的形象，把劳动人民的生活作为审美对象来描绘，在中国古代美术发展史上有着重要的意义。",[23,194,24,25,1260,28,7,106,229,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febc853454829aec9f8be8f73998aa141.jpg",[],{"id":42419,"slug":42420,"title":24194,"dynasty":18,"author":9555,"museum":316,"description":42421,"tags":42422,"thumbUrl":42423,"material":139,"size":139,"collection":139,"collections":42424,"showCount":324,"zanCount":2368,"manualWeight":48,"mainColor":49},227613,"shan-shui-tu-ye-zhao-ling-rang-227613","赵令穰(北宋)字大年，汴京(今河南开封市)人，生卒年不详，宋太祖赵匡胤五世孙。官至光州防御使﹑崇信军观察留后，卒赠开府仪同三司，追封荣国公。其子赵伯驹宋代著名画家，官至浙东兵马钤辖。工画山水、花果、翎毛，笔致秀丽，尤长金碧山水。远师李思训父子。\n赵令穰幼时即爱书画﹐富于文学修养﹐家藏有晋唐以来法书名画。他与画家文人时相往来。赵佶(宋徽宗)为端王时亦与他交游﹐切磋画艺。",[23,24,194,25,81,7,177,29,353,7428,176,109,28093],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F069c533c496616b5bcf7a2d34a2002ef.jpg",[],{"id":42426,"slug":42427,"title":42428,"dynasty":18,"author":42429,"museum":316,"description":42430,"tags":42431,"thumbUrl":42432,"material":139,"size":139,"collection":139,"collections":42433,"showCount":324,"zanCount":48,"manualWeight":48,"mainColor":49},227410,"shen-jun-tu-li-zhou-li-yong-ji-227410","神骏图立轴","李用及","宋代画家李永基善画解说，尤善鬼神。 体格结实，强壮，不受约束，并不特别怪异。 唯一大师吴升（桃子）的笔。 其父掌管天五库军，能画天阔马，是韩干笔法的典范。 顾维佑也为病马干活。",[23,24,194,226,28,7,150,746,353],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb813d9e9ed4d72843f7460da6848b829.jpg",[],{"id":42435,"slug":42436,"title":24073,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":42437,"thumbUrl":42440,"material":599,"size":600,"collection":139,"collections":42441,"showCount":324,"zanCount":1379,"manualWeight":48,"mainColor":49},226366,"ku-zhu-shi-xi-pi-yi-ming-226366",[511,7,260,4027,4028,21043,106,22981,5884,42438,42439],"线条流畅","色彩古朴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9eb07f2c975111aad71eac92b994f1fe.jpg",[],{"id":42443,"slug":42444,"title":16056,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":42445,"thumbUrl":42446,"material":599,"size":600,"collection":139,"collections":42447,"showCount":324,"zanCount":2368,"manualWeight":48,"mainColor":49},226363,"ku-zhu-shi-nan-pi-yi-ming-226363",[511,7230,260,7,106,746,8170,352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff58e565c3539347a730c068fc3d245da.jpg",[],{"id":42449,"slug":42450,"title":4024,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":42451,"thumbUrl":42452,"material":599,"size":600,"collection":139,"collections":42453,"showCount":324,"zanCount":48,"manualWeight":48,"mainColor":49},226303,"ku-zhu-shi-zao-jing-yi-ming-226303",[511,7,260,406,1488,4028],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9f6e68c2f4bf1a4c96a3ab73415d93a.jpg",[],{"id":42455,"slug":42456,"title":42457,"dynasty":76,"author":997,"museum":316,"description":42458,"tags":42459,"thumbUrl":42460,"material":139,"size":139,"collection":139,"collections":42461,"showCount":324,"zanCount":48,"manualWeight":48,"mainColor":94},224502,"shan-shui-ce-kai-wu-shi-tao-224502","山水冊开(五)","此作用笔简括空灵，以淡赭、花青晕染山峦，干湿墨色相生，晕开江南水乡的清润秀雅。近岸枯槎疏枝带着残冬清寂，零星墨叶点缀出些许生机，板桥卧波，黛林掩映村舍，浅渚渔舟悠然随波，渔人安坐其中，自在松弛。\n\n远景山峦淡逸朦胧，与留白水面相映，铺展出萧散淡远的意境。题画诗与景致相融，将寄迹林泉、脱却尘俗的幽怀藏于笔墨丘壑间，以画言情，尽显隐逸文人心境，淡墨轻岚间晕染出闲逸野趣。",[23,24,173,7,177,81,29,108,109,174,353,176,35,34,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf60ae206638ff7c579a55431223839b.jpg",[],{"id":42463,"slug":42464,"title":42465,"dynasty":76,"author":3914,"museum":191,"description":42466,"tags":42467,"thumbUrl":42468,"material":1307,"size":42469,"collection":139,"collections":42470,"showCount":324,"zanCount":2368,"manualWeight":48,"mainColor":94},224484,"ni-fan-hua-yuan-qiu-lin-xiao-si-tu-wang-jian-224484","拟范华原秋林萧寺图","此作用高远、平远之法铺展景致，主峰奇崛陡立，古寺隐于层峦间，飞瀑穿石而下。前景林木蓊郁，板桥通幽，山居人家藏于松荫，江畔苍松虬劲，渔翁垂竿秋水之上，远景江天寥廓，浅墨晕染远山，清寂萧疏之意漫溢画面。\n\n以浅绛糅合青绿晕染山石，皴法朴厚，兼得雄健风骨与秀雅笔致，将秋山野林的空阔萧远与幽居闲趣相融，把秋林萧寺的冷寂清旷之境铺陈开来，尽显林泉幽致。",[23,194,24,3559,7,177,6798,105,10677,25842,108,109,176,34,107,175,809,1169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06aa02d6c0b4b3f68794b7c75b2799f2.jpg","本幅 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有了皇家行宫别苑的建置。但金、元、明三代的主要精力都放在在修建北京的城池和城内的皇宫。这里真正成为皇家独占的宫廷园囿，还是清王朝兴起以后的事。\n清朝的皇帝们十分热衷于园林的建设，尤其是康熙、雍正、乾隆三朝，基本奠定了京城皇家园林的建设格局和规模，“三山五园”就是其中的核心部分。\n三山五园中建造最早的是畅春园，它于康熙二十九年（即公元1691年）建成，位于今天的北京大学一带，是在明代私家园林的旧址上修建的。今天我们在北京大学的校园里，还依稀可以找到一些旧日园林的痕迹。",[23,7,104,28,29,107,109,1557,114,32,7599],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf339820c8e9c1373d7b74bcee1b035e.jpg","51x88",[],{"id":42541,"slug":42542,"title":42543,"dynasty":76,"author":742,"museum":539,"description":42544,"tags":42545,"thumbUrl":42546,"material":500,"size":42547,"collection":139,"collections":42548,"showCount":324,"zanCount":48,"manualWeight":48,"mainColor":94},223236,"qun-ji-zi-shou-tu-ren-yi-223236","群鸡紫绶图","绘篱笆外一棵紫薇风劲叶摆，篱笆墙内二只老鸡带着一群小鸡觅食玩耍，公鸡大红色的鸡冠，伸长了脖子，圆瞪着眼，警惕的盯着四周动静，母鸡紧盯着一群小鸡仔，母爱洋溢，一幅乡村农家的温馨景象映入眼帘。",[23,24,25,194,226,7,173,83,1530,2703,378,2864,838],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef31e39a6fb133ccbf71818592553fc3.jpg","134cmx65cm",[],{"id":42550,"slug":42551,"title":42552,"dynasty":76,"author":8060,"museum":191,"description":42553,"tags":42554,"thumbUrl":42555,"material":1342,"size":42556,"collection":181,"collections":42557,"showCount":324,"zanCount":48,"manualWeight":48,"mainColor":94},223122,"shuang-lin-xiao-si-tu-zhou-dong-bang-da-223122","霜林萧寺图轴","董邦达（1699－1769或1774）清代官员、书画家。字孚闻、非闻，号东山，浙江富阳人。雍正十一年进士，乾隆二年授编修，官礼部尚书，谥文恪。好书、画，篆、隶得古法，山水取法元人，善用枯笔。其风格在娄东、虔山派之间。与董源、董其昌并列。",[23,24,226,7,177,29,176,34,25842,108,109,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02e95f112757ec9a532d663ea2c1066f.jpg","79.1x36.8",[181,163],{"id":42559,"slug":42560,"title":42561,"dynasty":76,"author":8060,"museum":191,"description":42553,"tags":42562,"thumbUrl":42563,"material":42564,"size":42565,"collection":181,"collections":42566,"showCount":324,"zanCount":48,"manualWeight":48,"mainColor":49},223117,"hua-fan-zhao-gui-yun-tu-zhou-dong-bang-da-223117","画返照归云图轴",[23,24,25,194,226,3559,177,7,685,262,2235,3466,34,686,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e89609eb1517d1843f2e8924eba4cf4.jpg","淺設色","251.1x158.6",[181,163],{"id":42568,"slug":42569,"title":42570,"dynasty":76,"author":8060,"museum":191,"description":42553,"tags":42571,"thumbUrl":42575,"material":1307,"size":42576,"collection":181,"collections":42577,"showCount":324,"zanCount":48,"manualWeight":48,"mainColor":94},223106,"yun-shan-tu-zhou-dong-bang-da-223106","云山图轴",[23,24,29,173,7,177,226,808,34,1426,175,809,37,35,686,9289,42572,1171,11849,1169,9951,42573,498,42574],"谷地","留白","工笔结合","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1f80ea2a2132aff84f3f8c4cb7be04c.jpg","180.2x71.9厘米",[181,163],{"id":42579,"slug":42580,"title":42581,"dynasty":76,"author":2162,"museum":419,"description":2163,"tags":42582,"thumbUrl":42584,"material":67,"size":2173,"collection":139,"collections":42585,"showCount":324,"zanCount":48,"manualWeight":48,"mainColor":49},223047,"hong-lou-meng-172-sun-wen-223047","红楼梦172",[23,24,28,7,106,59,107,227,611,176,115,13730,34,42583,15196],"黄叶树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffaeed6a2f207bfa4c0ff0e2a88140b8b.jpg",[],{"id":42587,"slug":42588,"title":42589,"dynasty":76,"author":2162,"museum":419,"description":2163,"tags":42590,"thumbUrl":42591,"material":67,"size":2173,"collection":139,"collections":42592,"showCount":324,"zanCount":48,"manualWeight":48,"mainColor":49},223023,"hong-lou-meng-148-sun-wen-223023","红楼梦148",[23,24,28,7,29,106,107,108,175,109,379,2086,378],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f0cacb77d3ba2f18dc3c0c17699474e.jpg",[],{"id":42594,"slug":42595,"title":42596,"dynasty":76,"author":2162,"museum":419,"description":2163,"tags":42597,"thumbUrl":42598,"material":67,"size":2173,"collection":139,"collections":42599,"showCount":324,"zanCount":48,"manualWeight":48,"mainColor":94},222970,"hong-lou-meng-95-sun-wen-222970","红楼梦95",[23,24,28,7,106,107,29,34,115,1169,2235],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5c0f8a526064311858b402e15a02cdd.jpg",[],{"id":42601,"slug":42602,"title":42603,"dynasty":76,"author":2162,"museum":419,"description":2163,"tags":42604,"thumbUrl":42605,"material":67,"size":2173,"collection":139,"collections":42606,"showCount":324,"zanCount":48,"manualWeight":48,"mainColor":94},222956,"hong-lou-meng-81-sun-wen-222956","红楼梦81",[23,194,24,25,28,7,986,107,106,262,136,137,13279,34,278,1169,114,115,983,1241,176,1463,8182,13705],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feac0e81cb3119ae54f2e3390d79b514f.jpg",[],{"id":42608,"slug":42609,"title":42610,"dynasty":99,"author":792,"museum":20,"description":42611,"tags":42612,"thumbUrl":42613,"material":638,"size":42614,"collection":90,"collections":42615,"showCount":324,"zanCount":48,"manualWeight":48,"mainColor":94},222603,"qiu-se-wu-tong-tu-lan-ying-222603","秋色梧桐图","此画面一片秋高气爽的气氛，上杂红树一枝。一只美丽的小鸟，悠闲地栖立于梧桐枝上，形象生动自然，神气逼肖。在构图上采用传统折枝的方法，截取梧桐与丹枫的枝头横斜下垂之势。在枝叶参差错落之中，求得疏密有致。花木点染随意，桐叶饱含水墨，抒情性很强。墨笔写成枝干，糅合了山水画的用笔，显得枝干劲健有力。山鸟基本以墨画成，略施淡赭色彩，令人感到素雅可亲。双勾的丹枫叶，显得挺俏遒劲；在画法上，勾染兼施，笔法活脱，墨色浓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因此称之为《流民图》亦可。",[23,24,25,26,352,7,106,10516,61,6162,7438,9412,12836,195,178,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd181c6127f25e533180376f904c665f0.jpg","纵28厘米，横384厘米",[],{"id":42634,"slug":42635,"title":42636,"dynasty":302,"author":1977,"museum":101,"description":42637,"tags":42638,"thumbUrl":42639,"material":500,"size":42640,"collection":139,"collections":42641,"showCount":324,"zanCount":48,"manualWeight":48,"mainColor":94},221785,"san-shi-ren-ma-tu-zhao-meng-fu-221785","三世人马图","为赵孟頫、赵雍、赵麟祖孙三人所画人马图合卷。卷后有陈洪绶等人题跋，谓其“三老不失笔墨宗风，古来大小李将军、高家父子、米家父子之类比。”、“古来父子祖孙以忠孝节义道应文学相传，不替者之类耳。”对比吴湖帆题款中所及“蒋氏密韵楼藏赵氏三世画马卷对临一本，并记原题款识于后，王蒙等跋亦入。”可见吴湖帆所临乃是另一卷传世“赵氏三世人马图”，由雪庭禅师收藏，王蒙、文征明等五家曾于其上题跋。",[23,194,24,25,26,7,352,106,150,178,212,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09f2e833da4843b79c3641463d061b4a.jpg","纵30.2厘米，横178.1厘米",[],{"id":42643,"slug":42644,"title":27676,"dynasty":18,"author":17571,"museum":101,"description":42645,"tags":42646,"thumbUrl":42647,"material":67,"size":42648,"collection":42,"collections":42649,"showCount":324,"zanCount":2368,"manualWeight":48,"mainColor":94},221425,"qiu-shan-xiao-si-tu-yan-wen-gui-221425","作品开卷处图绘远山溪岸，继而群峰叠起大壑飞瀑，颇为壮观，再次又转入平川冈阜秋树远山，渐成清远之境，布局变化错落有致。\n全卷以水墨为主，间以简淡之赋色，山石皴纹笔墨苍劲，林木结构系出于 传派，与传世 作品之风格有出入，似应为南宋画家的手笔。\n卷上有燕文贵小字款，乃后人所加。",[23,194,24,25,26,173,7,177,29,5411,25842,34,176,37,808,1353,353,1171,109,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb3bb3f7fd9c75615971c67aad3349df.jpg","32.5x321",[42,181,163],{"id":42651,"slug":42652,"title":42653,"dynasty":18,"author":2361,"museum":101,"description":42654,"tags":42655,"thumbUrl":42656,"material":638,"size":42657,"collection":139,"collections":42658,"showCount":324,"zanCount":48,"manualWeight":48,"mainColor":94},221357,"zhuo-se-shi-ba-luo-han-tu-juan-li-gong-lin-221357","着色十八罗汉图卷","李公麟（1049～1106），舒州(今安徽桐城)人，宋代杰出画家。字伯时，号龙眠居士，享年五十七岁。熙宁三年（公元1070年）进士。李龙眠即李公麟，字伯时，安徽桐城人，因桐城县北有一龙眠山，李公麟曾长居于山下，所以又自号龙眠居士或龙眠山人。\n出身名门大族，家藏古器名画法书甚多，自幼知识渊博，好古善鉴，多识奇字，自夏商以来钟鼎尊彝皆能考订世次，辨别款识。长于诗文，行楷书有晋人风。与王安石、苏轼、米芾、黄庭坚为至交，系驸马王诜之座上客。熙宁三年（1070）中进士，为中书门下省删定官，后官至朝奉郎。元符三年（1100）病痹告老，居家乡桐城龙眠山，号龙眠居士。一生勤奋，作画无数，人物、史实、释道、士女、山水、鞍马、走兽、花鸟无所不能，无所不精。人物、道释深得吴道子旨趣，运笔如行云流水，造型正确，神态飞动；山水气韵清秀，得王维正传；着色山水追李思训心法；画马过韩干。能集诸家之长，得其大成，师法自然，大胆创新，自成一家，被后代敬为第一大手笔、百代宗师。",[23,194,24,25,26,260,7,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F167d3053971be5b0a03db8dec8fa2736.jpg","26.7×384.2厘米",[],{"id":42660,"slug":42661,"title":42662,"dynasty":869,"author":10534,"museum":42663,"description":42664,"tags":42665,"thumbUrl":42666,"material":42667,"size":139,"collection":139,"collections":42668,"showCount":324,"zanCount":48,"manualWeight":48,"mainColor":94},220511,"jing-guan-pu-xin-she-220511","景观","The Baltimore Museum of Art","此作用笔清劲秀雅，以高远法绘山林幽居之景。危崖巍峨，以淡赭轻罩、花青晕染，勾勒皴擦间尽显山石嶙峋质感。近岸苍虬古木扎根岩隙，枝叶扶苏，与崖畔林木相互掩映。画面留白铺陈虚境，恰似空谷平湖，烘托出空山幽寂之韵。\n题画诗与景致相融，将松风泉响的山林意趣诉诸笔端，尽显文人山水的诗意内核。整体气息清逸出尘，承续北宗山水笔法，兼具南派的秀润雅致，把林泉高致的幽淡意境描摹尽致，尽显传统文人画的隽永风骨。",[23,25,24,29,226,173,7,177,685,379,378,407,353],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F289a35de63ffa4fc6160756dba5a74e6.jpg","Ink and color on paper",[],{"id":42670,"slug":42671,"title":42672,"dynasty":869,"author":22815,"museum":5351,"description":22816,"tags":42673,"thumbUrl":42674,"material":139,"size":139,"collection":139,"collections":42675,"showCount":324,"zanCount":48,"manualWeight":48,"mainColor":94},220482,"song-tao-lin-feng-mian-220482","松涛",[24,7,173,498,29,1273,174,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ecbc10766dc69df7ee10b85fc7ffb66.jpg",[],{"id":42677,"slug":42678,"title":42679,"dynasty":76,"author":742,"museum":101,"description":42680,"tags":42681,"thumbUrl":42682,"material":13418,"size":139,"collection":139,"collections":42683,"showCount":324,"zanCount":48,"manualWeight":48,"mainColor":94},220470,"shi-shang-du-shu-ren-yi-220470","石上读书","画面以瘦透皱漏的太湖石为布景，雅士踞坐石侧，展卷潜读，神情悠然沉谧，全然沉浸于书卷意趣之中。\n\n设色清雅柔和，衣纹勾勒简练劲挺，将文士宽袍博带的闲适姿态尽显。太湖石以淡墨晕染，辅以皴擦勾勒出空灵剔透的质感，虚实相生间衬出幽寂安闲的氛围。整幅扇面构图疏密得当，把文人幽居耽书的雅静意趣铺陈开来，尽显精妙的笔墨格调。",[24,25,1260,7,28,106,230,16314,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e528abdd16572b6722a32a318064bf1.jpg",[],{"id":42685,"slug":42686,"title":42687,"dynasty":99,"author":257,"museum":608,"description":42688,"tags":42689,"thumbUrl":42690,"material":123,"size":42691,"collection":45,"collections":42692,"showCount":324,"zanCount":48,"manualWeight":48,"mainColor":49},220352,"shan-lin-hui-you-tu-yi-ming-220352","山林会友图","这幅小品以虚实相生铺陈意境，左侧重峦叠石以石青、石绿晕染，苍松虬劲古雅，山居掩映于林麓间，笔墨苍秀雅致。右侧烟波浩渺，远山如黛隐于霭色中，汀洲屋舍朦胧悠远，以留白衬出山水空阔辽远。近景松下雅士围坐清谈，悠然会友，将山林雅集的闲适意趣娓娓道来。\n\n整体设色沉稳古雅，咫尺尺幅间兼具山水之旷远与文人雅聚的悠然，尽显雅致含蓄的山水意趣，把林下清谈的雅逸氛围融于青绿山水间，淡墨轻岚里藏着中式文人的精神栖居之所。",[24,25,1260,7,27,29,106,107,34,176,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd57379418541d43f527b09165c063b4.jpg","20.2x21.2",[45],{"id":42694,"slug":42695,"title":42696,"dynasty":189,"author":22558,"museum":191,"description":42697,"tags":42698,"thumbUrl":42699,"material":1884,"size":42700,"collection":44,"collections":42701,"showCount":324,"zanCount":48,"manualWeight":48,"mainColor":49},220248,"hui-lie-tu-hu-gui-220248","回猎图","胡瓌，范阳（河北涿县）人，或做山后契丹人，约活动于九、十世纪之间。精于描绘契丹之人马，凡帐棚、车辆、射猎器用、生活杂物及牲畜犬马，都形容备尽。本幅描写契丹族人，携鹰出猎之情景，人物着典型契丹族之衣冠，其猎鹰、座骑亦具特色。四只猎鹰中，三只可能是不同花色的海东青。鹫鹰科及隼科之鸟类，善猎者有数种，其中以海东青为极品，产地即在契丹之领域中，以善猎天鹅而闻名。马匹似有「裂耳犁鼻」之状，据云是当时契丹（辽金）人养育马匹的特殊方式：「…..谓鼻不破裂，则气盛冲肺。耳不裂，则风传而不闻音声…..」（注 1）。胡瓌喜用狼毫笔，借其挺健之笔毫绘制精致之作品。本幅即其精描细写之佳作，与院藏胡「回猎图」之画风及尺寸大小均相似，原属同一组之作 ，皆曾经宋徽宗收藏，画幅上遗有「宣和」半印。",[23,24,7,28,106,150,1049,37298,212,1464,3848,11370,39902],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a84886fe554f046fcb60e0d99942b0b.jpg","全幅 43.5x121.7公分",[44],{"id":42703,"slug":42704,"title":42705,"dynasty":302,"author":257,"museum":608,"description":42706,"tags":42707,"thumbUrl":42708,"material":123,"size":42709,"collection":181,"collections":42710,"showCount":324,"zanCount":48,"manualWeight":48,"mainColor":49},220049,"xue-shan-yun-lv-tu-yi-ming-220049","雪山运驴图","此作用淡墨晕染出冰封寒江与覆雪山峦，满目萧寒清寂。虬曲枯木扎根石隙，枝桠尽是冬日的荒疏萧索。空阔雪野间，一行驴队徐行缓进，为沉寂山野添上些许烟火暖意，动静相映，更衬出冬日林峦的清旷孤寒。\n\n画作以细劲线条勾勒山石林木轮廓，淡墨皴擦铺陈积雪，留白晕染巧构雪色，将北国冬雪的荒寒空灵尽数铺展，于极简取景间尽显淡远意趣，把冬日行旅的孤清况味藏入尺幅之间，引人身临其境，浸沉在这片凛凛寒意与静谧萧疏之中。",[23,194,24,25,3559,7,177,2724,6927,795,176,106,2562],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a3496e60237064d400653f83c3b0f63.jpg","25.1 x 25.9 cm",[181],{"id":42712,"slug":42713,"title":42714,"dynasty":18,"author":1599,"museum":191,"description":42715,"tags":42716,"thumbUrl":42718,"material":123,"size":42719,"collection":44,"collections":42720,"showCount":324,"zanCount":48,"manualWeight":48,"mainColor":49},219692,"bu-na-tu-liu-song-nian-219692","补衲图","本幅画两名僧人坐于禅榻上，老者正潜心补衣，另一人则抱膝旁观。屏后，复有侍者二人，伫立捻茶。画中人物，表情鲜活而自然，衣纹用笔亦流畅有力。惟左下方款署之「画院待诏赐金带刘松年敬赠」及钤印疑伪。宋元罗汉画常见僧侣日常活动，此轴描绘僧人补衣，亦可归入罗汉画类型。刘松年是活动在十二世纪的南宋宫廷画家，以本院所藏〈画罗汉〉三轴最具代表性。若与〈补纳图〉相较，风格互异，本幅应系南宋晚期至元的画家托名所作。",[24,25,913,28,7,106,16143,3766,3701,279,280,42717],"衣物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37ba4f263b90c0dc3a1bf10c1a619858.jpg","141.9x59.8cm",[44],{"id":42722,"slug":42723,"title":42724,"dynasty":76,"author":42725,"museum":20,"description":42726,"tags":42727,"thumbUrl":42728,"material":88,"size":42729,"collection":44,"collections":42730,"showCount":324,"zanCount":2368,"manualWeight":48,"mainColor":94},219634,"lao-zi-qi-niu-tu-wu-chao-219634","老子骑牛图","吴焯","吴焯（1676年--1733年），男，字尺凫，号绣谷，晚号绣谷老人，清钱塘（今杭州）人（一说安徽歙县人）。以家有古藤，花开时垂如璎珞，遂构亭名“绣谷”。",[24,25,194,7,28,106,151,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdc7b0425ec06c744d6c192a567f8e64.jpg","纵63.17cm，横32.19cm",[44],{"id":42732,"slug":42733,"title":1383,"dynasty":99,"author":41241,"museum":191,"description":42734,"tags":42735,"thumbUrl":42737,"material":88,"size":42738,"collection":181,"collections":42739,"showCount":324,"zanCount":2368,"manualWeight":48,"mainColor":94},219470,"shan-shui-tu-gu-ning-yuan-219470","此作用淡墨晕染层叠远山，云雾漫过峰巅，虚实相生间晕开空濛悠远的秋意。近岸杂木错落，浅红与苍青点染枝叶，悄然晕出时节变迁。临水篱舍掩映林间，朴雅安闲，宛然可居可游。\n\n画作以干淡细笔勾勒物象，敷色清浅柔和，全凭水墨层次营造萧散简远的氛围，将江南水畔幽居之趣藏于尺幅间，尽显文人画独有的静穆闲雅，引观者沉湎于这一片安谧丘壑，暂忘尘嚣烦扰。",[24,25,226,173,7,177,212,178,29,1169,37,34,795,35,42736,3562,912],"小溪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F343ffa34c58013098889b77b7d2fe5d6.jpg","82.3x41.2",[181],{"id":42741,"slug":42742,"title":42743,"dynasty":99,"author":257,"museum":191,"description":42744,"tags":42745,"thumbUrl":42746,"material":123,"size":42747,"collection":44,"collections":42748,"showCount":324,"zanCount":48,"manualWeight":48,"mainColor":49},219348,"pu-xian-da-shi-xiang-yi-ming-219348","普贤大士像","此幅亦无作者款名。画一僧坐于白象背上，展卷研读。普贤，梵名三曼多跋陀罗，汉译名为普贤，又名遍吉。与文殊同为释迦佛的胁侍，左辅右弼，居菩萨众之上首。又华严经以三者为华严三圣，为一切行德之本体。此图像作世俗僧形，是为便于助佛普化的缘故。与前述之文殊，二画尺寸、笔墨皆近似，原为对幅。",[24,25,194,226,7,28,260,106,746,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F743ec6d76d015ff1fc9bac3178455c15.jpg","156.6x94",[44],{"id":42750,"slug":42751,"title":42752,"dynasty":76,"author":3061,"museum":20,"description":42753,"tags":42754,"thumbUrl":42755,"material":88,"size":42756,"collection":44,"collections":42757,"showCount":324,"zanCount":1379,"manualWeight":48,"mainColor":94},219211,"bing-xi-tu-jin-ting-biao-219211","冰戏图","冬季严寒萧瑟，景物单调，但是对于调皮贪玩的小孩来说依然不乏游戏项目。宫廷画家金廷标就为我们展现了这种一幅场景。十个小伙伴来到结冰的池塘边，胆大的几个先下到了冰面上，可是太滑了，一不小心就摔了个仰面朝天，想再站出来也不容易，只能尽力支撑着。而岸上的同伴则嬉笑着，跃跃欲试。\n金廷标是清乾隆时期最著名的宫廷画家之一，以人物画见长。他笔下的风俗人物质朴自然，贴近生活，情态生动，令观者心生亲切之感。",[23,24,7,28,106,2385,3984,34,1364,278,263,1187,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb6864bf5a01739f77580c7a573b3b20.jpg","纵121厘米，横64.8厘米",[44],{"id":42759,"slug":42760,"title":7361,"dynasty":18,"author":257,"museum":4901,"description":42761,"tags":42762,"thumbUrl":42763,"material":123,"size":42764,"collection":181,"collections":42765,"showCount":324,"zanCount":48,"manualWeight":48,"mainColor":94},219030,"guan-pu-tu-yi-ming-219030","一条瀑布从山涧中流下，远处的山峰在云雾中清晰可见；在岩石高原的左侧，一个有学问的人拿着杖，仰望着眼前的雄伟山峰。他听着瀑布撞击岩石的声音，看到水蔓延上升，后面跟着一个抱着琵琶的孩子。这幅画是马夏的风格，用大斧头砍的石头，笔力强劲，笔触宽阔，盖子坚硬，使石头的质地很牢固。",[24,25,1260,173,7,29,177,1426,106,34,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2c9cc6d2677a6abf31cfae2e0748f4c.jpg","23.2x23.4",[181],{"id":42767,"slug":42768,"title":42769,"dynasty":18,"author":257,"museum":191,"description":42770,"tags":42771,"thumbUrl":42772,"material":123,"size":42773,"collection":181,"collections":42774,"showCount":324,"zanCount":48,"manualWeight":48,"mainColor":49},218988,"pin-quan-tu-yi-ming-218988","品泉图","这幅画描绘了一个在峡谷中的有学问的人和一个提供茶水的童仆，而他摇着扇子喝茶。这幅画没有标记，以前被认为是宋代的作品，但宋代没有这种画风，动荡的笔法更接近明代的山水画风格。",[23,24,194,7,177,29,34,686,109,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04bddcec30d211866d234b9bd05fadd1.jpg","27.5x57.4",[181],{"id":42776,"slug":42777,"title":42778,"dynasty":18,"author":257,"museum":132,"description":42779,"tags":42780,"thumbUrl":42782,"material":123,"size":308,"collection":90,"collections":42783,"showCount":324,"zanCount":48,"manualWeight":48,"mainColor":94},218969,"ying-sun-lie-hu-tu-yi-ming-218969","鹰隼猎狐图","振翅俯冲的猛禽携风而下，惊惶奔窜的狐兽攒足欲逃，劲挺的枯枝斜出岩隙，丛丛劲草在荒坡间摇曳。笔墨于精微处见真章：禽鸟羽翮层次分明，狐兽肌理细腻传神，岩石皴擦苍劲老辣。荒野的萧瑟与捕猎的焦灼交织，一瞬张力被定格成永恒。宋人笔下的野趣，在动静相衔间流淌，于形神兼备中尽显自然生息的生动与凛冽，每一处线条都藏着对生命状态的精准捕捉，每片墨色都晕染出荒野间的原始张力。",[23,194,24,25,1260,7,28,746,245,230,42781],"枯草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b3bc526ab9976cefd9af3dab0639ec3.jpg",[90],{"id":42785,"slug":42786,"title":42787,"dynasty":302,"author":257,"museum":191,"description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横116.8厘米",[44,45],{"id":43113,"slug":43114,"title":131,"dynasty":76,"author":2805,"museum":316,"description":2806,"tags":43115,"thumbUrl":43116,"material":599,"size":600,"collection":139,"collections":43117,"showCount":201,"zanCount":2368,"manualWeight":48,"mainColor":94},235599,"hua-hui-ce-wang-wu-235599",[24,25,81,7,83,84,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ac02c7830b4e4f8ae7d6de5d2c5fd28.jpg",[],{"id":43119,"slug":43120,"title":3327,"dynasty":76,"author":11333,"museum":316,"description":29635,"tags":43121,"thumbUrl":43122,"material":599,"size":600,"collection":139,"collections":43123,"showCount":201,"zanCount":48,"manualWeight":48,"mainColor":94},235279,"ren-wu-gu-shi-ce-fan-xue-yi-235279",[24,25,81,7,28,104,106,107,115,278,378,379,280],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc796da6635cb8d980b065b7a7bb52c60.jpg",[],{"id":43125,"slug":43126,"title":43127,"dynasty":76,"author":742,"museum":316,"description":12076,"tags":43128,"thumbUrl":43129,"material":40,"size":12080,"collection":139,"collections":43130,"showCount":201,"zanCount":48,"manualWeight":48,"mainColor":94},234992,"hua-hui-ling-mao-ping-10-ren-yi-234992","花卉翎毛屏10",[24,25,226,7,28,83,228,136,137,209,3442,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbf9f397c8059cf090d6b2cb507af50a.jpg",[],{"id":43132,"slug":43133,"title":33546,"dynasty":76,"author":3071,"museum":20,"description":43134,"tags":43135,"thumbUrl":43136,"material":40,"size":43137,"collection":139,"collections":43138,"showCount":201,"zanCount":48,"manualWeight":48,"mainColor":49},234295,"yue-man-qing-you-ce-chen-mei-234295","《月曼清游图》册描绘的是宫廷嫔妃们一年12个月的深宫生活：正月“寒夜探梅”、二月“杨柳荡千”、三月“闲亭对弈”、四月“庭院观花”、五月“水阁梳妆”、六月“碧池采莲”、七月“桐荫乞巧”、八月“琼台玩月”、九月“重阳赏菊”、十月“文窗刺绣”、十一月“围炉博古”、十二月“踏雪寻诗”。\n通过这一幅幅生动的画面体现了宫廷生活与民间生活的密切关联。嫔妃们的活动内容，在民间生活中均习以为常，只不过由于宫廷的特殊地位，而令这些活动从内容到形式都具有更加富贵、繁琐及典制化的特点。\n作者在人物创作的审美取向上有别于唐代张萱、周昉笔下体态丰腴的嫔妃形象，而以明代唐寅、仇英笔下的仕女画为审美标准，追求秀润飘逸的情致。画家以工细流畅的线条和亮丽鲜活的色彩将嫔妃们描绘成身材修长、体态轻盈、“倚风娇无力”之貌。她们三五成群地行进在以界画表现的亭台楼阁内或是细笔勾染皴点的花石下。富贵闲逸的宫苑生活令她们的物质生活十分充足，也使她们的精神世界极度贫乏。\n在技法上，此图所绘人物造型生动准确，笔致工细严谨，源于宋代院体画风。图中的楼台房室建筑则采用西洋焦点透视法绘成，根据图中透视线斜度的变化，可以准确地推求出灭点的具体位置，从而加强了平面画幅的立体、纵深效果，在有限的画面上扩展出无限的空间。\n此图册于乾隆三年（1738年）绘成后深得乾隆皇帝的赞赏。乾隆帝于六年谕令皇宫“造办处”的优秀匠人，如擅镶嵌技艺的常存，擅牙雕工艺的陈祖章、陈观泉父子及顾彭年、萧汉振等，以陈枚的这本图册为画稿，用象牙、玉石等进行雕刻。匠人们精雕细琢，密切结合牙雕和镶嵌的技艺特点，令画面层次分明，富有立体感。这件雕有103人的牙雕精品被称作“百美图”。乾隆皇帝在为它题写诗文时将其正式定名为《月曼清游》。",[24,25,81,28,7,106,59,820,107,178,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f2494860570445bcd18e06e11d86184.jpg","纵37厘米，横31.8厘米",[],{"id":43140,"slug":43141,"title":16395,"dynasty":18,"author":257,"museum":20,"description":43142,"tags":43143,"thumbUrl":43144,"material":67,"size":43145,"collection":139,"collections":43146,"showCount":201,"zanCount":1379,"manualWeight":48,"mainColor":49},234072,"mu-dan-tu-ye-yi-ming-234072","图绘牡丹花后魏紫，花冠硕大，重瓣层叠，娇艳华贵，左右以绿叶相衬。花瓣层次丰富，刻画入微，先用中锋细笔勾花瓣，然后用胭脂红层层渲染，以浅黄色点花蕊，以花青汁绿染花叶。此图页精工富丽，美不胜收，构图丰满，设色艳而不俗。",[24,25,83,28,7,292,81,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F023ab8dac012fa5aa7c7c10f840c8889.jpg","纵24.8cm，横22cm",[],{"id":43148,"slug":43149,"title":11255,"dynasty":302,"author":7943,"museum":20,"description":43150,"tags":43151,"thumbUrl":43152,"material":67,"size":43153,"collection":139,"collections":43154,"showCount":201,"zanCount":48,"manualWeight":48,"mainColor":49},233823,"hua-zhu-jin-ji-tu-zhou-wang-yuan-233823","王渊（生卒年不详），字若水，号澹轩，浙江杭州人。他一生不仕，专擅墨笔花鸟、竹石。画意蕴藉清润、幽静深秀。",[194,24,226,28,7,83,227,62,1284,245,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd36673eec219f9e862caec47a108a50c.jpg","纵175.7cm; 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山茶》。宋代大文豪苏轼也曾为赵昌山茶图作题跋二首。易元吉的茶花作品，《宣和画谱》录有《山茶孔雀图》、《山茶戏猿图》等八幅。丘庆余的茶花作品也见诸于《宣和画谱》，有《山茶花兔图》、《湖石山茶图》等五幅。\n勾勒填彩的细密画风成为两宋茶花画的主要艺术倾向。两宋的茶花作品以精工的描绘，鲜妍的敷色著称。画家十分注意物象、物理的研究，对物写生成为一时风尚，章法严谨，笔墨精丽，技法成熟，达到炉火纯青的地步，形成这一时期茶花画的主要艺术特色。北宋的茶花画已佚，流传至今的只有南宋画家李嵩的《花篮图》（设色绢本）、宋代佚名的《山茶蝴蝶图》、《白茶花图》，从中足以窥见当时盛行画风的特色。剖析这一时期的绘画作品，可以清晰地看到，以院体画为主的细密画风始终占主导地位。此外，赵昌、易元吉的作品以写生为重。崔悫、吴元瑜的作品在继承黄筌的基础上别创一清淡疏秀之格。林椿虽为宋后期院体画家，却在继承北宋院体画细密的传统中，显示出敷色轻淡，灵活生动的特色。宋无款的《百花图卷· 茶花》画风接近于“文人画”。宋后期的董祥、赵彦敷的茶花作品已具早期文人水墨画的特征。这些作品在主体画风之外各有特色，但是茶花作品的整体艺术倾向始终是鲜明而统一的。\n五代两宋为茶花画数量最多的一个时期。五代两宋时期画茶花的有院体画家、院外画家、士大夫阶层为官者，绘茶花者甚众，呈现欣欣向荣之气势。迄今发现两宋茶花画达41幅，居各个时期茶花作品数量之首。",[23,24,194,25,26,28,7,105,83,470,24357,245,836,176,380],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F031db809757be93633780fb6452f3df0.jpg","30.1 x 206.5厘米",[],{"id":43188,"slug":43189,"title":43190,"dynasty":302,"author":303,"museum":316,"description":43191,"tags":43192,"thumbUrl":43194,"material":67,"size":43195,"collection":139,"collections":43196,"showCount":201,"zanCount":2368,"manualWeight":48,"mainColor":94},232884,"qun-xian-du-hai-tu-juan-qian-xuan-232884","群仙渡海图卷","八仙是中国民间传说中广为流传的道教八位神仙。\n八仙之名，明代以前说法不一，有汉代八仙、唐代八仙、宋元八仙，所列神仙各不相同。至明代吴元泰《东游记》始定为：铁拐李（李玄）、汉钟离（钟离权）、张果老（张果）、吕洞宾（吕岩）、何仙姑（何琼）、蓝采和（许坚）、韩湘子、曹国舅（曹景休）。",[23,24,26,7,106,260,12846,43193,28],"渡海","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1473de61e41bb0fdef9334e4b6bf4dc.jpg","* 24.4x94cm",[],{"id":43198,"slug":43199,"title":43200,"dynasty":302,"author":1917,"museum":191,"description":43201,"tags":43202,"thumbUrl":43203,"material":67,"size":43204,"collection":139,"collections":43205,"showCount":201,"zanCount":48,"manualWeight":48,"mainColor":49},232255,"zhu-lin-xian-zi-tu-liu-guan-dao-232255","竹林仙子图","这一张古画比较奇怪，奇怪的是故事的内容比较特殊，而且是供欣赏者来一起讨论的。作品是元代刘贯道的 《竹林仙子》，作品并不大，但如今被收藏在台北博物馆之中。\n为什么说这一张作品比较奇怪，因为画中仅仅只出现了一个古代仕女，但专家却称这一个仕女有区别当时的画中人物，准确的讲作者想要画的是自己想象中的仙女。\n700年前的一个仙女掉落竹林，古画中的她想飞却又被困住了！\n既然是仙女，为何画中的人物会被困在画里的竹林之中无法飞出去呢？这背后究竟是为什么？我们带着疑问先来看看作品的细节，一起来欣赏一下距今700多年的作品背后究竟作者想要表达什么！\n刘贯道是元代一个著名的绘画大师，而且他的绘画作品尤其是擅长于画佛道人物，所以为什么画中人物被称为仙女，这与作者的用意有直接的关系。\n当然他也能画山水、花竹、鸟兽等等。他的作品之中绘画的手法与宋朝文人雅士一样，但其画功非又比一般的画家复杂得多，而且他的存世作品非常少。\n仔细看这一张作品，其实大家可以感受到绘画作者非常的细致，每一处的景色显得非常的精妙，尤其是他笔下有着一种传统的绘画技法，透露着一种浓浓的古典风味。\n整个作品十分的雅，而且清秀的笔锋与颜料的使用都是非常特别。仔细看那一个仙女的衣服，飘逸的感觉真的很到位，就如天宫之中的仙女一模一样。但为什么这一个仙女会落到凡间的竹之中呢？\n首先有网友给出一种解释，那就是不是这一个仙女落到了凡间，而是她亲自下凡后却被凡间的某一些东西给吸引住了。作者在绘画的时候让仙女的眼神落在了地上的鲜花上面，可能是凡间的花朵吸引住了她，也可能这一些鲜花在天宫之中就没有，美女爱花这一个观点就融入到作品之中。\n仙女被仙花吸引住了，所以她独自下凡就是为了多看几眼鲜花。仙女的姿势是有向后飞的意思，衣服的飘带也是呈现一种动起来的姿态，而仙凡看着花果，估计也就是被鲜花给吸引住了。\n不得不说古人绘画的作品真的够细致，山间有竹林，而竹林之中又有少许的鲜花。一个仙女落入在凡间的树林之中，在鲜花的山间还有一些流水，这样一种诗情画意的画面真妙。\n难怪仙女不愿意离开，估计换成别人落入到如此美景之中也不会想着离开吧",[24,25,194,28,7,106,59,227,176,380],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b43f6849455cf8800987ffcf55ba5cf.jpg","70×31.4cm",[],{"id":43207,"slug":43208,"title":43209,"dynasty":256,"author":257,"museum":316,"description":43210,"tags":43211,"thumbUrl":43212,"material":599,"size":600,"collection":139,"collections":43213,"showCount":201,"zanCount":48,"manualWeight":48,"mainColor":94},231793,"ming-qing-ri-ben-gu-hua-hua-niao-shan-shui-ren-wu-fen-ben-hua-niao-juan-yi-ming-231793","明清日本古画花鸟山水人物粉本-花鸟卷","此卷三段取景，意趣各别。首段紫茄垂枝，晕染柔和饱满，将蔬果的鲜活质感尽显无余。中段群芳错生，凤仙秾艳、牵牛幽蓝、鸡冠明黄，草间蜻蜓静立，工笔勾勒柔劲相济，淡彩敷色清润雅致，将花草舒展之姿描摹入微。末段坡泽野趣盎然，蛙类或跃或伏，紫藤垂缀如瀑，蜂蝶振翅穿梭，生机灵动。全卷笔致秀雅，兼具工细写生的精工与自然野逸之趣，淡墨轻色温润和谐，将四时小景的鲜活意趣融于长卷，尽显写生花鸟的雅致风神。",[23,24,25,26,7,28,83,264,568,7539,721,554,1187],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9311663ccaeea82c7a495e62a25ee48c.jpg",[],{"id":43215,"slug":43216,"title":43217,"dynasty":256,"author":43218,"museum":316,"description":43219,"tags":43220,"thumbUrl":43221,"material":599,"size":600,"collection":139,"collections":43222,"showCount":201,"zanCount":48,"manualWeight":48,"mainColor":94},231747,"an-tu-tao-shan-shi-dai-song-lin-tu-ping-feng-di-yi-ping-zhang-gu-chuan-231747","安土桃山时代 松林图屏风-第一屏","长谷川","长谷川东白（长谷川等伯，1539年－1610年3月19日）是日本 画家，长谷川画派的创始人。\n他被认为是安土桃山时代（1573-1603 年）的伟大画家之一，最著名的是他的屏风",[23,279,13707,1273,34,173,7,177,6673,3559],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96e031bd61161a28d9a520f501cd87ba.jpg",[],{"id":43224,"slug":43225,"title":43226,"dynasty":256,"author":43227,"museum":316,"description":43228,"tags":43229,"thumbUrl":43230,"material":599,"size":600,"collection":139,"collections":43231,"showCount":201,"zanCount":48,"manualWeight":48,"mainColor":94},231735,"shan-shui-ren-wu-juan-xia-bu-ji-tong-231735","山水人物卷(下部)","吉通","德川吉通（1689年—1713年），德川御三家之一的尾张藩第四代藩主。是第三代藩主德川纲诚的九男，母亲侧室坂崎氏。乳名是薮太郎、吉郎、五郎太。字子中。官职从三位权中纳言。",[23,24,25,26,7,28,104,106,107,29,34,115,114,278,15196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44a280d4f710ef9cf58d529163770ed3.jpg",[],{"id":43233,"slug":43234,"title":43235,"dynasty":256,"author":257,"museum":316,"description":43236,"tags":43237,"thumbUrl":43238,"material":599,"size":600,"collection":139,"collections":43239,"showCount":201,"zanCount":48,"manualWeight":48,"mainColor":94},231679,"xing-shan-nu-hu-tu-zhou-yi-ming-231679","行山怒虎图轴","此作画境开阔空寂，将猛虎置于下半幅，以大片留白衬出山野荒莽之境。作者工写兼具，以细笔丝绘虎身鬃毛，蓬松柔劲，晕染出皮毛的明暗层次。怒目圆睁、獠牙毕露，咆哮间尽显百兽之王的慑人气魄，前爪紧扣山石，利爪锋芒毕现，将蓄势待发的悍勇姿态定格。岩石以淡墨泼染、焦墨提点，干湿浓淡间烘托出嶙峋质感，与猛虎的刚健互为映衬。整幅笔墨苍劲古朴，把山君的威严凶悍与山野的沉静融为一体，尽显传统走兽画的精妙气韵。",[23,24,25,226,7,28,5443,746,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a9040aefe7882aff435761b74a634bd.jpg",[],{"id":43241,"slug":43242,"title":1383,"dynasty":189,"author":43243,"museum":316,"description":43244,"tags":43245,"thumbUrl":43246,"material":599,"size":600,"collection":139,"collections":43247,"showCount":201,"zanCount":48,"manualWeight":48,"mainColor":49},230841,"shan-shui-tu-gui-guan-230841","珪观","珪观，唐代画家，代表作有《山水图》。",[194,24,25,1260,177,7,29,685,1273,106,150,1049],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fa92278b55313173802c39eb57a8cf6.jpg",[],{"id":43249,"slug":43250,"title":43251,"dynasty":256,"author":257,"museum":316,"description":43252,"tags":43253,"thumbUrl":43256,"material":599,"size":600,"collection":139,"collections":43257,"showCount":201,"zanCount":2368,"manualWeight":48,"mainColor":49},230836,"di-yu-shi-wang-jing-bian-tu-juan-yi-ming-230836","地狱十王经变图卷","以长卷铺陈幽冥叙事，起首佛陀安坐，引渡之意尽显。次第展开断狱场景，冥王威严端坐，鬼差持械呼喝，罪众或戴枷受刑、或垂首惶然，刑狱百态跃然纸上。\n\n笔致稚拙灵动，设色古旧厚重，人物神态各有分明：冥王的肃穆威严，罪囚的凄惶愁苦，差役的凶戾悍勇，皆被鲜活勾勒。民间画工以质朴笔触，将宗教劝诫融于具象场景，既带着神性庄严，亦杂糅世俗意趣，把善恶有报、礼佛超生的因果叙事完整铺陈，藏着古人对生死善恶的叩问与敬畏。",[23,24,25,26,7,28,260,106,150,43254,5883,3982,34083,43255],"鬼卒","审判","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a101c72f4343dac941cb149b8b6931c.jpg",[],{"id":43259,"slug":43260,"title":43261,"dynasty":76,"author":9735,"museum":316,"description":43262,"tags":43263,"thumbUrl":43264,"material":139,"size":139,"collection":139,"collections":43265,"showCount":201,"zanCount":48,"manualWeight":48,"mainColor":94},229003,"ni-gu-shan-shui-ce-huang-shan-shou-229003","拟古山水册","此作以留白晕染冬雪覆山，浅绛设色清润柔和，笔墨简淡秀逸。近处崖畔文士凭窗观览，沙岸渔舟静泊，梢公待客将发；中景木桥跨溪，连接两岸林峦，枯木疏枝衬出萧寒之气。远山素净空蒙，整体意境清寂淡远，将文人幽居林泉、寄情山水的闲雅意趣融于雪景之中，萧疏恬静的冬日山居图景跃然纸上，尽显温婉雅致的仿古意韵，澹泊出尘。",[24,7,29,108,109,174,176,34,105,177,106,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4fb4f6b62265c8b3a4b2dff321a9b14.jpg",[],{"id":43267,"slug":43268,"title":43269,"dynasty":99,"author":257,"museum":316,"description":43270,"tags":43271,"thumbUrl":43273,"material":139,"size":139,"collection":139,"collections":43274,"showCount":201,"zanCount":2368,"manualWeight":48,"mainColor":94},228816,"huo-lang-tu-li-zhou-yi-ming-228816","货郎图立轴","画面里货郎车载满琳琅玩货物什，层层叠叠堆挤着，将巷陌营生的热络尽数铺展。老货郎佝身理货，眉眼带着营生的疲惫，又藏着几分温和。孩童们姿态各异，有的踮脚抬首，目光黏在货架上满是艳羡；有的蹲坐嬉闹，憨态尽显。\n古雅柔润的设色晕开旧时光晕，细劲线条勾勒出鲜活神态，将巷闾烟火日常定格绢素，把市井生计的温热与稚子烂漫揉为一处，意趣盎然，尽得世俗小景的鲜活情致。",[23,194,24,226,7,28,106,9249,2385,120,17647,43272],"烟火气","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa801a280bf7b02f555d2c58bc6d65ee7.jpg",[],{"id":43276,"slug":43277,"title":43278,"dynasty":99,"author":257,"museum":316,"description":43279,"tags":43280,"thumbUrl":43283,"material":139,"size":139,"collection":139,"collections":43284,"showCount":201,"zanCount":2368,"manualWeight":48,"mainColor":49},228801,"shi-di-pu-sa-xiang-yi-ming-228801","十地菩萨像","六尊菩萨安坐翻卷云海之间，排布错落有致，尽显天界雍容气象。菩萨面相圆柔端雅，眉眼低垂含慈悲静穆之态，衣袂层叠舒展，璎珞宝饰纤毫毕现，纹饰繁而不乱，金线勾勒更添华贵庄严。整作设色古雅厚重，朱砂石青晕染出沉稳底色，金箔提亮衣纹宝光，祥云流转灵动，衬出缥缈空灵的圣域氛围。画作工细精湛，将佛教造像的神性肃穆与工笔重彩的美学意趣相融，尽显佛绘艺术的精妙造诣。",[23,24,260,106,28,7692,7,4428,3661,6768,43281,43282],"华贵","慈悲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27734dfb81a119cd087bce61c2f19059.jpg",[],{"id":43286,"slug":43287,"title":43288,"dynasty":99,"author":43289,"museum":316,"description":43290,"tags":43291,"thumbUrl":43292,"material":139,"size":139,"collection":139,"collections":43293,"showCount":201,"zanCount":48,"manualWeight":48,"mainColor":94},228342,"qian-yan-tu-wang-shou-qian-228342","千雁图","王守谦","整卷群雁聚散自如，或振翅翱翔、或敛羽栖汀，姿态各不相同，灵动尽显。以淡墨晕染汀渚苇丛，留白铺就水天色空濛之境，虚实相生间，将秋日寒渚的清旷萧瑟铺展开来。\n\n水墨写意笔触简练苍润，大雁造型简括神完，芦苇繁花轻描淡写，野逸之趣扑面而来。画面两侧行书题跋与画作相得益彰，书画合璧，尽显明代文人画的雅致意趣，将江渚雁群的自然野态描摹得淋漓尽致，是写意花鸟中的精妙之作。",[23,24,25,26,173,7,28,245,1980,319,1530],"https:\u002F\u002Foss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中国古画、扇面画 私人收藏 宣纸，尺寸：4.×4.cm\u002F 盛懋，元代画家，字子昭，原籍临安（今浙江省杭州市）。\n承袭父业，以精湛的技艺称誉当世，和吴镇的墨竹、岳彦高的草书、章文茂的笔，共被誉为“武塘四绝”。\n他善画山水，兼作人物、花卉。\n详细介绍“盛懋” 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in the Sunlight, Midday, 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晚年创作的一副绢本设色画，现收藏于 。\n画面布置有序，层次井然，笔墨清隽秀润，沉静淡雅，毫无躁气，具有温厚而博大之美。\n《南山积翠图》，该作品按远、中、近三景均采用大量的笔墨描绘。\n画作尺幅虽大，用笔却毫不松懈。\n尤其是中景，刻画得更为精谨。\n草木繁茂、山势蜿蜒，却丝毫没有迫塞感。\n山体曲折、盘桓，观者置身画中，沿山间小路仿佛可以直达无人之境。\n此作题“壬子长夏写南山积翠图，奉祝蓉翁太老亲台七襄大寿并祈粲正。\n弟王时敏时年八十有一”。\n由此题款可知，这是画家为人贺寿之作。\n画作近景刻画了松树，松枝翠绿，枝干姿态各异，暗含“贺寿”这一主题。\n画家刻意将松叶所用的墨色加以区分，墨色浓淡不同、虚实相生，使松树充满生机。\n而对近景山石的处理，他主要师法黄公望———用笔苍劲，多矾头，随意的长披麻皴疏松、秀雅。\n不过，他并不满足于师法一家。\n从对画中山石的点苔来看，他亦受王蒙画法的影响———用浓墨表现。\n可见，他在吸收古人之法时并不是一味地照搬，而是融会贯通，有自己的特点。\n与近景相比，中景的山体更险要，重峦叠嶂。\n为烘托山石奇险之势，画家有意将瀑布、雾霭穿插于山间。\n瀑布顺流而下，隐于山林之间；雾霭从远处飘来，势若蛟龙。\n作品虽未画人物，但中景的房屋却暗示了人物的存在。\n整幅画面虽气势磅礴、山势险峻，却并不冷清。\n山中的楼阁似山林主人居住之所，又似游人休息之处；似画家凭栏独赏之所，又似文人品茗、畅谈之阁，具有浓郁的文人画意味。\n远景中间，山峰如柱，是整个画面的气魄所在。\n山脉随景之推深而愈加陡峭，以浓墨绘就的苍松亦愈加繁茂。\n由此，我们可以感受到画家对生命的敬畏和对受画者大寿的美好祝愿。\n作品构图繁复、行笔缜密、墨色沉静，毫无躁气，给人一种清新、温润的感觉。\n王时敏的《南山积翠图》虽在一定程度上沿袭了前人“三段式”的构图，但细看，不难发现其创新之处。\n画面虽分为远、中、近三景，但呈现出一层坡、二层树、三层山的格局。\n而且，画家还有意识地在构图中加入了起伏、开合之势，为后来王原祁“积石为山”的“龙脉”构图理论打下了基础。\n218年8月15日，该画在辽宁博物馆中国古代绘画展中展出。\n王时敏（1592—168），字逊之，号烟客，江苏太仓人。\n祖父王锡爵在明朝万历时期曾任礼部尚书兼 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牛肥壮，孩子调皮。",[23,194,24,226,7,28,10677,34,43450,1024,212],"牛犊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27c9fbfac81e21e219709419b2fe821c.jpg","96.3＊53.2cm",[42,181,163],{"id":43455,"slug":43456,"title":43457,"dynasty":18,"author":257,"museum":56,"description":43458,"tags":43459,"thumbUrl":43460,"material":67,"size":43461,"collection":90,"collections":43462,"showCount":201,"zanCount":48,"manualWeight":48,"mainColor":49},223449,"han-ya-tu-juan-yi-ming-223449","寒鸦图卷","此图淡彩画雪霁严林、群鸭、寒塘衰草。",[23,24,25,26,173,7,28,177,86,212,795,353,245,2562,109,9561,11542],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69ba2c5fb104dfc8ae7bd32e5b801ac1.jpg","27.1×113.2cm",[90,45],{"id":43464,"slug":43465,"title":43466,"dynasty":76,"author":257,"museum":20,"description":43467,"tags":43468,"thumbUrl":43469,"material":6767,"size":43470,"collection":139,"collections":43471,"showCount":201,"zanCount":48,"manualWeight":48,"mainColor":94},223383,"nan-yue-quan-tu-yi-ming-223383","南岳全图","《南岳全图》正是以充分表现南岳秀美景色为宗旨，采用了中国传统的山水画画法，以水平方向自右向左形象生动地描绘了长沙省城、湘潭县城、衡山县城、衡州府城等省府县城池，以及寺庙名胜、古塔古木、江中行船等景色。全图色彩淡雅别致，绘制精美细腻，形象生动逼真，使人有如身临其境之感。这是现存已为数不多的南岳图中的一幅不可多得的地图。",[23,24,7,26,177,29,30,34,114,111,31,37,1157,175,108],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1e02d4a14616d856e621cceee56f519.jpg","纵32厘米，横210厘米",[],{"id":43473,"slug":43474,"title":43475,"dynasty":18,"author":257,"museum":20,"description":43476,"tags":43477,"thumbUrl":43478,"material":529,"size":43479,"collection":139,"collections":43480,"showCount":201,"zanCount":2368,"manualWeight":48,"mainColor":49},223373,"xie-sheng-cao-chong-tu-yi-ming-223373","写生草虫图","画面右侧绘野生花草，狗尾、紫菀莛叶穿插。菜粉蝶落在花上吸取花蜜，蜻蜓徐徐低飞，蚱蜢跃跃欲跳，整幅画面充满动感。3只昆虫在画面上的等边三角形构图平衡了丛生的野草所造成的重心偏倚，使画面结构稳定。野草和花叶用花青加汁绿勾填，花用没骨法出之，昆虫兼工带写，形态逼真",[23,194,24,25,28,7,566,83,483,635,484,20864,1099,1187,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf81f5379cd474d1d26ba4e587d518bb.jpg","25.9x26.9",[],{"id":43482,"slug":43483,"title":43484,"dynasty":99,"author":257,"museum":12886,"description":43485,"tags":43486,"thumbUrl":43487,"material":40,"size":43488,"collection":139,"collections":43489,"showCount":201,"zanCount":48,"manualWeight":48,"mainColor":49},223356,"fang-fan-kuan-jin-bi-feng-tu-juan-yi-ming-223356","仿范宽金碧峰图卷","长卷绘山峦连绵，山头绿色点缀，山间云雾缭绕，山脚河水绕山而行，河面或宽阔或窄细，岸上绿树成荫，房舍、良田隐于山中。此画设色厚重，笔力鼎健，山河皆雄伟气魄，房舍、小桥、人物等细节上又精细柔和。",[23,24,26,7,177,105,29,34,176,108,109,175,1785],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0279aacb6bccc03741b537e171d940bc.jpg","32.9×520.5CM",[],{"id":43491,"slug":43492,"title":43493,"dynasty":76,"author":11085,"museum":20,"description":43494,"tags":43495,"thumbUrl":43496,"material":40,"size":43497,"collection":90,"collections":43498,"showCount":201,"zanCount":48,"manualWeight":48,"mainColor":49},223146,"yao-xie-shi-yi-tu-ce-di-yi-kai-fu-jian-long-yuan-shen-hua-tian-zhong-shan-shu-ren-xiong-223146","姚燮诗意图册-第一开：俯见龙渊深，花田种珊树","此套共十册，每册十二开，每开除录有姚燮诗句外，还分别钤“熊”朱文印或“渭长”白文印。册页最后另有四开，分别有任熊、熊松之、吴云、沈钰、曹峋、李鸿裔等人题跋。据任熊自跋，作品完成于咸丰元年（1851年），时年29岁。\n这套共计一百二十张的册页是任熊在友人姚燮家里居住时为主人所画。姚燮，字梅伯，号复庄，浙江镇海人。道光年间举人，以诗见称于世。此册以姚燮的诗句命题，题材丰富多样，人物鬼神、花鸟鱼虫、仙山楼阁、亭榭风月皆聚于尺幅之间。全册别具匠心，常有神来之笔；设色则于鲜丽中见古雅之气，堪称任氏巅峰时期的铭心佳构。",[23,24,7,81,28,29,109,176,380,795,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9a59808ca4c73d2f3f45837adf2e796.jpg","纵27.3厘米，横32.5厘米",[90],{"id":43500,"slug":43501,"title":6786,"dynasty":76,"author":6787,"museum":316,"description":6788,"tags":43502,"thumbUrl":43503,"material":139,"size":139,"collection":139,"collections":43504,"showCount":201,"zanCount":48,"manualWeight":48,"mainColor":94},223090,"shui-hu-ren-wu-ren-xun-223090",[23,24,25,226,7,28,106,2439,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea61dcdc52acaa47132be4176a6acda0.jpg",[],{"id":43506,"slug":43507,"title":43508,"dynasty":76,"author":2162,"museum":419,"description":2163,"tags":43509,"thumbUrl":43510,"material":67,"size":2173,"collection":139,"collections":43511,"showCount":201,"zanCount":48,"manualWeight":48,"mainColor":94},223051,"hong-lou-meng-176-sun-wen-223051","红楼梦176",[23,24,28,7,106,108,109,175,34,176,278,26,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d705c643b27e6b9a0f65b0153c33b05.jpg",[],{"id":43513,"slug":43514,"title":43515,"dynasty":76,"author":2162,"museum":419,"description":2163,"tags":43516,"thumbUrl":43518,"material":67,"size":2173,"collection":139,"collections":43519,"showCount":201,"zanCount":48,"manualWeight":48,"mainColor":49},223012,"hong-lou-meng-137-sun-wen-223012","红楼梦137",[23,24,28,7,26,6170,104,29,107,115,59,43517,17248,39834,121],"花卉树木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8d51b49ad3ae0a6342c15fbbb315de6.jpg",[],{"id":43521,"slug":43522,"title":43523,"dynasty":76,"author":2162,"museum":419,"description":2163,"tags":43524,"thumbUrl":43526,"material":67,"size":2173,"collection":139,"collections":43527,"showCount":201,"zanCount":48,"manualWeight":48,"mainColor":94},222994,"hong-lou-meng-119-sun-wen-222994","红楼梦119",[23,24,28,7,194,17248,106,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岁，画中有作者自识：“锦堂、风沂两兄嘱颐写照，更许在坐，谓之三友，幸甚幸甚。”有清钟德祥的两句题跋：“不须对月自三人，自有须眉自写真，脱去头巾衣扫塔，似俞清老段祛尘。”“皆僧衣，其有所寄托耶？”\n画中的3 人席地而坐，背后左侧有一圆榻一画筒，画筒里树有书卷画轴，榻上也堆着数卷，寥寥数笔把背景描绘得显露无疑。画中中间坐着的一人为曾凤寄，左向坐的人为朱锦堂（朱锦裳，上海著名书画鉴藏家，九华堂笺扇店主人，为任颐的好友），右向者为任颐自己。画中三人都穿着僧衣。这里面据说还有一段原由：光绪甲申三月为明朝灭亡240年祭，而且当时的晚清政治腐败，社会动荡，所以任颐绘三友图，并且身穿僧衣，脱去头巾，大有书画寄志的深意。画中三人神采自若，志气昂扬，形露于笔端。\n而是继承宋元而又融汇着民间的白描写真和西画的铅笔速写法，显得人体结构比例准确而充实。衣纹多方折，纵横迭出，似山石之皴笔，大有岿然独坐之意。\n任颐在这幅《三友图像》中融入了自己的志气，把那种对社会不满而又无可奈何之气刻画得淋漓尽致。\n任颐（1840～1896 年），初名润，字小楼，后字伯年，别号山阴道上行者、山阴道人，浙江山阴人。其父鹤声，工肖像，所以任颐自幼得其父指授，后移居宁波，师事任熊、任薰。中年定居杭州，以卖画为生。任颐是一个全才型画家，于花鸟、人物、山水无所不精，尤以肖像见长。代表作有《钟馗》、《女娲炼石》、《关河一望萧索》、《苏武牧羊》等。",[194,24,25,226,173,7,106,4226,9367,212,86,178,28,498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F997cb5d2b0b5987d9282370e10f50eb4.jpg","纵64.5 厘米，横36.2 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慶長20年6月2日（1615年6月27日））は、安土桃山時代から江戸時代初期にかけての絵師。海北派の始祖。",[23,279,7,173,4999,44418,9367,44419,106,6673,44420],"棋","画","桃山风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F300ac58f010c9d92aba1a89eee999744.jpg",[],{"id":44424,"slug":44425,"title":44426,"dynasty":18,"author":391,"museum":316,"description":44427,"tags":44428,"thumbUrl":44430,"material":139,"size":139,"collection":139,"collections":44431,"showCount":357,"zanCount":48,"manualWeight":48,"mainColor":49},230166,"shui-qin-tu-juan-zhao-ji-230166","水禽图卷","此卷以淡墨勾勒晕染，一对鸳鸯悠游清波，翎毛纹理纤毫毕现，翅羽灵动舒展，柔波随漾尽显缱绻。右侧汀渚之上，野花莠草错落横生，野趣盎然。\n\n卷首题字清隽秀挺，与题跋诗文呼应画意，墨色温润雅致。整作工致写实兼具写意空灵，将水禽相依的情态与郊野水畔的幽谧生机融为一体，静雅之中暗藏灵动鲜活，尽显宋画雅致清和的意趣，是工写相融的精妙佳构。",[23,24,25,26,28,7,83,834,319,836,44429],"水纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87932b955e2126b5dfaa51f8b1ed5b54.jpg",[],{"id":44433,"slug":44434,"title":44435,"dynasty":76,"author":11822,"museum":316,"description":44436,"tags":44437,"thumbUrl":44438,"material":139,"size":139,"collection":139,"collections":44439,"showCount":357,"zanCount":48,"manualWeight":48,"mainColor":49},228953,"shan-shui-li-zhou-yuan-jiang-228953","山水立轴","此作用高远、平远之法铺展丘壑，烟岚轻笼层叠峰峦，虚实掩映间晕开幽寂氛围。幽谷飞瀑垂落，亭台楼阁错落栖于崖畔水岸，尽显雅致逸趣。近岸林木扶苏，渔舟泛于涟漪之上，渔人悠然摇橹，野逸生机跃然绢素。\n\n笔墨苍秀兼工带写，山石皴擦兼具厚重质感与氤氲气韵，设色古雅沉静，糅合院体的精细整饬与文人山水的萧散意趣，将江南山林温润空濛的灵秀之态描摹尽致。观之如临林泉，恍可听瀑声、闻棹歌，尽得山水意境之美。",[24,226,7,29,1426,34,35,174,175,104,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffacdf90198a83bdeccf8510a9ccdbe3d.jpg",[],{"id":44441,"slug":44442,"title":34664,"dynasty":99,"author":257,"museum":316,"description":44443,"tags":44444,"thumbUrl":44445,"material":139,"size":139,"collection":139,"collections":44446,"showCount":357,"zanCount":48,"manualWeight":48,"mainColor":49},228918,"he-tang-shuang-lu-tu-yi-ming-228918","画面饱满铺陈，粉荷或绽苞或盛放，枯荣荷叶交错层叠，蒲草芙蕖错落其间，尽显盛夏荷塘的蓬勃野趣。两只白鹭娴静错落，一只昂首远眺，一只曲颈理羽，将幽寂安然的意趣藏在留白里。\n古绢底色晕染出沉雅氛围感，设色柔和雅致，禽鸟素白羽翼与粉荷暖色相互映衬，蜻蜓水鸟掠飞其间，为静谧荷塘添灵动生机。工写兼施，花鸟刻画细致入微，草木晕染写意空灵，将江南水泽的清宁诗意凝于绢素，藏着澹泊闲静的池居幽情。",[23,24,194,25,226,7,28,83,228,137,4039,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d11c6095b8c54fa3490081eeda3ec70.jpg",[],{"id":44448,"slug":44449,"title":44450,"dynasty":99,"author":3720,"museum":316,"description":44451,"tags":44452,"thumbUrl":44453,"material":139,"size":139,"collection":139,"collections":44454,"showCount":357,"zanCount":2368,"manualWeight":48,"mainColor":49},228433,"xie-qin-tan-mei-tu-du-jin-228433","携琴探梅图","画面以淡墨晕染出清寂冬山，古松虬枝横斜，苍劲老辣。寒溪蜿蜒穿谷，水波轻漾间漾出幽冷空茫。曳杖文士缓行山径，衣袂翩然尽是闲适从容，侍童抱琴紧随其后，将文人携琴探梅的雅兴藏于萧寒丘壑。\n\n笔墨洗练疏朗，山水皴擦简括写意，人物线条清劲灵动，淡墨轻岚晕染出空寂淡远的氛围，将冬日山林的萧寒清冷与文人寻幽访胜的孤高雅趣相融，于简淡之中尽显出超尘脱俗的文人情致。",[23,24,7,28,106,29,820,4999,230,353,1169,3519,34,9951,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe09df8d050a7184bf123970b4c974cb8.jpg",[],{"id":44456,"slug":44457,"title":40037,"dynasty":302,"author":831,"museum":316,"description":44458,"tags":44459,"thumbUrl":44460,"material":139,"size":139,"collection":139,"collections":44461,"showCount":357,"zanCount":2368,"manualWeight":48,"mainColor":94},228174,"ma-tu-ren-ren-fa-228174","此画以淡墨细劲勾勒出马的轮廓，辅以温润晕染烘托出躯体丰腴质感，垂首敛颈的骏马神态温驯悠然。以淡墨点簇晕开斑纹，层次柔润自然，细腻晕染下可见肌理起伏，牵丝勾勒的鬃毛劲挺顺滑，尽显良驹的神俊内敛。浅褐绢面留白衬出马儿松弛沉静的状态，右上角朱红方印古雅沉静，与底色相映成趣。整幅画作工致又不失写意松弛，于简淡笔墨间尽显写实功力，将鞍马温顺沉静的气质刻画入微，尽显古雅清隽的画中逸韵。",[23,194,24,25,28,7,150,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F559e9ea5c261803d6c4da058f76d720c.jpg",[],{"id":44463,"slug":44464,"title":12805,"dynasty":302,"author":831,"museum":316,"description":44465,"tags":44466,"thumbUrl":44467,"material":139,"size":139,"collection":139,"collections":44468,"showCount":357,"zanCount":2368,"manualWeight":48,"mainColor":801},228173,"ren-ma-tu-juan-ren-ren-fa-228173","此卷绘三匹神骏，或昂首徐行，或垂目安步，筋骨肌理刻画入微，膘肥体健，神骏之态毕现。牵马者神情各异，衣冠服饰线条劲挺流畅，设色雅致沉稳，将人物的身份气度描摹得鲜活自然。\n\n画作写实精妙，比例精准，尽显创作者观察细致、笔力深厚。搭配的题字笔墨酣畅，与绘作相映成趣，整卷古意悠然，将人马之间的呼应刻画得浑然天成，尽显鞍马人物画的高古雅致风韵。",[23,194,24,25,26,28,7,106,150,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd27670cfe79fb7e698f1516afb9d52f7.jpg",[],{"id":44470,"slug":44471,"title":44472,"dynasty":302,"author":17434,"museum":191,"description":44473,"tags":44474,"thumbUrl":44475,"material":282,"size":44476,"collection":139,"collections":44477,"showCount":357,"zanCount":2368,"manualWeight":48,"mainColor":49},228080,"yan-bo-yu-le-tu-tang-di-228080","烟波渔乐图","本幅画溪山平远，云雾弥漫，在一片宽阔的河口上，渔夫捕鱼的情景。有两艘渔舟行驶於江心，渔夫手持鱼网，在河中撒开，扩张成优美的圆弧形，另外两艘渔舟停驻岸边，一妇女正在进行炊煮。",[23,24,25,194,29,7,177,796,174,6582,5701,106,34,176,987,3519],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d088d56e193089f1d069008aa3898d9.jpg","纵160.1 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公分",[],{"id":44479,"slug":44480,"title":44481,"dynasty":302,"author":303,"museum":316,"description":44482,"tags":44483,"thumbUrl":44484,"material":139,"size":139,"collection":139,"collections":44485,"showCount":357,"zanCount":48,"manualWeight":48,"mainColor":801},228017,"shan-ju-tu-quan-juan-qian-xuan-228017","山居图全卷","《山居图》是元代画家钱选创作的一幅纸本设色画。\n卷尾作者自题：“山居惟爱静，日午掩柴门。\n寡合人多忌，无求道自尊。\n鷃鹏俱有志，兰艾不同根。\n安得蒙庄叟，相逢与细论。\n吴兴钱选舜举画并题。\n”钤“舜举印章”、“舜举”、“钱选之印”三方。\n卷后隔水有明人俞贞木、刘敏、周传等题记。\n作者以自己的隐居生活为题材创作此图。\n细劲柔韧的笔致勾勒出山石林木的轮廓，施青绿重彩，并以金粉点缀，画面绚丽清雅，富装饰意味，于工致精巧中又不失古拙秀逸之气，是钱选继承唐宋“金碧山水”画法并用以体现文人意兴的代表作。\n《庚子销夏记》著录。\n钱选，字舜举，号玉潭、清癯老人、巽峰，晚年更号溪翁，吴兴（今浙江省湖州市）人。\n生卒不详，主要活动在1世纪中后期至14世纪初。\n南宋景定（126—1264年）年间的进士，入元不仕，遂寄情山水，流连诗酒，隐于绘事，终其一生。\n他是一位技法全面的画家，花鸟、山水、人物、鞍马无一不擅，且造诣颇深，时人有“老钱丹青当世无”的赞誉。\n元初，与赵孟頫、王子中、陈式等人并称“吴兴八俊”。",[23,24,25,26,7,29,177,178,34,35,108,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2e6a316c87208793db9c136df079a22.jpg",[],{"id":44487,"slug":44488,"title":44489,"dynasty":18,"author":1350,"museum":316,"description":44490,"tags":44491,"thumbUrl":44492,"material":139,"size":139,"collection":139,"collections":44493,"showCount":357,"zanCount":48,"manualWeight":48,"mainColor":49},227829,"wen-dao-tu-ma-yuan-227829","问道图","《明戴进洞天问道图》是明朝画家戴进创作的绢本设色画。\n描绘了深山大川、弥散的云气、 的青松、激荡的水流等山中之景。\n作品现藏于 。\n此图描绘 黄帝至 向 问道的故事。\n画面左侧峰峦突起，直入云霄，右侧古松茂蔚，老干虬枝。\n山谷险道上，身着衮服的皇帝孤身赴洞天问道。\n山石用斧劈皴，人物作琴弦描。\n设色淡雅。\n画风学南宋[画体]而又有元人秀劲的特色，为戴氏前期比较精微优美的佳构。\n画中署有[同郡戴文进为德宣卿友制]。\n后钤[钱塘戴氏文进]、[文进]二。\n此画笔法劲秀，描写精工，皴染淹润，着色清淡，画面境界有一种神秘幽渺之感。\n整幅作品皴法繁密，有条不紊，理在其中，深远之处用墨稍重，皴擦紧密，传达出了空间深远之感。\n图中山谷险道通往洞天，左侧峰突兀，右边长松茂蔚。\n山石用斧劈皴，人物作琴弦描，结构严谨，笔法秀劲，系南宋院体画法，属于 前期比较精微、优秀的佳作。\n戴进（公元188—1462年），明代画家，《明商录》作名班，学文进，号静庵，父号玉泉山人。\n钱塘（今浙江杭州）人。\n少时作银工，所作钗朵精巧绝伦，以为得以传之久远，后见销银者所熔销之物即出已作，遂改学画。\n神像、人物、走善、花果，翎毛俱精绝。\n所作山水，师马远，夏理，并取法轮照、李唐，俱道劲苍洞，行管顿挫多变，设色敷积沉重出严。\n宜宗时与谢廷循等同为待识，因进绘朱农人垂钓而遭谗。\n放归穷死。\n世评戴进为“浙派”之祖，明朝画流第一。\n传世作品有《春山积翠图》轴、《南屏雅集图》卷等。",[23,194,24,25,173,352,7,106,151,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe614a528d695d5f88bfee95f233c5e03.jpg",[],{"id":44495,"slug":44496,"title":44497,"dynasty":18,"author":1350,"museum":316,"description":44498,"tags":44499,"thumbUrl":44500,"material":139,"size":139,"collection":139,"collections":44501,"showCount":357,"zanCount":48,"manualWeight":48,"mainColor":49},227827,"fang-gu-qiu-dao-tu-ma-yuan-227827","访古求道图","此作截取林苑一隅，老梅虬枝盘曲如铁，繁花密缀其上，冷香暗涌。古松倚侧挺健，苍郁沉雄。策杖雅士缓行林间，仆从悄然随行，衣袂轻扬间，尽显萧散古雅的林下风致。\n\n笔墨洗练刚劲，以硬屈的线条勾勒枝干，尽显枯木的苍古之态，梅花晕染清润素雅，淡设色晕染出幽寂清寒的氛围，将林泉访古的幽怀雅趣融于边角取景中，简淡空灵，带着清寂悠远的韵致，尽显南宋院体画的精妙功力。",[23,194,24,25,7,177,106,29,820,1353,353,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe844b4a474880c32edeb6e516001d511.jpg",[],{"id":44503,"slug":44504,"title":8325,"dynasty":18,"author":1474,"museum":316,"description":42414,"tags":44505,"thumbUrl":44506,"material":139,"size":139,"collection":139,"collections":44507,"showCount":357,"zanCount":48,"manualWeight":48,"mainColor":49},227741,"huo-lang-tu-li-song-227741",[23,194,24,25,1260,28,7,106,229,378,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ad1a42842dd503cd32e68b5bd50644a.jpg",[],{"id":44509,"slug":44510,"title":44511,"dynasty":18,"author":13868,"museum":316,"description":44512,"tags":44513,"thumbUrl":44514,"material":139,"size":139,"collection":139,"collections":44515,"showCount":357,"zanCount":1379,"manualWeight":48,"mainColor":94},227639,"bi-tao-yi-shi-tu-ye-ma-shi-rong-227639","碧桃倚石图页","《碧桃图》页，宋，纨扇页，绢本，设色，纵24.8厘米，横27厘米。\n\n本幅无款。钤鉴藏印“于”、“腾”、“阿蒙精赏”3方。\n\n图中盛开的碧桃红白相映，枝叶扶疏，娇柔妩媚。虽然画面上仅绘桃花两枝，但它的繁花簇簇、苞蕾盈枝则透露出浓郁的春意。花瓣用多变的细线条勾描后再以白粉或粉红色多层晕染，嫩叶用细红线勾轮廓和叶筋，然后填以花青和汁绿。整幅画面赋色淡雅，自然生动，体现了宋代册页画小中见大的风貌。",[23,194,24,25,81,7,28,83,243,230,178,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00bbefa1115cc37dbd7d4d25f6ff030e.jpg",[],{"id":44517,"slug":44518,"title":44519,"dynasty":18,"author":257,"museum":316,"description":30235,"tags":44520,"thumbUrl":44521,"material":139,"size":139,"collection":139,"collections":44522,"showCount":357,"zanCount":48,"manualWeight":48,"mainColor":49},227390,"e-mi-tuo-fo-tu-li-zhou-yi-ming-227390","阿弥陀佛图立轴",[23,24,25,226,260,28,7,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2aba528771369b65c6c3bf67051e1b3.jpg",[],{"id":44524,"slug":44525,"title":44526,"dynasty":18,"author":257,"museum":316,"description":44527,"tags":44528,"thumbUrl":44529,"material":139,"size":139,"collection":139,"collections":44530,"showCount":357,"zanCount":2368,"manualWeight":48,"mainColor":94},227384,"ke-si-mu-dan-tu-ye-yi-ming-227384","缂丝牡丹图页","宋代尤其南宋是纯欣赏性缂丝诞生的摇篮，宋代缂丝，设色典雅，技术精巧，表现手法写实，是缂丝的黄金时代。纵观宋代帝王诸如仁宗、神宗、徽宗、高宗、光宗、宁宗等，他们都对国画有不同程度的兴趣，出于审美心理和装点宫廷的需要都很重视宫廷画院建设，北宋时还曾一度设立画学，尤其是徽宗赵佶，其工笔画及独创书法“瘦金体”（图1-3-3-1，赵佶《闰中秋月诗帖》，现藏北京故宫博物院）体现了他作为艺术家的杰出才能和修养。上行下效，宋代文人士大夫创作、收藏、品鉴艺术品蔚然成风，不少文人在艺术实践的题材、形式及审美旨趣上都有自己的独特见解和品位。",[23,194,24,25,913,1260,1329,7,83,292,484,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17764363065a04d11b9b2bb3a5d41b69.jpg",[],{"id":44532,"slug":44533,"title":44534,"dynasty":18,"author":257,"museum":316,"description":44535,"tags":44536,"thumbUrl":44537,"material":139,"size":139,"collection":139,"collections":44538,"showCount":357,"zanCount":48,"manualWeight":48,"mainColor":49},227363,"yu-lin-ku-003-ku-zhu-shi-dong-bi-yi-ming-227363","榆林窟003窟主室东壁","第三窟建于西夏统治瓜州晚期。窟内纷呈汉、藏民族及显宗、密宗的内容和艺术，是这一时期艺术最成熟、最典型的洞窟，独具特色。窟呈长方形，穹窿顶。窟中央偏后设八角形三级曼荼罗（坛城），上存清塑数身。窟四壁下部清代环砌双层台基，上存清塑十八罗汉像。顶绘曼荼罗，中画五方佛，东壁中央绘佛传，南北侧分绘汉密五十一面千手千眼观音曼荼罗、胎藏界曼荼罗及显宗天请问经变。南壁东起画曼荼罗、观无量寿经变、曼荼罗各一铺。北壁东起画曼荼罗、净土变、曼荼罗各一铺。西壁门上方绘维摩变，门南北侧绘普贤变、文殊变。甬道南北壁绘供养人。",[23,511,18,260,104,7,106,107,1846],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a7ab7284e705835acdfbc612130b8ae.jpg",[],{"id":44540,"slug":44541,"title":44542,"dynasty":22030,"author":257,"museum":316,"description":22031,"tags":44543,"thumbUrl":44544,"material":599,"size":600,"collection":139,"collections":44545,"showCount":357,"zanCount":48,"manualWeight":48,"mainColor":94},226904,"song-shan-hua-shang-lian-tu-yi-shou-jing-mu-xia-fu-jian-yi-ming-226904","嵩山画赏莲图，益寿镜木匣附件",[24,25,28,7,136,4038,7135,22030],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1b4a4bd4279221698730fe5346f56d4.jpg",[],{"id":44547,"slug":44548,"title":44549,"dynasty":256,"author":257,"museum":1846,"description":44550,"tags":44551,"thumbUrl":44552,"material":599,"size":600,"collection":139,"collections":44553,"showCount":357,"zanCount":48,"manualWeight":48,"mainColor":49},226509,"fu-shuo-sui-qiu-ji-de-da-zi-zai-tuo-luo-ni-shen-zhou-jing-yi-ming-226509","佛说随求即得大自在陀罗尼神咒经","敦煌版大自在陀罗尼神咒经，此部陀罗尼神咒经，为敦煌遗经古本，是非常殊胜的一部咒经。 首绘曼陀罗一幅，次经文，有变相图案，又八菩萨带经文，最后八菩萨详图，均为手绘。总长340厘米，宽30厘米。此经有大量手绘的佛像图案，当属国宝级藏品，原先为日本收藏家中村不折于中国敦煌带回日本，藏于其私人博物馆；现已不存，为罕见的敦煌写经中的绘图变相珍品，对研究古典佛学艺术有重要的参考价值。此部经书曾于20世纪40年代在日本发行过珂珞版。",[260,22428,86,7,937,6322],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fedf0383e9598f1d84648d58651650b.jpg",[],{"id":44555,"slug":44556,"title":23704,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":44557,"thumbUrl":44558,"material":599,"size":600,"collection":139,"collections":44559,"showCount":357,"zanCount":2368,"manualWeight":48,"mainColor":49},226414,"ku-zhu-shi-nan-bi-yi-ming-226414",[511,260,7,106,104,746,151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f37073b44ca6087c9d75e7730b2c2f7.jpg",[],{"id":44561,"slug":44562,"title":11067,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":44563,"thumbUrl":44564,"material":599,"size":600,"collection":139,"collections":44565,"showCount":357,"zanCount":48,"manualWeight":48,"mainColor":49},226299,"ku-zhu-shi-bei-bi-yi-ming-226299",[511,7230,260,7,352,106,107,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7e8a5cbcecf2d06178ddce3dc7bed8f.jpg",[],{"id":44567,"slug":44568,"title":4024,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":44569,"thumbUrl":44570,"material":599,"size":600,"collection":139,"collections":44571,"showCount":357,"zanCount":48,"manualWeight":48,"mainColor":49},226229,"ku-zhu-shi-zao-jing-yi-ming-226229",[511,7,260,6228,2136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7518ea865307d625050ea58ca5146d89.jpg",[],{"id":44573,"slug":44574,"title":44575,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":44576,"thumbUrl":44577,"material":599,"size":600,"collection":139,"collections":44578,"showCount":357,"zanCount":48,"manualWeight":48,"mainColor":801},226214,"ku-zhu-shi-bei-ping-yi-ming-226214","窟主室背屏",[24,511,260,104,7,106,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf8260aa6bb923addce07a65ef6cc694.jpg",[],{"id":44580,"slug":44581,"title":44582,"dynasty":256,"author":3184,"museum":316,"description":6534,"tags":44583,"thumbUrl":44586,"material":599,"size":600,"collection":3195,"collections":44587,"showCount":357,"zanCount":48,"manualWeight":48,"mainColor":2504},225678,"rembrandt-harmensz-van-rijn-088-lun-bo-lang-225678","Rembrandt Harmensz.van Rijn - 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（中文名郎世宁；1688年7月19日－1766年7月17日），意大利耶稣会兄弟，中国传教士，曾在康熙、雍正、乾隆三位皇帝的朝廷担任画家。他的绘画风格融合了欧洲和中国的传统。\n后来的艺术评论家认为他的马画是最具表现力的。作品《百骏图》被公认为中国十大名画之一。",[24,25,28,7,150,746],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa244b888acd8e18e452db1d877f7b2c9.jpg","231x274厘米",[],{"id":45423,"slug":45424,"title":45425,"dynasty":302,"author":257,"museum":316,"description":45426,"tags":45427,"thumbUrl":45428,"material":139,"size":139,"collection":139,"collections":45429,"showCount":399,"zanCount":48,"manualWeight":48,"mainColor":49},231482,"pu-sa-tu-yi-ming-231482","菩萨图","菩萨天女体态丰腴，容貌端丽，具有动人的丰姿，在敦煌壁画中多有体现。",[23,24,25,226,260,7,28,106,1488,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce138af2f13e8fc586ace67f77117ce7.jpg",[],{"id":45431,"slug":45432,"title":45433,"dynasty":99,"author":1196,"museum":316,"description":45434,"tags":45435,"thumbUrl":45436,"material":139,"size":139,"collection":139,"collections":45437,"showCount":399,"zanCount":48,"manualWeight":48,"mainColor":49},231396,"ren-wu-gu-shi-tu-tang-yin-231396","人物故事图","唐寅生于成化六年二月初四，卒于嘉靖二年十二月二日，字伯虎，后改字子畏，号六如居士、桃花庵主、鲁国唐生、逃禅仙吏等，明代画家、书法家、诗人。\n二十九岁时由诸生举应乡试，得第一名解元，名声大噪，故人称唐解元。而后，家中连遭不幸，父母、妻子、妹妹相继去世。三十岁时进京会试，涉会试泄题案而被革黜。后游历名山大川，以卖文鬻画闻名天下。\n早年随沈周、周臣学画，宗法李唐、刘松年，融会南北画派，笔墨细秀，布局疏朗，风格秀逸清俊。人物画师承唐代传统，色彩艳丽清雅，体态优美，造型准确；亦工写意人物，笔简意赅，饶有意趣。其花鸟画长于水墨写意，洒脱秀逸。书法奇峭俊秀，取法赵孟頫。\n诗文上，与祝允明、文徵明、徐祯卿并称“吴中四才子”。绘画上与沈周、文徵明、仇英并称“吴门四家”，又称“明四家”。\n唐寅的人物作品传世颇多，无论是单幅人物还是群像无不精彩。这件吹萧仕女图尺幅巨大，然笔笔精到，无一败者，可以说是达到了通会之际人画俱老的境界。他的人物画有两种风格，一种是繁笔重彩，另外一种则是简笔淡彩。前一种画风是从唐人重彩画而来。而这张画则是前一种画风的杰作。 从线描的技巧来看，他运用了唐代吴道子的兰叶描。一波三折，如风中不断翻转着的兰叶，充满着内在的韵律。在仕女面部开相上，丰额细眉，眼小如线。在烘染上则用唐代盛行的三白法，厚而不腻，对比强烈。细观该画中的仕女，其头发丝的烘染，也是一丝不苟，层层深入的。古人说画人难画手，画树难画柳。因为人手部的结构复杂，表现不好不是僵就是软。而唐寅对手的刻画真是细致人微，让人似乎可以感觉到仕女手部的温暖。在衣服格纹的钩染与填色上，也是一丝不苟。从整体上看，这件作品的色彩古雅沉静，有着青铜器一样幽深无际之感。表现出晚年唐寅人物画风的一个重要变化，他试图在大幅人物画中将粗笔的写意与工笔的钩染相结合起来。这说明他的绘画艺术还在发展着，可惜的是他这种尝试还没有完全成熟就去世了。 古人画仕女多是借美人香草而别有怀抱的。因这件画幅只落有穷款，我们无法推知作者在画这件作品时的喻意。画中表现的是一个着宫装的贵族仕女在吹着洞萧，我们虽然昕不到声音，但是通过画面似乎听到幽怨的萧声自画中传出来。唐寅晚年是很凄苦的，妻子和儿子先他而去。家庭的温暖不再可得，故他笔下的人物也多有哀怨之色。这件作品表面上看非常之富丽华贵，而其骨子里却是悲凉的。",[23,24,25,28,7,106,353],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd86cd1be9df83a8a61d6a9c212c4aebd.jpg",[],{"id":45439,"slug":45440,"title":45441,"dynasty":18,"author":257,"museum":316,"description":45442,"tags":45443,"thumbUrl":45444,"material":139,"size":139,"collection":139,"collections":45445,"showCount":399,"zanCount":48,"manualWeight":48,"mainColor":94},231078,"liu-tang-fan-yue-yi-ming-231078","柳塘泛月","薄月垂悬柳梢，清辉漫过塘面，晕开一怀夏夜幽寂。柔枝垂柳以淡墨晕染，如烟似雾，将塘岸晕染成朦胧一片。青碧莲叶错落水面，随波轻漾。\n\n扁舟缓行于莲间，舟上仕女姿态悠然，或凭舷凝望月色，或斜卧舟中静享晚风，侍女垂立身侧，动静之间，将夜游的闲雅意趣缓缓铺陈。\n\n画作以没骨晕染写就景致，墨色柔润层次分明，浅淡设色清雅和谐，以尺幅小景承载起清远疏淡的意韵，将闲逸的审美心境融于笔底，尽显小品画的隽永悠然。",[194,24,25,1260,7,28,106,1241,2340,265,33,137,262],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d348506c30be231f405f138a860f593.jpg",[],{"id":45447,"slug":45448,"title":45449,"dynasty":76,"author":257,"museum":316,"description":45450,"tags":45451,"thumbUrl":45456,"material":139,"size":139,"collection":181,"collections":45457,"showCount":399,"zanCount":48,"manualWeight":48,"mainColor":94},230334,"bai-miao-tu-miao-man-tu-shuo-san-yi-ming-230334","百苗图苗蛮图说(三)","淡彩晕开层叠青山，山野间花木点染秋意，将黔地清幽铺展开来。山道之上，三名苗家男子持旗扛械，步履铿锵神态悍勇，尽显精壮剽悍。山坳小屋中，两名妇人凭窗凝望，似是牵念远行之人。\n\n整幅工笔线条细劲灵动，设色雅致柔和，以写实视角定格边地族群风貌，将苗乡日常行伍的鲜活场面与山野村居的悠然景致相融，兼具纪实性与审美意趣，带着古朴的民俗质感，生动还原出西南苗寨的质朴生活图景。",[24,28,7,106,29,2852,45452,6084,7587,2439,45453,45454,6662,4876,3518,10362,45455],"苗寨","村居","山野","行伍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7e72acd99537e3600c448bfccd8819b.jpg",[181],{"id":45459,"slug":45460,"title":45461,"dynasty":99,"author":756,"museum":316,"description":45462,"tags":45463,"thumbUrl":45464,"material":599,"size":600,"collection":139,"collections":45465,"showCount":399,"zanCount":48,"manualWeight":48,"mainColor":94},228879,"duan-he-ming-qin-tu-wen-zheng-ming-228879","断壑鸣琴图","文徵明（1470年11月28日－1559年3月28日），原名壁（或作璧），字徵明，四十二岁起，以字行，更字徵仲。因先世为衡山人，故号衡山居士，世称“文衡山”。南直隶苏州府长洲县（今江苏苏州）人。明代画家、书法家、文学家、鉴藏家。\n文徵明曾学文于吴宽，学书法于李应祯，学画于沈周，生平九次参加乡试均不中。嘉靖二年（1523年），以岁贡生参加吏部考试，被授予翰林院待诏之职。嘉靖五年（1526年），文徵明辞官归乡，专事创作。\n嘉靖三十八年（1559年）二月二十，文徵明去世，享年九十。其弟子私谥贞献。\n文徵明诗、文、书、画无一不精，人称“四绝”，其与沈周共创“吴派”。在画史上与沈周、唐寅、仇英合称“明四家”。在文学上，与祝允明、唐寅、徐祯卿并称“吴中四才子”。",[23,24,25,226,7,29,177,28,1426,176,34,809,31765],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4602ec7c95628152453ccd92f14e664.jpg",[],{"id":45467,"slug":45468,"title":17689,"dynasty":99,"author":170,"museum":316,"description":45469,"tags":45470,"thumbUrl":45471,"material":139,"size":139,"collection":139,"collections":45472,"showCount":399,"zanCount":48,"manualWeight":48,"mainColor":94},228826,"liang-jiang-ming-sheng-tu-ce-shen-zhou-228826","此作用笔兼工带写，右侧苍松掩映下的官式院落界画工细严整，层叠峰峦以披麻皴晕染，墨色苍润厚重，山间云霞淡晕铺陈，烘托出空蒙出尘的仙气，将林泉雅致与山峦雄浑相融。\n\n左侧题跋行书舒展苍劲，诗画合璧，以文衬景。整体将实景胜迹的肃穆雅致，与文人写意的空灵悠远结合，兼具院体画的工致细腻与文人画的简逸意趣，铺陈出江南丘林的沉静大气，寄寓文人林泉高致的审美意趣，尽显山水胜景的意境之美。",[24,25,81,7,29,104,107,34,176,114,115,37,808],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9e80b34b0e5224393097d95fc097fe6.jpg",[],{"id":45474,"slug":45475,"title":45476,"dynasty":99,"author":257,"museum":316,"description":45477,"tags":45478,"thumbUrl":45479,"material":139,"size":139,"collection":139,"collections":45480,"showCount":399,"zanCount":2368,"manualWeight":48,"mainColor":49},228813,"die-hua-tu-yi-ming-228813","蝶花图","此作用笔兼工带写，粉紫丛花挺立于坡石之侧，花头饱满柔润，叶片以浓淡墨晕染出阴阳向背，古拙中见雅致。坡石简笔勾勒皴擦，苍朴厚重，衬得花草愈见清妍。\n\n两只蛱蝶翩跹花间，翅脉纤毫毕现，振翅欲飞的姿态灵动鲜活，将郊野刹那生机定格。设色沉雅柔和，古绢底色更添朴茂古意，整体画面简淡空灵，铺展出幽塘野径间的闲趣诗意，尽显写生花鸟的隽永意趣，于静谧中藏着灵动野趣。",[23,24,7,28,83,484,230,84,689],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71ff6a1fc2bdaca3c3b288d2f5d5422c.jpg",[],{"id":45482,"slug":45483,"title":45484,"dynasty":99,"author":15110,"museum":316,"description":45485,"tags":45486,"thumbUrl":45487,"material":139,"size":139,"collection":139,"collections":45488,"showCount":399,"zanCount":48,"manualWeight":48,"mainColor":49},228748,"e-mei-xue-tu-xie-shi-chen-228748","峨嵋雪图","此作笔墨兼具工致与写意，以留白淡晕铺就雪色，尽显峨眉雪岭的荒寒厚重。层叠峰峦覆着蓬松积雪，墨笔勾勒出山岩棱线，衬出雪景清寂辽远。山寺错落隐于雪岭寒林，古木虬枝仍带冬意生机。下方溪桥之上，驮队徐行，为冷绝天地晕开一抹人间暖意。\n\n整幅画将蜀地冬山的磅礴大气与羁旅意境相融，既有山川壮伟之态，又藏细腻生活意趣，绘就雪后峨眉空蒙萧寒的独特意境，是明代雪景山水的精妙之作。",[23,24,25,226,29,7,177,2724,1273,107,108,109,1049,106,150,176,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33a28ce0b8585d7df837cf6392eac40f.jpg",[],{"id":45490,"slug":45491,"title":45492,"dynasty":99,"author":857,"museum":316,"description":45493,"tags":45494,"thumbUrl":45495,"material":139,"size":139,"collection":139,"collections":45496,"showCount":399,"zanCount":48,"manualWeight":48,"mainColor":49},228298,"lao-lian-hua-tang-tu-chen-hong-shou-228298","老莲画堂图","淡墨白描晕开古雅夜色，灯影斜斜悬于堂侧，晕开一室松弛的雅集意趣。高古游丝般的线条勾勒出人物百态：长者凭坐把盏，悠然漫饮；士人垂眸静穆，似沉湎清谈余韵；侍女低眉侍立，温婉静雅，僮仆俯身备食，意态自然。沉暗的古绢底色衬出简淡笔意，留白里漫着晚夜风致，未施浓丽敷色，仅以寥寥墨痕，便将文人士子宴坐清谈的闲雅况味尽数铺展，笔简意长，藏着旧时光的温软松弛。",[23,24,25,226,28,7,106,1353,280,8858,41524],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c07609c13b78b81a117b87dd9ce988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”朱文印。\n《童子礼佛图》描绘四名儿童搭佛塔礼佛的情景。\n图中一太湖石竖立，石前放一尊雕琢精致的佛造像和供佛用的铜塔。\n佛前，二儿童拜佛，一儿童献花，另一儿童跪着擦拭铜塔，各个神态专注，他们收敛 起顽皮，显露出庄重，其中一名儿童磕头时露出胖臀，不免令人忍俊不禁。\n此图太湖石用较粗的笔法勾画，玲珑剔透，轮廓线多呈弧状，尖利而挺拔。\n佛像及人物全用细劲的线条画出，层次细腻，风格典雅，设色明丽温和，技法纯熟，人物神形兼备，富有情趣。\n此图反映了陈洪绶在表现儿童方面的精湛技艺和深厚功力，也充分体现了佛教信仰在百姓的日常生活中对儿童的熏陶与影响。\n陈洪绶(1597—1652年)，字章侯，号老莲、悔迟，诸暨（今属浙江省）人。\n明代画家。\n早年受业于著名学者刘宗周、黄道周门下，1642年曾到北京为国子监生，授中书舍人，供奉内廷，不久即离京南归。\n明朝灭亡后，为躲避清兵，一度在绍兴云门寺出家为僧，自号悔迟，亦号老迟。\n后在杭州以卖画为生。\n工诗，擅画，山水、人物、花鸟无一不精。\n其画初受蓝瑛影响，后广泛临学古人，并大胆突破创新，所作人物、花鸟形象古拙，擅用夸张变形手法，独树一帜，为晚明变形主义绘画大师。\n与崔子忠齐名于南北，世称“南陈北崔”。\n其画风对后世有巨大影响。\n著《宝纶堂集》。",[23,24,25,226,260,28,7,106,230,30282,630,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6af7033f8cadf5f5c26728c6a40368bb.jpg",[],{"id":45505,"slug":45506,"title":5487,"dynasty":302,"author":257,"museum":316,"description":45507,"tags":45508,"thumbUrl":45509,"material":139,"size":139,"collection":139,"collections":45510,"showCount":399,"zanCount":1379,"manualWeight":48,"mainColor":49},228205,"gong-nv-tu-yi-ming-228205","此作以界画工法描摹层叠宫苑，青绿晕染的山水烘托出楼宇朱栏的明丽雅致。数百宫女素衣翩跹，错落游走在亭台廊榭间：凭栏者凝眸远山，执役者缓步穿廊，低语嬉游者顾盼生姿，将深宫日常的幽闲意绪细腻铺陈。古雅沉润的色调晕开，把皇家苑囿的恢宏与深院女子的柔婉相融，工细的线条勾勒出楼阁规制的严整，也晕染出宫女情态的灵动，让森严深宫晕开缕缕烟火暖意，尽显传统工笔与界画结合的精妙意韵。",[23,24,25,226,7,28,104,106,107,29,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e3d48c6d9c6ff91ec23b7c25f039eeb.jpg",[],{"id":45512,"slug":45513,"title":21864,"dynasty":18,"author":6650,"museum":316,"description":45514,"tags":45515,"thumbUrl":45516,"material":139,"size":139,"collection":139,"collections":45517,"showCount":399,"zanCount":48,"manualWeight":48,"mainColor":49},227982,"xi-yuan-tu-xia-gui-227982","画面以边角取景，右侧老槎盘曲，苔痕苍古，藤蔓附枝斜曳，左侧苍猿长臂勾挂柔条，探身悠荡，圆目灵动，肢体舒展如在乘风嬉游。\n\n以水墨晕染出空茫寒寂的汀渚水岸，淡墨扫出远天荒阔，枯笔勾勒长草随风偃仰，将猿猴的跳脱野趣，融于萧疏冷逸的江天氛围中。简劲洗练的笔墨衬出灵猿鲜活生机，虚实相映间，把山野幽趣藏在淡远空寂里，于尺幅间写尽林皋间自在天真的意趣。",[23,18,24,25,194,173,7,746,10516,378,210,838,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f519ea9d84cee61338c616ca4061ccf.jpg",[],{"id":45519,"slug":45520,"title":45521,"dynasty":18,"author":257,"museum":316,"description":45522,"tags":45523,"thumbUrl":45524,"material":139,"size":139,"collection":139,"collections":45525,"showCount":399,"zanCount":2368,"manualWeight":48,"mainColor":49},227927,"dou-jia-qing-ting-tu-yi-ming-227927","豆荚蜻蜓图","《豆荚蜻蜓图》是宋代佚名画家创作的一幅 设色画，现藏于 。\n此图画面为长圆扇形，绘豆花上栖息一只黄褐色蜻蜒，枝叶微向下垂。\n整幅作品结构自然，疏密得体，色彩丰富，工写结合。\n其中蜻蜒的描绘神妙入微。\n画家不仅再现了蜻蜒的形态，甚至连透明的翅膀及纹络都表现了出来。\n而豆花则以简笔写出，野趣天然。\n此图旧传为徐熙所作。\n图中画的是田野苗圃间菜豆花与蜻蜓之类昆虫常见的景物。\n画面为长圆扇形，画家以独具的慧眼撷之入画，采取了特写镜头，只取其豆花的枝头，豆茎自左下向右上斜出，枝叶微下垂，枝上有浅紫色的豆花、绿色的豆叶和沉甸甸地挂下来的长长豆荚。\n枝梢上歇息着一只大蜻蜓，正在吮吸豆荚嫩叶的鲜汁。\n蜻蜓呈黄褐色，张开双翼，长长的身子下垂，尾部稍有弯曲。\n图中豆荚一枝，果实乍结。\n一只黄褐色的蜻蜓轻轻停落在枝端，将豆荚压得微微颤动。\n画面构图简洁自然，疏密得体。\n画家用中锋细笔勾勒豆荚枝叶的轮廓，用花青、石绿轻染，以白粉点花瓣，线条沉稳，色彩丰富，形象写实逼真。\n图中尤以蜻蜓描绘得出神入化，其翅膀透明的质感以及清晰的纹络都表现得清清楚楚，活灵活现，反映了宋画在写实方面所达到的高度水平。\n图右下方押“徐熙”二字伪款，不见于著录。\n本幅鉴藏印有：“徐熙”朱文杯形，另一印不辨。\n注：中国古代书画鉴定组定为宋人画。\n旧题为徐熙所作，押‘馀熙”印。\n押印是否可靠，现今难以证实。\n但此图的画法与画史对徐熙画风的记载颇相吻合，可能是北宋时徐熙画派的画家所作。\n整幅作品结构自然，疏密得体，色彩丰富，工写结合。\n其中蜻蜓的描绘神妙入微。\n画家不仅再现了蜻蜓的形态，甚至连透明的翅膀及纹络都表现了出来。\n而豆花则以简笔写出，野趣天然。\n整幅作品结构自然，疏密得体，中锋运笔，线条沉稳，色彩丰富，写实逼真，作者善于刻画和铺排是这幅作品在技巧上的特色。\n菜豆的枝干、花叶、荚部是用粗简的线条勾出，然后略施粉彩，尤其对蜻蜓的描绘神妙人微。\n蜻蜓身子晕染工细，头部网网眼和翅翼细细刻画轻轻染色，十分清晰透剔，甚至连透明的翅膀及纹络状的小组织．都细微地表现了出来。\n蜻蜓身上的色斑与浅紫色的豆花，一深一浅，使主题显明突出，这充分反映了宋画在写实方面所达到的高度水平。\n从绘画题材及笔墨技巧上看，具有徐熙画的特征。\n《圣朝名画评》说，徐熙画花卉“多做园圃以求情状，虽蔬菜茎苗，以人图写。\n”但本图无款识，至少可以这样说，虽非出于徐熙之手笔，但可以代表北宋徐熙一派的画风，亦可以说此幅是徐派留下来的凤毛麟角般的珍品。\n此图右下方押“徐熙”二字伪印。\n此图无款，有“徐熙”朱印。\n旧题为徐熙作。\n徐熙“善画花竹林木、蝉蝶草虫之类，多游园圃以求情状，虽蔬菜茎苗亦人图。\n写意出古人之外，自造于妙。\n尤能设色，绝有生意”。\n从这幅作品亦可领略上述特点，所以虽非出于徐熙之手，也可代表北宋徐熙一派的画风。\n此图写豆茎一枝自右下向左上斜出，而梢头着一大蜻蜓。\n这农家随处可见的景物，画家以独具的慧眼撷之入画，可谓别开生面。\n豆花、豆叶，点缀生动，长豆三两根，垂垂可喜。\n茎、叶、豆荚，均以墨勾，疏疏几笔，中设豆绿色，叶中锈斑、虫蚀均为描出，紫白色的豆花和蜻蜓，以没骨法晕染，蜻蜒尤备极工细，神韵奕奕。\n对花写照的写生功力，令人惊叹。\n色调素雅，变化层次微妙，工写兼施，相映成趣。\n构图善从一角生发，全幅荡漾着空灵的诗意，尤觉流走圆美。\n不是面面俱到，或泛泛大略，而是择取一枝一梢作精心的观赏，一枝一叶总动情，这种审美性格为宋人所独具，风气所开，遥领千古。\n此图笔墨间随处散发着一种田园佳趣，尤为感人至深，而熠耀其中的是诗意的空间。\n宋画一如宋诗，其异于唐人之处：一为田园气息，二为哲理之思(以景喻理)。",[23,194,24,25,1260,28,7,83,13060,635,913,568,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48eea5d1a6887f57421ffd7e0488a89c.jpg",[],{"id":45527,"slug":45528,"title":45529,"dynasty":18,"author":257,"museum":316,"description":45530,"tags":45531,"thumbUrl":45532,"material":139,"size":139,"collection":139,"collections":45533,"showCount":399,"zanCount":48,"manualWeight":48,"mainColor":49},227859,"mo-zhou-fang-xi-ying-quan-juan-yi-ming-227859","摹周昉戏婴全卷","此作画风承续唐人遗韵，绢本设色雅致柔丽。画面之中，闺中仕女温婉安坐，垂眉含笑逗弄稚童，孩童们或蹒跚学步或偎依撒娇，娇憨天真尽显；家犬蹭玩一旁，满卷皆是融融天伦暖意。\n线条细劲柔丽，将仕女纱衣的通透莹润、幼童肌肤的软嫩质感晕染恰到好处，复刻出周昉一派柔婉绮丽的仕女画格调。整卷将深宅里寻常嬉游的日常，绘就为传世温情，尽显雅致世俗意趣，是宋摹唐画里颇具情致的佳作。",[23,24,25,26,105,28,7,106,59,8665,409,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe007d3c6b842efb4988a0404266ac130.jpg",[],{"id":45535,"slug":45536,"title":23126,"dynasty":18,"author":5739,"museum":316,"description":45537,"tags":45538,"thumbUrl":45539,"material":139,"size":139,"collection":139,"collections":45540,"showCount":399,"zanCount":2368,"manualWeight":48,"mainColor":49},227810,"ji-tu-mao-yi-227810","此作截取庭院一角，顽石旁蜀葵抽枝绽蕊，粉花柔媚映着苍润绿叶，野意悠然。下方双鸡情态生动，雄鸡红冠劲翎，身姿轩昂，母鸡羽色温软，俯首似在啄拾草籽，地面散落的细碎石籽与轻软羽屑，将郊居闲趣揉入画面。\n\n设色秀雅清润，禽鸟羽毛晕染细腻，蓬松柔润的质感呼之欲出，花木皴染兼具工致与写意韵致，于细微处见功力。尺幅之间藏尽田家闲逸，以日常小景铺陈出安宁雅致的意趣，笔简意足，淡而有味。",[194,24,25,83,1260,28,7,2703,634,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb41fd354ac99bbf536f773dfd0824080.jpg",[],{"id":45542,"slug":45543,"title":45544,"dynasty":18,"author":1588,"museum":316,"description":35141,"tags":45545,"thumbUrl":45546,"material":139,"size":139,"collection":139,"collections":45547,"showCount":399,"zanCount":48,"manualWeight":48,"mainColor":49},227635,"chun-jiao-hui-yan-tu-ye-ma-lin-227635","春郊回雁图页",[23,24,194,25,6083,7,29,245,1049,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6f17cd983e2e0d63867687a89a84056.jpg",[],{"id":45549,"slug":45550,"title":45551,"dynasty":18,"author":1046,"museum":316,"description":45552,"tags":45553,"thumbUrl":45554,"material":139,"size":139,"collection":139,"collections":45555,"showCount":399,"zanCount":48,"manualWeight":48,"mainColor":49},227544,"xue-ji-xiao-xing-tu-ye-guo-xi-227544","雪霁晓行图页","雪景，是宋代绘画的重要内容和题材之一。据不完全统计，现存宋代涉及雪景的传世画作至少有50余幅，既包括北宋时期李成的《群峰雪霁图》、巨然的《雪图》、郭忠恕的《雪霁江行图》、范宽的《雪景寒林图》《雪山萧寺图》、高克明的《溪山雪意图》、燕文贵的《江干积雪图》《雪山图》、许道宁的《关山密雪图》、郭熙的《关山春雪图》《雪景山水轴》、梁师闵的《芦汀密雪图》、王诜的《渔村小雪图》、翟院深的《雪山归猎图》、赵佶的《雪江归棹图》，也包括南宋时期李迪的《雪中归牧图》《雪树寒禽图》、刘松年的《雪山行旅图》《雪溪举网图》和《四景山水图·冬景》、马远的《晓雪山行图》《雪景图卷》和《雪滩双鹭图》、马麟的《暮雪寒禽图》和《雪梅图》、夏圭的《雪堂客话图》、扬无咎的《雪梅图》、朱锐的《雪笠图》、梁楷的《雪景山水页》《雪栈行骑图》、李东的《雪江卖鱼图》、林椿的《山茶霁雪图》等",[23,24,25,81,177,7,29,150,106,1049,795,176,2086],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41a5300b265ca4b47a737545184c866f.jpg",[],{"id":45557,"slug":45558,"title":45559,"dynasty":18,"author":257,"museum":316,"description":44535,"tags":45560,"thumbUrl":45561,"material":139,"size":139,"collection":139,"collections":45562,"showCount":399,"zanCount":48,"manualWeight":48,"mainColor":49},227370,"yu-lin-ku-003-ku-yong-dao-nan-bi-yi-ming-227370","榆林窟003窟甬道南壁",[23,913,511,7,106,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a56b9cc35def35720b3e2c4e302ba38.jpg",[],{"id":45564,"slug":45565,"title":45566,"dynasty":18,"author":257,"museum":316,"description":45567,"tags":45568,"thumbUrl":45569,"material":139,"size":139,"collection":139,"collections":45570,"showCount":399,"zanCount":2368,"manualWeight":48,"mainColor":49},227339,"ren-zong-hou-zuo-xiang-yi-ming-227339","仁宗后坐像","宋宋仁宗后坐像 絹本62x59 《宋仁宗后坐像轴》是宋代佚名创作的绢本设色画，现藏于台北故宫博物院。 中 文 名 宋仁宗后坐像轴 幅 式 立轴 画作类型 设色画 规 格 纵172．1厘米，横165．3厘米 现收藏地 台北故宫博物院 创作年代 宋代 画作内容 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轮廓用粗细的彩虹勾勒出来，再染上青色和墨绿色，色彩鲜艳。",[23,24,25,81,7,28,306,569,210,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb395bb89c0cb2fa1af556b191181cff9.jpg","52.8x46.5cm",[],{"id":45683,"slug":45684,"title":45685,"dynasty":18,"author":257,"museum":20,"description":45686,"tags":45687,"thumbUrl":45688,"material":67,"size":45689,"collection":42,"collections":45690,"showCount":399,"zanCount":48,"manualWeight":48,"mainColor":49},223470,"zheng-ren-xiao-fa-tu-yi-ming-223470","征人晓发图","此为南宋民间风俗画。 茂密的山林中，树木葱郁，远处的树荫下有三间小屋。 农夫在他身后嬉戏，一头驴子站在角落里，扭头看主人忙碌。 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－1424）、宣德（1426－1435）时期。博学能诗，善绘花果翎毛，延续五代黄筌（约903－965）画风并融入宋代院体传统，为后辈所师法，是明代重要宫廷花鸟画家。本幅设色画公鸡啄蝶并为雏子分食。若与边文进〈三友百禽图〉相较，本幅技法则略显生硬，或系托名之作。",[23,194,24,25,226,28,7,83,2703,19135,227,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53c3c15c54cb8caa9e8e73fe6b34e431.jpg","63.7x43.9",[90,45],{"id":45809,"slug":45810,"title":45811,"dynasty":18,"author":257,"museum":316,"description":45812,"tags":45813,"thumbUrl":45815,"material":599,"size":600,"collection":139,"collections":45816,"showCount":399,"zanCount":2368,"manualWeight":48,"mainColor":94},221632,"fu-zhuang-gou-kou-yi-ming-221632","服装钩扣","中国宋代是一个手工业和工商业空前发展兴盛的时代，国富民强，文化发达。此时期的玉器正处在一个承前启后的转折阶段。两宋玉器承袭两宋画风，通常画面构图复杂，多层次，形神兼备，有浓厚绘画趣味，完成了由唐玉偏重工艺性、雕塑性向宋玉偏重绘画性、艺术性的转变。此时的皇家用玉品种丰富多样，佩饰类有玉束带、玉佩，用具有玉辂，玉磬，礼器有玉圭、玉册等等。内廷专设有玉作，玉料由西域诸国进贡。民间用玉也较前朝为盛，大量出现各种玉佩饰，玉用器。皇家、官僚及民间均风行收藏古玉，古董行开始出现伪造或仿造古玉之风气。因此，宋玉又被分为古玉、时作玉、伪古玉和仿古玉。 　两宋及其同期或稍后的辽金玉文化去除了隋唐五代繁杂的外来文化因素，又继承和发展了隋唐玉文化的市庶化、艺术化特色，特别是融会了两宋绘画的特点和技巧。宋代肖生玉在崇尚写实主义的院画影响下追求形体及运动的准确表现，以显示其内心世界。花鸟玉佩多做隐起、镂空的对称处理，富有生活气息。双勾的经文诗词等铭刻玉器盛极一时。辽金玉器也是由汉族玉工碾成，但其题材却富有边疆民族特色和游牧生活气息，以契丹、女真两族生活为主题的春水佩和玉秋山为其杰出代表，均有着形神兼备的艺术造诣。宋、辽、金都出现了前所未见的有情节、有背景的景观式构图，以镂空起突等法碾琢的悬塑性或立体的肖生玉器。它是这一时代玉器的新兴形式，有着鲜明的时代特点，还出现了受道教影响的神仙题材和“龟游”一类祥瑞玉器。总之，此时期玉器的特点是：玉如凝脂、构图繁复、情节曲折、砣碾遒劲、空灵剔透、形神兼备，是我国玉文化的第二个高峰期。",[913,5512,5513,64,45814,7],"兽纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ef424e721156b83eadca0cb594e360c.jpg",[],{"id":45818,"slug":45819,"title":45820,"dynasty":18,"author":17938,"museum":191,"description":45821,"tags":45822,"thumbUrl":45823,"material":7,"size":45824,"collection":139,"collections":45825,"showCount":399,"zanCount":2368,"manualWeight":48,"mainColor":2504},221629,"xian-mang-tu-zhou-ma-he-zhi-221629","闲忙图轴","马和之：南宋画家，钱塘（今浙江省杭州市）人。擅长画人物、佛像、山水。他的人物画受吴道子、李公麟影响而又有所变化，能独创一格。中国传统人物 画衣纹十八描中的马蝗描就是他把吴道子的兰叶描变化发展而创造出来的。其画用笔起伏顿挫，线条粗细变化较明显，又飘逸流利，显得活泼 潇洒，富于韵律感。他画人物多以水墨为主，即使着色，也比较轻淡，当时人称之为“小吴生”（吴生即吴道子）。",[23,24,25,226,7,106,353,176,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7399dfe9d03dab145ab54a0cfb5655e7.jpg","124.5x67.2",[],{"id":45827,"slug":45828,"title":33997,"dynasty":18,"author":1350,"museum":1577,"description":45829,"tags":45830,"thumbUrl":45831,"material":40,"size":45832,"collection":139,"collections":45833,"showCount":399,"zanCount":48,"manualWeight":48,"mainColor":49},221535,"zhou-ren-xing-tu-ma-yuan-221535","马远（1140年－1225年），字遥父，号钦山，祖籍河中（今山西永济），生长于临安（今浙江杭州），南宋绘画大师。 [1]\n出身绘画世家，南宋宋光宗、宋宁宗两朝画院待诏。擅画山水、人物、花鸟，山水取法李唐，笔力劲利阔略，皴法硬朗，树叶常用夹叶，树干浓重，多横斜之态。楼阁界画精工，且加衬染。喜作边角小景，世称“马一角”。人物勾描自然，花鸟常以山水为景，情意相交，生趣盎然。与李唐、刘松年、夏圭并称“南宋四家”。存世作品有《踏歌图》《水图》《梅石溪凫图》《西园雅集图》等。",[23,194,24,25,1260,28,173,7,106,174,795,262],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bb8c933f34f669b59817096fc70265b.jpg","纵21厘米，横21厘米",[],{"id":45835,"slug":45836,"title":45837,"dynasty":189,"author":13717,"museum":20,"description":13718,"tags":45838,"thumbUrl":45840,"material":13721,"size":13722,"collection":139,"collections":45841,"showCount":399,"zanCount":2368,"manualWeight":48,"mainColor":49},221174,"a-shi-duo-zun-zhe-tang-ka-bu-ben-guan-xiu-221174","阿氏多尊者（唐卡布本）",[23,24,25,45839,7,28,260,106,107,746],"布本","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f51f8facfe834d20be27d8506a1c48d.jpg",[],{"id":45843,"slug":45844,"title":45845,"dynasty":189,"author":13717,"museum":20,"description":13718,"tags":45846,"thumbUrl":45847,"material":13721,"size":13722,"collection":139,"collections":45848,"showCount":399,"zanCount":48,"manualWeight":48,"mainColor":49},221172,"jia-nuo-jia-ba-li-duo-du-zun-zhe-tang-ka-bu-ben-guan-xiu-221172","迦诺迦跋厘堕阇尊者（唐卡布本）",[23,260,106,7,28,65,3661,280,11729],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfed2c18dfbdc7beb92a0fd9f22d25f7.jpg",[],{"id":45850,"slug":45851,"title":45852,"dynasty":302,"author":1977,"museum":20,"description":45853,"tags":45854,"thumbUrl":45855,"material":500,"size":45856,"collection":90,"collections":45857,"showCount":399,"zanCount":48,"manualWeight":48,"mainColor":49},220877,"kui-hua-tu-zhou-zhao-meng-fu-220877","葵花图轴","赵孟頫提倡作画贵有古意，对唐至北宋的绘画风格多有摹仿。此图即采用五代西蜀黄筌父子的“黄体”——勾勒填彩的画法，线条细劲，敷色明净。因从现实生活中“写生”而来，秋葵姿态生动，比“黄体”更富有生机。此图画面简洁，笔法细润，风韵高雅，体现了赵氏所追求的古意与高华，是其早年花鸟画的代表作品。",[194,24,25,226,83,38730,7,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F557cd23baf3c150ccc7416dd5ee46a65.jpg","纵31厘米,横23.8厘米",[90,45],{"id":45859,"slug":45860,"title":1423,"dynasty":869,"author":45861,"museum":5351,"description":45862,"tags":45863,"thumbUrl":45864,"material":139,"size":139,"collection":139,"collections":45865,"showCount":399,"zanCount":48,"manualWeight":48,"mainColor":94},220510,"wan-he-song-feng-tu-huang-jun-bi-220510","黄君璧","层叠峰岩以赭红晕染崖顶，苍劲古松扎根嶙峋山石间，挺秀卓立尽显风神。两道飞瀑自云端峭壁垂落，撞碎成白练跌汇入溪涧，流水穿绕矶石，带着鲜活生机破山而出。山间云气轻笼远峰，虚实掩映间晕开空濛烟岚，将雄浑山势揉进柔婉留白中。\n\n笔墨兼具北派山水的刚健苍劲与岭南画韵的秀润清灵，斧劈皴刻画出山石硬朗肌理，松针攒簇尽显苍郁意态，以动静相生的章法，将松涛与泉鸣交融的山林幽寂盛境铺展眼前，藏着天人共生的东方山水意趣。",[23,24,25,226,7,177,29,1273,1426,686,37,809,30,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bb4ec9913ffc4e9d465df3a7b1c47b3.jpg",[],{"id":45867,"slug":45868,"title":45869,"dynasty":869,"author":22815,"museum":3084,"description":22816,"tags":45870,"thumbUrl":45871,"material":139,"size":139,"collection":139,"collections":45872,"showCount":399,"zanCount":48,"manualWeight":48,"mainColor":94},220484,"feng-jing-lin-feng-mian-220484","风景",[24,7,173,29,808,34,37,3884,912,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dba5fd9b465d1b9e96fe17dfd4d4d0f.jpg",[],{"id":45874,"slug":45875,"title":45876,"dynasty":302,"author":8800,"museum":132,"description":45877,"tags":45878,"thumbUrl":45879,"material":1319,"size":139,"collection":181,"collections":45880,"showCount":399,"zanCount":48,"manualWeight":48,"mainColor":49},220094,"jin-biao-tu-wang-zhen-peng-220094","锦标图","该画作描绘了北宋宫廷金明池的龙舟竞渡活动，一方面显示夺标争锦之意，另一方面又有君民同乐的太平盛世意涵。",[23,194,24,25,26,104,7,106,107,108,109,2234,406,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a6c7809bff9a5428579d2095a8cda8f.jpg",[181],{"id":45882,"slug":45883,"title":45884,"dynasty":18,"author":257,"museum":10830,"description":45885,"tags":45886,"thumbUrl":45887,"material":123,"size":139,"collection":181,"collections":45888,"showCount":399,"zanCount":48,"manualWeight":48,"mainColor":49},219919,"xue-yuan-tu-yi-ming-219919","雪园图","以俯瞰视角铺展冬园景致，枯木寒竹环伺素瓦厅堂，朱红廊桥蜿蜒于池畔，暖艳色调破开绢底沉郁的萧寒。远山以淡墨晕染，空濛悠远，不着一笔画雪，却借萧索枝桠、冷寂苔阶衬出隆冬清寒。\n\n屋宇勾勒工整流丽，与山水的写意晕染相融，将园林的规整雅致与冬景的荒淡清寂揉合一处，藏着宋人冬日静居园中的闲淡心境，把隆冬里的幽居意趣晕染在方寸纨扇之上。",[23,24,25,1260,104,7,107,108,795,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa442b5ebc3c18eafd18163b69ed18bd3.jpg",[181],{"id":45890,"slug":45891,"title":45892,"dynasty":99,"author":15959,"museum":20,"description":45893,"tags":45894,"thumbUrl":45895,"material":638,"size":45896,"collection":44,"collections":45897,"showCount":399,"zanCount":48,"manualWeight":48,"mainColor":94},219862,"wen-jin-tu-wu-wei-219862","问津图","吴伟（1459—1508年），字士英，又字次翁，号小仙，江夏（今湖北武汉）人。",[23,24,25,26,7,178,1070,106,353,1049,6866,34,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f7f98dcd688a6d6944b102a42c5da70.jpg","纵46.3cm; 横110.2cm",[44],{"id":45899,"slug":45900,"title":45901,"dynasty":18,"author":17938,"museum":78,"description":45902,"tags":45903,"thumbUrl":45904,"material":123,"size":45905,"collection":44,"collections":45906,"showCount":399,"zanCount":2368,"manualWeight":48,"mainColor":94},219400,"zhao-nan-ba-pian-tu-ma-he-zhi-219400","召南八篇图","马和之，南宋画家，浙江钱塘人。高宗绍兴（1131-1162）时进士，官至工部侍郎，或说画院待诏。擅画人物、佛像、山水，用柳叶描（一作马蝗描），人物画仿吴道子，行笔飘逸，着色轻淡，“务支华藻”，人称“小吴生”。高宗赵构、孝宗赵昚，深重其笔，每写《诗经》，命他补图，内容包括草虫、花鸟楼阁、走兽、人物、山水，煌煌巨制，无所不备。\n此卷为《诗经▪召南》的补图，共八幅，分别为“羔羊”、“殷其雷”、“摽有梅”、“小星”、“江有汜”、“野有死麕”、“何彼穠矣”、“騶虞”。此卷历经梁清标、清内府、　励宗万收藏，每幅前有清弘历（高宗）对题《诗经·召南》诗句。",[23,194,24,25,26,7,28,178,86,212,106,29,5443,378,107,2235,154],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d92061e7f287db0b26cbfe3b1f0887b.jpg","纵26厘米，横40.2-44.9厘米",[44],{"id":45908,"slug":45909,"title":45910,"dynasty":76,"author":257,"museum":191,"description":45911,"tags":45912,"thumbUrl":45913,"material":638,"size":139,"collection":181,"collections":45914,"showCount":399,"zanCount":48,"manualWeight":48,"mainColor":94},219366,"gao-zong-yu-ti-shan-si-chao-lan-tu-zhou-yi-ming-219366","高宗御题山寺朝岚图轴","层岩叠嶂拔地而起，皴笔勾勒出山峦苍劲肌理，峰顶与烟岚相融，似隐似现间透着空濛。山腰古木森然，松针攒簇如盖，林间云雾流转，切割出深浅层次，平添幽远之趣。山坳梵宇错落，飞檐翘角隐于林麓，似有晨钟梵音裹挟岚气漫溢。近景蹊径蜿蜒，二叟策杖徐行，衣袂飘飘，与静谧山林相映成趣，尽显文人寄情山水的闲适。淡墨晕染烟岚，浓墨点染树石，虚实相生间，朝曦初露、岚气未散的胜境呼之欲出。清幽藏生机，静谧含悠远，引人步入那尘外之境，沉醉于自然与人文交织的雅韵中。",[24,25,226,29,177,173,7,176,34,37,107,1171,106,25842,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcec09cda273d9e86e7d09e154e60eccb.jpg",[181],{"id":45916,"slug":45917,"title":45918,"dynasty":302,"author":257,"museum":191,"description":45919,"tags":45920,"thumbUrl":45921,"material":123,"size":45922,"collection":44,"collections":45923,"showCount":399,"zanCount":48,"manualWeight":48,"mainColor":49},219291,"ying-zhen-xiang-yi-ming-219291","应真像","群像错落间，罗汉神态各显其趣：驯虎者威而不厉，持卷者沉静如渊，与沙弥依偎者暖意融融。衣纹线条流转细腻，似能触到布料的柔软褶皱；古雅色调晕染出岁月的沉香。头光淡隐，添几分神圣；人物间的细微互动，藏着鲜活的烟火气。或低眉沉思，或浅笑低语，或凝神观物，每一处笔墨都透着匠心——既守宗教画的庄严底色，又赋人物以生动性情。驯虎的张力、读经的静谧、依偎的温情，在方寸间交织成一幅既有神圣感，又含人间温度的画卷，尽显古画笔墨的神韵与人文情怀。",[24,25,226,260,28,7,106,5443,746],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9c05ff75807c73351c05eabf82799b4.jpg","157.6x79.6",[44],{"id":45925,"slug":45926,"title":45927,"dynasty":18,"author":257,"museum":191,"description":45928,"tags":45929,"thumbUrl":45931,"material":123,"size":45932,"collection":44,"collections":45933,"showCount":399,"zanCount":48,"manualWeight":48,"mainColor":94},218722,"mian-qin-zhu-ming-tu-yi-ming-218722","眠琴煮茗图","图中描绘的是一个有学问的人在溪流上拿着一把琴，而一个孩子在打水泡茶。使用圆润的笔触，没有任何大的顿挫，也是这幅画的特点。",[23,24,1260,28,7,106,195,109,86,212,29,45930],"茶事","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52b812228f88e00200e5a176dd1aa5a7.jpg","26.7x25.7",[44],{"id":45935,"slug":45936,"title":45937,"dynasty":18,"author":9283,"museum":191,"description":45938,"tags":45939,"thumbUrl":45940,"material":1319,"size":45941,"collection":90,"collections":45942,"showCount":399,"zanCount":48,"manualWeight":48,"mainColor":94},218698,"han-lin-ji-xue-tu-li-cheng-218698","寒林积雪图","这幅《雪山萧寺图》只取了李成画寒林雪的名字，但风格更接近于蓝瑛和刘度的风格。",[23,24,194,25,26,29,3883,13277,795,176,7,177,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68e6c410e1468f140d6db63b045c2caf.jpg","29.7x21cm",[90],{"id":45944,"slug":45945,"title":45946,"dynasty":18,"author":9555,"museum":191,"description":45947,"tags":45948,"thumbUrl":45949,"material":123,"size":45950,"collection":181,"collections":45951,"showCount":399,"zanCount":48,"manualWeight":48,"mainColor":94},218684,"yun-shan-chun-ai-tu-zhao-ling-rang-218684","云山春霭图","轻烟淡霭缠绕层峦，山峦在云气中时隐时现，虚实交织间藏着悠远韵致。山间疏林错落，新绿初萌，透着春的温润。溪流蜿蜒穿梭雾霭，似有若无，添几分灵动。笔墨细腻清雅，山石勾勒柔婉，云雾以淡墨晕染，层次朦胧却不失清逸。整体意境宁静悠远，如春日拂晓的郊野，湿润气息裹挟草木轻香，引人遐想。画面取小景却含蕴生机与诗意，尽显文人山水雅致情韵，仿佛能让人暂避尘扰，沉醉在云山春霭的静谧里，感受自然与心灵的契合。",[23,24,25,173,7,29,37,808,34,20753,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b9f12b887b14d2f8022acc378c6591e.jpg","26x23cm",[181],{"id":45953,"slug":45954,"title":15156,"dynasty":18,"author":45955,"museum":3439,"description":45956,"tags":45957,"thumbUrl":45958,"material":123,"size":139,"collection":44,"collections":45959,"showCount":399,"zanCount":1379,"manualWeight":48,"mainColor":2504},218479,"luo-han-tu-lu-zhong-xin-218479","陆忠信","绢本底色如古檀沉暗，衬得罗汉朱红袈裟上的团纹愈发鲜亮。他倚坐雕花木榻，面容丰腴，双目微阖似含悲悯，耳垂坠环，衣袂垂落间露出素白里衣，线条圆转如流水般柔和。身侧侍者持物恭立，衣饰繁复却不失清雅，眉眼低垂尽是谦卑之态。上方赤色云纹蜿蜒，似携灵韵游走于暗褐天幕，与罗汉的沉静形成动静对照。整幅画以细劲线条勾勒形神，设色古雅醇厚，融罗汉庄严、侍者恭谨与背景灵动于一体，尽显宋代佛画写实功力与空灵意境，细节藏匠心，引人沉潜于跨越时空的肃穆安然。",[24,25,913,260,106,406,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc12ca8e74b8d66309bde0821f2720e5c.jpg",[44],{"id":45961,"slug":45962,"title":45963,"dynasty":99,"author":257,"museum":45964,"description":45965,"tags":45966,"thumbUrl":45967,"material":123,"size":139,"collection":181,"collections":45968,"showCount":399,"zanCount":48,"manualWeight":48,"mainColor":94},217983,"lin-liu-guan-qiu-tu-yi-ming-217983","临流观秋图","布里斯托尔博物馆","临流观秋图是明朝时期佚名所作的一幅著名图画。这幅图画描绘了一个秋天的景象，主要内容是一条清澈见底的河流，周围是绿树成荫的山坡。在河对岸，可以看到一座小山丘，上面建有一座庙宇。\n\n在河流中，可以看到许多游鱼，它们在水面上跃起，似乎在欢迎秋天的到来。此外，还可以看到许多水鸟在河上飞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周密《武林旧事》卷六将马和之列于御前画院之首，然而，根据目前所知资料，两宋画院画家自有其品秩，而无进士及第任官后尚充任画院画家者。此外，马和之的画风与院画的总体面貌也有相当大的差距。马和之宗法北宋李公麟而有所变化，表现人物所用线条较为短促，运笔迅疾，兰叶描已变为后世所称之“蚂蝗描”。因此，马和之不是南宋画院的宫廷画家，清代《南宋院画录》中称其以“艺精一世，命之总摄画院事”是有一定可能性的，但却并非服务于宫廷的职业画家，而应与李公麟等文人画家并列。",[194,24,25,81,7,106,107,104,86,937,46162],"儒家","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59de6ccc4183cd5bffa173b2eea10d0b.jpg",[],{"id":46166,"slug":46167,"title":10330,"dynasty":18,"author":1588,"museum":316,"description":27367,"tags":46168,"thumbUrl":46169,"material":599,"size":600,"collection":139,"collections":46170,"showCount":46053,"zanCount":48,"manualWeight":48,"mainColor":94},289454,"shi-liu-la-zui-tu-ma-lin-289454",[194,24,83,28,7,1060,245,836],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F316f8844aafa1f77b64073a164171e98.jpg",[],{"id":46172,"slug":46173,"title":43475,"dynasty":18,"author":3752,"museum":316,"description":46174,"tags":46175,"thumbUrl":46176,"material":599,"size":600,"collection":139,"collections":46177,"showCount":46053,"zanCount":2368,"manualWeight":48,"mainColor":49},289349,"xie-sheng-cao-chong-tu-cui-bai-289349","画面右侧绘野生花草，狗尾、紫菀莛叶穿插。菜粉蝶落在花上吸取花蜜，蜻蜓徐徐低飞，蚱蜢跃跃欲跳，整幅画面充满动感。3只昆虫在画面上的等边三角形构图平衡了丛生的野草所造成的重心偏倚，使画面结构稳定。野草和花叶用花青加汁绿勾填，花用没骨法出之，昆虫兼工带写，形态逼真。",[23,194,24,26,28,7,83,483,484,635,2352,178,86,566],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b7dcd9dc21885b547b27cbaf1170050.jpg",[],{"id":46179,"slug":46180,"title":46181,"dynasty":18,"author":5739,"museum":316,"description":5740,"tags":46182,"thumbUrl":46183,"material":599,"size":600,"collection":139,"collections":46184,"showCount":46053,"zanCount":48,"manualWeight":48,"mainColor":49},288994,"mu-zi-quan-tu-mao-yi-288994","母子犬图",[194,24,25,28,7,8941,746,1633,689],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd31dab7edd927a3828f05cca548ddcfa.jpg",[],{"id":46186,"slug":46187,"title":46188,"dynasty":302,"author":257,"museum":316,"description":26866,"tags":46189,"thumbUrl":46190,"material":599,"size":600,"collection":139,"collections":46191,"showCount":46053,"zanCount":48,"manualWeight":48,"mainColor":2504},288922,"cao-chong-tu-dui-zhou-zhi-pu-tao-yi-ming-288922","草虫图对轴之葡萄",[194,24,226,28,7,83,483,5942,634,884,484,721,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F989194f767a3f85d72ea617008493ab9.jpg",[],{"id":46193,"slug":46194,"title":46195,"dynasty":76,"author":9661,"museum":316,"description":46196,"tags":46197,"thumbUrl":46199,"material":599,"size":600,"collection":139,"collections":46200,"showCount":46053,"zanCount":48,"manualWeight":48,"mainColor":94},288391,"shuang-mao-kui-yu-cheng-zhang-288391","双猫窥鱼","此图描绘的是一幅秋天的美丽图景。一弯池水迂回流淌，岸边苇草萌发，树枝随风而动，显得遒劲与洒脱。池塘边两只花猫，葡匐在岸上，双眼紧盯着池塘中的游鱼。仿佛在欣赏它们欢快的舞姿，溪水远处，淡色轻染，烟霭迷濛。全画以水墨设色技法来表现物象，工整细致，将岸石的坚实感，猫鱼的柔滑感，苇草的飘逸感，树枝的风动感，表现的惟妙惟肖。可能是由于画家懂得生物百态，所以画的石头，苇草，浮萍、树干，树枝及红叶，在透视的处理上，以及远近、前后、浓淡、深浅等方面，都能合乎自然景物的真实性。并运用干、湿、浓、淡的笔法墨法所造成的变化，整体显得儒雅、秀润。",[23,24,226,7,745,722,1353,353,230,46198,40442],"衰草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f0a9a7444833f2d873b38ff11d8ab76.jpg",[],{"id":46202,"slug":46203,"title":46204,"dynasty":76,"author":698,"museum":316,"description":11359,"tags":46205,"thumbUrl":46206,"material":599,"size":600,"collection":139,"collections":46207,"showCount":46053,"zanCount":48,"manualWeight":48,"mainColor":94},288281,"yu-sheng-bai-yun-si-tu-qian-wei-cheng-288281","豫省白云寺图",[24,194,25,226,260,3559,177,7,176,34,107,25842,212,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe106705075e5729ca78f6e63548247e6.jpg",[],{"id":46209,"slug":46210,"title":46211,"dynasty":76,"author":16840,"museum":316,"description":46212,"tags":46213,"thumbUrl":46215,"material":599,"size":600,"collection":139,"collections":46216,"showCount":46053,"zanCount":48,"manualWeight":48,"mainColor":94},288241,"bei-jing-dian-pu-zhao-huang-hua-ce-zhou-pei-chun-288241","北京店舖招幌画册","周培春，清末北京民俗画家，以绘制民俗图见长。曾居广州，替外国油画家经营油画作品销售。国内鲜为人知、其作品国内基本上没有收藏而在国外影响很大。他的画作对世界各国和后世的人们了解清代北京的社会生活和风俗习惯，作出了巨大的贡献。",[81,7,24,46214,2852,64,280],"店铺招幌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67e80b1587a8c4e68a34e73246620891.jpg",[],{"id":46218,"slug":46219,"title":46220,"dynasty":99,"author":46221,"museum":316,"description":46222,"tags":46223,"thumbUrl":46224,"material":599,"size":600,"collection":139,"collections":46225,"showCount":46053,"zanCount":2368,"manualWeight":48,"mainColor":49},287943,"shan-que-shuang-tu-tu-li-yong-287943","山鹊双兔图","李鄘","李鄘（yōng）（？－820年9月14日 ），字建侯。鄂州江夏县（今湖北省武汉市武昌区）人。唐朝宰相，江夏太守李邕从孙。\n李鄘出身“江夏李氏” 。唐代宗时登进士第，补秘书省正字，擢累吏部员外郎，进御史中丞。唐宪宗时，由河东节度使被召拜为门下侍郎、同平章事（宰相）。晚年以太子少傅致仕，累封江夏县开国侯。\n元和十五年（820年），李鄘去世，追赠太子太保，谥号“肃”。《唐文拾遗续拾》录有其文一篇",[23,24,28,7,2181,245,353,686,2746,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda0a93abe923ed1343f9eb30ea9c799f.jpg",[],{"id":46227,"slug":46228,"title":46229,"dynasty":76,"author":15448,"museum":316,"description":46230,"tags":46231,"thumbUrl":46232,"material":599,"size":600,"collection":139,"collections":46233,"showCount":46053,"zanCount":48,"manualWeight":48,"mainColor":94},287933,"ge-zhen-fu-xiang-juan-ceng-jing-287933","葛震甫像卷","字波臣，福建莆田人，中国明代画家。一生往来江浙一带，为人写真。擅画肖像，在继承粉彩渲染传统技法的同时，汲取西洋画的某些手法，形成注重墨骨，层层烘染，立体感强的独特画法。所画人物肖像强调观察体会，抓住最动人处，精心描绘，尤注重点睛，形象逼真，栩栩如生，有“如镜取影，俨然如生”之誉，从学者甚众，遂形成“波臣派”。",[23,24,26,37542,173,7,86,178,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6ef4a2f08f7f0710ad60aa6cf8149cb.jpg",[],{"id":46235,"slug":46236,"title":46237,"dynasty":99,"author":1057,"museum":316,"description":19877,"tags":46238,"thumbUrl":46239,"material":599,"size":600,"collection":163,"collections":46240,"showCount":46053,"zanCount":48,"manualWeight":48,"mainColor":94},287794,"min-zhong-shan-shui-tu-juan-xiang-sheng-mo-287794","闽中山水图卷",[23,24,26,3559,7,177,176,31,174,3176,107,108,981,5701,808],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff07fc17451bf883c857c7b540878e84e.jpg",[163],{"id":46242,"slug":46243,"title":14104,"dynasty":99,"author":857,"museum":316,"description":5856,"tags":46244,"thumbUrl":46245,"material":599,"size":600,"collection":139,"collections":46246,"showCount":46053,"zanCount":2368,"manualWeight":48,"mainColor":49},287779,"shan-shui-ren-wu-tu-chen-hong-shou-287779",[23,24,194,25,226,7,106,29,1133,820,109,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e46687b0740b7c2ccb5b7e47413c318.jpg",[],{"id":46248,"slug":46249,"title":46250,"dynasty":18,"author":15860,"museum":316,"description":22410,"tags":46251,"thumbUrl":46252,"material":599,"size":600,"collection":139,"collections":46253,"showCount":46053,"zanCount":2368,"manualWeight":48,"mainColor":2504},287738,"hong-shu-qiu-shan-tu-xiao-zhao-287738","红树秋山图",[23,194,24,29,226,7,177,108,109,107,176,34,1426,2725,5218],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad91b75dccb4b91ad72e5c123b39c43f.jpg",[],{"id":46255,"slug":46256,"title":46257,"dynasty":99,"author":257,"museum":316,"description":46258,"tags":46259,"thumbUrl":46260,"material":599,"size":600,"collection":139,"collections":46261,"showCount":46053,"zanCount":48,"manualWeight":48,"mainColor":49},287635,"shi-ba-xue-shi-tu-zhi-si-yi-ming-287635","十八学士图之四","松荫庭院间，雅集正酣。文士围案品评法帖，或蹙眉凝思，或倾身低语，神态各异却皆沉浸翰墨意趣之中。侍童垂手待命，后方书童打理卷轴器物，尽显雅聚的悠然闲适。\n\n画作工致写实，衣纹线条劲挺流畅，将文士的温雅气度勾勒入微。屏上淡绘江楼烟景呼应室外虬松古木，案几陈设精巧写实，古雅色调晕染出沉静氛围。整幅画以细腻笔触铺陈出文人雅集的林下之境，将崇文尚雅的意涵融于绢素，尽显静穆雅致的传统美学意韵。",[24,194,7,6170,4352,1133,1010,3429,28,24838],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6d3a725df4efb86a48a7c87130040fe.jpg",[],{"id":46263,"slug":46264,"title":46265,"dynasty":18,"author":257,"museum":316,"description":46266,"tags":46267,"thumbUrl":46268,"material":599,"size":600,"collection":139,"collections":46269,"showCount":46053,"zanCount":48,"manualWeight":48,"mainColor":94},287590,"song-di-hou-quan-shen-xiang-song-tai-zu-yi-ming-287590","宋帝后全身像-宋太祖","此作将帝王气度藏于简雅笔色之间，帝王安坐髹金朱漆龙椅，展角幞头衬出面庞方正威严，长髯垂胸，双手拢握玉圭，仪态沉凝端重，自带开国君主的雄毅厚重。\n笔墨简净克制，淡墨匀细圆劲的线条勾勒衣纹，贴合绫罗垂坠柔润的质感，平净敷色不做繁饰，只以素白袍服衬出冲淡肃穆的皇家威仪。画作写实朴拙，细微处捕捉住君主不怒自威的神态，在简约平淡中尽显开国帝王的沉稳气场，是帝王肖像画里极具代表性的佳构。",[24,6170,23715,7,28,11229,21044,8330],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F177bd71d9b3786698d40b0f5b2a35003.jpg",[],{"id":46271,"slug":46272,"title":46273,"dynasty":18,"author":257,"museum":316,"description":46274,"tags":46275,"thumbUrl":46276,"material":599,"size":46277,"collection":139,"collections":46278,"showCount":46053,"zanCount":48,"manualWeight":48,"mainColor":94},287554,"qiu-shan-wen-hui-tu-yi-ming-287554","秋山文会图","此作以全景山水铺陈，高远与深远兼具，层峦叠嶂以青绿晕染，古雅苍朴。山峦以披麻皴细致勾勒，苔点攒簇，尽显秋山蓊郁厚重的质感。林麓间隐见亭台雅集，文士幽会于泉石山林间，将山居幽趣与文人情致相融。\n\n虽岁久色褪，仍可见精工雅致的风骨，以秋山沉厚底色衬出文会清逸，将林泉高致寄于层叠山岚之中，尽显天人合一的文人画意趣。",[24,194,25,226,27,7,177,29,106,107,175,34,176,5218,39325],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60265df5aad0964cb0673dcbec174592.jpg","95x24.8",[],{"id":46280,"slug":46281,"title":46282,"dynasty":76,"author":257,"museum":316,"description":27801,"tags":46283,"thumbUrl":46286,"material":599,"size":600,"collection":139,"collections":46287,"showCount":46053,"zanCount":48,"manualWeight":48,"mainColor":49},257715,"cheng-hua-kuan-wu-cai-he-shou-wen-hu-lu-ping-yi-ming-257715","成化款五彩鹤寿纹葫芦瓶",[12818,46284,7,60,46285,229],"五彩","寿纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b34b06eb0f8bd8456b0fb03c2638dc3.jpg",[],{"id":46289,"slug":46290,"title":46291,"dynasty":76,"author":6776,"museum":316,"description":34971,"tags":46292,"thumbUrl":46293,"material":599,"size":600,"collection":139,"collections":46294,"showCount":46053,"zanCount":2368,"manualWeight":48,"mainColor":94},239356,"fu-mu-tu-juan-din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。钱塘（今浙江杭州）人。工书善画，长于山水、花鸟、梅竹，尤以山水著名。其山水法宗宋元，又能自成一家。师画家沈周，落笔秀润，临摹唐、宋、元诸家，师黄公望尤为致力。晚年笔力蓊苍劲，气象峻 ，与文征明、沈周并重。",[1260,24,25,194,173,7,29,2562,1133,820,105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F449a709d6b85b662301b9381df08858c.jpg",[],{"id":46458,"slug":46459,"title":46460,"dynasty":76,"author":46461,"museum":316,"description":9031,"tags":46462,"thumbUrl":46463,"material":139,"size":139,"collection":139,"collections":46464,"showCount":46053,"zanCount":48,"manualWeight":48,"mainColor":94},234621,"jian-fu-qin-wan-shan-li-yu-zhu-234621","涧抚琴纨扇","李育竹",[24,25,1260,7,28,227,106,230,109,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe6778a14dde5179000d3d8eb76e5893.jpg",[],{"id":46466,"slug":46467,"title":46468,"dynasty":76,"author":997,"museum":20,"description":37912,"tags":46469,"thumbUrl":46470,"material":770,"size":139,"collection":139,"collections":46471,"showCount":46053,"zanCount":48,"manualWeight":48,"mainColor":94},234505,"yuan-ji-shui-zai-gan-shi-shi-yi-tu-dan-ye-shi-tao-234505","原济水灾感事诗意图单页",[24,25,173,7,178,177,81,29,1169,34,3884,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ad7ee64e8e7b98701b3672d4cb80d8f.jpg",[],{"id":46473,"slug":46474,"title":46475,"dynasty":76,"author":257,"museum":316,"description":46476,"tags":46477,"thumbUrl":46478,"material":599,"size":600,"collection":139,"collections":46479,"showCount":46053,"zanCount":48,"manualWeight":48,"mainColor":94},234404,"xiao-quan-cheng-huang-hou-yu-you-nv-xiang-zhou-yi-ming-234404","孝全成皇后与幼女像轴","此作设色雅致柔和，工笔描摹细腻入微。女主人宝蓝旗装遍缀碎花，领衣绣纹层叠精巧，珠花点翠头饰配碧玉耳坠，倚桌而立，温婉端静尽显闺仪气度。桌案鲜果清供，器物勾勒写实逼真。身侧幼女粉衫绿裤，攀着青瓷绣墩探头张望，稚憨灵动，与女主人的沉静娴雅相映成趣，揉合了宫廷肖像的肃穆工整与日常温情，将深宫内院难得的天伦之景定格，是兼具纪实性与审美意趣的晚清肖像佳作。",[24,226,320,28,7,106,23716,2385,63,64,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14e44910949eb8fe56e6a1bfd3de0902.jpg",[],{"id":46481,"slug":46482,"title":12876,"dynasty":76,"author":12877,"museum":316,"description":12878,"tags":46483,"thumbUrl":46484,"material":139,"size":139,"collection":139,"collections":46485,"showCount":46053,"zanCount":48,"manualWeight":48,"mainColor":94},234377,"lin-jiang-ting-xi-hua-hui-ce-jiang-shu-234377",[24,25,81,7,28,83,1060,105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24bb5a703f7e135908423688e41b146b.jpg",[],{"id":46487,"slug":46488,"title":46489,"dynasty":76,"author":7596,"museum":101,"description":28697,"tags":46490,"thumbUrl":46491,"material":529,"size":46492,"collection":139,"collections":46493,"showCount":46053,"zanCount":48,"manualWeight":48,"mainColor":94},234202,"xi-shan-xue-yi-tu-juan-wang-hui-234202","溪山雪意图卷",[23,24,26,29,173,177,7,2562,808,31,34,795,1273,35,108,86,178,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee8941243ea2d3a259d941be6a2a0dce.jpg","纵41厘米，横241.3厘米",[],{"id":46495,"slug":46496,"title":46497,"dynasty":54,"author":257,"museum":20,"description":46498,"tags":46499,"thumbUrl":46500,"material":40,"size":46501,"collection":139,"collections":46502,"showCount":46053,"zanCount":48,"manualWeight":48,"mainColor":49},234066,"zhou-fang-di-guan-chu-you-tu-can-juan-yi-ming-234066","周昉地官出游图残卷","图中地官于辇中微露半面人身，其余侍从、武士步行左右，画风接近《女史箴图》《列女图》一路，笔法古拙，人物造型生动，动作略显夸张，无款印。",[24,25,194,26,260,7,28,106,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda9858640caff3d8f2ff702236255cd8.jpg","高24.1厘米，宽51.4厘米",[],{"id":46504,"slug":46505,"title":6834,"dynasty":99,"author":2425,"museum":20,"description":46506,"tags":46507,"thumbUrl":46508,"material":3564,"size":14597,"collection":139,"collections":46509,"showCount":46053,"zanCount":48,"manualWeight":48,"mainColor":94},234059,"shan-shui-ce-dong-qi-chang-234059","第一开，右上角题：“仿唐杨昇。”钤“董其昌印”。鉴藏印钤“王掞”、“烟客真赏”、“虚斋精上品”、“壶中墨缘”。\n对开董其昌题：“唐杨昇峒关蒲雪图，见之明州朱定国少府，以张僧繇为师，只为没骨山，都不落墨。曾见日本画有无笔者，意亦唐法也。米元章谓王晋卿山水似补陀岩，以丹青染成。王洽正泼墨渖。多种法门皆李成、董源以前独善者。”钤印“董玄宰”。收藏印钤“庞来臣珍赏印”、“壶公”、“子清所见”、“王时敏印”、“颛庵”。\n设色青绿山水，画峰峦秋树。\n第二开，左上角题：“仿梅花道人。”钤“董其昌印”。收藏印钤“虚斋鉴赏”、“壶中墨缘”、“王时敏印”、“颛庵”。\n对开董其昌题：“今日遇武塘题吴仲圭故居，称梅花巷者。自号梅花和尚，实居士也。画学巨然，字学怀素，皆受和尚法，故云。仲圭与盛懋同巷对宇。人每指金帛诣盛求画，仲圭之家闻如也。家人以为谪，仲圭曰：‘待二十年后自有定论’。已而盛之身价果逊。至今三百年犹尔。辛酉三月廿三日识。”钤“董玄宰”印。收藏印钤“庞来臣珍藏印”、“壶公”、“王时敏印”。\n设色画水阁、青山、瀑布。\n第三开，左上题：“仿惠崇。”钤“董其昌印”。收藏印钤“王时敏印”、“王掞之印”、“壶中墨缘”、“虚斋鉴赏”。\n对开董其昌题：“惠崇宋诗僧，建阳人也。在巨然之前，画学王维，精工妍丽如诗家。温、李辈《香辽集》生于情者。东坡、山谷为题其小景。余所见有京口陈氏江南惠卷及鄞朱定国所赠巨轴《早春图》。”钤印“董玄宰”。收藏印钤“王时敏印”、“藻儒”、“壶公”、“庞来臣珍赏印”。\n设色画青溪两岸云树房屋。\n第四开，右上题：“仿卢鸿草堂笔。”钤印“其昌”。收藏印钤“壶中墨缘”、“子清所见”、“王时敏印”。\n对开董其昌题：“鸿乙草堂明皇尝令人就图之，鸿乙画入神品，与右丞伯仲。嵩山十志各有楚词。至宋时李伯时作图令诸名公书其诗，人各一景。秦少游、僧参寥、米元章皆与焉。余见之项氏者亦十体，不显名姓。谢时臣亦临一本，第得其位置耳。唐人用墨高简，意到而笔不到，所以妙绝。”钤印“董玄宰”。收藏印钤“逊之”、“王掞之印”、“庞来臣珍赏印”、“壶公”。\n墨笔画疏林坡石，高崖瀑布。\n第五开，左上方题：“仿倪元镇。”钤“其昌”。收藏印钤“烟客真赏”、“王掞之印”、“壶中墨缘”、“虚斋精上品”。\n对开董其昌题：“倪迂画学冯觐。觐，《宣和画谱》所载宋宦官也。觐画世无传本。倪迂自题谓得荆关遗意，岂讳言觐耶？张伯雨题云：‘能与米颠相伯仲，风流还只数倪迂。应将尔雅虫鱼笔，为写乔林恠石图。’最为迂叟吐气。大都倪高士之画学冯觐，如朱晦翁之书学曹孟德，皆不问其师承也。倪迂书学《黄庭内景经》，《内景经》倪氏之物也。”钤“董其昌印”。收藏印钤“王时敏印”、“王掞之印”、“庞来臣珍藏印”、“壶公”。\n设色画平远秋景山水。\n第六开，左上方题：“仿米元晖。”钤“董其昌印”。收藏印钤“王时敏印”、“王掞”、“壶中墨缘”。\n对开董其昌题：“米元晖潇湘图余得之项玄度，有宋人题跋甚夥。朱晦翁亦一再见。后有王宗常叙诸跋卷人出处之概，书品亦佳，沈石田自题七十五岁方得一观，以快生平，为米卷第一。图不作点，只用墨破凹凸之形，树木屋宇皆精工，都画勾云亦变体也。元晖凡再题数百字。”钤印“其昌”。收藏印钤“逊之”、“王掞”、“庞来臣珍藏印”、“壶公”。\n墨笔画潇湘烟雨景。\n第七开，左上方题：“仿黄鹤山樵。”钤“董其昌印”。收藏印有“王时敏印”、“王掞之印”、“壶中墨缘”。\n对开董其昌题：“元季四大家惟王叔明仕于国初，为泰安州倅。何元郎记有雪图作于齐郡者是也。倪云林题有笔精墨妙语，又云澄怀观道是宗少文也。又临池学书出王右军、王虞，笔力能扛鼎，五百年来无此君，推挹至矣。于北宋诸家无所不摹，尤善右丞法。”钤印“董玄宰”。收藏印有“藻儒”、“逊之”、“壶公”、“庞来臣珍藏印”。\n墨笔画关山松涧。\n第八开，左上题：“仿李伯时山庄图。”钤“董其昌印”。收藏印有“王时敏印”、“颛庵”、“壶中墨缘”、“虚斋鉴藏”。\n对开董其昌题：“潇洒营丘水墨仙，浮空出没有无间。尔来一变风流尽，谁见将军设色山。\n无数青山落照边，遥知风雨不同川。此中有句无人认，道与襄阳孟浩然。\n二绝句皆东坡题画之什，深得画家三昧方能为，是语米老不如也。”钤印“董玄宰”。\n又题记：“辛酉三月游武林，归途闲暇作此八景。时画史杨彦冲同观。玄宰识。钤“虚斋审定”。\n此图册是董其昌于明天启元年（1621年）游武林（今杭州）时创作的，董氏时年67岁。图册分别仿杨升、卢鸿、惠崇、米友仁、李公麟、吴镇、倪瓒、王蒙等唐宋元诸家山水。画面集取古人不同的山水画景观，同时融入画家自己对于天地、山川的感受，“以意取之”，“各出意造”。在构图上虽与古人相似，但在审美情趣上董其昌追求的是一种平淡古雅的意境和逸趣。如仿唐杨昇山水，在画法上使用没骨设方法，摒弃了原作者金碧山水的华丽浓艳，继承了其中的古拙和典雅，寓丰富而鲜艳的色彩于平稳和谐的色调之中，笔法精妙秀雅，笔致轻松生动，从而使画面传达出一种平静而不淡泊、明媚而不躁动的美感，具有董氏自己的特点。又如米友仁芾画潇湘烟雨之景，以董、巨笔法皴染山石，用笔沉着稳重，通过墨色干湿浓淡的变化烘染出远山近水的空间感以及烟云雾气的变化。树木及房屋用笔多变化，墨色酣畅淋漓，层次丰富。这种董其昌笔下的米家山水，平淡之中更见秀雅。其他几开山水画同样反映了董其昌所追崇的文人画情趣，均以董源、巨然为归依。在仿古山水画中，他尝试运用各种不同的绘画形式诠释古法，同时表现出对于古法的继承和发展，从而阐述了自己的审美观，这是他创作众多仿古山水画最为重要的意义。此外，此件作品对开中董其昌的题记对于人们认识董其昌的艺术同样具有重要的史料价值。",[194,24,25,81,7,173,177,29,108,109,175,353,1353,176,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17fe54937e35a0b7f230e28239b75157.jpg",[],{"id":46511,"slug":46512,"title":46513,"dynasty":99,"author":9246,"museum":20,"description":46514,"tags":46515,"thumbUrl":46516,"material":6608,"size":46517,"collection":139,"collections":46518,"showCount":46053,"zanCount":48,"manualWeight":48,"mainColor":94},234046,"wen-dao-tu-shan-ye-cui-zi-zhong-234046","问道图扇页","图绘一年轻男子正向老者作揖行礼，老者则举手指点作回答状的场景，因此，本幅又名《说法图》。崔子忠的人物画在师法顾恺之、陆探微、阎立本、吴道子等传统笔墨的基础上而有创新。他注重人物表情的刻画，在故宫博物院所藏其《洗象图》、《藏云图》及《渔家图》中，都能准确地画出不同身份的人物的特征。在此图中，他将年轻人问询时谦卑的表情和老者自信淡定的神态均表现得生动传神。衣纹用笔圆润细劲，线条颤掣，虬折多变，突出了衣服质料的柔软质感和随风飘的动势。树木的枝叶以双线勾边填色，用笔工细，富装饰性。",[24,25,1260,7,28,106,353,176,1169,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe607e403e39498919d386dbca761bcc9.jpg","纵20.8厘米，横60.2厘米",[],{"id":46520,"slug":46521,"title":46522,"dynasty":99,"author":3774,"museum":316,"description":46523,"tags":46524,"thumbUrl":46525,"material":139,"size":139,"collection":139,"collections":46526,"showCount":46053,"zanCount":48,"manualWeight":48,"mainColor":94},233704,"shan-ju-le-shi-ce-lu-zhi-233704","山居乐事册","陆治五十岁左右隐居支硎山之后，读书作画， 用功更勤，对大自然的观察和体验也逐渐深刻。从 传世的《陆包山遗稿》来看，陆治的诗文多见纪游山 水和咏赞植物花卉之作。\n他淡泊宁静的生活状态也 同样反映在画作里。此套《山居乐事图册》即描绘了 文人山村幽居之乐，画面透出清逸脱俗的气质。\n此册共十页，内容分别为梦蝶、笼鹤、观梅、采 药、晚雅、停琴、渔父、放鸭、听雨、踏雪等文人山居 乐事。每幅皆有浓郁的山野生活气息，画法简逸，构 图多样，笔墨疏放清逸，线条苍劲挺立，意趣横生， 属画家晚年的代表作。 其中，“梦蝶”一幅是文人对庄周梦蝶的畅想。 这一经典在每个传统文人画家心中都有一个清新 可爱的画面。陆治中年以后退出仕途，隐居山间，对 庄子的道家精神极为推崇，画这样一幅册页，再自 然不过。画中，庄子团坐伏一大石而睡，安静舒适， 鬓角的发须在清风吹拂中微微扬起。\n整个人物造型 涉笔不多，却是相当传神。景物描绘也十分生动有 趣，柳条零落疏散、深深浅浅，地面上的灌木蓬勃而 浓密，两者在笔墨上形成了节奏与疏密的对比。“笼 鹤”一幅从笔墨到构图则相对中规中矩。景物刻画 细致周密，布景平稳，技法也是陆治最熟练与常见 的。“听雨”画大雨滂沱，狂风大作。雨中，一文士檐 下卧榻听雨，神情专注，体态闲适；一仆从撑伞前 行，低头躬身，行步艰难。整幅作品将风雨大作的景 象，通过淋漓的水墨与酣畅的用笔，皴染结合，充分 地表现",[24,25,81,7,106,353,230,5462,209,838,1169,3884],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0aa8bf1b39d4b2a018b0488df291e99.jpg",[],{"id":46528,"slug":46529,"title":40417,"dynasty":76,"author":6641,"museum":78,"description":6642,"tags":46530,"thumbUrl":46531,"material":638,"size":139,"collection":139,"collections":46532,"showCount":46053,"zanCount":48,"manualWeight":48,"mainColor":94},233193,"hua-hui-ce-tao-hua-ye-zhao-zhi-qian-233193",[24,25,81,7,83,243,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20ceefe6bfa632f5ff93aad6e4f89901.jpg",[],{"id":46534,"slug":46535,"title":46536,"dynasty":18,"author":1315,"museum":20,"description":25483,"tags":46537,"thumbUrl":46538,"material":25486,"size":25487,"collection":139,"collections":46539,"showCount":46053,"zanCount":48,"manualWeight":48,"mainColor":94},233132,"cai-wei-tu-juan-li-tang-233132","采薇图卷",[23,24,25,26,173,7,28,177,106,29,34,686,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6db3df0be865cf051082196fc209b4d.jpg",[],{"id":46541,"slug":46542,"title":46543,"dynasty":302,"author":257,"museum":132,"description":46544,"tags":46545,"thumbUrl":46546,"material":638,"size":46547,"collection":139,"collections":46548,"showCount":46053,"zanCount":48,"manualWeight":48,"mainColor":49},232257,"cong-ju-tu-yi-ming-232257","丛菊图","《宋人画丛菊图》是宋代佚名创作的一幅画。图绘秋菊一丛，红白相间，繁枝茂叶，生机勃发，不见肃杀秋意。花瓣用中锋细笔勾描，再以朱红或白粉晕染；花蕊用细笔点出；茂密的叶片或用赭石、或略入汁绿、或稍加藤黄染出，以示老嫩不同的色彩。花之欲开、盛开、将残，叶之翻卷及明暗向背，刻画得恰到好处。画风工致细腻，构图丰满，但繁而不乱，密而不窒，设色艳而不俗，为南宋写生画佳作",[24,194,25,7610,226,7,28,83,630,176,484],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25f51eb89e89e998efcbce918c58e349.jpg","35x36cm",[],{"id":46550,"slug":46551,"title":46552,"dynasty":99,"author":28757,"museum":316,"description":46553,"tags":46554,"thumbUrl":46555,"material":139,"size":139,"collection":139,"collections":46556,"showCount":46053,"zanCount":48,"manualWeight":48,"mainColor":49},231944,"qi-que-tu-bian-jing-zhao-231944","栖雀图","边景昭，字文进，明代宫廷花鸟画家。福建延平府沙县（今福建沙县）人，祖籍陇西（今属甘肃）人，生卒年不详。永乐年间（1403-1442）任武英殿待诏，至宣德时（1426-1435）仍供奉内廷。后为翰林待诏，常陪宣宗朱瞻基作画。他为人旷达洒落，且博学能诗。他继承南宋“院体”工笔重彩的传统，其作品工整清丽，笔法细谨，赋色浓艳，高雅富贵。有“花之妖笑，鸟之飞鸣，叶之蕴藉，不但勾勒有笔，其用笔墨无不合宜”之说。边景昭的墨线气力十足，变化丰富，精谨细微，柔韧相宜。\n边景昭的花鸟画以工笔重彩法见长，传统渊源无疑来自宋代“院体”，如清方薰《山静居画论》评：“边鸾（应作边景昭）、吕纪、林良、戴进，纯以宋院题为法，精工毫素、魄力甚伟，黄（笙）、赵（昌）、崔（白）、徐（熙）之作，犹可想见。”明李开先《中麓画品》更具体的指出：“边景昭其源出于李安忠。”清顾复《平生壮观》记边氏《聚禽图》时也指出：“得黄要叔父子遗意。”黄要叔父子即北宋初黄筌及其子黄居采，所创工笔重彩花鸟画风，成为宋初“院体”标准体制；",[23,860,24,25,194,28,7,83,209,836,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66cd108c88026e1927f3fdb31455cb6c.jpg",[],{"id":46558,"slug":46559,"title":46560,"dynasty":302,"author":257,"museum":316,"description":46561,"tags":46562,"thumbUrl":46563,"material":139,"size":139,"collection":139,"collections":46564,"showCount":46053,"zanCount":48,"manualWeight":48,"mainColor":49},231914,"luo-han-tu-di-shi-wu-zun-zhe-ming-a-shi-duo-yi-ming-231914","罗汉图（ 第十五尊者名阿氏多）","阿秘特尊者，出生于印度王舍城一富有的婆罗门家庭， 生来十分漂亮，因此得名，意为「无比的」， 释迦牟尼称赞他是弟子中慈悲心最大的。阿秘特尊者双手持菩提佛塔， 据说是尊者到须弥山北面的罗刹居地去时，为说明他禳除罗刹魔力， 由释迦牟尼赠与他的。山石供桌上摆有经书、香炉和宝瓶等供物， 前面有西藏的祥瑞动物嬉戏追逐，身后为湍急的河水自天边而落。上界有金刚手菩萨化现山间，大乘法王居于古松枝间。",[24,226,7,28,260,106,227,176,409],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F015b6c7cffbe180bc77b5eb7ae62d8fb.jpg",[],{"id":46566,"slug":46567,"title":46568,"dynasty":76,"author":17997,"museum":316,"description":46569,"tags":46570,"thumbUrl":46571,"material":139,"size":14722,"collection":139,"collections":46572,"showCount":46053,"zanCount":48,"manualWeight":48,"mainColor":94},231514,"fang-ni-zan-she-se-qiu-shan-tu-wang-yuan-qi-231514","仿倪瓒设色秋山图","王原祁，明崇祯十五年（1642年）生，清康熙五十四年（1715年）卒。字茂京，号麓台、石师道人，江南省苏州府太仓人(今江苏太仓)，王时敏孙。康熙九年（1670年）进士，观政于吏部、任顺天乡试同考官，后任直隶顺德府任县（今河北省邢台市任县）知县，地当九河下流，滏漳诸水复久壅塞，腴田变为污渚，圪刘累泊等处，即古大陆泽为患，尤甚甲子乙丑秋雨连旬，水势陡发，堤岸尽壊，田莱俱成巨浸。\n原祁请照淮扬例，永免水荒田赋三千余金，民困以苏其余如，筑堤以防水宪，建桥以通水道，毙盗贼以安民命，明僎介以昭典礼，发仓储以救羸，着迹难以枚举。丙寅，奉命行取擢谏垣，改翰林，累官少司农，卒于位，赐祭葬如例，康熙五十九年入祀名宦。\n以画供奉内廷，康熙四十四年奉旨与孙岳颁、宋骏业等编《佩文斋书画谱》，五十六年主持绘《万寿盛典图》为康熙帝祝寿。擅画山水，继承家法，学元四家，以黄公望为宗，喜用干笔焦墨，层层皴擦，用笔沉着，自称笔端有金刚杵。与王时敏、王鉴、王翚并称“四王”，形成娄东画派，左右清代三百年画坛，成为正统派中坚人物。享年七十四。\n其所著画论有《雨窗漫笔》与《麓台题画稿》。擅长做诗，有《罨画楼集》3卷。\n晚清娄东画派代表人物秦祖永论王原祁画风：『中年秀润，晚年苍浑」；论其画曰：『沈雄验右，元气淋漓，笔端金刚杵之语不虚也」\n见《清史稿》、秦祖永《桐荫论画》。",[23,24,7,29,105,177,212,5411,34,176,108,114,3519,1754,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffcdb306f6f1c438ff6380f1ec5787a6.jpg",[],{"id":46574,"slug":46575,"title":46576,"dynasty":302,"author":1917,"museum":191,"description":46577,"tags":46578,"thumbUrl":46579,"material":67,"size":46580,"collection":139,"collections":46581,"showCount":46053,"zanCount":48,"manualWeight":48,"mainColor":49},231384,"yuan-shi-zu-chu-lie-tu-liu-guan-dao-231384","元世祖出猎图","《元世祖出猎图》属于全景式大尺幅作品，取材于元世祖行猎的场面，即元世祖忽必烈与帝后及其侍从狩猎情景。 [2] 画中忽必烈着红衣白裘，乘着黑马。画中有十人，有弯弓搭箭，有驾鹰纵犬，人物分散，似做围猎状。\n《元世祖出猎图》中人物、马骑无论衣着、装备皆刻画精细，表情神态自然生动。所画人和马作各种不同的姿态，转侧俯仰，富有变化。\n《元世祖出猎图》画北方沙漠地带，一片黄沙坡地，景色单调。在沙丘无垠的远方，正有一列骆驼驮队横越。近处人骑数众，或张弓射雁；或手架猎鹰；或绳携猎豹，皆为马上行猎之状。其中骑着黑马、身穿白裘的，应为元世祖，与世祖并驾的妇女，似为帝后，其余八人，应是侍从，其中尚有中亚黑奴一名。这些人中，其中一人正弯弓搭箭，瞄准着空中苍鹰。而其他猎手则顺着世祖身后著红服者所指示的方向，作注目远眺状，像在前方已发现了猎物，他们正蕴酿着纵马围歼的计划。\n《元世祖出猎图》有人物、鞍马、鹰、狗、骆驼等，其中对人物、鞍马刻画尤为详尽。主要人物或许皆由写生肖像而来，老少不一，神情各异，甚至连脸部肤色亦不尽相同。马匹的塑造、除分别敷以黑、白、红、黄、赭、灰等不同色彩外，各马匹姿态亦无雷同者，马之透视变化、结构关系皆合于解剖；元世祖乘骑，虽作原地站立，无大的动姿，但生动雄健，风骠不凡。\n该图取其部分，画家对画面上几十个人物进行了精雕细刻，各尽其态。尤对位于或靠近中央地方的元世祖刻画尤为入微。图中御青马，戴貂冠，着红衣披白裘，脚蹬皮靴，昂然坐在马上者，即是元世祖忽必烈，他侧身远视，气魄雄伟，他的头略微向左偏转，双目凝视远方，坚定而又泰然，和元世祖并辔而立的可能是帝后，她身穿白袍，在坐骑红缨佩饰的映衬下，显得非常优美，和元世祖刚毅伟岸的身姿形成对比。其余四人为猎人，在世祖右侧边上的一人正弯弓搭箭，瞄准着空中苍鹰，而其他猎手顺着世祖身后着红服者所指的方向，作注目眺状。好像在前方已发现了猎物，他们正酝酿着纵马围歼的计划。在前景以及世祖和帝后的两侧共八名侍从，有的腰携箭菔，有的手持猎鹰，有的弯弓寻羽，他们或纵犬、或持矛、或扬鞭，姿态或仰或俯，坐骑盍去不同。背景，远处画得十分简括，一队商旅行驼出没于山丘之中，黄沙浩瀚，朔漠无垠，一派北国风光，顿时使人恍然，如临雄关塞外的辽阔大漠之中。\n画家在此画中充分发挥了线条的表现力量，无论是线条的劲挺与柔和，还是运笔疾迟轻重，皆臻妙境。画幅上的人物、鞍马刻画尤为详尽，老小不一，神态各异，脸部肤色也不同，尤其是元世祖的画像如写生肖像画。马的塑造不仅色彩不同，姿态也不雷同，有的低首啃草，有的站立歇息，有的昂首远望。世祖乘骑的黑马原地站立无动势，但生动雄健，风骠不凡，即对于人物和坐骑的每一个细部， 以及繁复的装饰花纹和细如游丝的马鬃，都交待得一丝不苟， 历历在目。\n构图上，《元世祖出猎图》采用了俯视手法，场面空旷壮观，远处沙丘间，点缀着一列骆驼，增强了画面层深效果。猎队人物聚散、交叠之布局，也生动自然，富有狩猎场面所特有的生活气息。此图画面构图疏密得当，错落有致，人物互相呼应，前景、中景、远景安排得层次分明，画面详略、虚实关系处理得十分成功。\n清初文学家纳兰揆叙：《题元世祖岀猎图》\n至元天子英武姿，校猎每以秋冬期。我今展图如见之，沙漠惨淡移于斯。星斿蔽野虹作旗，厩马既秣车既脂。至尊前行后阏氏，茸帽压顶裘反披。名王部长络绎随，臂弓腰箭千夫驰。北风似弩雪似簁，踆乌匿影顽云痴。鸿鹄纷拏苍隼饥，雉飞入草鹰在枝。银麞缟鹿熊豹麋，狡兔封豕狐与狸。洞胸饮羽血淋漓，焚林捣穴靡孑遗。就中射虎者为谁，引满一发穿其颐。目光磹怒未弛，懦怯乍覩犹惊疑。归来穹庐帟幕施，酪浆湩乳倾金巵。燎毛燔肉土锉炊，琵琶发声羗苗吹。酒酣耳热欢融怡，寒气忽转春迟迟。厥初穷兵辟坤维，乘胜直抵西海湄。于阗乞降迨龟兹，角端示警殊不知。从畋已寓阵法奇，止齐步伐皆得宜。月来日往绵岁时，此画完整无缺亏。偶然浏览浑忘疲，便觉满室生凉飔。壮观咫尺慰所思，何待振策游边陲。\n《元世祖出猎图》不仅是一件出色的人物鞍马画，而且还透露出蒙元时代的社会文化特征。\n蒙元时期出土的服饰实物资料有限，《元世祖出猎图》是研究蒙元服饰的重要艺术参考资料。",[194,24,25,7,28,106,150,746],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ad24bc0e5340dde489652972b9951d3.jpg","纵：182.9公分，横：104.1公分",[],{"id":46583,"slug":46584,"title":46585,"dynasty":99,"author":100,"museum":191,"description":46586,"tags":46587,"thumbUrl":46588,"material":638,"size":40688,"collection":139,"collections":46589,"showCount":46053,"zanCount":48,"manualWeight":48,"mainColor":94},231376,"jiao-yin-jie-xia-chou-ying-231376","蕉阴结夏","此为一幅煌煌巨作，此图为仇英画粗笔之杰作：表现的是炎暑时节，士人于庭院内弹琴拨阮的闲情雅兴。图中画庭院中蕉石耸峙，后有苍筠数竿，清劲飘洒、远处的左侧画有巨块的岩石，岩石的右方画有几棵芭蕉树，树下偶有数块小石块，石块和树根部长满了杂草。画面的下部有二位长者席地而坐，左侧一长者在一旁专心致志地抚琴，右侧一位长者在洗耳恭听，神注专一。右画面的右上角有一女童正在扭首倾听琴声，弯着腰，双手持盏，旁侍后侧，被琴声吸引呆立不动。在长方的矮桌上，摆放一叠书卷，一篡一尊。从画面女童的姿态和神情看，似乎正在为两位长者作斟酒前的准备。\n此画构图简明开朗，只取近景，而将远景略省。人物居中主景位置，其后有竹、芭蕉及奇石穿插托衬。画面上的人物，须眉毕肖，神情各异，栩栩如生，其中尤以拨阮者之右手拨弦手式之描写，最能表现出力与美的感觉。故有别于一般山水中点景人物的遣貌取神。所画的人物，符合当时士大夫“优游林下”的生活情趣，主题极为鲜明。画笔沉着而活泼。构图疏密得当，色调柔和，远处的山石和芭蕉树采用写实手法，画笔疏放酣畅，格调闲适。画芭蕉，先以墨笔中锋勾勒，再赋染淡绿、淡青，蕉侧山石用侧势中锋，稍浓墨笔勾画轮廓，趁将干之际再迅以淡墨皴擦，并和水卧笔化染开，行笔疾速，充满水墨交融，淋漓畅快之感：画竹叶则于立竿之后，以浓淡墨和汁绿层层罩上，草以淡墨、淡绿画成，笔极挺拔。",[24,25,226,28,7,106,611,3712,686,195,612,4352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F248b2bea1b45945cfa44c7abdd287616.jpg",[],{"id":46591,"slug":46592,"title":46593,"dynasty":18,"author":257,"museum":191,"description":46594,"tags":46595,"thumbUrl":46596,"material":123,"size":46597,"collection":42,"collections":46598,"showCount":46053,"zanCount":48,"manualWeight":48,"mainColor":49},231054,"cui-zhu-ling-mao-tu-yi-ming-231054","翠竹翎毛图","《宋人翠竹翎毛图轴》是宋代画作，作者佚名，采用南唐后主李煜金错刀的手法，是一幅花鸟图轴，表达了宋代绘画所谓“写生”的精义。此画幅对生态有着深刻的观察和了解，是一幅形神皆兼的写实作品；在构图上以近景为主，各景物均匀地分布在画面中，具有前后的空间感。这幅画的笔墨质朴，除了部分细枝外，都以先钩轮廓线再填染颜色的“双钩填彩法”画成，行笔有很多起伏提顿的地方，其中以坡石和竹叶的轮廓线最为明显。而竹叶部份，采用特别的颤动式的线条，整体用笔方面，起伏变化较明显，偏向于南宋的风格。",[23,194,24,25,28,7,83,3442,227,245,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F551ae374ee32752aeb4c0996f85ae3d1.jpg","185×109.9厘米",[42],{"id":46600,"slug":46601,"title":22548,"dynasty":76,"author":538,"museum":316,"description":46602,"tags":46603,"thumbUrl":46604,"material":139,"size":139,"collection":139,"collections":46605,"showCount":46053,"zanCount":48,"manualWeight":48,"mainColor":49},230872,"tan-mei-tu-leng-mei-230872","此作以冬日寻梅铺陈景致，主仕女身着宝蓝团花长袄，容色温婉端凝，侍童撑伞随侍身侧，另有侍女捧炉趋前，暗递融融暖意。寒梅虬枝缀满繁花，淡赭远山衬着素朴亭台，苍劲皴石古拙静立，设色雅致沉稳，勾勒细腻写实。将深闺仕女探春寻幽的闲情逸趣，融于萧寒冬景，冷暖色调交织，既绘就隆冬清寂况味，又晕染出闺中雅游的温婉意韵，写实工细间尽显雅致情致，把仕女矜贵闲适的情态，与冬日园林的清寒雅致完美糅合，静穆中暗藏鲜活的闺中闲趣。",[23,24,7,28,106,59,2385,820,29,176,107,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffaafd8ade9438d3959f176e539370fad.jpg",[],{"id":46607,"slug":46608,"title":46609,"dynasty":256,"author":13384,"museum":316,"description":13385,"tags":46610,"thumbUrl":46611,"material":599,"size":600,"collection":139,"collections":46612,"showCount":46053,"zanCount":48,"manualWeight":48,"mainColor":49},230656,"di-qi-da-lai-la-ma-xiang-li-zhou-xi-zang-tang-ka-230656","第七达赖喇嘛像立轴",[23,15368,226,260,6768,106,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e39558663fcd1e1983d5d1f99840a84.jpg",[],{"id":46614,"slug":46615,"title":46616,"dynasty":76,"author":257,"museum":316,"description":46617,"tags":46618,"thumbUrl":46619,"material":139,"size":139,"collection":139,"collections":46620,"showCount":46053,"zanCount":1379,"manualWeight":48,"mainColor":49},230326,"tai-ping-fan-hua-ba-tu-ping-yi-ming-230326","太平繁华八图屏","此作截取升平盛景的两段切面，上部郊山林木蓊郁，台阁错落，游人雅聚嬉游，尽显郊野行乐闲趣；下部市井商铺鳞次栉比，彩楼牌坊高耸，行人摩肩接踵，百业攒动喧嚷。全景构图铺陈开烟火日常，工细设色复刻俗世百态，将山野清趣与闾巷喧嚣相融，把盛世之下的黎民安乐描摹得鲜活生动，让太平年间的人间烟火跃然绢上，藏着最鲜活的世俗温情与蓬勃生机。",[23,24,7,28,104,106,107,34,176,112,110,115,150,1703,114,616,120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb583024cbd59bd0b85fd149695ea82d1.jpg",[],{"id":46622,"slug":46623,"title":16295,"dynasty":76,"author":538,"museum":316,"description":46624,"tags":46625,"thumbUrl":46626,"material":139,"size":139,"collection":139,"collections":46627,"showCount":46053,"zanCount":48,"manualWeight":48,"mainColor":49},230146,"shi-gong-ci-tu-ce-leng-mei-230146","《避暑山庄图》是清代画家 创作的一幅绢本设色画，该画现收藏于北京故宫博物馆 。\n此画景物右至武烈河及东部山区，左至西岭山区为止，并从山庄东部崖殿“万壑松风”殿座开始，一层层向北展开，包罗四围秀岭，十里湖湘的整个湖区、平原区主要建筑和自然风貌，体现了冷枚高度的概括能力和精湛的艺术技巧，历史与艺术价值很高 。\n画中青山环抱，绿树成荫，后山一股清泉，流入山庄，湖水荡漾，荷花盛开，岸柳垂荫，亭台、水榭、宫室、高楼，因地制宜，聚散错落 。\n图中湖泊东侧低岩上耸立的那座仿造宝塔，似乎是从镇江金山寺移植过来的。\n苑中树木郁郁葱葱，清幽宁静，左右两侧绵延起伏的群山，于巍峨壮观中又透出几分灵秀。\n丘壑相连，迤逦苍茫，呈现出一派江山无限的景象 。\n画幅右下角自题：“小臣冷枚恭画”楷书款，下钤“臣冷枚”朱白文印和“夙夜匪懈”白文方印。\n另有乾隆、嘉庆、宣统藏印五方 。\n避暑山庄，又称“承德离宫”、“热河行官”，在今河北承德市区东北。\n它始建于清康熙四十二年（17年），乾隆时又进行了大规模的扩建，是清朝皇帝夏、秋季避暑的行宫 。\n《避暑山庄图》绘于康熙五十二年（公元171年），这时避暑山庄刚建成“万壑松风、芝径云堤、无暑清凉、镜水云岭、曲水荷香、四面云山、暖流渲波”等三十六景，冷枚以鸟瞰的形式俯视整座园林，把三十六景中的三十景都囊括其中 。\n此图采用鸟瞰式构图，描绘了实景的山水画。\n图中表现的是清代一处皇家园林——避暑山庄。\n画面的前部是工整细巧的宫殿，稍后是一组具有江南园林格调的建筑物，从画面上还可以看到一座仿照镇江金山寺而建的木结构高塔，画面的后部是高耸起伏的山峦，整座山庄由逶迤曲折的石墙围绕，最右方是承德的一处奇特景观——棒锤峰。\n冷枚具有传统工笔界画的基础，描绘建筑物时又适当参用了欧洲的透视画法，从而加强画面的纵深感 。\n此画描绘了十里澄湖、后苑建筑及周围山岭。\n由于冷枚既擅长运用传统的界画技法，又了解西方绘画的透视法，因而将避暑山庄中的建筑物表现得错落有致，造型准确、细腻 。\n此画以全景式的表现手法，充分展现了避暑山庄的整体风貌，根据画面的描绘再结合文献记载考察，大致可以断定此图画的是乾隆时扩建山庄之前的面貌，这对于人们了解避暑山庄的原始格局具有重要价值 。\n217年6月至1月中旬，《避暑山庄图》在香港文化博物馆举办的“八代帝居——故宫养心殿文物展”中展出 。\n冷枚（约1669—1742），字吉臣，号金门画史，山东胶州人。\n是清代画家，曾在宫廷中担任过画职，是当时大画家焦秉贞的弟子。\n他的绘画题材有人物也有山水楼台，人物主要以仕女为主，所画人物工丽妍雅，笔墨洁净，色彩韶秀，画面精美。\n其画法兼工带写，生动有致，他的主要作品有《养正图册》、《十宫词图册》、《罗汉图册》、《避暑山庄图》、《连生贵子图》等 。",[24,25,81,28,7,104,178,212,86,106,107,59,406,2234,262,378],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F535a93f1cb226249d9c611dcdae64e41.jpg",[],{"id":46629,"slug":46630,"title":32766,"dynasty":99,"author":27520,"museum":316,"description":46631,"tags":46632,"thumbUrl":46633,"material":139,"size":139,"collection":139,"collections":46634,"showCount":46053,"zanCount":48,"manualWeight":48,"mainColor":94},228967,"shan-shui-ce-ye-xiao-yun-cong-228967","这幅山水取高远、平远二法构景，右侧危崖层叠耸峙，以细劲皴笔刻绘山石嶙峋肌理，古松倚崛崖而生，姿态苍劲奇逸。左侧江流逶迤，洲渚之上林木错落，村居隐于坡岸林麓，野意悠然自生。\n\n设色清浅柔和，以赭石晕染山峦，墨色点苔绘木，淡润雅致间尽显清和。整体意境萧疏旷远，兼具皖南山水的灵秀，又饱含文人隐逸丘壑的静穆意趣，笔致秀雅工丽，将山水自然之美与林下幽居的雅怀相融，观之便如身临幽寂林泉，心神涤荡。",[24,25,194,81,173,7,177,29,176,34,109,174,106,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17fb76240c525618fdf974dbb6774f96.jpg",[],{"id":46636,"slug":46637,"title":46638,"dynasty":76,"author":11822,"museum":316,"description":46639,"tags":46640,"thumbUrl":46641,"material":139,"size":139,"collection":139,"collections":46642,"showCount":46053,"zanCount":48,"manualWeight":48,"mainColor":49},228954,"zui-gui-tu-yuan-jiang-228954","醉归图","夜色笼着深宅朱廊，虬枝古木斜倚庭中。厅堂内宴饮方酣，宾客笑谈尽欢，堂下宫灯垂悬晕开暖光。庭间仆从垂首候立，另有三两醉客相互搀扶缓行，将宴散的松弛慵懒尽数流露。\n\n界画工细严整，将宅邸回廊台榭的规制尽显无余，人物情态鲜活灵动，把宴后醉归的闲散意趣描摹入微。晕染的暮色铺陈开静谧悠然的氛围，将古雅宅邸的雅致意境与宴饮余韵相融，尽显古典雅集的闲淡意趣。",[23,24,25,104,7,28,106,107,115,34,1364,278,14200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1c994711a1a7b286672b0fe82a60326.jpg",[],{"id":46644,"slug":46645,"title":46646,"dynasty":76,"author":11822,"museum":316,"description":46647,"tags":46648,"thumbUrl":46649,"material":139,"size":139,"collection":139,"collections":46650,"showCount":46053,"zanCount":48,"manualWeight":48,"mainColor":49},228952,"shan-shui-ren-wu-ce-ye-liu-kai-yuan-jiang-228952","山水人物册页六开","《袁江塞北彤云》是清代袁江创作的一幅水墨设色画。\n此图是山水人物六开册页中的一幅。\n袁江擅画山水、界画，但在这幅画中，画家显示了他在表现人物方面的深厚功力。\n画面左上方题“塞北彤云”，描绘的是一女子怀抱孩子坐在马上，在一肩扛樱枪，腰挂弯刀的男子护卫下在塞外风雪中前行的场景。\n雪景刻画简洁生动，延伸出画外，营造了塞外一望无际、空无一物的自然环境；人物刻画细致精到，妇人低着头紧紧地用外衣裹住小童，马也低垂着头，前面的男子姿态紧张地回望妇人，这样的动态都揭示着他们正经历着恶劣的大风，天空一片阴霾，也许一场大雪即将袭来。\n袁江，生卒年不详。\n字文涛，江苏江都（今扬州）人。\n雍正年间曾在宫廷作画，供奉养心殿。\n他善画山水、楼阁，是清代界画能手，亦作花鸟。\n早年学习仇英，又继承了宋代画院的风格，山水宗阎次平，楼阁宗郭忠恕。\n所作多青绿山水，工致异常，与其精密的界画相配合，十分协调。\n他的界画在继承前人基础上，加强了生活气息的描绘，笔法工整，设色艳丽，风格富丽堂皇，在当时被推为第一。\n但由于清初“四王”画派风靡一时，所以画史上对他的记载不多。",[24,25,81,7,29,106,150,1049],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8f535a750f80cee391f878cb498a94f.jpg",[],{"id":46652,"slug":46653,"title":46654,"dynasty":99,"author":257,"museum":316,"description":46655,"tags":46656,"thumbUrl":46657,"material":139,"size":139,"collection":139,"collections":46658,"showCount":46053,"zanCount":48,"manualWeight":48,"mainColor":94},228807,"zhi-sheng-xian-xian-ban-shen-xiang-ce-ceng-can-kong-ji-yi-ming-228807","至圣先贤半身像册-曾参、孔伋","此作以工笔淡彩写就，笔致清隽克制。左幅人物青巾束发，虬眉朗目，颧骨棱峭，英挺神色自带刚直弘毅之气；右幅老者鬓角凝霜，玄巾垂帔，面容慈和松弛，尽显温厚端方之态。\n衣纹晕染简雅贴合身形，取沉稳石青、赭褐配色，衬以素净纸底，凭清简线条勾勒神态，淡墨轻敷彰显古风，以形写神将先贤风骨晕染入微，静静铺陈出古儒沉穆端凝的气度，是明代肖像画中尚意传神的佳构。",[24,7,28,106,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F343de655deba5fcf2cd268d2748fb2fb.jpg",[],{"id":46660,"slug":46661,"title":46662,"dynasty":99,"author":1196,"museum":608,"description":46663,"tags":46664,"thumbUrl":46665,"material":139,"size":139,"collection":139,"collections":46666,"showCount":46053,"zanCount":48,"manualWeight":48,"mainColor":94},228476,"meng-xian-cao-tang-tu-juan-tang-yin-228476","梦仙草堂图卷","《梦仙草堂图》是明朝 的绘画作品。\n《 》此幅题为“东原先生写图”，从作者题款透露着构思的意想：闲来隐几枕书眠，梦入壶中别有天。\n仿佛希夷亲面目，大还真诀得亲传。\n横图（见图）右实左虚，实处写崇山峻岭，苍松、修竹、瀑布、幽径，优美的环境中草堂坐落其中，成为画面的视觉中心。\n堂中有一 伏案作“枕书眠”状。\n虚处约略作连绵山头，空蒙处置一宽袍大袖的士大夫，衣饰整洁，大袖随风飘动似有飘然于仙境之感。\n图中将“枕书眠”的真实表现引伸到“梦入壶中”的幻想境界，将真与幻，现实与想象相结合来构成富有幻想色彩的画意，使观赏者产生梦幻境界的联想，在一定的时空中创造可视的审美形式。\n在“ ”中沈（周）画深厚；文（征明）画清婉；仇（英）精细，而唐（寅）画则以 见长，明王世贞评 的画“秀润缜密而有 ”，大体上概括了其画风的审美特征。\n此图石法最能体现 风格特点。\n一、细笔长线匡廓，爽利而缜密的丛线， 、细秀、流畅，兼以 方折、密集、利落的皴纹。\n二、这种皴法是吸收传统中披麻、斧劈、乱柴、钉头等几种笔法。\n小斧劈中兼用披麻法，一变南宋斧劈皴法，并融汇元人方法，演变为细长柔劲线条略带写意的画法。\n三、山体凸处用线简括疏朗，至凹处皴纹稠密，湿时化线为面（“破墨”，湿时晕染），有效地体现出阴阳向背的体、质感。\n皴笔以湿笔为主，墨色淋漓润泽，所谓带水长皴，连皴带染的方法，基本上一次完成。\n用墨单纯明快，具庄丽清润的审美效果，和元人一笔中强调中、侧锋、较重快慢、干湿浓淡，靠复笔逐步深入，最后达到“浑厚 ”苍茫含蓄的“ ”画法不同。\n从石法上最能体现出 取法南宋李唐、刘松年等人的画法，并融合元人的韵致，将苍劲刚健和淡雅秀逸的风格相结合，整体上属北格南韵的气格。\n(147--152)字伯虎,号桃花庵主，晚年信佛，有六如居士等别号。\n江苏苏州人。\n举乡试第一( )。\n后因科场舞弊案受牵连，功名受挫，又遭家难，经历坎坷。\n后半生在 西北桃花坞建一“桃花庵”，以 鬻画闻名天下。\n时与 , ,文徵明,切磋文艺,号“ ”。\n唐寅“ 不羁，颇嗜声色”，自署印“江南第一风流才子。\n”他博学多能，吟诗作曲，能书善画，是我国绘画史上杰出的大画家,擅人物、山水、花鸟。\n唐寅书法为画名所掩，主要学 ，更受 影响，笔画俊逸挺秀，婉转流畅，笔力稍弱，钩挑绵软，看不出一丝狂态。\n评曰：“伯虎入吴兴堂庑，差薄弱耳。\n”(《州山人稿》)流传墨迹有《自书诗》、《联句诗》、《落花诗卷》等。",[23,24,25,26,29,7,173,178,937,212,177,685,262,175,378,686,2235],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73f172726d9fa486d3ca8271b1624e3a.jpg",[],{"id":46668,"slug":46669,"title":46670,"dynasty":99,"author":857,"museum":316,"description":5856,"tags":46671,"thumbUrl":46672,"material":599,"size":600,"collection":139,"collections":46673,"showCount":46053,"zanCount":48,"manualWeight":48,"mainColor":49},228283,"ting-die-tu-chen-hong-shou-228283","听蝶图",[23,24,25,226,7,28,106,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9efe86ca90f6efa2eb1ee0012fc34988.jpg",[],{"id":46675,"slug":46676,"title":46677,"dynasty":302,"author":7751,"museum":316,"description":46678,"tags":46679,"thumbUrl":46685,"material":139,"size":139,"collection":139,"collections":46686,"showCount":46053,"zanCount":2368,"manualWeight":48,"mainColor":94},228250,"tai-ping-feng-hui-tu-zhu-yu-228250","太平风会图","以白描淡彩铺展全景长卷，笔底尽揽闾阎繁盛。\n卷中人物鳞次栉比，行商、百工、农人、仕女各持情态，衣纹线条劲挺秀逸，设色清雅柔润，将细碎日常的烟火气悉数铺陈：市集喧闹里货郎呼喝，田垄间耕者不辍，酒肆中宾主尽欢，百态群像虽身形微小却神完气足。\n此作以极细致的体察，将太平治下的世间风物凝于素纸，既是风俗长卷，亦是时代的鲜活切片，朴拙古雅的笔墨间，藏着对升平世象的温柔描摹。",[23,194,24,26,352,7,106,1567,117,46680,1899,46681,46682,46683,614,14631,46684],"田垄","行商","百工","农人","升平气象","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc17c832f83e0deaaa4cc178b9a2fa52.jpg",[],{"id":46688,"slug":46689,"title":46690,"dynasty":302,"author":257,"museum":191,"description":46691,"tags":46692,"thumbUrl":46693,"material":1307,"size":46694,"collection":139,"collections":46695,"showCount":46053,"zanCount":2368,"manualWeight":48,"mainColor":49},228181,"shang-lin-yu-lie-tu-juan-yi-ming-228181","上林羽猎图卷","汉司马相如作上林赋，叙述天子狩猎於上林苑中。画者依赋文内容臆写情境，描绘层峦叠嶂、人物鸟兽、楼阁台观、旗辇军容等等，行笔设色皆细腻精妙,堪称佳作。 按此卷原签题元人，与院藏另两幅传为明代仇英所绘的上林图，构图、设色、用笔都近似，或出自同一稿本，疑皆为後人所摹。\n全画 分为七段，依次是：虚构人物子虚、乌有 、亡是公三人在屋中对话；在广阔的江水 游翔的水族与飞禽；天子的离宫别馆；天 子校阅游猎的队伍；天子骑马展开狩猎的 活动；在楼台举行歌舞宴乐；狩猎结束， 返回朝廷。全画青绿设色，运笔细腻精巧 ，与本院藏另两幅明代仇英的上林图同稿 ，作画的时代也相近。",[23,24,25,26,27,7,28,29,106,150,107,34,176,31,808],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F187484737692286adb84a07e7ea03fa4.jpg","该幅 47.5x1298.2公分、隔水一 14.2公分、隔水二 11.1公分、隔水三 12.1公分、隔水四 13.5公分",[],{"id":46697,"slug":46698,"title":46699,"dynasty":302,"author":303,"museum":316,"description":46700,"tags":46701,"thumbUrl":46702,"material":139,"size":139,"collection":139,"collections":46703,"showCount":46053,"zanCount":48,"manualWeight":48,"mainColor":49},228175,"tong-xi-tu-qian-xuan-228175","童戏图","古柳垂荫，榴花绽艳，庭院间三个稚童正嬉游作乐。矮凳上狸奴蜷卧，一孩童伸指逗弄，身侧同伴探首凝神，满眼好奇。最后小童攥着花枝蹑步而来，似要悄然加入嬉玩。\n\n整幅画笔法工细柔婉，设色古澹沉静，将幼童的娇憨鲜活尽数铺展。花木湖石衬出悠然闲趣，把孩童嬉游的日常瞬景定格，晕开旧时光里的融融暖意，尽显婴戏画的温婉雅致，将稚拙童趣藏进古雅绢色之中。",[23,24,194,25,226,7,28,106,378,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb9b5cb209a420e718e41ff884f85df8.jpg",[],{"id":46705,"slug":46706,"title":46707,"dynasty":302,"author":5007,"museum":316,"description":46708,"tags":46709,"thumbUrl":46710,"material":139,"size":139,"collection":139,"collections":46711,"showCount":46053,"zanCount":48,"manualWeight":48,"mainColor":49},228042,"chun-shan-fang-you-tu-juan-sheng-mao-228042","春山访友图卷","此作用平远之法铺展春日江天，烟波澹澹横贯画面，晕染出空濛柔婉的山水意趣。左下角扁舟轻漾，舟中士人纵览春景，自在悠游；右侧山居隐于林木间，白墙黛瓦雅致静谧，暗合访友幽怀。\n\n远山以淡墨晕染，云雾缱绻萦绕峰峦，青绿浅施于山石林木间，温润雅致。笔致温婉细腻，皴染相辅，既绘出春山葱郁温润之态，亦将隐逸淡远的意韵融汇其间，藏着文人寄情林泉、悠游丘壑的雅趣。",[23,24,25,26,7,29,177,685,262,174,34,106,109,175,379],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F445fe68c4573e00d69802e2d95defe19.jpg",[],{"id":46713,"slug":46714,"title":24194,"dynasty":302,"author":5007,"museum":316,"description":46715,"tags":46716,"thumbUrl":46717,"material":139,"size":139,"collection":139,"collections":46718,"showCount":46053,"zanCount":48,"manualWeight":48,"mainColor":94},228039,"shan-shui-tu-ye-sheng-mao-228039","取半边崖岸入画，嶙峋石矶间苍松虬劲，层叠点叶凝萃出深林郁茂。淡墨晕开的远山横亘天际，汀渚隐于烟水间，虚实相生，将江南水岸的清寂铺陈开来。\n笔墨苍秀细密，皴笔勾勒出岩崖肌理，朴拙古雅的点染尽显草木生机，设色浅淡沉静，晕染出空濛的烟水之气。\n尺幅之间藏尽林泉幽致，萧散冷寂的氛围中暗藏澹泊意趣，如一卷袖珍的林泉雅集，邀人步入这方幽寂山水，静赏这份简淡悠远的林下清欢。",[23,24,25,81,173,177,7,29,34,174,108,109,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75acf187f7bc3f7c3c96d8b250e8c0ac.jpg",[],{"id":46720,"slug":46721,"title":46722,"dynasty":18,"author":6863,"museum":316,"description":46723,"tags":46724,"thumbUrl":46725,"material":139,"size":139,"collection":139,"collections":46726,"showCount":46053,"zanCount":48,"manualWeight":48,"mainColor":94},227944,"shan-yin-fang-dai-tu-ye-zhu-rui-227944","山阴访戴图页","危崖拔地而起，石质方硬皴法老辣，崖侧古松簇拥山居。下方寒波澹澹，汀渚间林木错落，临水高轩明敞，似有幽人凭栏远眺江天。一叶扁舟随波缓行，雪意覆于岸渚林梢，遍染清萧寒寂。\n\n整幅以简驭繁，淡墨轻敷晕出雪后空蒙。将兴尽而归的雅事藏于留白，笔致苍秀劲挺，设色沉凝淡雅。尺幅之间铺展萧疏冷寂的山水意境，把魏晋名士散淡旷达的林下风流融于萧寒景致中，尽显宋人山水留白藏意的高妙。",[23,194,24,25,81,7,104,177,29,174,107,1353,353,109,1049,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62a1f47538b5198102dc40e3d860e237.jpg",[],{"id":46728,"slug":46729,"title":46730,"dynasty":18,"author":257,"museum":316,"description":46731,"tags":46732,"thumbUrl":46733,"material":139,"size":139,"collection":139,"collections":46734,"showCount":46053,"zanCount":1379,"manualWeight":48,"mainColor":94},227883,"ju-zhi-qi-que-tu-yi-ming-227883","橘枝栖雀图","此作以精妙工笔绘就一隅小景，折枝垂挂硕实，苍嫩叶片交错枯润，尽显四时意态。枝头雀鸟侧身回望，翎毛细笔丝染，绒羽蓬松柔润，尖喙双目传神，机警灵动的情态跃然绢上。\n\n设色清淡秀雅，以赭石淡晕底色，敷色薄而清透，橘子的莹润饱满、枝叶的错落枯荣被细腻呈现。画面简而不空，静中藏动，尽显对日常小景的诗意捕捉，将山野间的幽微生机凝于尺幅之中，暗含平和雅致的东方意趣。",[23,194,24,25,28,7,83,4687,4323,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dc28cde67f818c1de2943a9abaf3b21.jpg",[],{"id":46736,"slug":46737,"title":46738,"dynasty":18,"author":257,"museum":316,"description":46739,"tags":46740,"thumbUrl":46741,"material":139,"size":139,"collection":139,"collections":46742,"showCount":46053,"zanCount":48,"manualWeight":48,"mainColor":49},227844,"tian-han-cui-xiu-tu-ye-yi-ming-227844","天寒翠袖图页","修竹清劲挺拔，攒簇竹叶如凝寒玉，占据画面大半篇幅，衬出林间孑然伫立的仕女。她翠袖轻拢，身姿娴静温婉，眉目间似含淡淡怅惘，将深秋萧寒里的孤寂弥散开来。\n\n整作设色淡雅克制，墨骨清劲利落，沉郁的古绢底色晕开幽寂的林下意趣，把闺中闲愁融于萧索秋景，淡而不寡。以极简的铺陈，藏着宋人极致内敛的审美意趣，余味悠长。",[23,194,24,25,81,7,106,59,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c7e186a0386cb73f8d03ff13ba9b12f.jpg",[],{"id":46744,"slug":46745,"title":46746,"dynasty":18,"author":1599,"museum":316,"description":46747,"tags":46748,"thumbUrl":46749,"material":139,"size":139,"collection":139,"collections":46750,"showCount":46053,"zanCount":48,"manualWeight":48,"mainColor":49},227804,"yao-tai-xian-shou-tu-liu-song-nian-227804","瑶台献寿图","此作用笔精工雅致，以界画技法勾勒亭台楼阁，回廊层台错落排布，将庭院深幽的意趣铺展尽致。山石林木以淡墨晕染，苍润秀雅，与规整楼宇相映成趣。\n\n画中人物神态宛然，峨冠士人凭栏雅谈，侍女垂手侍立，情态恭谨恬然，将安闲雍容的祝寿雅集氛围烘托恰到好处。设色古淡沉静，墨色相融，既有界画的严整工细，又不失山水画的灵动苍润，尽显精妙工致的院体画风韵，把富贵闲适的雅致意趣藏于笔间，堪称工笔楼阁人物的佳构。",[23,24,25,194,7,104,28,106,107,9149],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7a1bfb0f093b400631a62b7bf5b38e4.jpg",[],{"id":46752,"slug":46753,"title":46754,"dynasty":18,"author":1599,"museum":316,"description":46755,"tags":46756,"thumbUrl":46757,"material":139,"size":139,"collection":139,"collections":46758,"showCount":46053,"zanCount":48,"manualWeight":48,"mainColor":94},227803,"song-yin-ming-qin-tu-liu-song-nian-227803","松荫鸣琴图","苍松浓荫遮蔽出一方清寂天地，琴案横陈，炉烟似随着琴音袅袅轻扬。抚琴者身姿舒展，指尖落弦仿佛有声，将心绪尽数寄于丝弦之上。对面长者垂眸敛神，身心都沉湎在悠悠琴韵之中，连身侧侍立的小童都屏息静立，不敢惊扰这片刻雅静，周遭的幽草矮竹也似在凝聆听赏。\n\n画作以浓墨点染苍劲松针，淡墨勾勒人物衣纹，线条清劲简练。将宋代文人追求的林下雅逸，凝缩在尺幅之间，把知己相对、琴音寄怀的超然意趣铺陈开来，静穆悠然的禅意弥散在画面里，尽显文人雅集的清旷疏朗之美。",[23,194,24,25,1260,2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”\n图绘深谷险峻，老树枝条横斜，二猿猴坐于枝上，一猿猴展臂摘果。\n易元吉，生卒年不详。字庆之，湖南长沙人，北宋画家。初攻花鸟、草虫、果品，后专写獐猿。常深入荆湖深山之中，观察、体会、揣摩猿猴獐鹿的生活习性。所画獐猿生动逼真，呼之欲出，因此而名闻天下。",[23,194,24,25,81,28,7,173,17563,569,836,176,22379,566],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7a549a2865c01cdf38952d04484d0bd.jpg","24.6x24.1cm",[90],{"id":47278,"slug":47279,"title":47280,"dynasty":18,"author":12243,"museum":191,"description":47281,"tags":47282,"thumbUrl":47283,"material":123,"size":47284,"collection":181,"collections":47285,"showCount":46053,"zanCount":48,"manualWeight":48,"mainColor":94},218681,"song-zhai-chi-ke-tu-zhao-bo-su-218681","松斋迟客图","这幅画描绘了小河岸边的松树荫下的书房，一个童仆正在扫地迎客，一个隐士躺在水中。这幅画的笔触和色彩与故宫博物院收藏的画相似，可以接受为赵伯钦画派的作品。",[23,24,25,81,7,29,1133,353,175,1169,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d6c2f0f32ae35c24eafb3a720ef6232.jpg","26.3x26.7",[181],{"id":47287,"slug":47288,"title":47289,"dynasty":99,"author":257,"museum":5827,"description":47290,"tags":47291,"thumbUrl":47292,"material":123,"size":47293,"collection":44,"collections":47294,"showCount":46053,"zanCount":48,"manualWeight":48,"mainColor":94},218486,"lan-ting-tu-yi-ming-218486","兰亭图","绢本墨色晕开东晋风烟，茂林修竹间溪光蜿蜒。文士们或临流捧盏，或倚石清谈，曲水畔觞影浮动，衣袂轻扬处藏着《兰亭序》的旷达。山石皴法带明代疏朗意趣，林木层叠隐宋画余韵，人物姿态虽简却神形毕肖——握笔的凝思、笑谈的畅意，都在墨色流转中鲜活。没有名款的笔触，以最朴素的方式将那场雅集定格：不必追问作者是谁，只需在绢素的斑驳里，触摸千年文人心中的山水清欢与诗意栖居。",[23,24,25,7,106,29,175,34,109,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77f3b2430c8326afefcf82c43b3b2e61.jpg","24.8x25.1",[44],{"id":47296,"slug":47297,"title":47298,"dynasty":99,"author":257,"museum":3439,"description":47299,"tags":47300,"thumbUrl":47301,"material":123,"size":139,"collection":44,"collections":47302,"showCount":46053,"zanCount":48,"manualWeight":48,"mainColor":49},218477,"shou-lao-tu-yi-ming-218477","寿老图","宽袍博带的老者立于苍松之下，高冠映着古意，长髯垂落如银丝泻地。手中雕龙拐杖蜿蜒似活，杖首隐现灵物，与松间隐现的瑞气相映。衣纹用线简练却见筋骨，每一道折痕都藏着岁月的从容。老者眉眼间含着温和笑意，似在凝视世间烟火，又似已超然物外。背景松针如簇，枝干盘曲如苍龙，与老者的福寿之气交融成一幅祥瑞画卷。墨色淡雅却韵味悠长，线条勾勒出的不仅是人物形态，更是一种跨越时空的安宁与祝福，仿佛能让人触摸到那份古朴的寿考康宁之美。",[24,25,226,352,7,106,1273],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a0db04911c59011c94079d25eb88d6b.jpg",[44],{"id":47304,"slug":47305,"title":47306,"dynasty":76,"author":538,"museum":442,"description":4276,"tags":47307,"thumbUrl":47308,"material":123,"size":4279,"collection":139,"collections":47309,"showCount":46053,"zanCount":48,"manualWeight":48,"mainColor":94},218335,"shen-xian-gu-shi-tu-ce-4-leng-mei-218335","神仙故事图册-4",[23,194,24,25,81,28,7,106,29,2235,34,260],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81ab169d7708da28bcaab243755917c4.jpg",[],{"id":47311,"slug":47312,"title":47313,"dynasty":302,"author":257,"museum":78,"description":47314,"tags":47315,"thumbUrl":47316,"material":123,"size":47317,"collection":181,"collections":47318,"showCount":46053,"zanCount":2368,"manualWeight":48,"mainColor":49},218192,"shan-dian-shang-chun-tu-yi-ming-218192","山殿赏春图","《山殿赏春图》是一幅典型的元朝时期山水画作品，作者是佚名。这幅画描绘了一座位于山间的小山殿，山殿周围群山环绕，远处是一片茂密的森林。山殿前有一道小溪流过，溪边有许多花草树木。画中还有许多小鸟在欢快地飞翔，整幅画充满了春天的气息。\n\n《山殿赏春图》的画风浓郁，笔画细腻，色彩丰富，整幅画给人以舒适、宁静、平和的感觉。这幅画是元朝时期山水画中的杰作，具有很高的艺术价值。\n\n元朝时期的山水画在中国画史上占有重要的地位，它不仅体现了元朝时期艺术家的高超技艺，还反映了元朝时期社会的文化氛围。《山殿赏春图》是元朝山水画中的经典之作，值得我们珍视和欣赏。",[24,1260,7,104,29,107,108,106,34,115,1785,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F311780d392276a45c48f87622c8ca437.jpg","27.5x28.6cm",[181],{"id":47320,"slug":47321,"title":47322,"dynasty":99,"author":5750,"museum":419,"description":47323,"tags":47324,"thumbUrl":47325,"material":88,"size":139,"collection":44,"collections":47326,"showCount":46053,"zanCount":48,"manualWeight":48,"mainColor":94},217912,"shi-ji-jun-chen-gu-shi-tu-zhang-hong-217912","史记君臣故事图","垂杨拂地，苍干虬枝间柔条轻飏，荫蔽一方亭台。廊柱朱痕淡染，阶砌分明，建筑形制古雅端严。树下二人对语，衣纹简练却见动态，神情专注似述往昔君臣故事。笔墨兼具工致与写意：树木以干笔皴擦显苍劲，柳条以细墨勾勒见轻盈；人物虽小，形神宛然。右侧题跋墨色沉厚，与画面景致相契，文气郁郁。整幅画于清雅氛围中含叙事深意，笔墨精炼却意境悠远，尽显古典绘画的雅致与历史感，方寸间藏君臣故事的幽微余韵。",[24,25,7,104,28,106,107,150,34,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40f26efa0724fedac6dd9fc6dbf1e63c.jpg",[44],{"id":47328,"slug":47329,"title":47330,"dynasty":18,"author":7775,"museum":608,"description":7776,"tags":47331,"thumbUrl":47332,"material":123,"size":7779,"collection":139,"collections":47333,"showCount":46053,"zanCount":2368,"manualWeight":48,"mainColor":94},216920,"xiang-shan-jiu-lao-tu-5-ma-xing-zu-216920","香山九老图-5",[23,24,194,26,7,106,108,176,34,227,22628,105,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00ade895c11993e636517b3ef76078d9.jpg",[],{"id":47335,"slug":47336,"title":47337,"dynasty":76,"author":257,"museum":316,"description":47338,"tags":47339,"thumbUrl":47340,"material":123,"size":139,"collection":139,"collections":47341,"showCount":46053,"zanCount":48,"manualWeight":48,"mainColor":49},216680,"hong-lou-meng-fu-tu-ce-43-yi-ming-216680","红楼梦赋图册-43","画面铺展春日雅境，石峦错落，花团簇拥间，数人衣袂翩然。或低语言笑，或俯身案畔，神态温婉细腻。设色清雅，草木的嫩碧、花的粉白与人物衣饰的素净色调交织，线条柔婉却精准勾勒出姿态与景物层次。笔触间似藏红楼诗意，将书中人物的闲逸或隐微心绪融于园林景致，以细腻工致还原了红楼世界的雅致氛围，引观者坠入古典情境的温柔光影里，仿佛能触到那份属于红楼的幽微与清婉。",[23,24,25,81,28,7,106,59,230,227,380],"https:\u002F\u002Foss.chu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卷末各附楷书图记一篇，无印鉴款识。图卷保存完整，画面洁净，曾作为《万寿图》原本多次展出、出版。",[24,25,26,7,28,104,106,107,108,109,175,150,34,968,1703,4060,111,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dc7b4cce21ccd6b81c26de71e2b5f5c.jpg","纵45厘米，横3939 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歌舞伎屏风图 第二屏","菱川师宣","菱川师宣是江户时代的浮世绘画家。有「浮世绘之祖」之称。菱川师宣最为知名的作品是见返り美人図。此外，他也画过很多春画。在他的故乡千叶县锯南町有菱川师宣记念馆。",[23,12745,7,28,279,106,107,1273,22360,115,409,1554],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2dc25d93284b4cce552e9c3926b8f372.jpg",[],{"id":47925,"slug":47926,"title":47927,"dynasty":256,"author":257,"museum":316,"description":47928,"tags":47929,"thumbUrl":47931,"material":599,"size":600,"collection":139,"collections":47932,"showCount":1063,"zanCount":48,"manualWeight":48,"mainColor":49},231651,"tao-shan-shi-qi-liu-wang-de-huang-di-ping-feng-yi-ming-231651","桃山时期 流亡的皇帝屏风","金箔为底晕开朦胧暖光，淡墨细绘出浩渺水岸，层层水纹带着澹澹涟漪，铺陈开幽寂江景。左岸孤客彳亍，衣袂似随江风微扬，满溢羁旅怅惘。右畔水榭依水而立，灼灼桃枝缀着浅淡花意，晕开零落暖意，和空阔江天的萧寂形成温柔的对照。\n水墨冷寂被金箔柔光轻轻中和，将沉郁藏在清雅笔意间，留白里晕开澹澹愁思，以侘寂幽玄的笔致，把漂泊况味融在烟暮色中，在极简构图里铺陈出含蓄悠长的诗意。",[23,194,24,25,279,173,7,20148,177,29,106,114,34,686,31,47930],"开花植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dcce2a562d3507c088b54444c8a8b0f.jpg",[],{"id":47934,"slug":47935,"title":47936,"dynasty":18,"author":1990,"museum":12886,"description":47937,"tags":47938,"thumbUrl":47939,"material":638,"size":139,"collection":139,"collections":47940,"showCount":1063,"zanCount":48,"manualWeight":48,"mainColor":49},231493,"fang-zhong-li-fang-dao-tu-jing-hao-231493","仿钟离访道图","董其昌 (1555–1636)《锺离访道图》，又有《卸甲图》。此荆浩笔也。董其昌题。",[23,24,25,3559,173,7,177,28,86,178,212,106,29,176,34,1049,175,18,194],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc5460da347cdee46dc9314bd20b3ce2.jpg",[],{"id":47942,"slug":47943,"title":47944,"dynasty":76,"author":3914,"museum":132,"description":47945,"tags":47946,"thumbUrl":47947,"material":638,"size":37974,"collection":139,"collections":47948,"showCount":1063,"zanCount":48,"manualWeight":48,"mainColor":94},231488,"xi-shan-xian-guan-tu-wang-jian-231488","溪山仙馆图","《溪山仙馆图》作于“甲寅春暮”即康熙十三年（1674），时年王鉴76岁。因为王鉴77岁那一年春天，王翚曾携弟子杨晋一起来到太仓王鉴的染香庵拜访他，杨晋还为王鉴画了肖像，王翚为肖像作补景，王鉴本人也在画上题了跋语。这幅“写照入神，运笔飞动”的肖像画令王鉴欢喜，因为此时的王鉴已患中风，“备诸丑态，子鹤（杨晋，字子鹤）隐陋，曲貌形外之神”（王鉴画上跋语，见《吴越所见书画录》），将王鉴的精神面貌画出来了。王鉴寿高80，76、77岁之后作品较为少见，大约与其晚年曾患中风有关。此幅《溪山仙馆图》是王鉴中风之前所作，非常难得。\n王鉴万历二十六年（1598）出生在江苏太仓一个功名世宦之家，曾祖父王忬是嘉靖二十年进士，官至兵部左侍郎，蓟辽总督。祖父王世贞少年时即被视神童，嘉靖二十六年19岁时就考取进士，虽然仕途不畅，却是明代中后期的文坛盟主。父亲王士骐也是一位才子，万历十年南京乡试解元，万历十七年进士，幷曾官礼部、吏部。出身在如此显赫家庭，王鉴亦才华横溢，但是功名平平，36岁时才在乡试中考取举人，之后再无进展，而是受到祖荫照拂任左府事，继而出任广东廉州（今为广西合浦）太守。然而其天生一副文人性格，不合污流，上任不久即遭遇宦官们以开矿为名横征暴敛、鱼肉百姓的“粤中开采”之事，他挺身而出，以太守之力“力请上台得罢”，企图阻止“开矿恶政”，却险些引来牢狱之灾。两年后王鉴退隐原籍，再不出仕，一生都在诗文书法中度日。\n王鉴绘画受到董其昌影响，对于北宋董源、巨然深有研究，幷专注于元四家、尤其倾心黄公望。《溪山仙馆图》纸本设色，纵78厘米，横39厘米。所绘布局严谨，近景松树成林，但茂而有致，绝无繁芜之感，中景、远景绘山，丘壑深邃却层次井然，毫不琐碎，加以色墨交融，皴染幷施，绘出了华润气象。\n此画清代民国以来历经三位著名收藏家收藏：第一位是同治光绪年间的南京人李溥泉，此人眼力好，但是特别会做生意，故曾遭赵之谦等人的白眼，左下角“白门李氏珍藏”印即为其所钤。第二位是晚清时以盐业起家、并官至内阁学士的慈溪人严信厚，严信厚字小舫、筱舫，斋名小书画舫等，“小书画舫”收藏书画很有名，我们今天仍经常可见到一些古代书画上留有“小书画舫”所钤收藏印，此画在“白门李氏珍藏”印之上那方“小书画舫秘玩”印即为其所钤。第三位是现代大收藏家钱镜塘，此画“钱家样”的装裱，就是当年钱镜塘的专用裱画师严桂荣所为。此画钱镜塘曾请吴湖帆过目，包首签条即为吴湖帆所题。《溪山仙馆图》“文革”时被抄，“文革”结束后未归还，后流入市场。",[23,24,25,226,7,177,29,108,109,353,107,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36d42a5940438066fc2ad4b01874fd21.jpg",[],{"id":47950,"slug":47951,"title":47952,"dynasty":76,"author":23491,"museum":132,"description":47953,"tags":47954,"thumbUrl":47955,"material":67,"size":47956,"collection":139,"collections":47957,"showCount":1063,"zanCount":48,"manualWeight":48,"mainColor":49},231486,"si-ji-hua-hui-tu-jiang-pu-231486","四季花卉图","蒋溥，江苏常熟人。廷锡子。雍正八年传胪，乾隆十八年仕至大学士。花草得其家传，随意布置，多生趣。每绘画进呈，蒙睿题有“师承家法闲图出，右相丹青有后生”之句。谥文恪。",[23,24,194,226,28,7,83,820,228,292,897],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3cae0f4cf71bdb4cba7de4487776320.jpg","98.5×60.5cm",[],{"id":47959,"slug":47960,"title":47961,"dynasty":99,"author":44873,"museum":191,"description":47962,"tags":47963,"thumbUrl":47964,"material":638,"size":47965,"collection":139,"collections":47966,"showCount":1063,"zanCount":48,"manualWeight":48,"mainColor":94},231416,"fang-wang-meng-ge-hong-yi-ju-tu-zheng-zhong-231416","仿王蒙葛洪移居图","明郑重仿王蒙葛洪移居图，中国古画，1612年（明神宗万历四十年）作。原属故宫博物院旧藏，现藏于台北故宫博物院。该幅作品描绘葛洪移居情景。布居窄长，用笔仿王蒙之焦墨來臫頭、渴樤苔，设色清雅。题材虽属道教故实，然人物比例远逊于山川林屋，观此画例，足证元明以降，山水画已蔚成国画作之主导。\n來臫頭《葛樤洪移居图》绘道教故事，晋代著名道士葛洪移居情景。葛洪为晋朝句容人，自号抱朴子，习炼丹术于郑隐，后闻交趾出丹砂，携子侄赴广东罗浮山炼丹。画中妻子鲍氏怀抱孩童，葛洪在后，俱骑牛。一童牵牛，一童担家具，一童捧鹅背药瓢。又有一羊二犬。画中山峦层层，用笔茂密，正是王蒙风格，点景人物，亦生动活泼。",[23,24,25,226,7,177,105,212,29,106,107,108,109,150,1273,1426,3389,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb37d01a20b306b009a195204eafa7223.jpg","该幅135.8x29.1公分；全幅50.7公分",[],{"id":47968,"slug":47969,"title":47970,"dynasty":18,"author":257,"museum":191,"description":47971,"tags":47972,"thumbUrl":47974,"material":67,"size":47975,"collection":139,"collections":47976,"showCount":1063,"zanCount":2368,"manualWeight":48,"mainColor":49},231343,"shan-shui-tu-shui-cun-shan-si-tu-yi-ming-231343","山水图（水村山寺图）","浅设色画水村山寺。柳岸舟横。无款印。诗塘御制诗楷书",[24,3559,7,177,176,34,31,174,47973,989,1169,11043,111,3519],"山寺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9794dcebe0d39fa1476cf1a613caa639.jpg","纵114cm,横57cm",[],{"id":47978,"slug":47979,"title":7832,"dynasty":18,"author":7833,"museum":316,"description":47980,"tags":47981,"thumbUrl":47982,"material":139,"size":139,"collection":139,"collections":47983,"showCount":1063,"zanCount":48,"manualWeight":48,"mainColor":49},231051,"wen-ji-gui-han-tu-chen-ju-zhong-231051","此作以全景式构图铺展故事全程，寒林荒漠晕染出塞北萧寒底色。首段绘毡帐饯别，蔡文姬与匈奴亲眷对坐，眉眼间交织着归乡的期许与离亲的怅惘。下方整装队伍肃穆排布，官吏躬身行礼，扈从车马错落有序，将临行之际的沉郁氛围拉满。\n\n线条工细遒劲，设色朴雅厚重，人物衣冠、鞍马器具皆刻画入微，将乱世里家国与亲情的两难拉扯，融于苍凉塞景之中，尽显写实功力与细腻的情感表达，把一段乱世归乡的千古憾事具象为动人图景。",[23,194,24,25,226,7,28,106,150,1049,1353,353,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc76f6c8c22a8616327f719fb02c002d6.jpg",[],{"id":47985,"slug":47986,"title":47987,"dynasty":302,"author":17434,"museum":316,"description":47988,"tags":47989,"thumbUrl":47990,"material":139,"size":139,"collection":139,"collections":47991,"showCount":1063,"zanCount":48,"manualWeight":48,"mainColor":49},230900,"song-yin-ju-yin-tu-zhou-tang-di-230900","松荫聚饮图轴","《松阴聚饮图》是元代画家 创作的绢本设色画，现藏于上海博物馆。\n此图近景画河畔数棵长松高耸，树后露出数间茅屋。\n松荫下四位长者席地而坐，正举杯畅饮。\n旁有两人手捧壶盘侍候，一人抱矮案前来。\n对岸中景是古树茅舍。\n远景群山蜿蜒。\n图中描绘对饮者解衣盘腿，不拘礼仪，生动地表现出村民野老酒酣兴豪的生活乐趣。\n此图岗峦坡石笔墨圆润婉和，存有赵氏遗法。\n长松勾勒苍劲精巧，细枝似蟹爪，则从郭熙法中得之。\n此图1近景画河畔数棵长松高耸，树后露出数间茅屋。\n松荫下四位长者席地而坐，正举杯畅饮。\n旁有两人手捧壶盘侍候，一人抱矮案前来。\n对岸中景是古树茅舍。\n远景群山蜿蜒。\n图中描绘对饮者解衣盘礴，不拘礼仪。\n图1的左边作者行书自题一行，文曰：“元统甲戌冬十一月，吴兴唐棣子华制。\n”钤有“唐氏子华”朱文方印。\n按图中自题，甲戌为元统二年（14）唐棣时年9岁。\n此画为作者早年作品，故较多保留着师承前人技法的痕迹。\n图写平远山水，远处山峦叠嶂，绵延起伏。\n近处均为浩荡江水，旷无边际。\n中间为树木、平岗。\n三棵巨树拔地而起，枝干粗实，盘根虬曲，有的枝杈盘曲伸展，枝叶疏落，树干上长满了疤节。\n树荫下有数间茅亭屋宇，将远景与近处相隔，截分为近远两景，这是远、中、近景三段式的格局。\n这样的布局，使整幅显得富有层次，使旷野的山光水色的美景更为显眼。\n此图2的画法，人物用白描法，线条细腻而又简练，笔触柔和，远山浅淡而远杳，近景的几株枯树明显反映出唐棣的线条功底，点顿精凝，不为懈笔怠笔，树干盘龙走虺，脉理纷然，瘢节回护，古拙怪异。\n树下三五成群的聚饮者，也是一种静谧而萧然的格调，尤其是图中描画对饮者解衣盘膝，或跽或蹲，不矜礼仪，生动地表现出村民、野老酒酣兴豪的生活乐趣。\n远处，山石逶迤起伏的山脉，作淡墨晕染，山峰均用短披麻皴，长松的勾皴苍劲精巧，细枝形类似蟹爪形。\n山上的草木丛杂，设色雅淡。\n218年1月21日，上海博物馆书法和绘画陈列开放，《松荫聚饮图》在其中展出。\n唐棣（1296—164），元代画家。\n字子华，湖州（今属浙江）人。\n“以茂才异等起家：”官至吴江知州：早熟，称“神童”，工画山水，“尝游翰林公之门”，得赵孟頫指授，并师法李成、郭熙，善于布置景物，点缀人物尤佳，笔力坚硬，画风清森华润，犹存宋人遗法。\n曾参与集庆（治今江苏南京）龙翔寺及元宫嘉熙殿作壁画，晚年兼学高克恭。\n明鉴赏家张丑推举他为“元人中之巨擘。\n”传世作品有《霜浦归渔图》轴、《雪港捕渔图》轴等。",[194,24,25,226,7,177,29,353,1133,106,26379],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2873aee32f3e632b734453cf38006c24.jpg",[],{"id":47993,"slug":47994,"title":47995,"dynasty":76,"author":17256,"museum":316,"description":47996,"tags":47997,"thumbUrl":47998,"material":139,"size":139,"collection":139,"collections":47999,"showCount":1063,"zanCount":48,"manualWeight":48,"mainColor":49},230358,"sui-han-san-you-tu-zhou-fan-qi-230358","岁寒三友图轴","枯梅清枝斜出，苍劲瘦硬，花苞轻缀，暗蕴幽芳。丹红山茶花晕染柔润，鲜翠枝叶错落生姿，浓黑泼墨湖石与之相映，冷暖明暗碰撞，艳而不俗，拙而不僵。下方水仙挺秀舒展，冰姿玉洁，与湖石皴擦出的奇崛顽态相得益彰。\n全画工写兼施，笔致秀雅含蓄，将冬日清友齐聚尺素，把岁暮天寒里的融融春意暗藏其间，既有文人画的清逸格调，又鲜活晕透出明丽生机，让观者于画中品味隆冬清妍风骨，静赏幽然雅集意趣。",[23,24,25,226,7,83,820,579,227,230,212,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F504a4ddf8e1f808198416479420c9b74.jpg",[],{"id":48001,"slug":48002,"title":10934,"dynasty":76,"author":10935,"museum":316,"description":48003,"tags":48004,"thumbUrl":48005,"material":139,"size":139,"collection":139,"collections":48006,"showCount":1063,"zanCount":48,"manualWeight":48,"mainColor":49},230218,"shi-er-jin-chai-tu-zhou-zhang-shan-ma-230218","此作以猛虎为魂，山林为幕，蛰伏于草木间的碧眼吊睛虎身姿蓄势待发。笔线勾勒皮毛纹理细腻入微，墨色晕染斑纹虚实相生，将百兽之王的沉凝悍劲与潜藏的威严精准铺陈。\n\n背景以泼墨写意挥洒阔叶草木，细劲藤蔓与挺秀竹丛疏密错落，淡赭晕染山石晕开深山幽寂氛围。虚实相生间将虎的机警觉察与山野静谧相融，工写兼备的笔意揉合虎的威仪与林泉野趣，藏灵动于沉雄，尽显造境塑物的深厚功底，是形神皆备的精妙之作。",[23,24,173,7,226,5443,746,227,176,210,498,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a8e10a2005f4a486a40b8c4ba6c9264.jpg",[],{"id":48008,"slug":48009,"title":9130,"dynasty":76,"author":329,"museum":316,"description":48010,"tags":48011,"thumbUrl":48012,"material":139,"size":139,"collection":139,"collections":48013,"showCount":1063,"zanCount":48,"manualWeight":48,"mainColor":94},230205,"xian-e-chang-chun-tu-lang-shi-ning-230205","此作将中西绘法相融，牡丹花瓣以精微晕染过渡色彩，从柔粉浅白渐次晕作玫红，层层叠叠如凝露含芳，饱满鲜活尽显盛放娇姿。叶片皴擦兼具明暗光影与中式笔墨意趣，叶脉舒展清晰，枝茎挺秀带着蓬勃生机。朱红鉴藏印落于素绢之上，雅致端庄，为画作更添古雅意韵。整体既得西洋画的写实质感，又留存东方花鸟的清雅意蕴，将花之雍容华贵尽数铺展于绢素之上，仿若春色凝于方寸间。",[23,194,24,25,7,28,83,292,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9e4b0937087e0a16c2d15c63c187e3c.jpg",[],{"id":48015,"slug":48016,"title":48017,"dynasty":76,"author":8652,"museum":316,"description":48018,"tags":48019,"thumbUrl":48020,"material":139,"size":139,"collection":139,"collections":48021,"showCount":1063,"zanCount":48,"manualWeight":48,"mainColor":49},230147,"jun-ma-lie-yu-yuan-230147","骏马列","此作绘双骏静立，银鬃灰马身形劲挺舒展，朱膘红骏身姿丰腴俊朗，二者顾盼悠然，自带神骏温驯之态。用笔精工细致，鬃丝根根分明，晕染柔和自然，将良驹皮毛的柔润光泽与矫健体态形神兼备地勾勒而出。画面留白简洁雅致，右上角题字错落排布，为画面晕开一抹文人情致。整体工稳雅致，兼具院体画的精工与文人画的清雅，静穆间尽显宝马从容华贵的风骨，将鞍马题材的雅致意趣尽显无余。",[23,24,25,226,7,28,150,746],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F995d32e6d171986a88eb8b69d5c00d68.jpg",[],{"id":48023,"slug":48024,"title":48025,"dynasty":76,"author":257,"museum":316,"description":42306,"tags":48026,"thumbUrl":48028,"material":599,"size":600,"collection":139,"collections":48029,"showCount":1063,"zanCount":48,"manualWeight":48,"mainColor":49},229471,"yong-zheng-fa-lang-cai-shan-cha-mei-hua-wan-yi-ming-229471","雍正 珐瑯彩山茶梅花碗",[76,48027,12818,7,661,662,83,229],"珐琅彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb78d3073373ecb0e2fccbd6f45bb5b2.jpg",[],{"id":48031,"slug":48032,"title":48033,"dynasty":99,"author":27163,"museum":316,"description":48034,"tags":48035,"thumbUrl":48037,"material":139,"size":139,"collection":139,"collections":48038,"showCount":1063,"zanCount":48,"manualWeight":48,"mainColor":49},228862,"tian-jia-chun-dou-tu-juan-zhang-chong-228862","田家春斗图卷","此作以兼工带写之笔铺展乡野春景，古木虬枝环抱着错落村舍，水畔田埂间，村民们角力摔跤，呼喝喝彩之声似随画卷扑面而来。妇孺围立笑观，稚童穿梭嬉闹，田家烟火意趣尽显。画家精于人物情态捕捉，衣褶灵动简约，村野景致皴染朴拙细腻，将江南春日乡野的鲜活生机与质朴活力，尽数凝于绢素，画风古雅淳厚，把民间春日嬉游的松弛野趣刻画得淋漓尽致，尽显风俗画描摹世俗民生的动人特质。",[23,24,25,194,26,28,7,178,106,48036,3176,378,176,3959,745,61,177],"田","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F592ca4cfbdcded52aaada6264e96bf35.jpg",[],{"id":48040,"slug":48041,"title":3967,"dynasty":99,"author":257,"museum":316,"description":48042,"tags":48043,"thumbUrl":48044,"material":139,"size":139,"collection":139,"collections":48045,"showCount":1063,"zanCount":48,"manualWeight":48,"mainColor":49},228792,"zao-chun-tu-yi-ming-228792","此作用青绿晕染层叠翠峰，赭石铺展江天色底，将江南早春的温润灵秀尽纳卷中。苍松虬枝倚着黛色山峦，茂林吐翠，汀洲渔村、朱阁殿宇错落分布，烟波轻笼远山扁舟，晕开和煦澹宕的春日盛景。\n\n全卷兼工带写，界画工致严整，山水皴染细腻，设色妍雅沉静，既承袭宋青绿山水的富丽精工，又带着明文人山水的秀逸意趣。卷尾长题与朱印错落排布，丹青与纸墨交映，让山水清晖与传世文心相融，尽显春日江山的悠悠雅致。",[23,194,24,25,26,7,27,28,177,212,86,29,107,108,109,175,34,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb60605b4fe3e20e585065867ec31afa0.jpg",[],{"id":48047,"slug":48048,"title":48049,"dynasty":99,"author":9392,"museum":316,"description":48050,"tags":48051,"thumbUrl":48052,"material":139,"size":139,"collection":139,"collections":48053,"showCount":1063,"zanCount":48,"manualWeight":48,"mainColor":49},228758,"guan-hua-tu-zhang-lu-228758","观画图","这幅画作以巨松浓墨开篇，衬出山居小屋错落野趣。画面群像鲜活灵动：扶案老者凝目观画，村汉孩童攒头探看，窗内女子隔帘偷觑，各有神态，将乡野小民观画时的好奇热忱尽数铺展。\n\n笔意承袭浙派写意，线条粗粝劲健，衣纹顿挫利落，墨色浓淡铺陈拉开远近层次。以简括布景衬出盎然烟火，粗笔间藏着细腻情思，寥寥数笔便把俗世片刻的鲜活意趣定格，尽显明代人物画世俗化的鲜活风貌，将山野日常的闲适与观画时的热闹相融，质朴又传神。",[23,24,25,173,7,352,106,114,34,3712,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61ac9c01422f9d12f5cf20f72d77ee8d.jpg",[],{"id":48055,"slug":48056,"title":48057,"dynasty":18,"author":391,"museum":316,"description":48058,"tags":48059,"thumbUrl":48060,"material":139,"size":139,"collection":139,"collections":48061,"showCount":1063,"zanCount":48,"manualWeight":48,"mainColor":94},228391,"tong-xi-tu-ce-ye-zhao-ji-228391","童戏图册页","淡墨轻勾，敷色浅淡清雅，将四名稚童嬉闹的日常定格。或持杆佯作玩耍，或俯身效仿逗趣，旁立的小童歪头注视，憨态毕现。线条简练灵动，不着浓艳，却将孩童的娇憨鲜活尽数勾勒，没有繁复铺陈，仅以极简笔触便把稚童的无忧稚气描摹尽致，藏着巷陌里最鲜活的日常意趣，尽显平淡天真的烟火温情，仿佛能听见画里的嬉笑声，将人拉回松弛鲜活的旧时光，静赏这份纯粹无忧的童真。",[194,24,25,81,7,28,106,28448],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F946c4ef1365e7720af305739ee57fb94.jpg",[],{"id":48063,"slug":48064,"title":48065,"dynasty":99,"author":857,"museum":316,"description":48066,"tags":48067,"thumbUrl":48069,"material":139,"size":139,"collection":139,"collections":48070,"showCount":1063,"zanCount":48,"manualWeight":48,"mainColor":49},228295,"xi-zhi-long-e-tu-chen-hong-shou-228295","羲之笼鹅图","《右军笼鹅图》是明代陈洪绶创作的一幅纸本设色画。\n陈洪绶(1597—1652年)，字章侯，号老莲、悔迟，诸暨（今属浙江省）人。\n明代画家。\n早年受业于著名学者刘宗周、黄道周门下，1642年曾到北京为国子监生，授中书舍人，供奉内廷，不久即离京南归。\n明朝灭亡后，为躲避清兵，一度在绍兴云门寺出家为僧，自号悔迟，亦号老迟。\n后在杭州以卖画为生。\n工诗，擅画，山水、人物、花鸟无一不精。\n其画初受蓝瑛影响，后广泛临学古人，并大胆突破创新，所作人物、花鸟形象古拙，擅用夸张变形手法，独树一帜，为晚明变形主义绘画大师。\n与崔子忠齐名于南北，世称“南陈北崔”。\n其画风对后世有巨大影响。\n著《宝纶堂集》。",[23,24,7,28,106,48068,7355,23767,227,18787,7724,615,3429],"笼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a7b7a55715dbf5b199f6e559cf3c60a.jpg",[],{"id":48072,"slug":48073,"title":131,"dynasty":99,"author":48074,"museum":316,"description":48075,"tags":48076,"thumbUrl":48077,"material":139,"size":139,"collection":139,"collections":48078,"showCount":1063,"zanCount":48,"manualWeight":48,"mainColor":94},228276,"hua-hui-ce-chen-dao-fu-228276","陈道复","这幅作品以淋漓水墨挥写湖石，苍润朴拙，留白藏尽空灵意趣。环绕花木设色清妍柔和，素白牡丹柔枝舒展、花瓣轻绽，淡粉碎花攒簇生姿，兰草劲挺修长，叶片舒展带露生机。\n笔意松秀灵动，兼工带写间糅合文人雅致，以色墨晕染烘托春日融融。花木俯仰有情，与苍润湖石形成刚柔对照，将庭间春日野趣尽显笔端，淡冶雅致中饱含闲散文心，寥寥数笔便勾勒出盎然春意，尽显水墨写意的精妙韵味。",[23,24,194,498,7,173,84,230,210,292],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca306f52ecfeeac584ccaa95f1e44470.jpg",[],{"id":48080,"slug":48081,"title":48082,"dynasty":302,"author":257,"museum":316,"description":48083,"tags":48084,"thumbUrl":48085,"material":139,"size":139,"collection":139,"collections":48086,"showCount":1063,"zanCount":48,"manualWeight":48,"mainColor":49},228183,"dan-feng-niao-que-tu-yi-ming-228183","丹枫鸟鹊图","画面截取深秋一角，虬曲苍劲的枫树枝桠间，残红秋叶点缀，晕开萧索清寒的秋意。三只禽鸟错落栖于枝梢，引吭啼鸣的山雀羽翼晕染细腻写实，将灵动生机揉入冷寂秋景，另外两雀或静立或垂悬，动静相映成趣。\n\n设色调和古雅，工写相融，淡墨皴擦尽显枝干枯涩质感，禽鸟刻画精细入微，将秋日郊野的幽寂野趣藏于笔底，简淡笔意间晕开幽远沉静的林下意趣，尽显雅致空灵的秋日审美意韵。",[23,24,25,194,226,28,7,83,245,9796,4952,1754,836,838],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54bfefdf57d7bfd435a7b35b437dd982.jpg",[],{"id":48088,"slug":48089,"title":48090,"dynasty":302,"author":38719,"museum":316,"description":48091,"tags":48092,"thumbUrl":48093,"material":139,"size":139,"collection":139,"collections":48094,"showCount":1063,"zanCount":48,"manualWeight":48,"mainColor":49},228165,"qing-quan-qiao-mu-tu-li-zhou-li-shi-xing-228165","清泉乔木图立轴","此作用笔苍劲老辣，以顶天立地的古松为画面核心，虬曲扭结的躯干皴擦细密，尽显岁月镌刻下的沧桑质感。松间垂挂的绵长松萝，以劲细游丝写出柔婉垂坠之态，和古木的沉雄拙朴相映成趣。下方寒泉漱石，流泉隐于嶙峋怪石间，留白铺就的水面空寂淡远，静穆中暗流动势，烘托出幽僻萧寒的林下清境。\n整幅画作以枯淡笔墨写就荒寒之韵，将文人寄心林泉、远避尘嚣的隐逸意趣藏于清冷景致之中，尽显山水尚意求真的美学风骨。",[23,194,24,25,226,7610,173,7,177,353,795,176,109,3562,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17444290187efcec2fec2010c6951726.jpg",[],{"id":48096,"slug":48097,"title":48098,"dynasty":302,"author":303,"museum":316,"description":48099,"tags":48100,"thumbUrl":48101,"material":139,"size":139,"collection":139,"collections":48102,"showCount":1063,"zanCount":48,"manualWeight":48,"mainColor":49},228021,"cao-chong-tu-juan-zhen-ji-qian-xuan-228021","草虫图卷真迹","此作工细清润，草虫鲜活灵动，翅脉触须纤毫毕现，草木柔叶含带晨露清气，将草间小景勾勒得满生意趣。配笔题字朴拙苍劲，与画作的隽雅相映成趣，诗书画印融为一体。整体气质淡远清旷，以草虫之微，寄寓对生命本真的吟咏，尽得元人文人画澄怀观道的意韵，静雅中藏着蓬勃生机，是笔墨见心性的上乘佳作。",[23,24,25,26,28,7,83,483],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bb58a17d67bcb7d3dcdbd84e29a6a97.jpg",[],{"id":48104,"slug":48105,"title":48106,"dynasty":302,"author":303,"museum":316,"description":48107,"tags":48108,"thumbUrl":48109,"material":139,"size":139,"collection":139,"collections":48110,"showCount":1063,"zanCount":48,"manualWeight":48,"mainColor":94},228014,"shuang-ya-tu-ye-qian-xuan-228014","双鸭图页","此作用色清隽雅致，以澄澈钴蓝晕染水面，铺就幽宁底色。枯涩崖岸旁，蓼花垂曳轻摇，荇花绽于浅波，野趣盎然。白鸭昂首引吭，绒毛以淡墨层层晕染，柔润蓬松，憨态灵动，将水禽的慵懒自在尽显无遗。\n左侧题字墨色沉郁古雅，书画合璧，晕开文人逸趣。整幅画作工致却无板滞之感，褪去浓艳浮华，以清简笔触定格江南水畔一隅生机，在平淡天真里晕染出静逸诗意，把闲淡野逸的水乡意趣藏于笔底，尽显雅致悠然的文人审美意韵。",[23,194,24,25,81,28,7,2125,686,264,84,3519],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F264f3c409d648d2eabd5847edaa99ecd.jpg",[],{"id":48112,"slug":48113,"title":48114,"dynasty":18,"author":2244,"museum":316,"description":48115,"tags":48116,"thumbUrl":48117,"material":139,"size":139,"collection":139,"collections":48118,"showCount":1063,"zanCount":48,"manualWeight":48,"mainColor":49},227951,"qin-yu-tu-li-di-227951","禽浴图","画面截取禽鸟沐水的日常一隅，乌鸫探身木盆，翅羽蓬松乍起，墨色晕染分出干湿层次，将沾水后濡重的绒羽与翻扬的飞羽区别开来。圆目灵动带着憨态，黄喙轻点水面，漾开浅淡水痕，仿佛能闻声水泽轻响。木盆篾编纹理刻画写实，分毫毕现。\n\n整幅笔墨工细却不失生机，以小景见真趣，把野禽自在沐浴的瞬间定格，将对生灵的细致观察尽显无遗，于寻常日常里，晕染出雅致鲜活的自然意趣。",[23,194,24,25,28,7,83,245,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1e7161b3e35c7b6a5e1f6d4a3f7707c.jpg",[],{"id":48120,"slug":48121,"title":48122,"dynasty":18,"author":257,"museum":316,"description":48123,"tags":48124,"thumbUrl":48125,"material":139,"size":139,"collection":139,"collections":48126,"showCount":1063,"zanCount":48,"manualWeight":48,"mainColor":49},227920,"hua-hui-shuang-qin-tu-yi-ming-227920","花卉双禽图","此作工笔设色，柔枝舒展间白茶花轻绽，花瓣晕染出莹润柔光，枝叶俯仰向背尽显草木生姿。两只禽鸟栖于细枝之上，翎毛刻画丝丝入微，胸腹绒羽蓬松柔软，墨色晕染出头部乌亮光泽。一鸟昂首啾鸣，一鸟侧身应和，将枝间互动的鲜活意趣定格。\n\n整幅构图疏密得宜，浅褐绢底衬出雅致色调，笔墨精细却无匠气，尽显院体花鸟的写实功力。画师以细腻笔触捕捉花鸟间的灵动互动，将春日枝桠间的寻常小景，晕染出独有的雅致诗意，藏着对日常生机的温柔捕捉。",[23,194,24,25,28,7,83,84,1530,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd599ee4f684f536c226cf5017f764baa.jpg",[],{"id":48128,"slug":48129,"title":28330,"dynasty":18,"author":257,"museum":316,"description":48130,"tags":48131,"thumbUrl":48132,"material":139,"size":139,"collection":139,"collections":48133,"showCount":1063,"zanCount":48,"manualWeight":48,"mainColor":94},227891,"shen-tang-qin-qu-tu-yi-ming-227891","《宋扇面画深堂琴趣图》是宋代画家佚名创作的一幅绢本设色画。\n此画现藏于北京故宫博物馆。\n【文物原属】故宫旧藏 【简介】 绢本，设色，纵：2.6cm，横：24.9cm。\n本幅无款印。\n钤收藏印 “仪周珍藏”一方。\n远山一带，巨壑空茫。\n建筑用笔粗浑，轻刻画，重意境，形象概括，细部脱略简化而不失准确真实。\n整幅画面清新明净的情境赋予作为绘画主体的建筑含蓄而富于想象的空间依托，使之具有了诗一般和谐浑融的意境。\n此图画巨石、绿树环抱雅斋，朱梁绿柱的厅堂中，一白衣秀士端坐操琴，童子侍立一旁，平台上双鹤闻乐起舞，山间回荡着袅袅琴声，画面充满了文雅幽清的气息。\n《深堂琴趣图》，仅仅不盈尺幅的小纨扇，却能妙写建筑和琴声，境界布局非凡。\n从画中偏于左半一角的构局，也可体味马远“马一角”构图的情趣。\n从中甚至可以精微体验宋画中的庭院风水之妙。\n宋代人非常善于营造庭院空间，妙解风水构局，将人与绘画、建筑、庭院、山水自然融为一体，臻于华美典雅的艺术境界。\n这在宋诗、宋词和宋画中留有许多经典的范例。\n如从 的《 》中可以领略庭院四季风水之妙，那是山间水涯，芳草长堤边令人流连忘返的时空流转；而《深堂琴趣图》则是从另一个角度，表现庭院建筑与音乐，与山水之间妙契的又一杰作。\n建筑与音乐，在中国诗词中有许多经典迷人的篇章，但在绘画中表现，很不容易。\n音乐，求其意境，要有共鸣、幽远方妙。\n《深堂琴趣图》，以华堂独坐一人弹古琴，琴音发越，与环境融为一体，画出来了。\n深堂内置大屏风，窗牖俱紧关，而正门却大开，琴音反逼更传于堂外。\n门外山石对立，树木高耸掩映，留出大半天空，正好一条石铺甬道小径，接门由直而转折向右，石径上又正好有双鹤，其一白鹤闻琴音而起舞，可感受音乐之魅力。\n庭石上又有青松一株，遥承琴声，而成风如松。\n环境与音乐布局协和生发，绝无滞碍。\n主人弹琴，恰好面东，而门对南，空间方位甚为有序。\n如换其他任一方位，均与环境建筑内部空间不调，从而破坏全幅的空间气势，顿失音乐之美。\n设若弹琴者（主人）的方位是对着门南向坐，则气正好对冲；如背门北向坐，则琴声成死寂，更无悠扬的意味可说；如侧身向西坐，则又太塞太背，与画中大半天空相背，气局又成僵局。\n所以，只有画中所示的侧坐向东最为佳妙，否则都会破坏画中的音乐美，有妨气局琴音的流走。\n这些看似细微之处，正可见宋人对画中空间风水的深刻认知。\n画中的空间，虚实掩映，向背分合，无一闲笔，皆为音乐而生而设，都为气韵琴音所宜。\n可见《深堂琴趣图》虽小幅纨页，位置经营却极为空灵，空间境界妙造天地，琴韵幽深，上遏行云，其中风水之意境，流美千古。\n—— 著《 》",[23,24,25,194,1260,7,29,107,34,176,108,106,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd1ea677f5f541183dafad361e3563ed.jpg",[],{"id":48135,"slug":48136,"title":48137,"dynasty":18,"author":12243,"museum":316,"description":48138,"tags":48139,"thumbUrl":48140,"material":139,"size":139,"collection":139,"collections":48141,"showCount":1063,"zanCount":48,"manualWeight":48,"mainColor":94},227749,"bi-shan-gan-yu-tu-zhao-bo-su-227749","碧山绀宇图","南宋 赵伯骕 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​",[23,24,25,226,320,28,7,8135,48420,48421,9383,48422],"鹰架","石狮","装饰构件","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3513681b60d7018e14ce71f45ccd4031.jpg","64x40cm",[],{"id":48427,"slug":48428,"title":48429,"dynasty":76,"author":698,"museum":191,"description":6844,"tags":48430,"thumbUrl":48431,"material":500,"size":23536,"collection":181,"collections":48432,"showCount":1063,"zanCount":48,"manualWeight":48,"mainColor":94},222695,"hua-jie-shan-zhai-tu-zhou-qian-wei-cheng-222695","画借山斋图轴",[23,24,25,226,29,177,7,685,262,34,35,809,1169,212,176,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8d4bfa5c29a8ba7cf79a8b52cded174.jpg",[181,45],{"id":48434,"slug":48435,"title":48436,"dynasty":99,"author":9392,"museum":78,"description":9393,"tags":48437,"thumbUrl":48438,"material":139,"size":139,"collection":139,"collections":48439,"showCount":1063,"zanCount":2368,"manualWeight":48,"mainColor":94},222510,"shen-xian-tu-ce-16-zhang-lu-222510","神仙图册16",[23,24,25,81,173,7,106,746,230,378],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F340c19a73646ea3d6a0139ee88b385e9.jpg",[],{"id":48441,"slug":48442,"title":1383,"dynasty":99,"author":5381,"museum":78,"description":48443,"tags":48444,"thumbUrl":48445,"material":500,"size":48446,"collection":139,"collections":48447,"showCount":1063,"zanCount":48,"manualWeight":48,"mainColor":94},222377,"shan-shui-tu-bian-wen-yu-222377","卞文瑜（约1576年—1655年），明代江苏苏州人，字润甫，号浮白、萝庵。书画家。艺芳书画录云：“本姓徐，非姓卞，盖因有避而托者。”善山水、树石勾剔，甚有笔意。尝从董其昌讲求笔法，故笔墨亦相近，但落墨太松，失之弱耳。万历三十九年(1611)作荷亭销夏扇，康熙十年(1671)作湖庄清夏扇，均藏故宫博物院。主要作品有《图绘宝鉴续纂》《明画录》《桐阴论画》《江南通志》《艺芳书画录》《画史会要》。\n卞文瑜以擅画山水著称于世，其绘画风格大致可分为两个阶段：早年和中年的山水画受赵左影响较深，承袭吴门遗风；同时又从董其昌讲求笔法，将董以笔墨气势取胜的特点与吴门强调诗意的结构布局相结合，形成了其特有的绘画风格。因此后世多用“布局结构殊有思致，树石钩剔颇具笔意”评价他这一时期的作品特点，但过于强调笔墨风趣与形象脱略，故未免缺乏自然山川之真实感，因此对其画又有“落墨太松，失之弱耳”、“山水多滑，少苍老”的批评。\n卞文瑜晚年的山水画风格变化较大，开始摆脱赵左的影响，而上追宋元诸家。这一变革主要是受王时敏、王鉴的影响，据王鉴跋卞文瑜《仿古山水册》云：“先生（卞文瑜）学画凡五十载，惟知赵文度（赵左）一派。晚年始与余交，及遇娄东奉尝烟翁（王时敏），乃见画中董、巨及元季四家真迹。每至娄中观古人画，则伏卧其下，不忍释手。”由于结识王时敏、王鉴等人，使得卞文瑜在其晚年得以看到董源、巨然及黄公望、王蒙、吴镇、倪瓒等大家的真迹名品，并且潜心临习，因此王鉴评价他晚年的作品：“笔法遒美，元气灵通，与生平画迥不相类。”从卞文瑜传世的作品看，他晚年的画作多题临仿古人之名，且多是小景山水，如故宫博物院藏《仿古山水册》，上海博物馆藏《仿宋元山水图册》，天津艺术博物馆藏《山水扇面》等，笔墨苍润，意境深远，较其早年、中年学赵左的作品要成熟得多。正如吴梅村在《画中九友歌》中评价卞文瑜时说：“画龛巨幅千峰稠，小景点出林塘幽。晚年笔力真沧州，幅中鹤绿轻王侯。”这是对他晚年绘画风格和艺术特色的准确概括。",[23,24,1260,29,177,173,7,176,34,114,1169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfd45f49317fea0c08e05b689921eab9.jpg","纵23.7厘米横29.3厘米",[],{"id":48449,"slug":48450,"title":48451,"dynasty":99,"author":3774,"museum":191,"description":26191,"tags":48452,"thumbUrl":48454,"material":500,"size":48455,"collection":139,"collections":48456,"showCount":1063,"zanCount":48,"manualWeight":48,"mainColor":49},222176,"han-jiang-diao-ting-zhou-lu-zhi-222176","寒江钓艇轴",[23,194,24,25,226,7,28,19833,174,6582,795,3712,2562,106,48453],"钓线","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe21dd60fea833be1aafb87910d35216.jpg","65.7x36.6厘米",[],{"id":48458,"slug":48459,"title":48460,"dynasty":99,"author":857,"museum":223,"description":11248,"tags":48461,"thumbUrl":48462,"material":81,"size":139,"collection":139,"collections":48463,"showCount":1063,"zanCount":48,"manualWeight":48,"mainColor":94},221909,"hua-niao-jing-pin-ce-6-chen-hong-shou-221909","花鸟精品册6",[24,25,81,28,7,83,228,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc66146c1045f625aec5f5945b35a13a8.jpg",[],{"id":48465,"slug":48466,"title":48467,"dynasty":302,"author":257,"museum":11214,"description":48468,"tags":48469,"thumbUrl":48470,"material":67,"size":48471,"collection":139,"collections":48472,"showCount":1063,"zanCount":48,"manualWeight":48,"mainColor":94},221783,"yuan-zhi-shuang-xi-tu-zhou-yi-ming-221783","元织双喜图轴","作品描绘出深秋时节，寒风萧瑟，枯木衰草，落叶调零，呈现出一派秋风肃杀的冷峭凄凉景象。整幅画面当中两只灰喜鹊之间，灰喜鹊与野兔之间，鸟、兽与自然环境之间，刻画的生动自然，情景交融，充分的表现出它们之间相互呼应的关系。 画中各物在作者的笔下蠢蠢欲动，大得自然野趣。",[23,24,25,194,226,28,7,83,820,227,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cce390d80d63a2be5939789f644197c.jpg","78x40.4",[],{"id":48474,"slug":48475,"title":48476,"dynasty":302,"author":48477,"museum":56,"description":48478,"tags":48479,"thumbUrl":48480,"material":770,"size":48481,"collection":139,"collections":48482,"showCount":1063,"zanCount":2368,"manualWeight":48,"mainColor":94},221763,"liu-ting-ju-qin-tu-xia-shu-wen-221763","柳汀聚禽图","夏叔文","淡墨简笔，画一水两岸，柳树柔枝万条，喜鹊，山雉、绶带，翠鸟等或栖憩枝头，或戏游水中； 近处飞禽正落地争觅夺食，远处又有三三两两翔集而来。\n一湾秀水荡起微波，两岸丛葭翩跹飘曳，一派春风杨柳，水暖鸭知的更新景象跃然纸上。\n诗堂清陈舒行书诗题： “柳渚芜沙潮欲平，虞罗不到任咿嘤，鹭丝风定银缾冷，山爵春晖锦翘明，”署“拙民陈原舒观题”，旁钤“原舒”朱文方印，“陈舒之印”白文方印。\n诗堂左上钤“陆树声鉴赏章”白文长方印，下钤刘恕“花步刘氏家藏”朱文长方印。\n作者夏叔文，字号不清，生卒年不详。\n据所钤印记，仅知其为丰城人氏。\n清陆心源所著《穰梨馆过眼录》卷五将本幅编入宋画之中，在南宋人马 远和钱舜举之间，知夏叔文可能为宋末元初人。\n夏叔文作品至今尚无另件发现，本幅作品为夏氏传氏孤品，甚为可贵。\n曾经清刘恕，陆树声递藏。",[23,24,25,194,226,173,7,1530,1241,245,3742,230,836,7249,29,498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf910dc1c933ad3c68f07c6ebf4ecd3d.jpg","画心纵128，横66.5厘米",[],{"id":48484,"slug":48485,"title":48486,"dynasty":302,"author":5007,"museum":20,"description":48487,"tags":48488,"thumbUrl":48489,"material":638,"size":48490,"collection":139,"collections":48491,"showCount":1063,"zanCount":48,"manualWeight":48,"mainColor":49},221751,"san-xia-qu-tang-tu-ye-sheng-mao-221751","三峡瞿塘图页","瞿塘峡的名胜古迹，多而又集中，游览者称便。此画为元代画家盛懋所作，其早年并得画家陈琳指点，画山石多用披麻皴或解索皴，笔法精整，设色明丽。",[23,24,25,81,29,173,7,174,407,34,176,37,1169,31,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b234dc745f130418cd0edc13a5a06d2.jpg","78X69厘米",[],{"id":48493,"slug":48494,"title":48495,"dynasty":302,"author":22220,"museum":1577,"description":48496,"tags":48497,"thumbUrl":48498,"material":18180,"size":48499,"collection":139,"collections":48500,"showCount":1063,"zanCount":48,"manualWeight":48,"mainColor":49},221719,"bo-tu-yan-hui-221719","波图","颜辉，字秋月，生卒年不详，庐陵（今江西吉安）人，一作浙江江山人。宋末元初时人物画家，擅人物、佛道，亦工鬼怪，兼能画猿。其造型奇特，用笔虽见刻露，却笔法怪异，有生动传神之趣，在画法上喜作水墨粗笔，用笔劲健豪放，笔法粗犷，有梁楷遗法。元代由于山水画、文人画兴起，作为人物画家的颜辉在中国画史埋没无闻，由于其作品流传日本较多，颜辉在日本受评甚高，对日本室町时代的绘画有较大影响。传世代表作有《钟馗雨夜出游图》，《蛤蟆仙人像》，《李仙像》，《猿图》。",[23,24,194,173,7,177,447,4364,685],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19116ef77f0b81a05d3b56d3f1454408.jpg","24.7×23.9cm",[],{"id":48502,"slug":48503,"title":48504,"dynasty":18,"author":1350,"museum":191,"description":48505,"tags":48506,"thumbUrl":48507,"material":529,"size":48508,"collection":139,"collections":48509,"showCount":1063,"zanCount":48,"manualWeight":48,"mainColor":94},221526,"song-quan-shuang-niao-ma-yuan-221526","松泉双鸟","画士人执拂尘坐于松根，溪涧泉石环绕于前，双鹊低飞饮啄，生意盎然。水色烟岚气氛，画面留出空白，表现旷阔之空间及浓郁诗意。人物衣纹细笔勾勒，松石简笔浅触。以斧劈皴表现坚石挺劲，松树枝枒笔势斜偃劲疾，有如屈铁，故有拖枝马远之称。",[23,24,25,173,7,29,1273,245,230,17426,177,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa31ef069753d13621bc1dbd599e4da8c.jpg","41.5x60厘米",[],{"id":48511,"slug":48512,"title":48513,"dynasty":18,"author":257,"museum":191,"description":48514,"tags":48515,"thumbUrl":48516,"material":123,"size":139,"collection":44,"collections":48517,"showCount":1063,"zanCount":48,"manualWeight":48,"mainColor":94},219647,"xie-qin-kan-shan-tu-yi-ming-219647","携琴看山图","苍松虬曲斜伸，撑起画面骨架，枝桠间松针层叠如盖，疏梅横斜于松下添了几分清寒意趣，淡墨晕染的远山如黛，漾开空濛暮色。\n士人携琴偕仆驻步松下，二人遥望远山，似正指点烟岚丘壑，僮仆捧炉侍立，将林泉雅意藏进细微情态里。设色沉雅温润，皴染兼具，远景山水虚淡悠远，虚实相生间烘托出江南暮色的清寂，将宋人寄情山水、寻幽访胜的隐逸意趣凝缩在尺幅扇面，尽显林下风流的雅逸格调。",[24,7,177,81,29,106,1273,4999],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb902321b31609328d6c2e1c91ceb4c44.jpg",[44],{"id":48519,"slug":48520,"title":48521,"dynasty":99,"author":1196,"museum":20,"description":48522,"tags":48523,"thumbUrl":48524,"material":2365,"size":48525,"collection":90,"collections":48526,"showCount":1063,"zanCount":48,"manualWeight":48,"mainColor":94},219627,"feng-mu-tu-tang-yin-219627","风木图","画面中央，唐寅以水墨画出两株枯木，依稀可见随风摇曳之姿。树间一人身靠蒲墩，以袖掩面，似是触景伤情，悲痛不已。笔法纯熟，人物简练，却余韵无穷。古人云，画为心声，唐寅年轻时亦遭遇丧乱，风木之思自然流露笔端。\n此幅构图简洁，寥寥数笔，便迅速将读者带入画中人的内心世界，产生情感的共鸣，陷入悲伤苍凉的氛围之中。诗、书、画、印结合巧妙，图文并茂，以景传情，展现出文人画的悲怆之美。在众多描绘秋景的绘画中独树一帜，实乃不朽佳作。",[23,24,25,26,173,7,378,178,353],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce0b76420cef1b27b31d3d541920360f.jpg","纵108cm，横28.5cm",[90],{"id":48528,"slug":48529,"title":48530,"dynasty":76,"author":48531,"museum":191,"description":48532,"tags":48533,"thumbUrl":48534,"material":88,"size":48535,"collection":181,"collections":48536,"showCount":1063,"zanCount":2368,"manualWeight":48,"mainColor":49},219431,"fan-cheng-da-mai-chi-dai-ci-tu-cao-kui-yin-219431","范成大卖痴呆词图","曹夔音","这幅画是范成达农历十二月村田乐府诗中关于卖痴呆症的诗。 苏州风俗，孩子怕自己痴呆，所以想卖“痴呆”。 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ections":49307,"showCount":547,"zanCount":2368,"manualWeight":48,"mainColor":94},232971,"hua-niao-ce-lang-shi-ning-232971",[194,24,25,81,28,7,1022,579,379,211,83,8377,28040,3193],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f6041cf4527a2b11a1a31782ac66d2a.jpg",[],{"id":49309,"slug":49310,"title":49311,"dynasty":76,"author":49312,"museum":191,"description":49313,"tags":49314,"thumbUrl":49315,"material":500,"size":49316,"collection":139,"collections":49317,"showCount":547,"zanCount":48,"manualWeight":48,"mainColor":49},232815,"gao-zong-yu-ti-fan-cheng-da-ji-zao-ci-zhou-kun-232815","高宗御题范成大祭灶词","周鲲","周鲲 ，字天池，江苏常熟人。画承家学，工山水、人物，梅花亦佳。乾隆(一七三六至一七九五)时供奉如意馆。尝以闾阎疾苦情形托诸艺事，蒙御题，有:监门遗故事，咨尔溯其踪句。所作多藏石渠宝笈。《国[清]朝画徵续录、虞山画志、石渠宝笈、清画家诗史》\n宋代诗人范成大的《祭灶词》对当时民间祭灶作了极其生动的描写：古传腊月二十四，灶君朝天欲言事。云车风马小留连，家有杯盘丰典祀。猪头烂热双鱼鲜，豆沙甘松粉饵团。男儿酌献女儿避，酹酒烧钱灶君喜。婢子斗争君莫闻，猫犬角秽君莫嗔；送君醉饱登天门，杓长杓短勿复云，乞取利市归来分。\n周鲲所绘《范成大祭灶词》 立轴上有乾隆帝所书宋代诗人范成大的《祭灶词》：古传腊月二十四，灶君朝天欲言事。云车风马小留连，家有杯盘丰典祀。猪头烂热双鱼鲜，豆沙甘松粉饵团。男儿酌献女儿避，酹酒烧钱灶君喜。婢子斗争君莫闻，猫犬角秽君莫嗔；送君醉饱登天门，杓长杓短勿复云，乞取利市归来分。\n清高宗爱新觉罗·弘历即乾隆帝，在位六十年，禅位后又任三年零四个月太上皇，实际行使国家最高权力长达六十三年零四个月，是中国历史上实际执掌国家最高权力时间最长的皇帝，也是中国历史上最长寿的皇帝。\n乾隆的书法从学习赵孟入手。乾隆本人雅赏赵孟的书法，心慕手追，身体力行。游览名胜每到一处，作诗纪胜，御书刻石，其书圆润秀发，在宫中、御园、名胜古迹、寺庙等几乎到处可见其墨迹，至今海内乾隆御碑甚多，其擅书之名流传普遍。 从他的书法作品中可以发现，书学起步仍是康熙时流行的宫廷馆阁体书法，后在承学各家中选定赵孟丰圆肥润的书法。从存世的乾隆书迹看，他的字字体稍长，楷书中多有行书的笔意，行书中又往往夹杂着草书的韵味，点画圆润均匀，结体婉转流畅，缺少变化和韵味，并无明显的成就，评者称其“虽有承平之象，终少雄武之风”。",[23,24,25,226,173,7,28,177,29,106,34,795,1273,35,31,176,212,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44de7adfd07f2e2945457b9bb674cfc2.jpg","113×28.6cm",[],{"id":49319,"slug":49320,"title":49321,"dynasty":18,"author":7992,"museum":316,"description":49322,"tags":49323,"thumbUrl":49325,"material":67,"size":49326,"collection":139,"collections":49327,"showCount":547,"zanCount":48,"manualWeight":48,"mainColor":49},232628,"qiu-jing-zhang-yuan-tu-juan-yi-yuan-ji-232628","秋景獐猿图卷","郭若虚《图画见闻志》成书于成熙七年(1074)，是最早记载易元吉生平的典籍。此后成书于宣和二年（1120）的《宣和画谱》、至正二十五年（1365）的《图绘宝鉴》之类画史著作所录的易元吉传，都来源于《图画见闻志》中的这段文字：\n易元吉，字庆之，长沙人。灵机深敏，画制优长。花鸟蜂蝉，动臻精奥。始以花果专门，及见赵昌之迹，乃叹服焉。后志欲以古人所未到者驰其名，遂写獐猿。尝游荆湖间，入万守山百余里，以觇猿狖獐鹿之属，逮诸林石景物，一一心传足记。得天性野逸之姿，寓宿山家，动经累月，其欣爱勤笃如此。又尝于长沙所居舍后疏凿池沼，间以乱石丛花、疏篁折苇，其间多蓄诸水禽，每穴窗伺其动静游息之态，以资画笔之妙。治平甲辰岁，景灵宫建孝严殿，乃召元吉画迎厘斋殿御扆。其中扇画太湖石，仍写都下有名鹁鸽及雒中名花，其两侧扇画孔雀。又于神游殿之小屏画牙獐，皆极其思。元吉始蒙其召也，欣然闻命，谓所亲曰：“吾平生至艺，于是有所显发矣。”未几，果敕令就开先殿之西庑张素画《百猨图》，命近要中贵人领其事，仍先给粉墨之资二百千。画猨才十余枚，感时疾而卒。元吉平日作画，格实不群，意有疏密。虽不全拘师法，而能伏义古人。是乃超忽时流，周旋善誉也。向使元吉卒就《百猨》，当有遇于人主；然而遽丧，其命矣夫。有獐猿、孔雀、四时花鸟、写生蔬果等传于世。建隆观翊教院殿东獐猿林石绝佳。(又尝于余杭后市都监厅屏风上画鹞子一只，旧有燕二巢，自此不复来止。)\n这段文字共四百一十八个字，在《图画见闻志》所有画家传记中字数最多。后世大名鼎鼎的画家很多，其传记也就几十字到三百多字不等，如董源七十二字，范宽九十四字，郭熙九十五字，黄筌二百二十八字，徐熙一百四十六字，崔白二百四十三字，武宗元三百二十三字，等等。传记文字的数量与传主的分量是成正比的，由此可见易元吉在郭若虚心目中的地位。\n秦汉以来，士人取名好引经据典，至宋尤盛。南宋俞成说：“尝观《进士同年录》：江南人习尚机巧，故其小名多是好字，足见自高之心；江北人大体任真，故其小名多非佳字，足见自贬之意。”唐代贞观元年（627），天下为十道，江南道范围包括今湖北南部、江西、湖南。这段文字用来形容长沙人易元吉的取名，也无不可。易姓在北宋时期的长沙是大姓。易元吉之名字，应当来源于《易经》的履卦“上九”象传：“元吉在上，大有庆也。”据此以“元吉”为名，“庆之”为字。姓“易”而以《易经》的文字来命名，比其他任何用《易经》文句取名的姓氏都要显得浑然天成，也可见易元吉的父辈当并非普通白丁。\n郭若虚的这篇传记没有具体记载易元吉的生卒年，只能大体推断出他的活动时间。易元吉于治平甲辰岁（1064）入宫绘制屏风，则此之前应当是名家。从“未几……感时疾而卒”来看，易元吉的去世时间当在入宫后不久，所以其主要活动时间是在宋仁宗（1022—1063年在位）时期。由于《图画见闻志》中关于易元吉入宫的时间只出现年份而不见月份，只能推测他大概于宋英宗治平二年（1064）末或者治平三年（1065）初去世。\n易元吉有多方面才能，而绘画方面特别突出。在整个宋代，被载入美术史的湖南画家只有易元吉一人，但一些资料显示，当时在长沙及周边一带的书画交易十分兴盛，从侧面反映出当时的长沙有一个规模较大的画家群体。例如，张南本的水陆画，“后来为人模写，窃换真迹，鬻与荆湖商贾。”米芾（1051—1107）《画史》载：“长沙富民收水鸟芦花六幅。”《图画见闻志》没有记载易元吉的直接师承，他“以花果专门”之后才见到赵昌的作品，而且毅然改换绘画题材，才有了后来以“猿獐”名世的易元吉。他的师父不会很有名，甚至有可能是自学成才。在长沙期间，易元吉于家舍附近种花养禽，随时写生。他在园圃中观察自然对象研习绘画的形象成为画史上的经典，直到清代的文人仍旧对此充满想象：“易元吉于圃中畜鸟兽，伺其饮啄动止，而随态图之。”",[23,194,24,26,7,27,28,29,378,1754,49324,17563,176,1426,212],"獐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f627a5c8207974fc409e1ac152f093c.jpg","36.7x321",[],{"id":49329,"slug":49330,"title":49331,"dynasty":18,"author":19681,"museum":12886,"description":49332,"tags":49333,"thumbUrl":49334,"material":529,"size":49335,"collection":139,"collections":49336,"showCount":547,"zanCount":2368,"manualWeight":48,"mainColor":49},232618,"luo-han-xi-zhuo-tu-li-zhou-lin-ting-gui-232618","罗汉洗濯图立轴","这幅画描绘的是佛教僧侣日常生活中的一个场景，属于一套一百幅描绘五百罗汉或佛教圣人的挂轴。这套画于1175年由一位佛教方丈委托，三年后由林庭珪和另一位画家周季常共同完成。这些画在13世纪被运往日本，最终成为京都佛教寺庙大德寺的财产。1894年，需要修缮资金的大德寺在美国波士顿展出了其中44幅卷轴，其中10幅售出。这幅画是当时日本人赠送给美国巡回展的组织者，后者于1902年把它卖给了查尔斯·朗·弗利尔（Charles Lang Freer）。\n此幅作品林庭珪用精确的轮廓和明亮、不透明的颜色画出了六个人物。画面中，五罗汉和他们的仆人正在洗衣服，并把衣服晾在外面晾干。右下角有几乎完全看不清的艺术家签名，用金粉题写。",[23,194,24,25,226,260,7,28,106,795,109,686,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d9932e8b6df250624925fe2c5bd5f4f.jpg","112.3×53.5cm",[],{"id":49338,"slug":49339,"title":49340,"dynasty":256,"author":18695,"museum":316,"description":49341,"tags":49342,"thumbUrl":49343,"material":599,"size":600,"collection":139,"collections":49344,"showCount":547,"zanCount":48,"manualWeight":48,"mainColor":94},231741,"an-tu-tao-shan-shi-dai-gui-tu-ping-feng-shou-ye-yong-de-231741","安土桃山时代 桧图屏风","狩野永德（1543年～1590年），日本画家。名州信，通称源四郎。1543年1月13日生于山越国（今京都），卒于1590年9月14日。他的传世作品还有《唐狮子屏风》、《桧图屏风》及《洛中洛外图屏风》等。",[23,194,24,25,3559,7,29,378,109,176,2235,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40c0049bfcdc4c1a73a70e15f916753b.jpg",[],{"id":49346,"slug":49347,"title":49348,"dynasty":256,"author":257,"museum":316,"description":49349,"tags":49350,"thumbUrl":49356,"material":599,"size":600,"collection":139,"collections":49357,"showCount":547,"zanCount":2368,"manualWeight":48,"mainColor":49},231681,"jiang-hu-shi-qi-fo-jiao-wu-dao-juan-yi-ming-231681","江户时期 佛教舞蹈卷","长卷铺陈群舞盛景，人物排布回旋错落，似随隐于画外的乐律踏跃。武士挎刀振臂、僧者执幡领舞、平民袒裼驱步，各色人等妆容衣饰各异。\n简劲灵动的线条勾出衣袂飘举之姿，古雅淡朴的敷色晕开旧时光晕，以稚拙笔触定格每一帧鲜活动态，将祭典的庄严与歌舞的恣肆相融，让观者仿若闻声踏节，窥见信仰与欢娱交织的旧时鲜活图景。",[23,26,7,106,260,49351,28,49352,27379,49353,49354,49355,409,29067,35050,28606,16703],"舞蹈","江户时期","传统人物画","动态人物","佛教主题","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc28ebc5b9296bbaf10e56fb89232ba2a.jpg",[],{"id":49359,"slug":49360,"title":49361,"dynasty":256,"author":257,"museum":316,"description":49362,"tags":49363,"thumbUrl":49365,"material":599,"size":600,"collection":139,"collections":49366,"showCount":547,"zanCount":48,"manualWeight":48,"mainColor":49},231659,"bu-dong-ming-wang-ba-da-tong-zi-xiang-yi-ming-231659","不动明王八大童子像","正中明王身色玄黑，忿怒相威严逼人，身周烈焰翻卷如浪，将降魔的慑人气场拉满。环伺的童子神态各异，或怒目圆睁彰显忿怒护法之态，或垂首恭谨尽显侍从之仪。\n衣纹线条苍劲流畅，朱砂焰纹与沉褐底色交织碰撞，古雅厚重的敷色晕染开岁月的质感。整幅画面主次分明，以明王为核心铺陈开密宗护法的仪轨秩序，工笔精湛入微，将密教忿怒本尊的威慑力与宗教美术的庄严感相融，虽经时光磨蚀，依旧能传递出镇邪安正的肃穆力量。",[23,24,25,260,106,7,16831,261,49364,28],"明王","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F036997ed5ab0dc4ea2b11b135b0b2416.jpg",[],{"id":49368,"slug":49369,"title":49370,"dynasty":256,"author":49371,"museum":316,"description":49372,"tags":49373,"thumbUrl":49374,"material":67,"size":49375,"collection":139,"collections":49376,"showCount":547,"zanCount":48,"manualWeight":48,"mainColor":94},231578,"hua-yin-ying-hua-tu-juan-guang-lai-231578","花隐樱花图卷","広瀬","江户时代樱花的萌芽增加，作者广濑花隐以描绘樱花而美丽。",[23,24,25,26,83,28,7,22360,836,1187,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26b5f9759be870fb50edb3c6a69b4f7f.jpg","21×31cm厘米",[],{"id":49378,"slug":49379,"title":49380,"dynasty":99,"author":257,"museum":223,"description":49381,"tags":49382,"thumbUrl":49384,"material":67,"size":256,"collection":139,"collections":49385,"showCount":547,"zanCount":2368,"manualWeight":48,"mainColor":49},231542,"han-fu-ren-fang-shi-xiang-yi-ming-231542","韩夫人方氏像","此幅与韩宜可像当是对轴。韩宜可像题款疑伪，此款也是一人所作，亦是后添。",[23,24,28,7,106,23715,49383],"明代服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcca507ba8686491bdda53e04868c722e.jpg",[],{"id":49387,"slug":49388,"title":49389,"dynasty":18,"author":257,"museum":191,"description":49390,"tags":49391,"thumbUrl":49392,"material":123,"size":18609,"collection":139,"collections":49393,"showCount":547,"zanCount":2368,"manualWeight":48,"mainColor":49},231079,"xue-lu-shuang-yan-tu-yi-ming-231079","雪芦双雁图","《国宝在线:全景花鸟》介绍了我国古代绘画瑰宝，是表现我国古代花鸟绘画手法的珍品。\n包括：元朝张舜咨的《雪界翁黄鹰古桧图》，宋朝佚名的《雪芦双雁图》、《桃花鸳鸯图》、《梅竹聚禽图》，宋朝崔白的《双喜图》，宋朝李迪的《枫鹰雉鸡图》等。\n《国宝在线:全景花鸟》由 出版。",[24,194,25,226,28,7,6554,1980,245,230,913,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25e4009402f3bfb576c6fa71004de73d.jpg",[],{"id":49395,"slug":49396,"title":1383,"dynasty":18,"author":1046,"museum":191,"description":49397,"tags":49398,"thumbUrl":49399,"material":139,"size":139,"collection":139,"collections":49400,"showCount":547,"zanCount":48,"manualWeight":48,"mainColor":49},230967,"shan-shui-tu-guo-xi-230967","此作以寒林雪霁铺陈意境，枯木老枝虬曲如铁，雪覆苍崖尽染萧寒之气。江间扁舟泊于寒波之上，舟中旅人围坐，将天地荒寒与人间暖意轻轻揉合。\n笔意苍润兼具，山石以卷云皴勾勒皴擦，留白尽显积雪厚重。枝桠以蟹爪笔法写就，枯涩清奇尽展冬日况味。半边取景铺陈开江天空寂辽远，于极简尺幅中藏着深挚诗意，将江湖旅人身处荒寒的幽微心绪淡淡晕开，静穆里揉着暖融烟火气，尽显寄情山水的雅致意趣。",[23,24,25,29,177,173,7,81,174,353,176,31,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F685346f5eec9d79ffa2c528fdca60dc9.jpg",[],{"id":49402,"slug":49403,"title":49404,"dynasty":76,"author":2805,"museum":316,"description":2806,"tags":49405,"thumbUrl":49406,"material":599,"size":600,"collection":139,"collections":49407,"showCount":547,"zanCount":48,"manualWeight":48,"mainColor":94},230928,"lan-shi-tu-wang-wu-230928","兰石图",[24,25,1260,173,7,498,579,379,86,178,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F818304cde9ff66cdef25c7b98f674d5b.jpg",[],{"id":49409,"slug":49410,"title":49411,"dynasty":256,"author":1700,"museum":316,"description":49412,"tags":49413,"thumbUrl":49414,"material":139,"size":139,"collection":139,"collections":49415,"showCount":547,"zanCount":48,"manualWeight":48,"mainColor":49},230484,"chang-hen-ge-tu-juan-shi-qi-shi-ji-shang-juan-shou-ye-shan-xue-230484","长恨歌图卷十七世纪（上卷）","这卷长卷以工笔重彩铺展离乱行旅，移步换景间复刻出千乘万骑西南行的史诗场面。从宫阙启銮到盘山栈道，扈从仪仗连绵逶迤，宫眷臣僚的形貌衣冠分毫毕现，屋宇建制严整合度，山石皴染带着苍劲古意。\n\n设色雅致清淡，细腻笔触里藏着仓皇离京的沉郁悲戚，将长诗里的恸惋具象为视觉图景。既是对唐代仪制的精细纪实，也把文学哀婉揉入疏密构图，以铺陈群像勾勒出时代恸哭，尽显古典叙事画的隽永张力。",[23,24,26,7,28,104,106,107,29,34,16831,108,986,968,3982,1654,380,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa3f33a6b01bde2948c81fb1e32b14a2.jpg",[],{"id":49417,"slug":49418,"title":49419,"dynasty":76,"author":257,"museum":316,"description":49420,"tags":49421,"thumbUrl":49422,"material":599,"size":600,"collection":139,"collections":49423,"showCount":547,"zanCount":48,"manualWeight":48,"mainColor":94},230341,"zi-hang-zhou-xing-gong-you-xi-hu-dao-li-tu-shuo-yi-ming-230341","自杭州行宫游西湖道里图说","以淡赭晕开烟水，用青绿点染丘峦，将舆图的实用意趣融在山水画卷之中。黄线牵起驿路，串起沿线错落的村舍亭台，标注清晰明了，既是游湖道里的详实指引，亦是江南烟景的诗意描摹。\n它跳出枯燥的测绘范式，以文人山水的笔致铺陈湖山乡野，层叠的浅山、漾开的水色晕染出江南灵秀温婉的气韵，让行路的日常图景，化作一卷可赏可游的丹青小品，雅俗共赏，尽显江南风物的清润雅致。",[24,7,28,177,26,29,107,108,109,1049,175,34,35,119,32,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae723b32fd6bb667dfdb29e532f9c00b.jpg",[],{"id":49425,"slug":49426,"title":32353,"dynasty":76,"author":6776,"museum":316,"description":49427,"tags":49428,"thumbUrl":49429,"material":139,"size":139,"collection":139,"collections":49430,"showCount":547,"zanCount":48,"manualWeight":48,"mainColor":49},230211,"qian-long-huang-di-xi-xiang-tu-zhou-ding-guan-peng-230211","《乾隆皇帝洗象图》是清代画家 创作的纸本设色画，现藏于 。\n此图绘乾隆皇帝行乐生活的一个场面。\n画中乾隆扮作普贤菩萨，高坐莲座。\n侍者扮作玉女、金童及天王，分立两旁。\n几位僧侣仆人正在洗刷一头白象，准备搭上毛毡锦垫，以供“菩萨”骑用。\n画下三位僧人，一位正在清扫，另二位正在传接经书，欲呈献皇帝。\n此图设色艳丽，气氛和谐。\n此图中的弘历乾隆帝和大象占据画幅的中心主要位置，起到突出主题的作用。\n画幅上端坡行堤岸，左右两侧各有二棵苍松，尤其是左侧两棵巨松，树干粗壮，交叉曲直向上，枝叶茂密，乾隆在巨松荫下观看洗象。\n画幅下端似一片丘陵地带，山岗亘连，花草丛生，还画有二位长老。\n弘历坐在宝椅上，身着一身佛装。\n作者自识：“乾隆十五年六月臣了观鹏恭绘。\n”下钤“臣观鹏”、“恭画”二印；画面上方钤有“乾隆御览之宝”一印。\n该图取材于佛教故事，表现普贤菩萨观看诸圣徒为其坐骑白象洗刷的情景。\n乾隆皇帝受佛学大师三世章嘉活佛的影响，数十年倾心于佛学研习。\n他为了表示对佛教的信仰，不仅大建佛寺，译佛经，造法器及写经自修，而且还将自己比喻成佛教中菩萨的化身，罩上一层神秘的宗教光环。\n他命宫廷画家或画佛喇嘛，绘制了多幅他扮作菩萨的画像，此图便是其中之一。\n此图画于乾隆十五年（175年），时弘历（即乾隆帝）4岁。\n此画将乾隆喻作法力无边、救苦渡难的菩萨， 其主旨不言而喻。\n图中人物面部以西法绘成，富有写实感，具有肖像画性质。\n画法很细致，当出自供奉宫廷的意大利画家郎世宁之手。\n弘历端坐宝位上，人物造型明显大于其他人物，神态肃穆。\n面部以西洋技法，立体感较强，故从风格和水平来看，乾隆像当出自郎世宁的手笔。\n至于其他人物和景致，均为丁氏所绘制，如人物造型的今张、奇古，及屈曲颤动的线条等。\n构图也是中国传统形式。\n总体来看，此画绘制精细，色泽华丽，中西合壁。\n画面取云雾缥缈、山泉粼粼、木石山花骨秀清逸之处为背景，突出仙界气氛。\n人物衣褶皆用战笔流水描，宛转卷曲，古拙奇趣。\n人物面部用淡色晕染，富有体积感，尤其乾隆的面部，更具有写实的意味。\n研究员李湜：此图在设景布势上富于机巧，以曲水为脉，将树石、惠草连成一体，同时也将众多的人物圈聚在一起，进而突出了乾隆皇帝的主体位置。\n图中人物的衣纹勾线瘦挺颤掣，曲转顿挫，富于动感，它不仅丰富了画面的视觉效果，同时，也准确地勾勒出不同状态下人物的各种形体变化。\n全图设色艳丽，富有装饰感，带有 高贵典雅的特征。\n丁观鹏，生卒年不详，顺天（今北京）人。\n雍正时供奉内廷。\n擅画道释、人物和山水，画学同宗丁云鹏，有出蓝之誉。\n画风工整细致。\n传世作品有《仿顾恺之洛神图》《弘历洗象图》《乞巧图》。",[23,24,25,226,28,7,106,746,8378,5443,29,34,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa997e0e055cd600a62b3aec5fc5facab.jpg",[],{"id":49432,"slug":49433,"title":49434,"dynasty":76,"author":563,"museum":316,"description":49435,"tags":49436,"thumbUrl":49437,"material":139,"size":139,"collection":139,"collections":49438,"showCount":547,"zanCount":48,"manualWeight":48,"mainColor":94},230169,"shan-shui-shi-er-kai-hua-ce-hua-yan-230169","山水十二开画册","此作青绿设色清润雅致，山石以皴染晕开，糅合苍劲与秀润。古松虬枝横斜，蟠曲苍劲，松针攒簇尽显古拙生机。飞瀑层叠跌落，汇入山下溪涧，浅滩空舟系岸，不见钓者，愈衬出秋山清寂。\n\n右上角题诗与画境相契，以白鸥、钓舟点出幽居隐逸的闲趣。诗画交融，将秋日溪山的萧疏淡远，和寄情林泉的雅意融为一体，笔底兼具文人画的简淡诗意与灵动生气，无繁复堆砌，尽是悠然出世的林下之风，观之令人沉静忘俗。",[194,24,25,81,173,27,7,29,1273,176,34,109,108,174,380,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa515902d2b222c91f48162a7d0369c12.jpg",[],{"id":49440,"slug":49441,"title":49442,"dynasty":99,"author":756,"museum":316,"description":45462,"tags":49443,"thumbUrl":49444,"material":599,"size":600,"collection":139,"collections":49445,"showCount":547,"zanCount":48,"manualWeight":48,"mainColor":94},228878,"shan-mian-16-kai-wen-zheng-ming-228878","扇面16开",[23,24,25,1260,7,173,29,1273,35,106,10384,34,176,1171,109,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68c9a8fe894a74a812bf08326153bd60.jpg",[],{"id":49447,"slug":49448,"title":49449,"dynasty":99,"author":100,"museum":316,"description":3427,"tags":49450,"thumbUrl":49451,"material":599,"size":600,"collection":139,"collections":49452,"showCount":547,"zanCount":48,"manualWeight":48,"mainColor":94},228856,"shan-mian-hua-xuan-chou-ying-228856","扇面画选",[23,24,25,1260,28,7,106,174,29,378,796],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fc80210af56788cd85ba9dc0cd734cc.jpg",[],{"id":49454,"slug":49455,"title":49456,"dynasty":99,"author":257,"museum":316,"description":49457,"tags":49458,"thumbUrl":49461,"material":599,"size":600,"collection":139,"collections":49462,"showCount":547,"zanCount":48,"manualWeight":48,"mainColor":49},228525,"qia-si-fa-lang-kui-long-wen-zun-yi-ming-228525","掐丝珐瑯夔龙纹尊","尊，今作樽，是商周时代中国的一种大中型盛酒器。青铜器，尊的形制圈足，圆腹或方腹，长颈，敞口，口径较大。尊盛行于商代至西周时期，春秋后期已经少见。较著名的有四羊方尊。商周至战国时期，还有另外一类形制特殊的盛酒器—彝。彝通常呈鸟兽状，有羊、虎、象、豕、牛、马、鸟、雁、凤等形象。《周礼·春官·司尊彝》：“春祠夏禴，裸用鸡彝鸟彝......追享朝享，裸用虎彝蜼彝。”彝纹饰华丽，在背部或头部有尊盖。",[860,30687,12819,7,49459,406,49460],"夔龙纹","尊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa19a7763e880b75ee2f1c4eccfd652ae.jpg",[],{"id":49464,"slug":49465,"title":49466,"dynasty":18,"author":257,"museum":316,"description":49467,"tags":49468,"thumbUrl":49469,"material":139,"size":139,"collection":139,"collections":49470,"showCount":547,"zanCount":48,"manualWeight":48,"mainColor":49},227879,"liu-yuan-xiao-shu-tu-ye-yi-ming-227879","柳院消暑图页","此作以雅致设色铺就消暑闲景。水岸庭院柳丝垂曳，将溽暑揉作柔婉绿意，半掩着临水楼阁。凭栏高士宽袍松带，懒倚轩窗，似在静听蝉鸣、细观涟漪，将暑热倦怠化为幽居闲情。\n屋下侍童躬身奉物，院角仆从悄然添茶，细碎日常衬出庭院松弛意趣。远景浅黛山峦晕染淡远，水色空濛晕着暑日微光，近院花卉娇柔点染，明暗虚实间，将江南夏日常住的清宁消暑意趣尽数铺展，淡而不寡，雅而不奢，尽显宋人的幽居美学，把溽暑里的闲静安然，尽数藏进这绢素方寸之中。",[23,194,24,25,1260,7,28,104,106,107,2532,228,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd078e473f04ccec6ad7f49b6b5cb6b48.jpg",[],{"id":49472,"slug":49473,"title":49474,"dynasty":18,"author":40523,"museum":316,"description":49475,"tags":49476,"thumbUrl":49479,"material":139,"size":139,"collection":139,"collections":49480,"showCount":547,"zanCount":48,"manualWeight":48,"mainColor":49},227755,"jiang-di-fang-mu-tu-yan-ci-ping-227755","江堤放牧图","《四季牧牛图》是南宋画家阎次平创作的绢本浅设色画，现藏于南京博物院。\n\n此画共四幅。春牧绘春野柳坡，细草如茵，一童牧二牛于其间。夏牧绘高树浓荫，芦池夏草，二童跨牛浮水而渡。秋牧绘霜叶满地，幼犊依偎于牝牛，牡牛缓步于傍，牝牛坐弄蟾蜍。冬牧绘雪地残草，寒风呼号，牧童牵牛而归。全图画树木用笔粗简，画牛则精细勾描，人物尤为生动。",[23,24,25,1260,7,29,177,28,151,49477,34,1169,230,109,49478],"堤岸","放牧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3a261f44b092c6d8d8542f432afd33d.jpg",[],{"id":49482,"slug":49483,"title":49484,"dynasty":18,"author":40523,"museum":316,"description":49485,"tags":49486,"thumbUrl":49487,"material":139,"size":139,"collection":139,"collections":49488,"showCount":547,"zanCount":48,"manualWeight":48,"mainColor":94},227754,"song-deng-jing-lu-tu-yan-ci-ping-227754","松磴精庐图","《宋阎次平松磴精庐图》是宋代阎次平所创的扇面图。\n\n石矶满布的江畔山岩，长松横斜，密竹丛生。一座典雅的精舍（或书院），紧密地镶嵌在这青山绿水之间。小径由岸边蜿蜒而上，岬角处两张圆石小凳闲置于松下，风景优美而宁静。",[23,24,25,1260,7,29,177,212,1273,107,174,176,34,3519],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1fb29b476fe0467fa83caa5ca6d6b7ba.jpg",[],{"id":49490,"slug":49491,"title":49492,"dynasty":18,"author":257,"museum":316,"description":49493,"tags":49494,"thumbUrl":49496,"material":139,"size":139,"collection":139,"collections":49497,"showCount":547,"zanCount":48,"manualWeight":48,"mainColor":94},227549,"fang-guo-zhong-shu-xue-ji-jiang-xing-tu-yi-ming-227549","仿郭忠恕雪霁江行图","长于界画的河南籍画家郭忠恕，以纯以墨线描绘两艘冒雪前行、满载货物的船只。画中不但表现了对船体正确结构的兴趣，也呈现出船夫们多样的活动情态，可藉此图想见五代宋初北方界画达到的艺术水平。",[23,24,25,26,104,28,7,29,107,149,13460,49495,86,178,212],"帆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc497068d2ecd6fc3d6b39bdd1d0a3fbf.jpg",[],{"id":49499,"slug":49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他画山水注重深入体察生活，能真实、细致、微妙地表现出不同地区、季节、气候的特点，得“远近浅深，四时朝暮，风雨明晦之不同”，创造出极其丰富优美动人的意境，另外他还长于影塑，在墙壁上用泥堆塑浮雕式的山水，别具情趣。\n\n郭熙有《早春图》《关山春雪图》《窠石平远图》《幽谷图》《古木遥山图》等传世。其中《早春图》成功地表现出冬去春来、大地复苏、万物甦醒的细致季节变化。在绘画理论上郭熙亦有很高建树，其理论集中反映在他的《林泉高致》一书中。",[23,24,1260,29,106,34,109,176,177,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F301e81485e068c4f080628a129182f75.jpg",[],{"id":49506,"slug":49507,"title":49508,"dynasty":189,"author":1642,"museum":316,"description":49509,"tags":49510,"thumbUrl":49511,"material":139,"size":139,"collection":139,"collections":49512,"showCount":547,"zanCount":48,"manualWeight":48,"mainColor":49},226704,"su-li-bie-yi-juan-1-zhou-wen-ju-226704","苏李别意卷-1","该幅是描绘苏武与李陵于荒寒北地殷殷话别的情景。",[24,25,26,7,28,106,150,212,409,2439],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4d99aa3ce15fe27667317bcda79a286.jpg",[],{"id":49514,"slug":49515,"title":49516,"dynasty":256,"author":6236,"museum":316,"description":6237,"tags":49517,"thumbUrl":49523,"material":599,"size":600,"collection":3195,"collections":49524,"showCount":547,"zanCount":48,"manualWeight":48,"mainColor":2504},225770,"la-berceuse-woman-rocking-a-cradle-augustine-alix-pellicot-roulin-fan-gao-225770","La Berceuse (Woman Rocking a Cradle; Augustine-Alix Pellicot Roulin, –)",[194,3187,16431,6241,49518,7,6244,106,23716,36541,84,49519,49520,49521,49522],"色彩强烈","绿色服饰","红色地面","绳索","装饰性花纹背景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b3e7df88d868009b6c22e553e11f38a.jpg",[3195],{"id":49526,"slug":49527,"title":49528,"dynasty":256,"author":6236,"museum":316,"description":6237,"tags":49529,"thumbUrl":49530,"material":599,"size":600,"collection":3195,"collections":49531,"showCount":547,"zanCount":48,"manualWeight":48,"mainColor":2504},225730,"cineraria-1886-fan-gao-225730","Cineraria 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一个花瓶，跟在后面。 老人和两个少年，一副活泼的姿态，热切地相互呼应。 整幅画淡漠，充满野趣。 作者用双勾填彩竹，用白粉点花，用浓墨去山石，用淡墨擦。\n此图描绘的是陶渊明和采菊的故事。",[24,25,194,81,28,7,106,62,378,230,176,689],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa3829cc71d2b5bb96c58a1efbea7b43.jpg","24.1x25.2厘米",[],{"id":50516,"slug":50517,"title":19916,"dynasty":76,"author":1166,"museum":20,"description":50518,"tags":50519,"thumbUrl":50520,"material":1397,"size":50521,"collection":139,"collections":50522,"showCount":49972,"zanCount":2368,"manualWeight":48,"mainColor":94},233954,"shan-shui-tu-zhou-cheng-zheng-kui-233954","此图是程正揆晚年所作，绘前景清溪水榭，后景层峦石壁。前疏后密的景致构筑出淡雅浑朴的格调。此图是程正揆遭劾革职回南京后所作。他在隐居生活中受到前明遗老髡残、龚贤等人的审美观影响，绘画作品中带有较强的遗民意趣，常通过清幽的山水意境表达其隐逸的文人情思。",[24,25,226,173,177,7,29,34,1426,176,35,809,686,175,212,8882],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe06aacd43996fdf247988d4f3198c814.jpg","纵104.8厘米，横40.6厘米",[],{"id":50524,"slug":50525,"title":50526,"dynasty":18,"author":1315,"museum":20,"description":50527,"tags":50528,"thumbUrl":50529,"material":67,"size":17123,"collection":139,"collections":50530,"showCount":49972,"zanCount":48,"manualWeight":48,"mainColor":49},233214,"liu-yin-mu-niu-tu-ye-li-tang-233214","柳荫牧牛图页","宋代所谓“花鸟画”的范围比较狭窄，仅限于花和鸟。畜兽、竹石、鱼虫皆另立科目(山水中，树石、木屋也是各自立科的)。在当代，我们把中国画分为山水、人物、花鸟三大科，则树石、村落、楼观等多半归于山水。兽畜、竹石、蝶虫之类多归于花鸟。花鸟画实则是动、植物画，以花代表植物，以鸟代表动物。\n李唐的花鸟画在当时尤为突出。吴其贞《书画记》中记有李唐《梅竹禽雀图》，并云“甚剥落”，然“精彩尚在”。《严氏书画记》中还记有李唐的《古木寒鸦图》，他自己也说：“早知不入时人眼，多买胭脂画牡丹。”这一类作品虽很精彩，可惜，今天已不可见，记载亦不详。据历来的叙说，李唐“尤工画牛”(《图绘宝鉴》)，“善作山水人物，最工画牛”(《画继补遗》)。他当时的花鸟画成就可能大于山水和人物。本来，北宋画院的花鸟画成就是高于山水画的。\n在记载中，李唐的画牛之作也确实多，如《桃林纵牧图》、《放牧图》、《春牧图》、《秋牧图》、《烟林春牧》、《风雨归牛图》、《三生图》等等。《清河书画舫》所记李唐的《桃林纵牧图》：“不知者谓为戴嵩。”戴嵩乃唐代画牛名家，当时及后代，皆称“韩马戴牛”，即韩干的马、戴嵩的牛。李唐的牛被人误认为是戴嵩所画，可见其精彩之至。还记“李唐尤工画牛，得戴嵩遗法”。\n《东图玄览》记：“李唐《春牧图》，牛欲前行，童子力挽之，势甚奇。”吴其贞《书画记》载：“李唐《风归牛图》……有一牛乘风而奔，气韵如真，为神晶。”又记：“李唐《牧牛图》绢画一幅，树下有水，牛欲右行，而牧童欲牵左转，两下努力相持，使观者亦自费力。”以上记载，亦可略见李唐画牛成就之一斑了。李唐画的牛今日已不多见了。《乳牛图》一直传为李唐之作，在传世的宋人画牛图中，似此图者不少，然如此图之精彩者却不多。现存画迹中，南宋的画牛图还不算太少，大抵皆受李唐的影响。\n李唐(约1066一约1150)字晞古，河南人，乃南宋画院“四大家”之一，宋徽宗时就已是画院待诏。后因战乱被俘，遂又潜逃南渡，历尽颠沛流离之苦，一度落泊于南宋都城临安，靠卖画度日。后被高宗赵构重用，仍任朝廷画院旧职。李唐的山水、人物、走兽皆精，而山水最佳，创大斧劈皴法，所作长图大幛，气势宏伟，独步南宋画坛。晚年代表作有《清溪渔隐图》等留世。其人物画富李公麟遗韵，却性格刻画突显，且多绘文人高士形象，如《七贤过关图》、《采薇图》等。史传他极擅画牛，但存世作品真伪难辨。",[24,25,81,173,7,177,2532,151,106,353],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9caed9a29913ebe1ad5d983892d9d17.jpg",[],{"id":50532,"slug":50533,"title":50534,"dynasty":76,"author":6641,"museum":78,"description":6642,"tags":50535,"thumbUrl":50536,"material":638,"size":139,"collection":139,"collections":50537,"showCount":49972,"zanCount":48,"manualWeight":48,"mainColor":94},233192,"hua-hui-ce-mei-hua-zhu-ye-zhao-zhi-qian-233192","花卉册-梅花竹页",[24,25,81,173,7,83,820,227,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68a3f56778ab52cafa54736f7f44df9a.jpg",[],{"id":50539,"slug":50540,"title":15229,"dynasty":18,"author":391,"museum":20,"description":50541,"tags":50542,"thumbUrl":50543,"material":21126,"size":50544,"collection":139,"collections":50545,"showCount":49972,"zanCount":2368,"manualWeight":48,"mainColor":94},232988,"pi-pa-shan-niao-tu-ye-zhao-ji-232988","图中枇杷果实累累，枝叶繁盛。一山雀栖于枝上，翘首回望翩翩凤蝶，神情生动。此图体现崔白清澹之体。宋徽宗赵佶的花鸟画以设色为多，然而此图纯以水墨勾染而成，格调高雅，略似没骨画效果，别具一种苍劲细腻之韵致，体现了赵佶多方面的绘画才能。\n对开有清乾隆御题诗一首：“结实圆而椭，枇杷因以名。徒传象厥体，奚必问其声。鸟自讬形稳，蝶还翻影轻。宣和工位置，何事失东京。”感慨宋徽宗如此精于绘画，工于构图和经营位置，缘何却把国家丢失了？",[24,194,28,7,1260,86,212,83,1036,16257,554,569],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f708f56a9bfc0b0d7181fc6adb9c5aa.jpg","纵22.6厘米，横24.5厘米",[],{"id":50547,"slug":50548,"title":50549,"dynasty":302,"author":6965,"museum":191,"description":50550,"tags":50551,"thumbUrl":50552,"material":638,"size":50553,"collection":139,"collections":50554,"showCount":49972,"zanCount":2368,"manualWeight":48,"mainColor":49},232832,"fang-ma-tu-zhao-yong-232832","放马图","《元赵雍骏马图》是元代画家赵雍的作品，该画出自家传，善山水，尤精人马及竹石。水滨疏林，骏马五匹散游其间，圉人倚松假寐，状极悠闲消遥。马匹肥壮，设色以青绿为之，树叶之表现近图案方式，饶古拙之趣，颇有唐人遗意。该画中山水份量极重，构景空濶而幽远。\n该幅《骏马图》，描写平畴牧马景致，画中山水的分量极重，布局空阔而幽远。水滨画杂树林立，骏马五匹散游其间，自得其乐；圉人（饲马的胡人）倚松假寐，神情极为逍遥；湖水如镜，远岫屏列，益觉一派静穆祥和。马匹结体壮硕，颇有唐代画马名家曹霸、韩干的遗意。配景设色则以青绿为之，夹叶填彩的表现法，已近乎图案形式，实滥觞于隋唐所盛行的青绿传统。唯远山掺用披麻皴纹，透露出董源、巨然山水风格的影响辙痕。\n早在秦汉时期，马匹造形即被广泛运用于殉葬的明器当中，魏晋的陵墓壁画，亦不乏骑马、射猎等生活写照。有唐一代，随着养马风尚高涨，画马的艺术也臻于极峰，举凡曹霸、陈闳、韩干、韦偃等人，均有作品传世。\n宋元以后，画马风气受到山水画勃兴的影响，逐渐趋向式微，除却李公麟的白描人马尚自具一格外，鲜少能超迈前贤的力作。而赵雍置身于复古思想炙热的元代，笔端吞吐着浓郁的唐人风范，诚属“汲古以创新”的心态所使然。事实上，赵雍画马已不似唐马那般丰肥，线条的感觉较为柔婉、秀丽，加上揉合青绿设色与董、巨披麻皴纹的山水配景，致使全画于装饰意味之外，犹未失却文人作画所特有的儒雅本色。显然，赵雍笔下的人马业已展现出元朝的时代风貌，不复为单纯的临摹与仿古了。\n该幅画平畴林野牧马的景致，画骏马五匹或磨肩，或依偎，或觅食于树荫下，不管在结构或造形上，皆显示画家对马匹曾做仔细的观察与了解，轻而易举地掌握复杂的造型。圉人倚松假寐，状至悠闲逍遥。人马以中锋钩画，人物表情生动，马匹结体雄壮。树叶以近似图案的工整格式画出，装饰性强，饶古拙之趣。画家更利用平镜无纹的湖水，及罗列的远山，加强空间的推衍及层次感，呈现阔远松秀的画面。其青绿设色及用笔虽颇有唐人遗意，但因结合设色与皴法，远较唐之青绿山水雅淡，充分地发挥笔墨情趣。\n这幅画是赵雍为色目人官员─孛颜忽都所画的。画风主要承袭自隋唐时代青绿山水，设色主要填染了石青、石绿，色彩浓丽；还有，如画树叶先勾出轮廓，再填入颜色，正是工笔画中夹叶填彩的画法。此外，马匹高大肥硕的体型，也是追法唐代画马的意趣。不过，赵雍的这幅画还揉合了五代画家董、巨一派的笔意，例如：表现远山质感、那种类似苎麻纤维的线纹，叫做披麻皴:。综而观之，《元赵雍骏马图轴》的人物、马匹及山水背景，虽具唐宋古意遗韵，但在构图上一水两岸的平远景致，依旧是典型的元人特色。赵雍在元代复古的风潮中，也开拓了新的时代风格。",[23,194,24,25,28,7,106,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c6e084133cc7dc0b63f3c2d393ccdc9.jpg","186×106公分",[],{"id":50556,"slug":50557,"title":50558,"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“观其风神笔力”，故称为赵伯驹之作。本幅画山水晴云，游骑寻春，村家桃柳，水亭茶话。通幅以青绿为主调，生动地表现出春日触目皆绿的景致",[23,194,24,25,226,7,29,107,108,109,174,28,177,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e7c6c4658758839cef52e467585382b.jpg","纵89.5cm，横32.3cm",[],{"id":50573,"slug":50574,"title":50575,"dynasty":99,"author":9246,"museum":191,"description":50576,"tags":50577,"thumbUrl":50578,"material":88,"size":50579,"collection":139,"collections":50580,"showCount":49972,"zanCount":48,"manualWeight":48,"mainColor":49},231953,"su-shi-liu-dai-tu-cui-zi-zhong-231953","苏轼留带图","宋神宗年间(1078年前后)苏东坡与佛印法师是知心好友，称为“忘形交”。一天苏东坡突然来访，直入方丈室。佛印正欲为僧众说法，故意开玩笑不让苏东坡坐，说：“此间无坐处”。苏东坡随即用禅宗之语答道：“暂借佛印四大为座”。佛印见他居然班门弄斧，便想难难他，提出如果答出问题就请他坐，答不出就把玉带输掉。苏轼自以为难不倒他欣然答应。佛印问：“既然四大皆空，五蕴非有，居士向哪里坐?”(四大：“地、水、火、风”大，佛教认为是构成物质的四大元素。五蕴：“色、受、想、行、识”蕴，是构成人身的五种因素)。你想，既然四大皆空，五蕴非有，便是空空如也，一无所有。哪里还会有什么座位呢?苏东坡果然被难住了。只得解下玉带相赠。佛印也当即取出一幅自己的衲裙回赠。真得感谢这位聪明的和尚，为我们留下了这件珍贵的文物。苏东坡还写了三首诗记这件事，题目叫《玉带施元长老，元以衲裙相报次韵》，其中有“此带阅人如传舍，流传到我亦悠然。锦袍销落应相称，乞与佯狂老万回”等句，流露出政治上失意上图专为存放苏东坡玉带供人观瞻的“留玉阁”\n这幅《留带图》，画的正是苏轼与僧人参廖子的故事。崔子忠师承董其昌，在人物画上与陈洪绶齐名，并称南陈北崔。所画人物面目清奇而有古意。惜乎所寻的这幅《留带图》太小，咱竟不能见识其笔力。也罢，苏胡子是多面手，不但词文冠绝天下，连书法绘画都是超一流名家。宋四家“苏黄米蔡”，苏胡子书法排名大宋第一。崔画不清晰，录一幅苏胡子的字以弥补。《黄州寒食帖》，号称天下行书第三。\n“有情风万里卷潮来，无情送潮归”，“对潇潇暮雨洒江天，一番洗清秋”，“无边落木萧萧下，不尽长江滚滚来”，就是这样的联想，就是这样的博大开阔的境界。\n婉约为正宗的词在苏轼那里有了极大的开拓，但是可惜其他人没有追随上来。天才常常比一般人走得快一点吗？秦观，仍是词人之词，他为何不学苏轼做诗人之词？但秦观依然有其特色之处，一般人常把抽象的感情比作具象的景物，但秦观却能够把具体的形象比作抽象的感情。",[860,24,25,28,7,173,106,34,176,114,4355,409,86,212,795,11542],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62ad3b4fbcab6254827d3f2934fc1b38.jpg","81.4x50",[],{"id":50582,"slug":50583,"title":50584,"dynasty":256,"author":257,"museum":316,"description":50585,"tags":50586,"thumbUrl":50587,"material":599,"size":600,"collection":139,"collections":50588,"showCount":49972,"zanCount":48,"manualWeight":48,"mainColor":49},231709,"lian-cang-shi-dai-tian-gou-cao-zhi-hua-juan-dong-si-ti-hu-si-juan-yi-ming-231709","镰仓时代 天狗草纸画卷-东寺醍醐寺卷","这幅淡彩界画长卷以平远视角铺展古寺全景，工致勾勒出朱红深褐的殿宇院墙，与青绿浅赭的丘林水色相融，古雅清寂。苍松错落点缀寺畔林麓，桥宇台阁排布严整，尽显伽蓝规制的肃穆雅致。配题书法端稳沉静，与界画的工细营造呼应，将古寺的清幽禅意与山林水景织为一卷，还原出古寺隐于林泉的澹然风貌，晕染出沉静古朴的宗教绘卷质感。",[23,24,25,26,7,104,28,260,107,108,109,175,29,34,176,1463,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86233f6d563f2506979f6ec094ee2458.jpg",[],{"id":50590,"slug":50591,"title":33623,"dynasty":302,"author":257,"museum":191,"description":50592,"tags":50593,"thumbUrl":50594,"material":50595,"size":50596,"collection":139,"collections":50597,"showCount":49972,"zanCount":48,"manualWeight":48,"mainColor":49},231399,"qiu-shan-tu-yi-ming-231399","在这幅画中，峰峦叠嶂，溪流嶙峋，飞瀑流泉在薄雾之中。 是文人墨客睡觉的理想场所。 构图十分多样，笔墨精美，色彩点缀恰到好处。",[24,25,29,177,173,7,685,378,109,176,5218,686,981,809,808],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95db5f648889bd0b3227e7193ab2e761.jpg","绢本 水墨","46.3x57.1厘米",[],{"id":50599,"slug":50600,"title":8132,"dynasty":76,"author":329,"museum":191,"description":50601,"tags":50602,"thumbUrl":50603,"material":581,"size":50604,"collection":139,"collections":50605,"showCount":49972,"zanCount":48,"manualWeight":48,"mainColor":49},231370,"bai-ying-tu-lang-shi-ning-231370","《白鹰图》创作于乾隆十六年（1751年），是郎世宁中西画法完美结合的最杰出作品之一。\n画面主体中的白鹰以白粉精细描绘，传承欧洲绘画技法，注重物象的解剖结构、光影效果及立体感，把翘首殷望的白鹰刻画的形神逼真；而背景中的松石则全然采用中国写意笔墨，清涧石岩，傲松凌立。\n此图绘江南雨后的芭蕉竹石，笔墨粗简，构图也十分简括。画幅上方，留出大面积空白，显得更加深邃清旷。这种“知白守黑”的处理，使画意更加完整而富于张力，给观者以无限的想象空间，正所谓“于无画处，皆成妙境”。整幅作品充满着一种自省的内在精神，耐人寻味。\n《白鹰图》以独特的艺术构思、隽永的表现手法和浑然天成的情景交融给观者以极大的艺术享受，意境深远，令人思绪万千。\n这幅《白鹰图》虽然有着明显欧洲画法的因素，但是画中所含的内容却完全是传统中国的风格。图中白鹰、松树、巨石、流水等均是中国绘画中习见的物象，喻意中象征着强壮、长寿、平安、吉祥等等。根据画上的署款，此图是根据乾隆十六年五月初十日，大学士忠勇公傅恒所进献的白鹰所画，相传皇太后生日即在五月，乾隆大孝，号称“以天下养”，即用天下最美好的财富来侍奉母亲，因此，《白鹰图》也是一幅极为贵重的祝寿图。",[24,25,226,28,7,245,746,29,353,109,230,194],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F991122f93eaf082fff4079d1c96c94cd.jpg","122.25x64.79",[],{"id":50607,"slug":50608,"title":50609,"dynasty":302,"author":257,"museum":316,"description":50610,"tags":50611,"thumbUrl":50612,"material":139,"size":139,"collection":139,"collections":50613,"showCount":49972,"zanCount":48,"manualWeight":48,"mainColor":94},230899,"zhang-yu-ti-ni-zan-xiang-yi-ming-230899","张雨题倪瓒像","画中主人斜坐榻上，眉眼疏朗沉静，素衣简饰尽显出尘之姿。侍童捧盏垂首静立，仆从持帚恭谨侍于侧旁，案头清供文玩雅致小巧，背景浅绘林峦远汀，暗合主人简淡的笔墨意趣。左侧题诗与遍身鉴藏朱印，为画作添上流传的厚重底色。\n\n全作设色清雅柔润，线条细劲秀逸，将元末文人耽于泉石诗书的狷介风骨尽数铺陈，人物情态鲜活自然，把肖像纪实与文人雅趣精妙相融，尽显元人肖像画的含蓄意韵。",[194,24,25,26,7,28,352,106,212,86,4355,280,3701],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67502f268a6b09045cf37786e306694e.jpg",[],{"id":50615,"slug":50616,"title":50617,"dynasty":76,"author":9598,"museum":316,"description":50618,"tags":50619,"thumbUrl":50620,"material":139,"size":139,"collection":139,"collections":50621,"showCount":49972,"zanCount":2368,"manualWeight":48,"mainColor":49},230857,"jiang-xiang-qing-xiao-tu-yu-zhi-ding-230857","江乡清晓图","《江乡清晓图》是清代画家禹之鼎创作的一幅绢本设色画，现藏于旅顺博物馆。\n两棵老柳垂条，掩映溪桥田野，远处山麓桃花盛 开、一派江南水乡春色。\n柳畔屋前，妇携幼童，望老翁坐 在矶石上垂钓。\n笔 墨工秀，设色浓丽， 刻划精细，如屋内 纺车、老翁戴的无 顶草笠、带有线轮 的钓竿，均一丝不 苟。\n自题“戊子首春 仿赵大年江乡清晓 图”。\n戊子为康熙四 十七年(178)，乃晚 年手笔。\n禹之鼎（1647—1716年），字尚吉，号慎斋，江都(今江苏扬州)人。\n清康熙二十年(1681年)官鸿胪寺序班，以画供奉入畅春园。\n善画人物、山水，尤精写真。\n初师蓝瑛，兼学宋元诸家。\n肖像画面貌多样，对白描法、墨骨法、江南法都有研究，所绘人物形神兼备，独具一格，一时名公小像多出其手，其肖像画在清代中期有“当代第一”之誉。",[23,24,25,7,28,177,29,106,108,109,1241,243,989,4953,2385,7587,21545],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa80bad0a4e7b08769098da0f127b7e6.jpg",[],{"id":50623,"slug":50624,"title":50625,"dynasty":256,"author":13384,"museum":316,"description":13385,"tags":50626,"thumbUrl":50628,"material":599,"size":600,"collection":139,"collections":50629,"showCount":49972,"zanCount":48,"manualWeight":48,"mainColor":49},230655,"yu-jia-mu-xiang-xi-zang-tang-ka-230655","瑜珈母像",[23,15368,50627,260,6768,7,106,49351],"卷轴画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F282103b47786ff8178fb97e77c8701c5.jpg",[],{"id":50631,"slug":50632,"title":50633,"dynasty":256,"author":33007,"museum":316,"description":33008,"tags":50634,"thumbUrl":50635,"material":599,"size":600,"collection":139,"collections":50636,"showCount":49972,"zanCount":48,"manualWeight":48,"mainColor":49},230505,"shi-ting-shi-dai-si-ji-hua-niao-tu-ping-feng-er-ping-xue-zhou-230505","室町时代 四季花鸟图屏风-二屏",[23,24,7,28,1273,292,245,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff786dfaab4c789f09b02ecc5404306e5.jpg",[],{"id":50638,"slug":50639,"title":50640,"dynasty":256,"author":50641,"museum":316,"description":38922,"tags":50642,"thumbUrl":50649,"material":599,"size":600,"collection":139,"collections":50650,"showCount":49972,"zanCount":48,"manualWeight":48,"mainColor":94},230480,"fu-shi-hui-juan-mu-he-tian-wen-cun-230480","浮世绘巻","目贺田文村",[23,12745,26,7,106,117,8419,50643,50644,195,3982,6674,2385,50645,12836,50646,9412,50647,50648,8565],"笼子","担子","日常用具","箱子","行走","交易","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff608c952df2fbc7cf2073369489e54a8.jpg",[],{"id":50652,"slug":50653,"title":15732,"dynasty":76,"author":17256,"museum":316,"description":38012,"tags":50654,"thumbUrl":50655,"material":599,"size":600,"collection":139,"collections":50656,"showCount":49972,"zanCount":48,"manualWeight":48,"mainColor":94},230355,"lan-ting-xiu-xi-tu-juan-fan-qi-230355",[23,24,25,26,7,28,29,175,106,109,108],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5707e8f94ee1c363234026c2a717d008.jpg",[],{"id":50658,"slug":50659,"title":50660,"dynasty":76,"author":257,"museum":316,"description":50661,"tags":50662,"thumbUrl":50663,"material":599,"size":600,"collection":139,"collections":50664,"showCount":49972,"zanCount":2368,"manualWeight":48,"mainColor":49},230330,"chao-xian-guan-yuan-xiao-xiang-zhou-yi-ming-230330","朝鲜官员肖像轴","这幅肖像工致写实，将宦者气度凝于绢素。画中人物面容沉凝，银髯垂胸，眉峰微蹙自带持重威严，眉眼晕染细腻，将阅尽世事的沉稳刻画入微。\n素色官袍晕染柔和雅致，衣纹舒展自然，乌纱帽制式严谨细节毕现，暗合礼制规制。座椅铺陈的豹纹裘饰，低调彰显尊荣身份，背景织锦纹样规整古雅，烘托出肃穆沉静的氛围。\n整体笔意克制内敛，兼顾纪实传神与礼制象征，尽显士大夫的端方儒雅，是传统肖像画兼具审美与礼制内涵的典型之作。",[23,24,226,7,106,28,63,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5db95857ae99b5f83df15929d5968cba.jpg",[],{"id":50666,"slug":50667,"title":50668,"dynasty":76,"author":329,"museum":316,"description":50669,"tags":50670,"thumbUrl":50671,"material":139,"size":139,"collection":139,"collections":50672,"showCount":49972,"zanCount":2368,"manualWeight":48,"mainColor":94},230209,"hua-a-yu-xi-chi-mao-dang-kou-tu-juan-lang-shi-ning-230209","画阿玉锡持矛荡寇图卷","《玛瑺斫阵图》是意大利籍画家 创作的纸本设色国画，现藏于 。\n是中国清代清军平定西域战争中的立功者。\n他曾随副将军富德讨伐 叛乱，奋勇冲杀，三箭将敌酋射落马下，后来被敌军所围，战马负伤倒毙，玛瑺弃坐骑步战，负伤十余处，仍坚持作战，以战功升为护军统领。\n图中玛瑺纵马弯弓追杀，敌酋中箭，垂首弃矛坠马。\n郎世宁以他擅长的“写真”技艺，精细、真实地刻画了一位勇士的形象，作者将所有的背景舍去，突出了画中的人物。\n人及马匹的画法十分细致，采用的是欧洲的画风。\n同样题目、内容和构图的画有二幅，另一幅现藏于德国柏林东方美术馆。\n此图中画敌将负伤，耷拉着脑袋，乘黑马飞速逃窜。\n光着脑袋，上穿束袖黑衣，下穿米黄色袴裤，两手支撑在马的肩部，低头怒目斜视，惟恐有乘骑迫上，中二箭，黑马四蹄伸展作飞腾般的逃窜。\n后面画有清勇将玛瑺手持弓箭，上佩带红锦“撒袋”（即装了箭的袋），撒袋内装满了弓箭，御白马紧迫其后。\n画面中显示了一场惊心动魄厮杀决斗的场面，敌将受伤逃窜，形象十分狼狈。\n玛瑺乘骑追赶，抬头挺胸显得威风凛凛，双目凝神，专注盯住着前方的敌将。\n1759年（乾隆二十四年）清军勇士玛瑺跟随右副将军富德率军在呼尔满（今莎车东北）平定回部叛乱，玛瑺歼敌英姿焕发，奋勇冲杀，以三箭毙敌，後被敌所困，负伤仍坚持抵抗，因其战役的特殊表现，升为护军统领。\n在平定西域准部回部的战役中，乾隆皇帝特别称赏玛瑺与阿玉锡两位勇士的战功，除了油画脸像、功臣像小稿、功臣像立轴玛瑺与阿玉锡皆在列外，还让郎世宁绘了《玛瑺斫阵图》及《阿玉锡持矛荡寇图》并要求宫廷画家绘制《玛瑺得胜图》以及《阿玉锡得胜图》等贴落大画。\n画中的人物和马匹，造型准确，物象逼真，描绘深入细腻。\n人物和马匹比例结构十分准确，其姿态和动势俱合法度，足见作者的功力之深厚。\n光的使用是郎世宁绘则的另一个特色，这幅画卷中，人物、马匹均应用了光的原理，使物象极富立体感，马皮毛的质感也很好地表现出来。\n明显地采用了西洋画的投影法，但只要细细观察，仍含有中国绘画传统手法，即马匹上所采用的阴影，亦是以中国的传统渲染方法来完成的，但骨子里还是西洋古典画的成分较中国画的成分为浓，体现了高度的写实技巧。\n总体来说，此画设色轻淡，用笔精谨，线条清劲，是一幅难得的精品。\n主题与关键字：马、军士、兵器、蕃族、马鞍。\n石渠宝笈续编（宁寿宫），第六册，页49 故宫书画录（卷四），第二册，页284 故宫书画图录，第二十一册，页175-178 （1688—1766）是意大利人，生于米兰，1715年（清康熙五十四年）到中国，随即入宫，曾参加圆明园西洋楼的设计工作，历任康、雍、乾三朝，在中国从事绘画达5多年。\n由于郎世宁带来了西洋绘画技法，向皇帝和其他宫廷画家展示了欧洲明暗画法的魅力，他先后受到了康熙、雍正、乾隆的重用。\n他是一位艺术上的全面手，人物、肖像、走兽、花鸟、山水无所不涉、无所不精，成为雍正、乾隆时 的代表人物。\n他的代表作品有《 》《 》《 》《弘历及后妃像》《平定西城战图》等。",[24,25,26,7,28,106,150,2439,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb30b05b41246e11eef45301f413a00ec.jpg",[],{"id":50674,"slug":50675,"title":28558,"dynasty":76,"author":7596,"museum":316,"description":50676,"tags":50677,"thumbUrl":50678,"material":139,"size":139,"collection":139,"collections":50679,"showCount":49972,"zanCount":48,"manualWeight":48,"mainColor":94},229020,"song-qiao-tang-tu-juan-wang-hui-229020","此作为全景山水长卷，以平远章法铺展丘园山居。山峦以披麻皴晕染，墨色温雅清润，层叠峰峦间林木蓊郁，村居茅舍错落隐于松石溪畔，漾出江南山居的幽寂雅致。\n\n画作糅合元人笔墨逸趣与宋人丘壑之美，笔致秀逸温婉，将林泉高致的隐逸意趣藏于尺幅。卷后长题与绘境相映，文墨与画韵相得益彰，尽显清雅出尘的文人画格调，是兼具写景抒情的山水佳构。",[23,24,25,26,7,29,177,1273,176,35,1169,34,175,109,212,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15c561e116abb11fa5628ec40e21a60a.jpg",[],{"id":50681,"slug":50682,"title":50683,"dynasty":76,"author":698,"museum":316,"description":50684,"tags":50685,"thumbUrl":50686,"material":139,"size":139,"collection":139,"collections":50687,"showCount":49972,"zanCount":48,"manualWeight":48,"mainColor":94},228938,"qian-long-nan-xun-zhu-bi-tu-qian-wei-cheng-228938","乾隆南巡驻跸图","此作用鸟瞰全景式构图，将山林梵宫驻跸地铺展于绢面。界画工细严整，殿宇层叠排布对称规整，朱红标识清晰点明殿内陈设，精准勾勒出建筑形制，尽显驻跸行馆的严整规制。\n\n周遭林木苍秀错落，淡墨轻赭晕染丘壑，将人工营造融于山野清境之中。整体设色古雅沉静，笔触精细柔和，既详实记录了驻跸之所的全貌，又以山水画意晕染出江南林泉的幽谧雅韵，是纪实性与文人画意趣相融的精品，尽显山林行宫的清雅格局。",[23,24,25,104,7,28,107,29,34,114,115,176,689],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd542b499186cbae634efac97536fa24b.jpg",[],{"id":50689,"slug":50690,"title":50691,"dynasty":99,"author":50692,"museum":316,"description":50693,"tags":50694,"thumbUrl":50696,"material":139,"size":139,"collection":139,"collections":50697,"showCount":49972,"zanCount":2368,"manualWeight":48,"mainColor":94},228888,"lan-ting-tu-bing-shu-xu-juan-xu-guang-zuo-228888","兰亭图并书序卷","许光祚","《兰亭图并书序》为中国明代 创作的绫本书画作品，现藏于 。\n卷后有 书《兰亭序》，落款曰：“辛亥暮春摹于长水之玉瑛堂。\n关西许光祚。\n”下钤“灵长氏”朱文印。\n辛亥为1611年（明万历三十九年）。\n画心无款，有“永安沈氏藏书画印”朱文鉴藏印一方。\n许光祚，活跃于明代万历年间，字灵长，陕西人。\n与汤焕同郡，得其书法，时人号曰汤许。\n举于乡，知太平县，著有《许灵长集》。\n有书法作品传世，但文献没有记载他能绘画。\n此卷以山水为背景，表现兰亭修禊故事。\n卷首山脚下二文士携三童子而来，往前溪水边有一亭，亭中间置一桌，一文士在桌上挥毫，一文士坐于侧，另有一文士坐长凳上倚栏观鹅。\n溪流两岸边绘众文士及童子，文士们分组而坐，或凝思或交谈，或观摩或挥毫，其中有一人袒胸盘坐，双手上举似为养气，另有两文士在喝交杯酒，形态生动。\n溪流间有荷叶托着酒杯顺流而下。\n该图虽然大体继承了宋元以来兰亭雅集图亭中观鹅、岸边赋诗的构图方式，但从图中人物的服饰、动态及人数等来看，画家表现的更像是明代文人模仿王羲之等兰亭雅集时的情形，而不是真实地再现当时的原貌。\n人物线条简洁严谨，设色淡雅，山石轮廓以侧笔皴擦，工整柔和。",[23,24,25,26,7,28,106,29,108,109,175,1273,3712,243,1551,50695,1554,178],"赋诗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F140767863d6e7de949761cc86cc06bd4.jpg",[],{"id":50699,"slug":50700,"title":50701,"dynasty":99,"author":1782,"museum":316,"description":50702,"tags":50703,"thumbUrl":50704,"material":599,"size":600,"collection":139,"collections":50705,"showCount":49972,"zanCount":48,"manualWeight":48,"mainColor":94},228846,"da-mo-zhi-hui-neng-liu-dai-zu-shi-tu-juan-dai-jin-228846","达摩至慧能六代祖师图卷","图中捕绘达摩端坐于深山洞中，面壁打坐，神态平和又虔诚。还有二祖神光（后更名慧可）、三祖僧璨、四祖信道、五祖弘忍、六祖慧能（唐高僧，佛教禅宗南宗的开创者），以及其他僧15个人。此画技法精熟，人物衣纹工整流畅，深得李唐、刘松年遗意。",[23,24,25,26,260,106,29,173,7,177,86,178,212,34,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75473e50ad591868084cb87012e07044.jpg",[],{"id":50707,"slug":50708,"title":50709,"dynasty":99,"author":170,"museum":316,"description":50710,"tags":50711,"thumbUrl":50712,"material":599,"size":600,"collection":139,"collections":50713,"showCount":49972,"zanCount":48,"manualWeight":48,"mainColor":94},228832,"zhi-xing-yu-you-tu-juan-shen-zhou-228832","支硎遇友图卷","沈周（1427～1509）字启南，号石田、白石翁等，长洲（今江苏苏州）人。生於明宣德二年，卒於明正德四年，享年八十三岁。不应科举，专事诗文、书画，是明代中期文人画“吴派”的开创者，与文徵明、唐寅、仇英并称“明四家”。",[23,24,25,26,29,7,173,177,178,212,685,378,989,174,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1aeef33843a62e33d32642d607f6d0b8.jpg",[],{"id":50715,"slug":50716,"title":50717,"dynasty":99,"author":257,"museum":316,"description":50718,"tags":50719,"thumbUrl":50720,"material":139,"size":139,"collection":139,"collections":50721,"showCount":49972,"zanCount":48,"manualWeight":48,"mainColor":49},228798,"song-yin-xue-hu-tu-yi-ming-228798","松荫雪虎图","萧寒雪色覆满林莽，古松虬曲苍劲，皴染厚重的枝干尽显老辣古拙，松针攒簇如铁，撑起一片幽寂荫凉。\n\n画中猛虎盘踞雪地，姿态松弛慵懒，却难掩百兽之王威仪。虎身斑纹勾勒劲挺写实，毛发晕染细腻柔和，将皮毛的蓬松质感尽显无遗。它目光沉沉锁着爪下猎物，獠牙微露，悍野之气暗藏于松弛神态中。\n\n淡墨晕出薄雪覆于枯槎衰草间，冷寂荒寒的雪境，更衬出猛虎孤高凛冽的气场。整作工写相融，细处描摹虎之肌理毛发，粗笔铺就林雪萧索氛围，于静谧间暗藏肃杀野性，尽显走兽画的精妙写实功底，将冬日林莽的荒寒与百兽王的雄健完美揉合。",[23,24,194,25,7,28,177,5443,746,1133,2086,686,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62072f89e4fcb137c0ced81bb18267a8.jpg",[],{"id":50723,"slug":50724,"title":50725,"dynasty":99,"author":17710,"museum":316,"description":50726,"tags":50727,"thumbUrl":50728,"material":139,"size":139,"collection":139,"collections":50729,"showCount":49972,"zanCount":48,"manualWeight":48,"mainColor":94},228464,"liu-pu-yu-le-tu-qian-gu-228464","柳浦渔乐图","此作用长卷铺展江南水居意趣，烟波江上渔舟星散，渔人或垂纶闲坐，或收网归棹，鲜活尽显水乡生计日常。两岸柔柳拂波，杂树错落，茅舍隐于林薮，鸥鸟翔集天水之际，淡墨轻晕出空濛烟岚，将野逸清寂的乡野意趣与寻常烟火相融。笔墨秀雅松灵，设色浅澹柔和，把文人心向往之的渔樵隐逸之乐，藏在一水一木、一渔一舟间，实景鲜活与雅逸诗意兼具，尽显温润雅致的笔墨情致。",[23,24,25,26,173,7,29,2532,109,174,245,1980,106,796,34,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4627df9684f8bd39579529eacfef4b9a.jpg",[],{"id":50731,"slug":50732,"title":50733,"dynasty":99,"author":39025,"museum":316,"description":50734,"tags":50735,"thumbUrl":50736,"material":599,"size":600,"collection":139,"collections":50737,"showCount":49972,"zanCount":48,"manualWeight":48,"mainColor":49},228344,"song-yin-shu-wu-tu-wang-shi-chang-228344","松荫书屋图","王世昌（生卒年不详），明代画家，字时雍（又作畴雍），号历山，山东人，李开先在《中麓画品》（1541年成书）中即对他有评论记载。他工画山水人物，画法出于院体浙派，山水笔墨苍劲雄浑，人物用笔劲捷，骨力凝重，造型生动。传世作品有《高士访隐图》、《高士吟秋图》、《高士春山图》、《山水图》、《松荫书屋图》等。见《图绘宝鉴续纂》、《无声诗史》。",[23,194,24,25,226,3559,173,7,177,1133,176,109,986,106,34,1169,37,18804],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05b8e35ce302f74142791093945b3c13.jpg",[],{"id":50739,"slug":50740,"title":50741,"dynasty":99,"author":857,"museum":316,"description":50742,"tags":50743,"thumbUrl":50744,"material":139,"size":139,"collection":139,"collections":50745,"showCount":49972,"zanCount":2368,"manualWeight":48,"mainColor":49},228323,"shi-zuo-bai-yi-guan-yin-chen-hong-shou-228323","石座白衣观音","此作以天然石窟为龛，菩萨趺坐其中，奇石皴笔老硬苍劲，造型奇崛朴拙，将白衣观音衬得愈发恬和沉静。衣纹勾勒细劲绵密，如曹衣出水般贴合身形，素白浅晕尽显织物柔润垂坠质感，与山石硬朗形成刚柔对照。\n\n上方朱红花卉设色古雅柔婉，为冷寂岩窟晕开几分暖意生机，冲淡了佛境的清寂。整幅笔简意足，高古静穆的禅意与奇幽冷逸的笔意相融，把观音澹定慈悲的气韵烘托尽致，尽显独特的古雅佛国意趣。",[24,7,28,260,106,230,292,226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1091d2300ff65bf353030cdf5062650.jpg",[],{"id":50747,"slug":50748,"title":50749,"dynasty":99,"author":857,"museum":316,"description":50750,"tags":50751,"thumbUrl":50752,"material":139,"size":139,"collection":139,"collections":50753,"showCount":49972,"zanCount":48,"manualWeight":48,"mainColor":49},228304,"can-zhi-tu-chen-hong-shou-228304","餐芝图","此作用笔高古奇骇，构图疏朗雅致，奇石衬出幽寂林下氛围。主角宽袍峨冠，手托芝草悠然凝思，神情澹然超迈，尽显林下高士的出尘之态。下方侍者蹲身专注燃炉蒸芝，神态恭谨，一动一静之间衬出画面闲雅意趣。衣纹勾勒清劲凝练，设色淡雅沉静，古拙的线韵晕染出静穆脱俗的幽隐意境，将服食灵草、寄情丘山的出世雅趣藏于笔底，尽显高逸绝尘的文人风骨。",[23,24,25,226,28,352,7,106,230,280,16154,18787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创作的一幅绢本设色画。\n此幅为仇英的摹古之作。\n仇英中年以后，曾先后在大收藏家周凤来和项元汴家客居近2年，得以广泛观摩宋、元名迹，摹古技艺精深。\n《中兴瑞应图》卷为南宋萧照所作，取宋高宗赵构即位前的种种瑞应传说为内容，根据曹勋辑“瑞应诸事”所写赞文描绘而成，是一幅歌颂赵构重建王朝的作品。\n此卷现存四段：一、占卜。\n徽、钦二帝被俘后，显仁皇后在行殿用棋占卜，兆告康王继位，众皆庆贺。\n二、渡河。\n一骑陷落冰际，惟赵构得免。\n三、授衣。\n萝黄袍加身。\n四、射兔。\n高宗戎装骑驰，箭中白兔。\n原作共12段，曾藏于项元汴家，仇英因此得到观摩机会。\n卷末署有“吴郡仇英实父谨摹”款，钤“实父”、“十洲”二印。\n引首有董其昌书“仇英临宋萧照《高宗瑞应图》其昌”。\n后幅有董其昌、秦松龄、尹绳孙、许之渐、黄家舒、吴伟业六家题记。\n经项元汴、梁清标、耿信公等鉴藏。\n全画用笔粗重，设色妍丽，构图平远，既有宋画古拙雄劲的特色，又有文人画的韵致，不愧为仇英摹古精作。\n此卷临本共4段，用笔粗健，设色精细，图中建筑的比例、形象、风格以及细部都极其忠实于原作，再现了萧照绘画的神髓，可谓“下真迹一等”。\n也有古建筑研究专家认为仇英的楼阁画只是在临摹宋画时才有出色的表现，而其自己的创作则逊色一筹。\n仇英（1494-1561），江苏太仓人，居苏州，出身低微，初为漆丁，后改学画，初从师周臣，结交文征明、祝允明、唐寅等文人画家，对其提高文艺修养和画艺起了很大的作用。\n他还曾在收藏家项元汴家作画，遍观项氏所藏历代法书名画，并加以临摹，潜心钻研，终成一代名家。\n仇英擅人物、山水、走兽、界画，亦精于临摹，均技艺精湛。\n其山水师法赵伯驹、赵伯辅，作青绿山水，山石勾勒，皴染细密，色彩浓丽明雅，境界宏大繁复。",[23,24,25,26,7,28,104,106,107,34,115,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a11517bb5e9b3c0c974e033db1daa83.jpg",[],{"id":50778,"slug":50779,"title":908,"dynasty":18,"author":2244,"museum":316,"description":50780,"tags":50781,"thumbUrl":50782,"material":139,"size":139,"collection":139,"collections":50783,"showCount":49972,"zanCount":48,"manualWeight":48,"mainColor":94},227950,"mu-niu-tu-li-di-227950","淡墨晕开暮色山岗，枯木寒槎的枝桠如铁线劲挺，萧疏间漫着郊野冬日的荒寒意趣。坡岸间老牛缓步垂首，憨拙身形似正衔着衰草慢行，幼犊轻捷随行左右，一大一小的动静反差，晕开牧归时分的松弛温情。\n\n画作以淡赭晕染坡石，水墨铺陈烟霭，不着过多繁复刻画，以极简笔墨铺展出山野清寂氛围，于淡远荒寒中藏着质朴的田园意趣，寥寥数笔便融物态与意境为一体，尽现独有的雅致淡远诗意。",[23,194,24,25,1260,7,28,29,227,378,151,746],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f28a98374dd8c8b309719c6f9a66639.jpg",[],{"id":50785,"slug":50786,"title":24301,"dynasty":18,"author":257,"museum":316,"description":50787,"tags":50788,"thumbUrl":50789,"material":139,"size":139,"collection":139,"collections":50790,"showCount":49972,"zanCount":48,"manualWeight":48,"mainColor":49},227898,"shou-lie-tu-yi-ming-227898","元佚名狩猎图卷，绢本，辽宁省博物馆藏。\n设色，画心纵1，横19厘米。\n画峰峦叠起，沟壑纵横，溪流坡地，竹树杂处，野草漫生。\n一队身着民族服装的猎手，纵马控弦，在山谷间围堵追杀猎物。\n前部为连绵远山，坡谷间有三猎手围杀野猪、狍鹿、山兔等，场面紧张激烈，扣人心弦。\n中段作崇山环抱，沟壑交错，一猎手跌落马下，弓箭散落各处，后面三骑，迅来救助；而转过一座陡峭山峰，一带溪水自远而来，两岸长满杂草和杨树。\n画末为险峻石壁，一只雄隼咬住一只大雁颈项，雁在拚命挣扎，余四只鸣叫着四处飞逃。\n在一片较平坦的谷地间，立着一杆认旗，二长者调马备鞍。\n全图气势辽阔苍茫，笔法古朴雄浑，山石以勾勒与晕染并施，而皴法则不拘一格。\n以写实为主，山水多信笔为之，不免粗豪简率。\n而人物和马匹刻画细腻，得唐宋等前人笔法颇多。\n慓悍、浑朴之态表现得体，番马体相勾划准确。\n所绘景物、山水树石具有明显北国特色；马匹短足毛蹄，亦属蒙古马种；人物宽额高颧，为典型蒙族形象；服饰也同元初蒙族服饰相类。\n是元初北方画家典型写实之作，也是一卷难得的艺术珍品。",[23,24,913,7,28,106,150,746,245,8099],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F256486f4089412a35f1dcfbd1fd99352.jpg",[],{"id":50792,"slug":50793,"title":45046,"dynasty":18,"author":1350,"museum":316,"description":50794,"tags":50795,"thumbUrl":50796,"material":139,"size":139,"collection":139,"collections":50797,"showCount":49972,"zanCount":48,"manualWeight":48,"mainColor":49},227830,"yuan-yang-tu-ye-ma-yuan-227830","此作用边角取景，以对角构图拉开悠远意境。劲挺的墨笔写竹枝，竹叶攒聚有致，清健爽利尽显竹之风骨。溪岸山石以大斧劈皴挥扫，棱角方硬苍劲，带着冷峭的质感。\n婉转的细线勾出溪间波涡，将水流的迂回急缓藏于笔底，澄澈空明的水色晕染出幽寂氛围。石上鸳鸯恬然依偎，柔婉的情态和冷硬的景致刚柔相济，以小见大，在尺幅之间铺展出水乡清寂的诗意，将精工写实与空灵禅意相融，尽显幽隽雅致的山水情致。",[23,24,25,81,7,28,227,109,2014,230,83,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97ebd908d08df5f45d3c4cabb273658b.jpg",[],{"id":50799,"slug":50800,"title":50801,"dynasty":18,"author":5739,"museum":316,"description":50802,"tags":50803,"thumbUrl":50804,"material":139,"size":139,"collection":139,"collections":50805,"showCount":49972,"zanCount":48,"manualWeight":48,"mainColor":49},227809,"liu-yan-tu-mao-yi-227809","柳燕图","这幅小品以虚实相生铺陈春景。右畔老柳虬曲苍劲，墨色浓深尽显枝干肌理，柔细柳绦随风漫卷，笔触轻丽流逸，如见春风穿拂。枝头宿鸟两两相依，勾勒简练却灵动传神，各有情态。左侧留白空灵幽远，一只春燕振翅斜穿，破虚而来，让静景生出灵动生气。\n\n全作以水墨晕染，淡赭绢底晕化出暮春烟霭，仅以墨色轻重分出物象层次，无繁复设色。将宋人对春日的细微体察藏于简淡笔墨间，留白处似有春意在流动，仿佛能耳闻燕语呢喃、柳丝簌簌，把郊野寻常春景，晕染出悠远清和的诗意，尽显宋代小品画的雅致意趣。",[24,25,1260,7,83,1241,7714,245,230,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd706605ac2a870d038a49e2b48362bc8.jpg",[],{"id":50807,"slug":50808,"title":50809,"dynasty":18,"author":15860,"museum":316,"description":50810,"tags":50811,"thumbUrl":50812,"material":139,"size":139,"collection":139,"collections":50813,"showCount":49972,"zanCount":48,"manualWeight":48,"mainColor":49},227703,"shan-yao-lou-guan-tu-xiao-zhao-227703","山腰楼观图","《山腰楼观图》是宋代画家萧照创作的一幅绢本水墨画，现收藏于台北故宫博物院。\n\n此图右侧，仅画江水、浅滩、远渚、烟树，山间一条小路迂回盘旋，经前峰山腰渡口直抵后峰山巅，临近山巅处有一片楼台亭阁，一登山行人已走近。右下临水山岩上两人指看远方美景；左侧最高峰画得半壁实半壁虚，虚处乃为江上水气所迷，上升成岚，后面还添上几座淡淡峭峰，启人高远不可测的“仰止”之叹。山际径路盘曲，有两人策杖而上，而楼观却深深埋藏在山坳幽谷中。该图近山浓重，远山清淡，又形成虚实对比。",[23,194,24,25,3559,104,177,7,176,34,978,174,1426,1170,107,1169,5702],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cbb108bac6d25aa9774d3238cd413a6.jpg",[],{"id":50815,"slug":50816,"title":50817,"dynasty":18,"author":7833,"museum":316,"description":50818,"tags":50819,"thumbUrl":50820,"material":139,"size":139,"collection":139,"collections":50821,"showCount":49972,"zanCount":48,"manualWeight":48,"mainColor":49},227685,"hu-qi-qiu-lie-tu-chen-ju-zhong-227685","胡骑秋猎图","宋 陈居中(传) 胡骑春猎图 绢本设色 24.1x27.3cm 美国大都会艺术博物馆藏\n南宋画家陈居中的传世作品大多以北方少数民族风情故事为题材，形成了与其他南宋画家迥然不同的艺术风格，戈壁大漠的粗犷刚烈也使他在宋代院体画家中卓尔不群。《胡骑春猎图》与陈居中的这些特点颇为相符，表现出作者对当时横行漠北的“胡人”（北方少数民族）的生活有着很深的了解。",[23,24,194,25,1260,28,7,106,150,746,8099,1049],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00c8ba97540b5f270c33c54937383a0f.jpg",[],{"id":50823,"slug":50824,"title":50825,"dynasty":18,"author":2509,"museum":316,"description":50826,"tags":50827,"thumbUrl":50828,"material":139,"size":139,"collection":139,"collections":50829,"showCount":49972,"zanCount":2368,"manualWeight":48,"mainColor":49},227512,"tong-xi-tu-ye-su-han-chen-227512","童戏图页","“婴戏”是中国画的一个重要的题材，从唐宋到元明清时期，孩童们的可爱淘气、天真烂漫无不是画家笔端的灵感。“婴戏图”既体现了人们自古至今对孩童的无限关爱与期望，又表达了人们对美好幸福生活的无限憧憬和祝愿。\n\n儿童生性活泼好奇，在他们的眼里，每样事物都新奇有趣，都想要探索、尝试。而游戏、玩具不仅能启发心智，也能锻练强健的体魄，是他们用以探索世界的工具。",[23,24,25,81,28,7,106,230,795,28448],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e088f168b45c22f7031b2d125dc9812.jpg",[],{"id":50831,"slug":50832,"title":50833,"dynasty":18,"author":257,"museum":316,"description":4025,"tags":50834,"thumbUrl":50835,"material":599,"size":600,"collection":139,"collections":50836,"showCount":49972,"zanCount":48,"manualWeight":48,"mainColor":2504},227367,"yu-lin-ku-003-ku-zhu-shi-xi-bi-yi-ming-227367","榆林窟003窟主室西壁",[23,511,260,29,107,176,34,173,7,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9750ce4f94c586b51d9307a835d50ecb.jpg",[],{"id":50838,"slug":50839,"title":50840,"dynasty":18,"author":257,"museum":316,"description":50841,"tags":50842,"thumbUrl":50843,"material":139,"size":139,"collection":139,"collections":50844,"showCount":49972,"zanCount":48,"manualWeight":48,"mainColor":94},227344,"nan-tang-wen-hui-tu-yi-ming-227344","南唐文会图","宋代绘画是在中国宋代期间的绘画作品，中国宋朝延续300多年，其绘画在隋唐五代的基础上继续得到发展。民间绘画、宫廷绘画、士大夫绘画各自形成体系，彼此间又互相影响、吸收、渗透，构成宋代绘画丰富多彩的面貌。",[23,24,25,7,28,106,29,34,278,1010,178,86,229,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82a6e27647f006a060beabf4f36b4ffa.jpg",[],{"id":50846,"slug":50847,"title":62,"dynasty":76,"author":5341,"museum":316,"description":21688,"tags":50848,"thumbUrl":50849,"material":139,"size":139,"collection":139,"collections":50850,"showCount":49972,"zanCount":1379,"manualWeight":48,"mainColor":94},226644,"hua-pu-ru-226644",[23,24,25,7,28,83,62,210,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed57ef2871355f1a1c8e705a5a4935bc.jpg",[],{"id":50852,"slug":50853,"title":50854,"dynasty":76,"author":5341,"museum":316,"description":35820,"tags":50855,"thumbUrl":50856,"material":139,"size":139,"collection":139,"collections":50857,"showCount":49972,"zanCount":48,"manualWeight":48,"mainColor":94},226628,"si-shi-shan-shui-01-pu-ru-226628","四时山水01",[24,173,7,177,81,29,176,1273,109,175,245,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb30c764ce4c7a82085c37e224fd507c9.jpg",[],{"id":50859,"slug":50860,"title":23704,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":50861,"thumbUrl":50862,"material":599,"size":600,"collection":139,"collections":50863,"showCount":49972,"zanCount":48,"manualWeight":48,"mainColor":49},226476,"ku-zhu-shi-nan-bi-yi-ming-226476",[511,260,7,106,245,352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa5c1ab66164696f2a2bfc73c51808a4.jpg",[],{"id":50865,"slug":50866,"title":11620,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":50867,"thumbUrl":50868,"material":599,"size":600,"collection":139,"collections":50869,"showCount":49972,"zanCount":48,"manualWeight":48,"mainColor":2504},226396,"ku-zhu-shi-dong-bi-yi-ming-226396",[511,260,7,352,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39c22885548da8f0b4b45d0e408d99da.jpg",[],{"id":50871,"slug":50872,"title":17656,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":50873,"thumbUrl":50874,"material":599,"size":600,"collection":139,"collections":50875,"showCount":49972,"zanCount":48,"manualWeight":48,"mainColor":49},226288,"ku-zhu-shi-xi-bi-yi-ming-226288",[511,260,7,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b2d025fe2d2975b33634f7ca53f25ee.jpg",[],{"id":50877,"slug":50878,"title":17656,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":50879,"thumbUrl":50880,"material":599,"size":600,"collection":139,"collections":50881,"showCount":49972,"zanCount":48,"manualWeight":48,"mainColor":49},226185,"ku-zhu-shi-xi-bi-yi-ming-226185",[511,260,7,106,22981,6767],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e0d708ffd208398af0ebde47ea93066.jpg",[],{"id":50883,"slug":50884,"title":50885,"dynasty":256,"author":3184,"museum":316,"description":6534,"tags":50886,"thumbUrl":50888,"material":599,"size":600,"collection":3195,"collections":50889,"showCount":49972,"zanCount":48,"manualWeight":48,"mainColor":2504},225642,"rembrandt-harmensz-van-rijn-052-lun-bo-lang-225642","Rembrandt 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》是清代画家刘彦冲创作的一幅设色画。\n图中文人身着高冕宽服，抱膝而坐，正听一位歌女弹奏阮琴。\n阮音清扬，四处芳草如茵，梧桐枝叶繁茂，又配以湖石、芭蕉、翠竹，清幽异常。\n《听阮图》图中款识可知此画是刘彦冲以其八兄为描绘对象绘出的。\n图中人物用线细劲圆润，颇有古意，设色妍 丽明快。\n草地以大面积花青渲染，以重色细笔根根绘出，间以浓淡的变化，形成雾动云涌之感。\n梧桐近乎淡墨白描，更有幽深清丽之意。\n整个背景有一种缥缈空灵的虚幻意味，衬托出人物笔墨的写实生动；画中人物的表情动态，又反衬阮音的悠扬动听。\n虚实相辅，以有写无，形成脱俗越尘的艺术效果。\n刘彦冲(187—1847)，初名荣，字咏之，四川铜梁人。\n擅山水、人物、花卉，工诗文。\n从师朱生昂学山水，常随师出游，尽得其法。\n兼采众家之长。\n泼墨作小米云山，亦蓊郁可观。\n人物花卉，笔法娴熟，活泼多变。\n传世作品有《柳燕图》、《松荫高士图》、《群峰秋翠图》等。",[23,28,7,106,195,34,227,611,10342,615,7558,2385,176,4999,50943,212,409],"书箱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d001b9b4db0438891675b109cf69c51.jpg",[],{"id":50947,"slug":50948,"title":50949,"dynasty":18,"author":257,"museum":316,"description":50950,"tags":50951,"thumbUrl":50952,"material":139,"size":139,"collection":139,"collections":50953,"showCount":49972,"zanCount":48,"manualWeight":48,"mainColor":49},223611,"zhu-ting-yuan-yang-tu-yi-ming-223611","竹汀鸳鸯图","画面截取江南水隅一角，修竹偃仰扶苏，以劲健墨笔勾写枝叶，浓淡晕染间，尽显层叠错落的清生意趣。汀洲之上，一对鸳鸯恬然依偎，翎毛细笔丝染，绒羽蓬松柔润，将亲昵温婉的情态描摹入微。\n\n水面留白晕开薄雾空蒙，三两水鸟掠波振翅，于静景中添灵动生机。全作用浅褐绢底烘托苍雅墨色，工写相融，既以精微笔触写实花鸟形质，又晕染出暮色江汀的清寂空濛，将江南水畔的闲澹之景，揉入宋人内敛含蓄的雅致意趣，尽显古典院体花鸟画的妍丽与空灵。",[23,194,24,25,28,7,83,227,2014,245,262],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd38af8970d0e9b3d6c4052a52cdd7776.jpg",[],{"id":50955,"slug":50956,"title":50957,"dynasty":76,"author":257,"museum":316,"description":50958,"tags":50959,"thumbUrl":50961,"material":139,"size":139,"collection":139,"collections":50962,"showCount":49972,"zanCount":48,"manualWeight":48,"mainColor":94},223526,"wu-yi-shan-shi-ba-jing-tu-1-yi-ming-223526","武夷山十八景图1","图题《武夷山十八景图》系依其内容拟定；武夷山在福建建宁府「崇安县南30 里，……周围凡120 里，东抵崇溪，北为黄龙溪，西至将村里，南至蓝原。四面皆壑，不与外山连」（乾隆辛未《武夷山志》，卷四，〈形势〉）；全境「溪九曲，大峰三十六」（《武夷山志》，卷二，〈总志（中）〉）。图中以山水画笔触将武夷山一带的形胜细腻描绘；其中包括山岩、岩壑、溪流、渡桥、村舍、书院、道观、茶园、渡头、客舟及建宁府城、府属崇安县及江西广信府的铅山县城等城池，均一一入画；图中各项动、静态的描绘，流畅生动，全幅宛如一幅山水行舟图。全图描述各处地貌事物均注记文字标示名称。全图笔触甚为工整，惟不落作画题署，难以确切断其绘制年代。但图中若干寺观、津渡的存废，或可推断绘图的相对时代。图中「一曲」的「问津亭：宋名趋真亭，明名入隹亭，……岁久倾圯，康熙戊戌（57年，1718）崇令陆廷灿（生卒不详，字扶照，又字幔亭）又重建，今废」（《武夷山志》，卷五，〈一曲上．溪北〉）；图中问津亭尚存全貌。另「五曲」的「武夷精舍又名文公祠，隐屏峰下。宋淳熙十年（1183）朱文公（1130-1200）卜筑于此。……顺治16 年（1659）邑令韩士望（生卒不详，顺治九年（1652）进士）又修饰之。次年春，大风拔木，祠尽圯，仅存二门。……康熙26 年（1687），御赐「学达性天」额，因复创修，未能宏敞。……康熙56 年（1717）闽浙总督满公保（1673-1725）捐俸倡修轮奂一新」（《武夷山志》卷十，〈五曲上．溪北〉）；图中文公书院院落至为完善。因此，大致可断全图绘制年代为康熙57 年至乾隆16年间。",[23,24,25,173,7,29,177,6083,176,34,31,33,35,808,37,38,809,1981,50960,979],"峰岩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21063d6aea51b6cc6ec3c154448b4ff1.jpg",[],{"id":50964,"slug":50965,"title":50966,"dynasty":18,"author":257,"museum":20,"description":50967,"tags":50968,"thumbUrl":50969,"material":40,"size":50970,"collection":139,"collections":50971,"showCount":49972,"zanCount":48,"manualWeight":48,"mainColor":94},223495,"chun-xi-shui-zu-tu-ye-yi-ming-223495","春溪水族图页","此图是现存宋画中游鱼类题材画的一幅佳作。春暖花开，群鱼戏藻。鲢鱼摆尾漫游，鲶鱼回身在后，鳜鱼则迎头向上，隐喻了“连年有贵”的吉祥含义。画家通过鱼儿欢快游动时自由弯转的体态和藻类植物在游鱼冲击下漂浮不定的形状，巧妙地暗示出流水的动势以及春水的清洌透明感。3尾大鱼均施以工笔重彩，用笔沉稳工致，片片鱼鳞描绘得一丝不苟；而衬景的小鱼、小虾和水藻则纯用没骨法渍染，将鱼虾的灵动和水藻的轻盈表现得恰到好处。\n对幅有清乾隆御题七言诗一首：“庄惠曾论知弗知，传为奇语却无奇。试如驳曰我非子，便是答云彼岂斯。春水初生具春意，文鳞群泳爱文漪。漫訾意浅色鲜耳，颇类濠梁博辩时。戊申仲秋御题。”“戊申”为乾隆五十三年（1788年）。钤“古稀天子之宝”、“犹日孜孜”印。",[23,24,194,25,81,28,7,212,722,228,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F859ddf48b1c91ddef47588963053a15e.jpg","纵24.3cm，横25.5cm",[],{"id":50973,"slug":50974,"title":50975,"dynasty":18,"author":257,"museum":191,"description":50976,"tags":50977,"thumbUrl":50978,"material":50979,"size":139,"collection":139,"collections":50980,"showCount":49972,"zanCount":48,"manualWeight":48,"mainColor":49},223485,"wu-kuan-he-yan-yi-ming-223485","无款荷雁","深秋，荷塘，枯败的荷叶和芦苇，可能是南飞的大雁，落在荷塘旁休憩，四只雁仰头等待着同伴落下来，六只雁动静结合，形态各异，画面清淡灵动，极具舒适感。",[24,28,7,228,3765,245,1980,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F414dcef4b802a97e23d08ce398337d45.jpg","絹本、設色",[],{"id":50982,"slug":50983,"title":50984,"dynasty":18,"author":257,"museum":457,"description":50985,"tags":50986,"thumbUrl":50987,"material":638,"size":50988,"collection":139,"collections":50989,"showCount":49972,"zanCount":48,"manualWeight":48,"mainColor":49},223482,"wen-ji-tu-yi-ming-223482","文姬图","蔡文姬，名琰，字文姬（一作明姬，昭姬），东汉陈留国（今河南粑县）人。东汉文学家蔡邕（伯喈）之女。博学而有辩才。熟谙音律。16岁嫁给河东卫仲道，婚后不久，夫亡无子，回娘家居住。 东汉末年，中原战乱，被董卓的部将所虏，在南匈奴居住了12年。在万般无奈的情况下当了匈奴左贤王的妻子，生了2个儿子。曹操与蔡邕友善且情意相投，惜文姬的才华，故造使以金壁赎回，接到中原。 文姬于公元208年4月4日（汉建安十三年三月初一日）重返家园，后再嫁屯田都尉董祀。奉命补蔡邕的散佚典籍，忆写400多篇，文无遗漏。有五言及骚体《悲愤诗》各一首传世，倾吐乱离之苦及归汉时母子别情，哀怨激愤，是东汉末年战乱生活的真实写照。 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[2]\n西晋以后到南北朝，由于佛教的盛行，出现利用夹纻工艺所造的大型佛像，此时的漆工艺被用来为宗教信仰服务，夹纻胎漆器也因而发展。所谓的夹纻是以漆灰和麻布造型作为漆胎，胎骨轻巧而坚牢。\n唐代经济发达文化繁荣，种种因素使工艺美术也随之发达，在艺术、技术以及生产上，皆远超过前期。唐朝漆器大放异彩，呈现出华丽的风格，漆器制作技术也往富丽方向发展，金银平脱、螺钿、雕漆等制作费时、价格昂贵的技法在当时极为盛行。\n宋代漆器的制胎和髹饰技艺已经十分成熟，当时不仅官方设有专门生产机构，民间制作漆器也很普遍。漆器所制作的器皿，样式多且富变化，造型简朴，表现出器物结构比例之美。一般而言，宋代漆器以素色静谧为主。\n明代时期的工艺美术跨入新的阶段，官方设厂专制御用的各种漆器，并由著名的漆艺家管理。除了官设的漆器厂外，民间漆器生产也遍及大江南北。明代江南漆器名家辈出﹐明初有张德刚﹐包亮﹐明代中期有方信川，明末有江千里等，并出现集漆器工艺之大成的著作：黄成著，杨明注《髹饰录》。\n髹饰工艺在这时有很大的革新，结合多种传统技法，两种以上的技法作结合，不同的文饰在不同的素地上更换，开创出千文万华的繁荣局面。\n今日中国大陆和台湾，漆器仍是民间工艺的重要组成部份，著名的漆器工艺，包括福州的脱胎漆器，厦门的髹金漆丝漆器，广东晕金漆器，扬州螺钿漆器，稷山螺钿漆器，山西平遥推光漆器，成都银片罩花漆器，安徽屯溪犀皮漆器，北京剔红漆器，台湾南投县黑髹漆器等。",[76,12819,21604,7691,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad1885a22d9317862381d21a78f1a44e.jpg",[],{"id":51743,"slug":51744,"title":51745,"dynasty":76,"author":257,"museum":316,"description":27801,"tags":51746,"thumbUrl":51748,"material":599,"size":600,"collection":139,"collections":51749,"showCount":297,"zanCount":48,"manualWeight":48,"mainColor":2504},248980,"hua-fa-lang-hua-die-wen-hu-lu-shi-ping-yi-ming-248980","画珐琅花蝶纹葫芦式瓶",[21604,12819,51747,62,873,7],"葫芦式器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45b09106efe6ba5a8fca8eb60eead073.jpg",[],{"id":51751,"slug":51752,"title":51753,"dynasty":76,"author":257,"museum":316,"description":51754,"tags":51755,"thumbUrl":51756,"material":599,"size":600,"collection":139,"collections":51757,"showCount":297,"zanCount":48,"manualWeight":48,"mainColor":94},239869,"wu-kuan-fu-zi-zhou-yi-ming-239869","无款福字轴","这幅福字取菱形张贴的传统形制，朱砂红底衬以银线游龙纹，云气裹挟龙身辗转腾挪，纹饰精细灵动，暗合祥瑞之意。\n\n福字以浓墨书就，楷法端稳浑厚，结构宽博舒展，示部敦实饱满，礻部劲挺厚重，笔墨沉凝有力，尽显庄重雍容的庙堂气象。暖黄装裱底色沉稳柔和，与朱红福笺形成鲜明层次，烘托出吉庆安稳的年节氛围。整体布局虚实相宜，纹饰烘托文气，笔墨彰显力道，寄寓了纳福迎祥的美好祈愿。",[194,24,25,86,226,937,7,406,320],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F005097a314ef5834f59f741d33b515b8.jpg",[],{"id":51759,"slug":51760,"title":51761,"dynasty":302,"author":13974,"museum":20,"description":51762,"tags":51763,"thumbUrl":51764,"material":178,"size":51765,"collection":2065,"collections":51766,"showCount":297,"zanCount":48,"manualWeight":48,"mainColor":49},239663,"ti-hua-shi-tie-ye-zhang-yu-239663","题画诗帖页","释文：\n清才绝似王摩诘，爱向高堂写雪山。华盖洞中如屋里，赤栏桥外是人间。琼楼只许飞仙住，珠树应留织女攀。莫信寒泉伤玉趾，最宜清暑听潺湲。怪底朝寒云气浓，卷帘金翠出芙蓉。似倾三峡龙门雪，为洗明星玉女峰。玄豹藏来深雾雨，绿阴缺处小房栊。拟求许郭仙人宅，知隔琼华第几重。\n右题张彦辅画《雪山楼观》、《云林隐居》二图。雨。\n又书小字:\n四月廿六日晚，雨试笔，天镜、拙庵此时偃卧清凉室中，小龙了在天年袖中矣。\n钤“张雨私印”、“句曲外史张天雨印”。\n卷后有郑元祐题诗，罗天池题名，南郭翁书法。其中南郭翁书法一段与《题画诗帖》没有必然联系。卷前沈曾植隶书引首“诗留画味”。明周天球题诗及画像皆伪。\n文中“张彦辅”为元至正时人，号六一道士，居北京，善画山水。\n卷后郑元祐诗题中有“可怜斯人头已白”句，可知是张雨晚年的作品。《题画诗帖》书法清劲流利，舒放而又雍容，多具变化，又颇有些峻厉狂怪。张雨早年书法受赵孟頫影响，后得《茅山碑》，其书遂变，故此题字画清遒，染有唐人风格。张雨此件有双胞作品，美国大都会藏有另一本，无跋。两者比较，故宫为摹本，大都会为书写本，应是真迹。",[23,7610,86,178,173,7,106,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68cd04fe9c729e96af896681562a76f4.jpg","纵29.3厘米，横148.5厘米",[2065],{"id":51768,"slug":51769,"title":51770,"dynasty":76,"author":257,"museum":20,"description":51771,"tags":51772,"thumbUrl":51774,"material":770,"size":51775,"collection":45,"collections":51776,"showCount":297,"zanCount":48,"manualWeight":48,"mainColor":94},239528,"hong-li-ji-lu-tu-xiang-zhou-yi-ming-239528","弘历击鹿图像轴","秋林谷壑间秋意铺陈，丹叶杂着枯木，晕染出疏朗温润的郊野氛围。锦鞍纹饰细致的骏马静立坡侧，侍从持鞭席地而坐，神色安然。右下角麋鹿惊觉抬首，似将疾走而去，瞬间打破林间宁寂，暗藏狩猎将启的张力。\n\n此作未绘主角，却以侍从、鞍马衬出狩猎的氛围感，静中藏动，笔触工细入微，枝叶、坡石层次分明，设色雅致柔和，将郊野秋狩的闲雅与机巧相融，尽得纪实绘事的含蓄意趣。",[194,24,226,28,7,106,150,2479,5217,10677,8099,446,18707,9431,51773],"静中藏动","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc877bf2a729dcbf25c434ed1db163c5.jpg","纵259cm; 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(明)字世臣，号曲泉。山阴(今属绍兴)人。\n善画山水、花卉，得疏野之趣。",[24,25,81,7,83,178,212,634,84,554],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8945201ff343213f536ecf7426aece95.jpg",[],{"id":51988,"slug":51989,"title":51990,"dynasty":99,"author":51991,"museum":316,"description":51992,"tags":51993,"thumbUrl":51994,"material":599,"size":600,"collection":139,"collections":51995,"showCount":297,"zanCount":48,"manualWeight":48,"mainColor":94},235368,"xue-mei-yuan-yang-tu-zhou-wang-li-235368","雪梅鴛鴦图軸","王醴","图绘雪景寒江，两只鸳鸯站岸边梳理羽毛。一株老梅，枝条繁茂，花开带雪，分外妖娆。雪竹挺立，小雀瑟栖于上。鸳鸯造型优美，色墨交融；梅树用笔老辣，用墨焦重，梅花清新淡雅，整个背景以淡墨渲染，留白以表雪意。",[24,25,226,7,83,28,2086,820,2014,209,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71ea2b246537e2b6d8f057e80a51eba4.jpg",[],{"id":51997,"slug":51998,"title":10247,"dynasty":76,"author":997,"museum":20,"description":11041,"tags":51999,"thumbUrl":52000,"material":1123,"size":5618,"collection":139,"collections":52001,"showCount":297,"zanCount":48,"manualWeight":48,"mainColor":94},235003,"yuan-ji-shan-shui-tu-ce-shi-tao-235003",[24,25,81,173,7,29,174,1241,1169,3519,106,212,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F098b21ce73fa0300f031aec7f760b977.jpg",[],{"id":52003,"slug":52004,"title":10247,"dynasty":76,"author":997,"museum":20,"description":11041,"tags":52005,"thumbUrl":52006,"material":1123,"size":5618,"collection":139,"collections":52007,"showCount":297,"zanCount":48,"manualWeight":48,"mainColor":94},234999,"yuan-ji-shan-shui-tu-ce-shi-tao-234999",[194,24,25,81,173,7,29,795,176,1169,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4125a44cb17a489613587b83a15c7d5a.jpg",[],{"id":52009,"slug":52010,"title":52011,"dynasty":76,"author":742,"museum":316,"description":12076,"tags":52012,"thumbUrl":52013,"material":40,"size":12080,"collection":139,"collections":52014,"showCount":297,"zanCount":48,"manualWeight":48,"mainColor":94},234986,"hua-hui-ling-mao-ping-4-ren-yi-234986","花卉翎毛屏4",[24,7,498,83,7355,319,226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18ff18c96ba878d27bd4b17e7f1610cf.jpg",[],{"id":52016,"slug":52017,"title":52018,"dynasty":99,"author":10632,"museum":20,"description":27875,"tags":52019,"thumbUrl":52020,"material":770,"size":27878,"collection":139,"collections":52021,"showCount":297,"zanCount":48,"manualWeight":48,"mainColor":94},234813,"wu-men-zhu-jia-shou-yuan-fang-zhai-san-jue-ce-wen-jia-qi-bao-quan-tu-ye-wen-jia-234813","吴门诸家寿袁方斋三绝册-文嘉七宝泉图页",[24,25,81,7,29,177,685,262,34,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8510ca52467ad2e0007a4cae545cd54c.jpg",[],{"id":52023,"slug":52024,"title":52025,"dynasty":76,"author":9598,"museum":316,"description":52026,"tags":52027,"thumbUrl":52028,"material":139,"size":139,"collection":139,"collections":52029,"showCount":297,"zanCount":48,"manualWeight":48,"mainColor":94},234515,"hua-shan-shui-ce-ye-yu-zhi-ding-234515","画山水册页","禹之鼎（1647年—1716年），中国清代画家。字尚吉，一字尚基，一作尚稽，号慎斋。后寄籍江都。擅山水、人物、花鸟、走兽，尤精肖像。初师蓝瑛，后取法宋元诸家，转益各师，精于临摹，功底扎实。肖像画名重一时，有白描、设色两种面貌，皆能曲尽其妙。形象逼真，生动传神。有《骑牛南还图》《放鹇图》《王原祁艺菊图》等传世。",[24,81,7,177,29,106,174,353,685,262],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbf271cd92d9806cb7d3dc662afcf2b1.jpg",[],{"id":52031,"slug":52032,"title":27334,"dynasty":76,"author":257,"museum":316,"description":16422,"tags":52033,"thumbUrl":52034,"material":599,"size":600,"collection":139,"collections":52035,"showCount":297,"zanCount":48,"manualWeight":48,"mainColor":49},234423,"qing-ren-wen-shu-pu-sa-xiang-zhou-yi-ming-234423",[24,226,7,106,260,6768,8300],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc3471249135cb27ef0a43cfbfd4c73d.jpg",[],{"id":52037,"slug":52038,"title":35574,"dynasty":99,"author":10380,"museum":20,"description":52039,"tags":52040,"thumbUrl":52041,"material":1175,"size":139,"collection":139,"collections":52042,"showCount":297,"zanCount":48,"manualWeight":48,"mainColor":94},234242,"shan-shui-juan-sun-zhi-234242","孙枝（公元16-17世纪初，生卒年不详），明代画家。字叔达、微之，号华林、华林居士，吴县（今江苏苏州）人。工书善画，长于山水，师法文征明，明姜绍书《无声诗史》谓其“石树葱秀，毫素间有洒然出尘之致，亦吴中佳手也”。所作山水意境幽深，风格秀整。花卉、人物亦佳，曾学唐寅而气韵笔力不逮。为吴门派画家之一。其画法出自文征明，石树葱秀，毫素间有洒然出麈之致。花卉、人物亦佳，人物且注重大型画面如画卷移居图。北京故宫博物院藏有其所作九龙山居图卷，盖学唐寅而不及者。\n传世作品有：嘉靖三十八年(1559)作《梅石水仙图》轴，款署“嘉靖己未冬月孙枝”、万历十五年(1587)作《五湖钓叟图》卷、十八年(1590)作《携琴访友图》轴，现藏故宫博物院；隆庆五年(1571)作《九龙山居图》卷、万历十六(1588)作《清溪放棹图》轴，藏北京市文物局；万历七年(1579)作《溪山秋意图》轴，款署“万历己卯秋日吴郡孙枝写”，藏上海博物馆；二十三年(1595)作《踏雪访友图》轴，款署“万历乙未九月吴郡孙枝写”，藏苏州市博物馆；三十五年(1607)作《山水图》扇页，著录于《中国书画家印鉴款识》。从艺活动约在嘉靖、万历间。款识:吴郡孙枝写。万历二十年（1601）尝作爱荆图卷。（《无声诗史》《明画录》《珊瑚网》《式古堂书画汇考》《榆园画志》）",[23,24,25,26,173,7,177,86,178,29,808,31,111,34,35,1273,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e2a59c59d2ceb14c0471fe780a22c80.jpg",[],{"id":52044,"slug":52045,"title":52046,"dynasty":18,"author":1350,"museum":20,"description":52047,"tags":52048,"thumbUrl":52049,"material":18180,"size":52050,"collection":139,"collections":52051,"showCount":297,"zanCount":48,"manualWeight":48,"mainColor":49},234071,"shi-bi-kan-yun-tu-ye-ma-yuan-234071","石壁看云图页","此图为典型的南宋院派山水画风格的作品，构图简练，根据需要把自然山水理想化，选景皆为主题服务，给人以联想的空间.",[24,173,7,177,81,29,230,106,2235,378],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15a3308367e3d067d9670be8e7a73643.jpg","23.7厘米，横：24厘米",[],{"id":52053,"slug":52054,"title":52055,"dynasty":76,"author":563,"museum":20,"description":52056,"tags":52057,"thumbUrl":52060,"material":770,"size":52061,"collection":139,"collections":52062,"showCount":297,"zanCount":48,"manualWeight":48,"mainColor":94},234064,"qiu-shu-ba-ge-tu-hua-yan-234064","秋树八哥图","八哥是华嵒擅画的题材之一。此图绘溪野中的八哥或栖于红枫枝头、或盘旋而下、或于水中鸣浴的欢快景象。笔法上勾染兼施，简约传神地塑造了八哥的各种体态，反映了画家娴熟的笔墨技巧和善于想象、巧于构思的艺术才能。",[24,498,7,173,226,83,353,245,3519,1980,40442,5218,52058,52059],"鸟禽","水边植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd744f410ea61ce30a13c0ce4ef3ca7c0.jpg","纵161厘米，横87.9厘米",[],{"id":52064,"slug":52065,"title":24089,"dynasty":54,"author":257,"museum":20,"description":52066,"tags":52067,"thumbUrl":52069,"material":40,"size":29831,"collection":139,"collections":52070,"showCount":297,"zanCount":48,"manualWeight":48,"mainColor":94},234063,"fu-xi-nv-wa-xiang-ye-yi-ming-234063","此图上彩画人首蛇身男女二人，均着窄衫小袖绛红色胡装，二人腰相连，共着一条白裙。男居左，无须，头戴笼冠，张左手执矩，矩上有墨斗（已被腐蚀）。女居在右，束高髻，张右手执规。男女上身相拥，中间两臂相连，下尾盘曲相交四节成螺旋状。两人头上有圆轮，周画圆圈以象征日；尾下有下弯月牙一，周画圆圈以象征月。画面四周面遍布大小相等的圆圈，部分以线相连象征星辰。\n吐鲁番高昌国至唐西州国时期的墓葬出土了许多伏羲、女娲绢画,画面形式大致相似：人首蛇身，交尾相拥，伏羲持矩，女娲持规。绢画上方有日，下方有月，周围布满丝缕相连的星辰。整幅绢画上宽下窄，与棺形相似，常覆盖于棺上，也有盖于尸上或置于尸旁者，还有张挂或用木钉固定于墓顶的情况。\n故宫博物院所藏的伏羲女娲绢画系1963年4月出土于新疆吐鲁番阿斯塔那古墓，1963年12月由新疆博物馆拨交故宫博物院。据阿斯塔那古墓考古报告中所示，同期出土的此类绢画共有数十件。在墓室中一般都是画面朝下，用木钉钉在墓顶上。一般认为伏羲所执矩象征地，女娲所执规象征天，用以配合画面上的日月星辰，为墓室营造一个小宇宙。",[194,24,25,106,15979,7,352,2459,52068],"星象","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad372045cc9529359b55b04dc763a6c3.jpg",[],{"id":52072,"slug":52073,"title":52074,"dynasty":99,"author":792,"museum":20,"description":52075,"tags":52076,"thumbUrl":52077,"material":6608,"size":52078,"collection":139,"collections":52079,"showCount":297,"zanCount":48,"manualWeight":48,"mainColor":94},234050,"qing-shan-hong-shu-tu-shan-ye-lan-ying-234050","青山红树图扇页","此图以“没骨重彩法”绘青山、红树、白云等景致。作者自言拟张僧繇（传为没骨山水画的肇始者）的弟子范长寿法，虽然属托古之词，但是，他在创作中还是显示出对色彩极强的掌控力。图中冷暖色调和谐，石青、石绿、朱砂等矿物质颜料的运用独具特色，于争妍斗丽中营造出明媚亮丽的秋景，富有强烈的视觉冲击力和感染力。 他是继董其昌之后较早创作“没骨山水”的画家并具有新意。",[1260,24,27,7,29,6662,2725,108,109,176,34,107,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedbfe4f7e30d09a06ff49125af3fe8c4.jpg","纵17.3厘米，横49.5厘米",[],{"id":52081,"slug":52082,"title":52083,"dynasty":99,"author":31031,"museum":20,"description":52084,"tags":52085,"thumbUrl":52086,"material":40,"size":52087,"collection":139,"collections":52088,"showCount":297,"zanCount":48,"manualWeight":48,"mainColor":49},233882,"pin-pang-tu-zhou-ni-duan-233882","聘庞图轴","画作取材于三国时期荆州刺史刘表聘请隐士庞德公的故事。庞德公是名士庞统的叔父，与徐庶、诸葛亮等贤达交谊笃厚。画中人物描摹精细，设色妍丽，山水气势雄伟浑厚，林木郁茂清朗。",[24,25,226,7,29,106,150,11176,176,1049,28,177,34,1785],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F992ab76f04567d0262a4fd6a4882fe7a.jpg","纵163.8厘米，横92.4厘米",[],{"id":52090,"slug":52091,"title":52092,"dynasty":76,"author":6641,"museum":78,"description":6642,"tags":52093,"thumbUrl":52094,"material":638,"size":139,"collection":139,"collections":52095,"showCount":297,"zanCount":48,"manualWeight":48,"mainColor":94},233189,"hua-hui-ce-zi-teng-ye-zhao-zhi-qian-233189","花卉册-紫藤页",[24,25,81,7,83,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd97a6273586abb78c943a82b4b5aa617.jpg",[],{"id":52097,"slug":52098,"title":52099,"dynasty":76,"author":6641,"museum":78,"description":6642,"tags":52100,"thumbUrl":52101,"material":638,"size":139,"collection":139,"collections":52102,"showCount":297,"zanCount":48,"manualWeight":48,"mainColor":94},233187,"hua-hui-ce-qiu-hua-ye-zhao-zhi-qian-233187","花卉册-秋花页",[24,25,81,7,83,84,4120,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7481cd7f83edf53988bff1d31b456a53.jpg",[],{"id":52104,"slug":52105,"title":52106,"dynasty":76,"author":6641,"museum":78,"description":6642,"tags":52107,"thumbUrl":52108,"material":638,"size":139,"collection":139,"collections":52109,"showCount":297,"zanCount":2368,"manualWeight":48,"mainColor":49},233184,"hua-hui-ce-qiang-wei-ye-zhao-zhi-qian-233184","花卉册-蔷薇页",[24,7,83,81,5075,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16c4021bbf8224b5ea8589a89c83faf9.jpg",[],{"id":52111,"slug":52112,"title":52113,"dynasty":76,"author":6641,"museum":78,"description":6642,"tags":52114,"thumbUrl":52115,"material":638,"size":139,"collection":139,"collections":52116,"showCount":297,"zanCount":48,"manualWeight":48,"mainColor":49},233183,"hua-hui-ce-mu-dan-ye-zhao-zhi-qian-233183","花卉册-牡丹页",[24,25,81,7,498,83,292,897,212,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbe6a2e27ec670de7c6c5f49941f2e3a.jpg",[],{"id":52118,"slug":52119,"title":22476,"dynasty":18,"author":257,"museum":20,"description":52120,"tags":52121,"thumbUrl":52122,"material":67,"size":52123,"collection":139,"collections":52124,"showCount":297,"zanCount":1003,"manualWeight":48,"mainColor":49},233007,"wa-que-qi-zhi-tu-ye-yi-ming-233007","海棠一枝，果实散挂枝头，树叶已染秋霜。海棠枝头栖息着瓦雀，或缩颈养神，或整理羽毛，姿势各异，神态安适，中间一只发现头顶树叶上落有小蜂，昂首注目，张口欲啄，小蜂似发现险情，翘尾开牙，准备应对。此画面静中寓动，张弛有致，深合画理。\n麻雀常宿于檐瓦之间，故一名“瓦雀”。图中从左向右伸出海棠一枝，果实散挂枝头，树叶已染秋霜，间杂红、黄、绿色，斑斓可爱，惜叶、果有些已遭虫蚀。海棠枝头栖息着瓦雀5只，其中4只或缩颈养神，或整理羽毛，姿势各异，神态安适，唯中间一只发现头顶树叶上落有小蜂，故昂首注目，张口欲啄，小蜂似发现险情，翘尾开牙，准备应对。此画面静中寓动，张弛有致，深合画理。\n瓦雀翎毛刻画精细，高度写实。海棠取轻勾淡染之法，以表现秋叶缺乏水分的轻、薄质感。瓦雀和果、叶以枝条贯穿，若网在纲，有条不紊。细观墨笔枝条虽细，然尚以浓淡墨分出阴阳向背，富于立体感，显得刚健有力。\n此图原载《宋人集绘册》。图中画五只瓦雀，栖止于海棠枝上。花枝上果满页疏，五只瓦雀姿态各异，有的俯首下视，有的扭头回观，有的仰首注视着枝页上的小昆虫，形象生动活泼，逗人喜爱。海棠枝从画面左侧横插，参差顾盼，虬曲多姿。鸟的羽毛用细笔一笔一笔勾描，有毛茸茸的质感。此图用笔精工，设色艳丽。无款印，曾经清代收藏家宋荦珍藏，《石渠宝笈三编》著录。",[24,25,194,28,7,81,83,13823,836,554],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b6b6fe31dde1b7c91550646cdde7825.jpg","纵28.厘米，横29.1厘米",[],{"id":52126,"slug":52127,"title":52128,"dynasty":76,"author":6641,"museum":132,"description":47910,"tags":52129,"thumbUrl":52130,"material":9042,"size":52131,"collection":139,"collections":52132,"showCount":297,"zanCount":48,"manualWeight":48,"mainColor":94},232896,"ju-shi-tu-zhao-zhi-qian-232896","菊石图",[24,25,1260,7,173,498,83,897,230,212,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbd190ad7341a8baac238ac32249ed8e.jpg","17×54厘米",[],{"id":52134,"slug":52135,"title":52136,"dynasty":302,"author":257,"museum":101,"description":52137,"tags":52138,"thumbUrl":52139,"material":67,"size":52140,"collection":139,"collections":52141,"showCount":297,"zanCount":48,"manualWeight":48,"mainColor":94},232803,"xiang-ma-tu-juan-shui-jing-gong-dao-ren-fang-han-gan-yi-ming-232803","相马图卷(水精宫道人仿韩干)","明人王世贞曾说：“文人画起自东坡，至松雪敞开大门。”这句话基本上客观地道出了赵孟頫在中国绘画史上的地位。无论是研究中国绘画史，还是研究中国文人画史，赵孟頫都是一个不可绕开的关键人物。如果说，唐宋绘画的意趣在于以文学化造境，而元以后的绘画意趣更多地体现在书法化的写意上，那么，赵孟頫在其间起到了桥梁作用。如果说，元以前的文人画运动主要表现为舆论上的准备，元以后的文人画运动以其成功的实践逐步取代正规画而演为画坛的主流，那末，引发这种变化的巨擘仍是赵孟頫。",[23,24,25,26,7,105,106,150,178,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b1e492db706ac5af78cddf44ad061db.jpg","30.5x102.9厘米",[],{"id":52143,"slug":52144,"title":15633,"dynasty":99,"author":1196,"museum":191,"description":52145,"tags":52146,"thumbUrl":52147,"material":67,"size":15637,"collection":139,"collections":52148,"showCount":297,"zanCount":2368,"manualWeight":48,"mainColor":49},232667,"shan-lu-song-s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365","雪霁图","樊圻（公元1616—1694尚在），字会公，更字洽公，江宁（今江苏南京人）。清代画家，\n江苏南京人，他与其兄樊沂均以画出名。与龚贤、高岑、吴宏、叶欣、胡慥、谢荪、邹喆等人并称为“金陵八家”。山水师赵令穰，刘松年、赵孟孚等而能自成风貌，王铎尝题其小景云：“洽公吾不知为谁，此幅全摹赵松雪、赵大年，穆然恬静，若厚德醇儒，敦庞湛凝，无忒无（兆） 。灯下睇观，觉小雷、大雷、紫溪、白岳一段，忽移于尺幅间矣。”又云：“是古人笔，不是时派。时派即钟谭诗也。”小印模糊，误视会公为洽公，圻后即以洽公行，咸知己也。 他的仕女画幽闲静逸，神韵俱佳，特别是[清]顺治八年，即公元1651年与吴宏合作的《寇湄像》，堪称佳作。",[23,194,24,25,7,28,2086,1133,227,209,52209,176,83,212],"冰挂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4acd3e8fb8205ab2533358e709fef854.jpg",[],{"id":52213,"slug":52214,"title":52215,"dynasty":18,"author":257,"museum":191,"description":52216,"tags":52217,"thumbUrl":52218,"material":123,"size":139,"collection":139,"collections":52219,"showCount":297,"zanCount":48,"manualWeight":48,"mainColor":49},231053,"zhe-kan-tu-yi-ming-231053","折槛图","《却坐图》是宋代佚名画家创作的绢本设色画，现藏于 。\n该图描绘西汉文帝妃慎夫人恃宠与帝后平起平坐，日游上林苑，中郎将袁盎向文帝犯颜直谏：“妃子僭坐后位有违纲常。\n”文帝不悦但理在袁盎，只得纳谏，慎夫人也只好悻悻而起。\n该画侧重表现矛盾化解过程中人物微妙的心理变化。\n此幅描绘的是西汉文帝时袁盎谏止宠妃慎夫人与帝、后并坐的故事。\n图中人物处于画面的中心，汉文帝等七人在画面的右侧，金瓜卫十在左侧，袁盎在文帝与金瓜卫士之间，离观者最近。\n在右侧七人中，文帝居中坐在宝座上，表情严肃，右手按膝，左手扶椅，胸前佩方心曲领，着通天冠服，长须垂胸；在皇帝左首圆墩上坐着慎夫人低头沉默，微露不悦，显得很不自在；四位宫女立于文帝身后，一位矮小的侍女，靠近慎夫人，她们都静立聆听，目睹现场；皇宫卫士，满腮长须，横眉怒目，两脚分叉，手执金瓜兵器，威风显赫，等待下旨，执行公务，袁盎弓背弯腰，两手举笏，作面奏君王状，神情坚定执着，但面向外，躬身上奏，坚毅庄重，神色坦然，看来已陈述完毕，任凭皇上处置。\n此事发生在上林苑中，院墙高筑，墙外茫茫一片田野和水面，院墙内一株大树靠右边拔地挺直而上，和中间的两棵参天大树，枝叶互相穿插，叶茂枝繁，形成了天然凉棚。\n太阳隔着云层雾气光线忽明忽暗，树叶在雾色中时隐时现、人群背后一排直立的假山石、棕榈树、仙鹤点缀着，画面的右下角还有丛竹、野草及深色太湖石。\n《却坐图》是历史故事画。\n说的是汉文帝时慎夫人僭坐故事：宠妃慎夫人坐在皇帝身边。\n她的举动违反了封建社会的礼仪，坐到了应属皇后的位置上。\n袁盎站出来当面进谏，谓帝既有后，不当容许其妃僭坐后位。\n文帝和慎夫人对他的直言进谏当时颇为恼怒，但还是接受了，并且给了袁盎一些赏赐以鼓励忠直。\n选择该故事作为题材，用意在于宣传封建纲常，赞扬敢于直言上谏、冒死维护君王统治利益的忠臣义士，是典型的院画题材。\n图中文帝坐于有奇花茂树、秀石珍禽的皇家苑囿中，袁盎上前俯身面谏，神情坚毅，文帝微露愠色，皇后坐于其侧低头不语，慎夫人站起身来面带不悦，一武士持的威严，同时也衬托出袁盎置生死于不顾，犯颜直谏的忠臣形象。\n从图中可以看到作者对现场中各类人物的外形，表情，到内心世界的刻画是非常成功的，而且对主要人物文帝、袁盎、金瓜卫士的内在联系及相互呼应交代得很清楚，如文帝的宽容大度，卫土的暴戾心理和袁盎忠直不惧的义胆，其以卫士的凶猛形貌象征皇帝手中的至高权力，相比之下，虽然袁盎处于软弱无力的地位，却显示了在这种特定场合中最有力量，而且作者将盎放在显要的位置，对他的形象刻画更富魅力，对袁盎敢于冒犯“圣上”的勇气极尽赞喻，图中要遣责的对象是慎夫人，安排在很不重要的位置上，侧面描绘成敢怒而不敢言的愧羞样子，连同她的诗人也是比其他宫女要矮小。\n该图不仅在人物位置经营上成功，而且布景也有其用意，文帝身后有高树一排，自立的假山石，仙鹤等景，而袁盎身旁的是就地长出的丛竹、小草与深色玲珑的太湖石等等。\n表示了作者章法布局有韵致，遵循院画的审美标准，而造诣颇高。\n中国美术研究院研究员王鲁豫：《却坐图》整个画风都接近于《 》，表现了南宋院体人物故事画的高度水平。\n218年1月4日，“国宝再现—书画菁华特展”在台北故宫博物院北部院区第一展览区21室开幕，《却坐图》在其中展出。",[23,194,24,25,226,28,7,104,106,107,1273,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4b0cdfb2193e1f81f95c31e32cf2c7d.jpg",[],{"id":52221,"slug":52222,"title":52223,"dynasty":189,"author":1642,"museum":316,"description":19568,"tags":52224,"thumbUrl":52225,"material":599,"size":600,"collection":139,"collections":52226,"showCount":297,"zanCount":48,"manualWeight":48,"mainColor":49},230843,"xi-zi-huan-sha-tu-zhou-wen-ju-230843","西子浣纱图",[24,25,28,7,106,59,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75e1f6d6ea361113225a7413f7732e14.jpg",[],{"id":52228,"slug":52229,"title":52230,"dynasty":76,"author":17256,"museum":316,"description":38012,"tags":52231,"thumbUrl":52232,"material":599,"size":600,"collection":139,"collections":52233,"showCount":297,"zanCount":48,"manualWeight":48,"mainColor":94},230356,"shan-shui-ce-ba-kai-fan-qi-230356","山水册八开",[24,25,194,81,7,177,212,29,230,353,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95306f468bab19553397d0d062d40e68.jpg",[],{"id":52235,"slug":52236,"title":52237,"dynasty":76,"author":257,"museum":316,"description":52238,"tags":52239,"thumbUrl":52240,"material":599,"size":600,"collection":139,"collections":52241,"showCount":297,"zanCount":48,"manualWeight":48,"mainColor":49},230345,"xi-xiang-ji-yi-ming-230345","西厢记","画中截取缱绻一幕，青衣公子悠然倚坐，左侧仕女亲手递食，二人目光相接，暗传情愫。右侧侍女斜立，以袖掩唇，偷觑间流露少女的羞怯与好奇。\n\n室内陈设雅致考究，格架罗列清供雅玩，案头瓶花素静、茶点精致，将深闺私密的暧昧氛围晕染尽致。衣纹勾勒细腻妥帖，人物神态拿捏入微，把儿女间的缱绻情态描摹得鲜活动人，尽显传统工笔人物画的雅致意趣。",[23,24,25,7,28,106,59,229,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9f6011a05083633edfbf7e4b35f5a88.jpg",[],{"id":52243,"slug":52244,"title":43987,"dynasty":99,"author":257,"museum":316,"description":52245,"tags":52246,"thumbUrl":52247,"material":139,"size":139,"collection":139,"collections":52248,"showCount":297,"zanCount":48,"manualWeight":48,"mainColor":49},228812,"he-tang-shuang-e-tu-yi-ming-228812","此作以淡墨轻色绘秋水一隅，枯荷欹斜舒展，芦叶随风摇曳，将深秋荷塘的清寂晕染开来。两只雏鹅姿态生动，一只引颈抬首似在窥望残荷，绒毛蓬松的质感以细笔丝出，朴拙灵动。水岸以浅赭晕染，衬出水天朦胧的空寂氛围。\n\n整体设色淡雅柔和，工写兼具，既以精微笔触刻画禽鸟花叶的形神，又以简淡晕染烘托萧疏冷隽的秋日意趣，将秋日荷塘的幽寂与生机相融，淡而有味，韵致悠长。",[23,24,1260,7,28,83,228,7355,1980,2340],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb949ddd4193d20cfb32610246faade24.jpg",[],{"id":52250,"slug":52251,"title":52252,"dynasty":99,"author":257,"museum":316,"description":51738,"tags":52253,"thumbUrl":52255,"material":599,"size":600,"collection":139,"collections":52256,"showCount":297,"zanCount":48,"manualWeight":48,"mainColor":49},228522,"wan-li-qia-si-fa-lang-shuang-long-pan-yi-ming-228522","万历 掐丝珐瑯双龙盘",[52254,21605,406,229,860,7],"掐丝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1db4f8c46cea3d642d128d91083d097.jpg",[],{"id":52258,"slug":52259,"title":6523,"dynasty":99,"author":100,"museum":316,"description":52260,"tags":52261,"thumbUrl":52262,"material":139,"size":139,"collection":139,"collections":52263,"showCount":297,"zanCount":48,"manualWeight":48,"mainColor":49},228456,"zhi-gong-tu-juan-chou-ying-228456","此作以全景长卷铺展四夷来朝的盛景，苍林丘壑间，蕃邦使节携礼接踵而来，人物衣冠各异、神态鲜活，仪仗贡物排布有序，尽显朝贡仪典的庄重热烈。青绿设色妍雅古润，山石林木勾勒精细工致，兼具院体画的规整与文人写意的秀灵。书画合璧，题跋与绘事相映，生动还原了盛世宾服的恢宏气象，将外交肃穆与行旅意趣融为一体，是纪事价值与审美价值兼备的佳制。",[23,24,26,28,7,25,86,178,29,106,150,34,3982,108,119,16354],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c3d18b84ee43ea22b5b6710c8d8abe1.jpg",[],{"id":52265,"slug":52266,"title":36508,"dynasty":99,"author":257,"museum":316,"description":2711,"tags":52267,"thumbUrl":52268,"material":599,"size":600,"collection":139,"collections":52269,"showCount":297,"zanCount":48,"manualWeight":48,"mainColor":49},228410,"di-shi-fan-tian-xi-yi-ming-228410",[24,194,260,28,7,106,3661],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6f4f9063d4eec6c763129c8507f53a1.jpg",[],{"id":52271,"slug":52272,"title":52273,"dynasty":99,"author":257,"museum":316,"description":52274,"tags":52275,"thumbUrl":52276,"material":139,"size":139,"collection":139,"collections":52277,"showCount":297,"zanCount":48,"manualWeight":48,"mainColor":94},228382,"ming-gu-xiu-ba-xian-qing-shou-gua-ping-si-he-xian-gu-zhou-yi-ming-228382","明顾绣八仙庆寿挂屏（四）何仙姑轴","此件绣品取素绫为地，何仙姑卓立云涛间，眉目温婉娴静，身姿柔逸出尘。衣袂纹饰配色清雅柔和，针脚平齐细密，将衣物垂坠质感尽现。她手持的莲蓬花杖鲜亮灵动，枝头翎羽如生，鲜活别致。\n\n祥云以淡墨勾形，浅晕铺色，虚实晕染间漾出缥缈仙气。整作以绣代笔，融画理于针绣，施色雅致柔和，构图疏朗空灵，将何仙姑的仙家清婉风姿描摹尽致，尽显画绣相融的独特风韵，是仙佛题材绣作中的精巧佳构。",[24,25,226,9495,7,106,2235,262,260,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23bc9ce7f215e9ddb5a38c65af6fcc75.jpg",[],{"id":52279,"slug":52280,"title":52281,"dynasty":99,"author":3774,"museum":608,"description":52282,"tags":52283,"thumbUrl":52284,"material":139,"size":139,"collection":139,"collections":52285,"showCount":297,"zanCount":48,"manualWeight":48,"mainColor":94},228313,"xun-yang-qiu-se-tu-juan-lu-zhi-228313","浔阳秋色图卷","此作用淡赭与花青晕染江岸秋景，浅滩汀渚在烟水间连绵铺展，远山如黛，浮沉于空濛江面之上。近岸枯木点缀残红，坡岸清寂冷峭，留白极尽空疏淡远之致。\n画面暗合卷中《琵琶行》的落寞诗意，将江州清秋送客的孤凄萧瑟具象化，把贬谪失意的羁旅愁思藏在冷寂的秋山寒水之中。书画合璧，以景衬情，将迁客怅惘的心境融在烟霭迷离的江天秋色素景中，尽显文人寄情诗画、以景抒怀的雅致意趣。",[23,24,25,26,7,29,86,178,177,34,31,808,10209,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c302e25a8950fc199901eccbec3e1b8.jpg",[],{"id":52287,"slug":52288,"title":52289,"dynasty":302,"author":257,"museum":316,"description":52290,"tags":52291,"thumbUrl":52292,"material":139,"size":139,"collection":139,"collections":52293,"showCount":297,"zanCount":2368,"manualWeight":48,"mainColor":49},228191,"nong-cun-jia-nv-tu-juan-yi-ming-228191","农村嫁女图卷","《农村嫁女图》，原名《瘤女图》，是 佚名画家创作的一幅淡设色画。\n此图原名《瘤女图》，后更名为《农村嫁女图》。\n全卷绘大小人物7人，分布疏密得当，自然形成四个段落，各段又有相对突出的重点人物的描写。\n首段以一骑牛披纱妇人为中心，众人目光多集于其身；次段是来宾与迎候者相见的场面，相对施礼的两位妇女为该段的中心；第三段表现两位身份较高的男性奉酒的场面；末段绘鼓乐、歌舞表演及围观者。\n各段虽有各自的主要人物，但次要人物的朝向、动作又使各段落间相互联系，构成一幅完整的画面。\n从画面表现的内容看，画的是否农村嫁女场面还有待商榷，图中吃奶的婴儿和扛于肩上的小童似与婚嫁主题不太相符，且骑牛女子似亦非新娘形象。\n笔者推测此图所表现的可能是一民女回乡省亲的场面，具体内容尚有待进一步考察。\n图中人物略施淡赭色，余则全以水墨为之。\n人物全用颤笔描加以表现，面部刻画也较为粗简，人物造型与南宋马远《踏歌图》有些相近之处。\n绘画艺术水平一般，但却生动地记录了宋元时期的现实生活场景。\n本幅无作者款印。\n钤有清“卢崇兴印”及清内府鉴藏印 5方。\n清初康熙时此卷为卢崇兴所有，乾隆时入内府，清末宣统年间佚出宫外，后为故宫博物院购藏。\n著录于《石渠宝笈·初编》卷三十五。",[23,24,194,26,352,7,106,150,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2a4c8a922243dc7230811a7a4b5333e.jpg",[],{"id":52295,"slug":52296,"title":52297,"dynasty":302,"author":1977,"museum":316,"description":52298,"tags":52299,"thumbUrl":52300,"material":139,"size":139,"collection":139,"collections":52301,"showCount":297,"zanCount":2368,"manualWeight":48,"mainColor":49},228057,"fan-qi-tu-ye-zhao-meng-fu-228057","番骑图页","此画以淡赭素绢为底，将目光凝于草原行旅的片刻日常。两位骑手颇具游牧风情，红衣戴笠者控黑花马稳步前行，青衫跨坐者抬手牵住随行白马，神态松弛安然，衣褶线条清劲简练，寥寥数笔便勾勒出策马闲行的悠然情态。\n\n三匹马造型写实灵动，黑花马昂首健硕，白马温顺舒展，墨色晕染柔和雅致，以极简笔墨描摹出马匹肌理毛发，不见多余背景铺陈，却将塞外行旅的松弛鲜活定格绢素，尽显简淡萧散的鞍马画意趣，于朴拙雅致间藏着游牧日常的鲜活烟火。",[23,194,24,25,81,7,28,106,150,746,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5191d62260f7f79f9b22aeb48e388305.jpg",[],{"id":52303,"slug":52304,"title":52305,"dynasty":302,"author":257,"museum":316,"description":27801,"tags":52306,"thumbUrl":52307,"material":599,"size":600,"collection":139,"collections":52308,"showCount":297,"zanCount":48,"manualWeight":48,"mainColor":4199},228012,"guan-yin-pu-sa-yi-ming-228012","观音菩萨",[260,106,7135,5513,1488,7,7610],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a0fb7934113c6a56f896d65a6799844.jpg",[],{"id":52310,"slug":52311,"title":52312,"dynasty":18,"author":257,"museum":316,"description":52313,"tags":52314,"thumbUrl":52315,"material":139,"size":139,"collection":139,"collections":52316,"showCount":297,"zanCount":48,"manualWeight":48,"mainColor":49},227924,"jiao-shi-ying-xi-tu-yi-ming-227924","蕉石婴戏图","这幅小品以庭院一隅铺展童趣，玲珑湖石矗立，芭蕉舒展浓荫，晕染出夏日庭院的清幽意韵。十余稚童散落各处，或两两私语、或结伴嬉闹，有的摹仿大人行礼作态，有的蹲坐把玩小物，一举一动皆憨态可掬，将孩童日常嬉游的模样鲜活呈现。设色淡雅柔和，衣纹线条细劲流畅，画师以精妙笔力将幼童的天真烂漫刻画得淋漓尽致，藏着平淡日常里的融融稚趣，尽显工致雅致的宋画意韵，把烟火日常里的童真定格成隽永的画面。",[23,194,24,25,1260,7,28,106,611,230,108,8665],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F880c152bb4ecce6798ef847bc94f14c1.jpg",[],{"id":52318,"slug":52319,"title":52320,"dynasty":18,"author":257,"museum":316,"description":52321,"tags":52322,"thumbUrl":52323,"material":139,"size":139,"collection":139,"collections":52324,"showCount":297,"zanCount":48,"manualWeight":48,"mainColor":49},227893,"yu-le-tu-ye-yi-ming-227893","渔乐图页","这幅小品以虚实相生铺展江渚闲情。右侧江岸苍松虬曲，墨色皴擦间晕染出枝叶蓊郁的清寂意韵，留白处烟霭漫过江天，晕开空濛淡远的朦胧诗意。\n\n水面扁舟轻漾，渔人围坐舟中，姿态松弛悠然，帐幔酒旗随江风微动，将寻常渔居琐事晕染出世外之味。简淡笔墨勾勒人物情态，寥寥数笔便写尽江湖渔隐的闲散日常，将俗世烟火揉入水墨淡彩间。\n\n整体雅致静穆，把宋人寄情林泉的隐逸襟怀藏进烟波里，尽显宋代小品画的诗意意境，将渔家寻常的片刻欢愉，铺陈为悠远淡和的江居雅卷。",[23,24,1260,173,7,29,174,32171,106,796,13236,177,212,987],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F943293d6916514a78dbafe73eefd7416.jpg",[],{"id":52326,"slug":52327,"title":52328,"dynasty":18,"author":257,"museum":316,"description":52329,"tags":52330,"thumbUrl":52331,"material":139,"size":139,"collection":139,"collections":52332,"showCount":297,"zanCount":48,"manualWeight":48,"mainColor":94},227876,"liu-xi-chun-se-tu-yi-ming-227876","柳溪春色图","画面取景清隽雅致，以一角之景铺展春日闲情。苍松虬曲斜伸，松石旁廊下侍者俯身煎茶，对岸柳色氤氲，春水漾漾，远山含翠晕染如黛。衣袂轻扬的文人静坐在松下，凭览溪山春色，将幽居赏景的澹然意趣融于尺幅间。\n\n设色清润雅致，勾勒皴染细腻温婉，山水林人相映成趣，把林下雅兴、寄情林泉的幽怀铺陈开来，虽咫尺小帧，却晕染出舒展悠远的春日静境，尽显含蓄诗意与雅致情致。",[23,1260,24,25,7,177,29,106,1241,109,230,34,912],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8afb44f2205239bed4a2bbdc94d9cd7c.jpg",[],{"id":52334,"slug":52335,"title":29082,"dynasty":18,"author":257,"museum":316,"description":52336,"tags":52337,"thumbUrl":52340,"material":139,"size":139,"collection":139,"collections":52341,"showCount":297,"zanCount":48,"manualWeight":48,"mainColor":49},227858,"dai-du-tu-yi-ming-227858","这幅小品以淡墨晕染远山，将烟岚与水色晕成一片朦胧，远山如卧，隐在暮色薄雾之间，铺展出空濛悠远的天地格局。\n\n水岸柳丝垂柔，依依拂过浅滩，石畔扁舟系泊，艄公立于船头静立等候。右侧山居檐角轻挑，轩下有人凭栏眺望，有人缓步阶前，皆引颈望向江面，将待渡的期盼藏在松弛的神态里。\n\n整幅设色清润淡雅，以虚衬实，将江南暮色里的闲寂悠然揉进烟水间。咫尺圆帧之中，把等候的怅惘与静谧尽数铺陈，留白处尽是诗意余韵，尽显山水小品的雅致意境。",[23,194,24,17273,1260,7,173,29,106,107,109,174,1241,1169,35271,4706,230,52338,14687,3585,52339],"闲寂悠然","江南暮色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15adff5cce028e04ac85a7f12eb420ea.jpg",[],{"id":52343,"slug":52344,"title":52345,"dynasty":18,"author":52346,"museum":316,"description":52347,"tags":52348,"thumbUrl":52349,"material":139,"size":139,"collection":139,"collections":52350,"showCount":297,"zanCount":48,"manualWeight":48,"mainColor":49},227615,"liu-yin-xiu-qi-tu-ye-yang-ri-yan-227615","柳荫休憩图页","杨日严","杨日严，字垂训，宋朝河南人。进士及第，曾任安丘知县，通判亳、陈二州。杨日严任益州转运使时，颇为蜀人所信爱，却在任内因贪污被欧阳修弹劾，从此与欧阳修结怨，并且设法攻击。后为开封府代理知府，有囚犯自杀因被罢官。后判太常、司农寺，同知审官院，卒于官。",[23,194,24,25,81,7,28,106,1241,245,29,230,6174],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24620bc6c89ce952d0373ed3f8835188.jpg",[],{"id":52352,"slug":52353,"title":52354,"dynasty":18,"author":21160,"museum":316,"description":52355,"tags":52356,"thumbUrl":52357,"material":139,"size":139,"collection":139,"collections":52358,"showCount":297,"zanCount":48,"manualWeight":48,"mainColor":94},227539,"fan-wang-li-fo-tu-zhao-guang-fu-227539","藩王礼佛图","《番王礼佛图》，宋代赵光辅作，卷绢本，设色，纵28.6厘米，横103.5厘米。现藏美国克里夫兰艺术博物馆。\n\n此图画中国周边少数民族酋长、番王朝拜佛祖的形象。佛祖高坐莲台，诸番王作礼拜、贡献之状，服饰皆异域装束。画面气势宏大，人物安排疏密有致，表情各异，生动自然，是宋代人物画的一幅杰作。",[23,194,24,25,26,260,7,28,106,212,86,63,937,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40c003e5ab7391900ab1a6e34dd38cf6.jpg",[],{"id":52360,"slug":52361,"title":52362,"dynasty":18,"author":14454,"museum":316,"description":52363,"tags":52364,"thumbUrl":52365,"material":139,"size":139,"collection":139,"collections":52366,"showCount":297,"zanCount":48,"manualWeight":48,"mainColor":49},227438,"chu-shi-bei-jiang-tu-juan-yang-bang-ji-227438","出使北疆图卷","杨邦基，生卒年不详。金画家。字德懋，号息轩，陕西华阴人。幼孤，好学。擅画山水、人物、鞍马。人物画有李公麟格调；山水学李成。潇洒脱俗，令人渺然有江湖尘外之思。存世作品有《聘金图》。\n\n《金史》称：杨邦基，字德懋，华阴人。父綯，宋末为易州州佐。宗望伐宋，蔡靖以燕山降，易州即日来附，綯被杀，邦基年十余岁，匿僧舍中，得免。既长，好学。天眷二年，登进士第，调滦州军事判官，迁太原交城令。太原尹徒单恭贪污不法，托名铸金佛，命属县输金，邦基独不与。徒单恭怒，召至府，将以手持铁拄杖撞邦基面，邦基不动。秉德廉察官吏，尹与九县令皆免去，邦基以廉为河东第一，召为礼部事。以兵部员外郎摄吏部差除，坐铨注李庆之、大奉国臣，与高衎等皆贬官，邦基降坊州宜君簿。转高密令。大定初，尚书省拟邦基刑部郎中，世宗曰：“县官即除郎中，如何？”太师张浩对曰：“邦基前为兵部员外郎矣，且其人材可用。”上许之。改太府少监，知登闻检院，为秘书少监，迁翰林直学士，再迁秘书监兼左谏议大夫，修起居注。中都警巡使张子衍与邦基姻家，子衍道中遇皇太子卫仗，立马市门不去伞，卫士诃之，子衍以鞭鞭卫士诃己者。御史台劾奏子衍，邦基见台官为子衍求解，及入见显宗，求脱子衍罪。诏削子衍官两阶。邦基坐削官一阶，出为同知西京留守事，徙山东东路转运使，永定军节度使，致仕。大定二十一年，卒。邦基能属文，善画山水人物，尤以画名当世云。",[23,194,24,25,26,7,29,177,106,150,1273,808,37,175,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7813fa368ac32a990250cd1cd532baa8.jpg",[],{"id":52368,"slug":52369,"title":52370,"dynasty":189,"author":1642,"museum":316,"description":49509,"tags":52371,"thumbUrl":52372,"material":139,"size":139,"collection":139,"collections":52373,"showCount":297,"zanCount":48,"manualWeight":48,"mainColor":49},226705,"su-li-bie-yi-juan-2-zhou-wen-ju-226705","苏李别意卷-2",[24,25,26,7,28,106,11396,37298],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa229b26e47f4093cc5aab6eddd554b77.jpg",[],{"id":52375,"slug":52376,"title":27976,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":52377,"thumbUrl":52380,"material":599,"size":600,"collection":139,"collections":52381,"showCount":297,"zanCount":48,"manualWeight":48,"mainColor":49},226500,"ku-yong-dao-bei-pi-yi-ming-226500",[511,7,8170,52378,5885,7691,4028,52379],"植物纹样","条纹装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3cb1ca399c4788839de5eb5c3c01546.jpg",[],{"id":52383,"slug":52384,"title":11067,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":52385,"thumbUrl":52386,"material":599,"size":600,"collection":139,"collections":52387,"showCount":297,"zanCount":48,"manualWeight":48,"mainColor":49},226456,"ku-zhu-shi-bei-bi-yi-ming-226456",[511,260,104,7,106,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdeea4432cc34b7e8ddc27922505e3a14.jpg",[],{"id":52389,"slug":52390,"title":52391,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":52392,"thumbUrl":52393,"material":599,"size":600,"collection":139,"collections":52394,"showCount":297,"zanCount":48,"manualWeight":48,"mainColor":49},226392,"ku-qian-shi-ding-bu-yi-ming-226392","窟前室顶部",[511,260,7,106,7230,84,5884],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe61084b4b0cbc8c11b47a6aa0ac0ce9.jpg",[],{"id":52396,"slug":52397,"title":16056,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":52398,"thumbUrl":52400,"material":599,"size":600,"collection":139,"collections":52401,"showCount":297,"zanCount":2368,"manualWeight":48,"mainColor":49},226350,"ku-zhu-shi-nan-pi-yi-ming-226350",[511,1846,6768,7,4027,245,6422,52399],"佛龛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56f6b33aafcc0d2bcee5f9ccd2ecb791.jpg",[],{"id":52403,"slug":52404,"title":17921,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":52405,"thumbUrl":52406,"material":599,"size":600,"collection":139,"collections":52407,"showCount":297,"zanCount":2368,"manualWeight":48,"mainColor":2504},226268,"ku-yong-dao-ding-bu-yi-ming-226268",[511,7230,7,22980,12896,5887,6767],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F821bd5f1b40e065b1c1e206f6c663b42.jpg",[],{"id":52409,"slug":52410,"title":11067,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":52411,"thumbUrl":52412,"material":599,"size":600,"collection":139,"collections":52413,"showCount":297,"zanCount":48,"manualWeight":48,"mainColor":2504},226244,"ku-zhu-shi-bei-bi-yi-ming-226244",[511,260,7,106,107,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c559cc80ef2fdd111a6701fe4728226.jpg",[],{"id":52415,"slug":52416,"title":52417,"dynasty":256,"author":10036,"museum":316,"description":10037,"tags":52418,"thumbUrl":52419,"material":599,"size":600,"collection":3195,"collections":52420,"showCount":297,"zanCount":48,"manualWeight":48,"mainColor":49},225916,"claude-monet-the-house-among-the-roses-1925-mo-nai-225916","Claude Monet -The House among the Roses, 1925",[10039,3187,7,27024,912,16440,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F060e674ca2c196be5d4d77e986633f04.jpg",[3195],{"id":52422,"slug":52423,"title":52424,"dynasty":256,"author":6236,"museum":316,"description":6237,"tags":52425,"thumbUrl":52430,"material":599,"size":600,"collection":3195,"collections":52431,"showCount":297,"zanCount":48,"manualWeight":48,"mainColor":2504},225842,"the-garden-at-the-asylum-at-saint-remy-fan-gao-225842","The garden at the asylum at Saint 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。\n绢本设色。\n此图仿巨然山水，王鉴在此画中描绘夏秋山水景色，山多矾头而不作嶒崚奇峭之状。\n画面中间有—溪流蜿蜒流过，山石上杂树丛生，山石多以长披麻皴写之，上有焦墨点苔。\n用墨浓润，骨重气轻，匠心独具，沉雄古逸。\n此图作于1674年，作者时年七十六岁，为其逝世前三年。\n款识：“甲寅九秋仿巨然烟浮远岫呈艾翁老祖台大词宗教正，王鉴” 钤印：“王鉴之印”白文方印，“湘碧”朱文方印。\n王鉴（1598-1677年），字元照，一字圆照，号湘碧，又号香庵主。\n江苏太仓人。\n擅长山水，远法董（源）、巨（然），近宗王蒙、黄公望。",[194,24,25,226,3559,7,177,105,685,1169,9896,1273,1241,1426,109,35,686],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85222cb3dd78674b95fe037a0f88417e.jpg",[],{"id":52473,"slug":52474,"title":52475,"dynasty":76,"author":7596,"museum":191,"description":52476,"tags":52477,"thumbUrl":52478,"material":1307,"size":139,"collection":139,"collections":52479,"showCount":297,"zanCount":48,"manualWeight":48,"mainColor":801},224469,"xi-shan-hong-shu-wang-hui-224469","溪山红树","此图为王翚仿黄鹤山樵王蒙的一件极具特色的代表作，描绘的是遍生红树的一片秋日山林景色。画中以圆转重叠、突兀高耸的山峰为主体，山溪逶迤前行，涟漪阵起，秋波荡漾，两岸林木，红翠相间，整个画中意境深幽，秋气袭人。画家拟王蒙笔意与布局，构景繁密，山势云动，境界深奇。山石画法以墨笔牛毛皴和解索皴为主，干笔皴擦，浓墨点苔，既显浓密厚重，又鲜艳夺目，光彩熠熠。",[23,24,25,3559,7,177,212,86,178,29,34,1754,107,1426,809,686],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F613cf57d2a1886ceabf81e3e254b741a.jpg",[],{"id":52481,"slug":52482,"title":29769,"dynasty":76,"author":7596,"museum":316,"description":52483,"tags":52484,"thumbUrl":52485,"material":139,"size":139,"collection":139,"collections":52486,"showCount":297,"zanCount":48,"manualWeight":48,"mainColor":94},224440,"xian-shan-lou-guan-tu-wang-hui-224440","此作画境苍浑雅致，重岩峻岫拔地而起，皴笔磊落厚重，将山石嶙峋肌理尽皆铺展。古松虬劲横斜，间错排布，掩映起层叠楼阁，朱檐黛瓦隐于林壑间，似藏洞天秘境。\n\n山脚溪湾萦回，村居错落临水而建，渔舟泊于浅滩，烟火意趣晕开仙家清寂，将尘寰烟火与云山灵境相融。整幅画笔致兼具工细与苍茫，干湿墨色交织，既见峰峦雄奇之态，亦得林泉幽居之恬，恍若踏入可居可游的世外清境。",[23,24,25,226,29,107,1353,353,109,176,177,7,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb079ccf42f95315b2b3056257b58765c.jpg",[],{"id":52488,"slug":52489,"title":52490,"dynasty":76,"author":1829,"museum":316,"description":52491,"tags":52492,"thumbUrl":52494,"material":139,"size":139,"collection":139,"collections":52495,"showCount":297,"zanCount":48,"manualWeight":48,"mainColor":94},224293,"gu-bai-ling-xiao-tu-li-shan-224293","古柏凌霄图","画面中古柏躯干虬曲苍劲，枯笔皴擦尽显饱经风霜的古拙质感。凌霄柔蔓盘绕其上，丹色花朵娇妍明媚，刚柔相映，勾勒出盎然生机。下方湖石奇崛嶙峋，侧锋挥写出嶙峋肌理，石畔幽兰素花轻绽，添了几分清雅柔润。\n笔墨刚柔并济，古木的坚拙与花草的灵秀相融，再辅以题诗错落排布，诗画相映，将文人的清雅意趣寄寓其间，尽显写意花鸟的灵动神韵，生机古意交织成雅致盎然的庭间景致。",[23,24,25,226,7,498,177,178,212,83,353,230,52493],"凌霄花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F330a94e92eb6ad613697bf518f9e4fc9.jpg",[],{"id":52497,"slug":52498,"title":52499,"dynasty":76,"author":10978,"museum":316,"description":52500,"tags":52501,"thumbUrl":52503,"material":139,"size":139,"collection":139,"collections":52504,"showCount":297,"zanCount":48,"manualWeight":48,"mainColor":49},224125,"shi-lu-li-lu-ting-tu-zhou-qian-long-224125","诗鹭立芦汀图轴","清乾隆缂丝乾隆御制诗鹭立芦汀图轴是清乾隆时期的图轴。\n米色地上缂织芦花白鹭，右上方以黑线缂织高宗隶书御制诗一首： 采采亚汀洲，为花岂自由。\n群摇令夕雨，不异去年秋。\n藏鹭恋青叶，凌波颤白头。\n吟看惊隙影，荣落宜淹留。\n诗末织圆、方朱印“乾”、“隆”各一方。\n此图轴的特点在于先缂织出物象形状，其上再着笔渲染，如 即先以白丝线织其形态，而后用墨笔画羽毛，地上的小草则全以笔描画，这种织与画的结合，可以画笔来描绘细小而不易缂织之处，弥补了织的不足。\n此作品织与画搭配得当，缂工上乘，以平缂、构缂、环缂、子母经为主。\n画面上还钤有阳文朱印“乾隆御览之宝”、“宣统御览之宝”、“石渠宝笈”、“石渠定鉴”、“三希堂精鉴玺”、“无逸斋精鉴玺”、“乾清宫鉴藏宝”、“宣统鉴赏”和“乾隆鉴赏”、“宜子孙”、“宝笈重编”阴文印章。\n《石渠宝笈续编》著录。",[23,194,24,25,226,28,7,4039,1980,52502,230,212],"汀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdffc101a696745672e7f2512cd182300.jpg",[],{"id":52506,"slug":52507,"title":52508,"dynasty":99,"author":257,"museum":101,"description":52509,"tags":52510,"thumbUrl":52511,"material":67,"size":52512,"collection":139,"collections":52513,"showCount":297,"zanCount":48,"manualWeight":48,"mainColor":49},223576,"quan-xi-tu-yi-ming-223576","犬戏图","三只白底黑点的大狗趴在地上，仿佛看着它们的皮肤吐着皮毛，而其中的两只正在锻炼和玩耍，三只胖嘟嘟的傻傻的表情非常可爱。",[23,24,25,7,28,746,8941,1273,263,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F661ed9dda15d3f39a9490584687bc98a.jpg","36X35cm",[],{"id":52515,"slug":52516,"title":52517,"dynasty":76,"author":257,"museum":52518,"description":52519,"tags":52520,"thumbUrl":52531,"material":638,"size":52532,"collection":139,"collections":52533,"showCount":297,"zanCount":48,"manualWeight":48,"mainColor":94},223502,"hang-cheng-xi-hu-jiang-gan-hu-shu-tu-yi-ming-223502","杭城西湖江干湖墅图","英国大英图书馆","全图以传统绘画揉合地图绘制的技巧表现，将杭州城与西湖及城北附郭仁和县、城南附郭钱塘县一带山形水势尽收于图中。全图不附图例、比例及方位，但明显采西上、东下的分布。图中各处标示地名，杭州城内官署、坊巷、水道桥梁均详细注记；杭城外西湖及周围山岭、寺庙及景点也都非常细腻描绘，钱塘江水面在图右，以图面空白的方式表现，仅注记「闸口至北新关三十里」、「闸口至六和塔五里」等两处文字。",[23,24,194,25,7,29,52521,52522,52523,52524,52525,52526,25842,52527,52528,36,52529,52530,108,107],"城市图","古地图","杭州城","西湖","钱塘江","山岭","官署","坊巷","水道","景点","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ffc448fcbdc2f72bda091d949ae7205.jpg","125×67.5cm",[],{"id":52535,"slug":52536,"title":52537,"dynasty":18,"author":257,"museum":20,"description":52538,"tags":52539,"thumbUrl":52540,"material":529,"size":52541,"collection":139,"collections":52542,"showCount":297,"zanCount":48,"manualWeight":48,"mainColor":49},223480,"mo-liang-ling-zan-xing-xiu-tu-juan-yi-ming-223480","摹梁令瓒星宿图卷","全卷画五星和二十八宿神形（现存五星十二宿）。五星即五大行星：金、木、水、火、土，二十八宿是古人用作观测日月五星运行坐标的二十八组星座，环列在日月五星的四方，犹如诸星的栖宿场，故称二十八宿。",[24,25,26,105,28,7,260,106,34892,514,151,150,3539,2439,409],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82126ff917ff070f22cf00c6e8f9a55c.jpg","27.5x489.7厘米",[],{"id":52544,"slug":52545,"title":52546,"dynasty":302,"author":257,"museum":12886,"description":52547,"tags":52548,"thumbUrl":52549,"material":40,"size":139,"collection":139,"collections":52550,"showCount":297,"zanCount":48,"manualWeight":48,"mainColor":49},223393,"cheng-ma-tu-yi-ming-223393","呈马图","绘八人三马，马匹壮硕矫健，二黑一白，脖上系红缨长坠，马鬃及马尾毛发浓密，马背上皆搭具有民族特图案色的垫毯，马头打扮亦精致。八人身着民族特色衣饰，面部或粗旷，或白净，表情各异。",[23,24,194,26,7,28,106,150,212,86,1070],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9237c5a6f17766247b13fda0fad8a1b1.jpg",[],{"id":52552,"slug":52553,"title":52554,"dynasty":302,"author":257,"museum":316,"description":52555,"tags":52556,"thumbUrl":52557,"material":500,"size":52558,"collection":139,"collections":52559,"showCount":297,"zanCount":2368,"manualWeight":48,"mainColor":49},223355,"fang-ju-ran-shan-shui-tu-yi-ming-223355","仿巨然山水图","是图以高远法出之,山峦清旷,落英缤纷。近景陂陀杂树,渔舟归樵;中景夹谷深壑,流水湍湍,桥舍掩映;远景山峰耸峻,苍翠欲滴,烟岚奕奕。正是暮霞景明、秋意正浓之时,令人有如入武陵桃源忘返向路之感。在画法上,是图以长披麻皴为主,笔致清晰中见浑融,用笔枯而不涩,意境蓊秀萧疏。点苔疏密有致,很好地表现了草木华滋的气象。设色借鉴了黄公望浅绛法,明洁滋润,妍而不甜。此种画风,明显受到了其挚友王鉴的影响。然而,在萧疏简远的气息追求上,比之王鉴是有过之而无不及的。",[23,24,3559,7,177,176,34,108,109,175,1785,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bbd8eba0f37ff5d86d70dba3540da1a.jpg","170x85.26cm",[],{"id":52561,"slug":52562,"title":8049,"dynasty":76,"author":6776,"museum":191,"description":52563,"tags":52564,"thumbUrl":52566,"material":7,"size":52567,"collection":139,"collections":52568,"showCount":297,"zanCount":48,"manualWeight":48,"mainColor":94},223323,"wu-xing-er-shi-ba-xiu-shen-xing-tu-ding-guan-peng-223323","此《五星二十八宿神形图》卷据传为唐代梁令瓒绘。此图原分为上下两卷，描绘五星（岁星、荧惑、镇星、太白、辰星），以 及二十八星宿对应的人物神怪图像。每星宿一图，或人或兽，或人身兽首，每图前有篆书说明。今仅存上卷的五星和 “角” 至 “危” 十二宿。此内含三种卷本。\n“五星二十八宿” 中的 “五星” ， 亦可称五纬， 即中国古代天文学中的金、 木、 水、 火、 土五大行星。 其中， 金星古称明星， 又名太白金星；木星， 古称岁星； 水星， 古称辰星； 火星， 因其时明时暗， 行踪不定， 古称荧惑星； 土星， 古称镇星、 填星、 信星等。 “二十八宿” ， 源于道教文化。二十八宿， 其中东方青龙七宿是角、 亢、 氐、 房、心、 尾、 箕； 北方玄武七宿是斗、 牛、 女、 虚、 危、室、 壁； 西方白虎七宿是奎、 娄、 胃、 昴、 毕、 觜、参； 南方朱雀七宿是井、 鬼、 柳、 星、 张、 翼、 轸。",[23,320,28,7,352,178,212,105,106,150,746,260,2459,86,28606,52565,1464],"神形","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4cf4849e8cdfb46d12f18ed03910394.jpg","26.5x70.9",[],{"id":52570,"slug":52571,"title":52572,"dynasty":76,"author":41155,"museum":316,"description":52573,"tags":52574,"thumbUrl":52575,"material":529,"size":52576,"collection":181,"collections":52577,"showCount":297,"zanCount":2368,"manualWeight":48,"mainColor":94},223254,"yan-shan-ba-jing-tu-qiong-dao-chun-yin-zhang-ruo-cheng-223254","燕山八景图-琼岛春荫","此册以北京城著名的“燕京八景”为题而画。燕京八景一说始自金《明昌遗事》，当时金章宗完颜璟将燕京的八处风光名胜选定为燕京八景，即“居庸叠翠”、“玉泉垂虹”、“太液秋风”、“琼岛春荫”、“蓟门飞雨”、“西山积雪”、“卢沟晓月”和“金台夕照”。“燕京八景”历金、元、明、清四代，又有称“燕台八景”、“燕山八景”、“京师八景”、“京畿八景”者，虽景点相同，八景的名称在不同时期则有所变化。乾隆十六年（1751年），乾隆曾御制《燕山八景诗》，将八景定名为“琼岛春荫”、“太液秋风”、“玉泉趵突”、“西山晴雪”、“蓟门烟树”、“卢沟晓月”、“金台夕照”、“居庸叠翠”，沿用至今。该画册中建筑的刻画不用界尺，但是对建筑的特征却描绘得生动准确，表现手法活泼而不失稳重，是画家对景写实的佳作。",[23,194,24,25,7,104,212,29,107,1157,108,109,34,176,10383,2169,119,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99e64bf8b756daf54e558d61066d3f36.jpg","34.7cm，横40.3cm",[181,45],{"id":52579,"slug":52580,"title":52581,"dynasty":76,"author":24117,"museum":316,"description":24118,"tags":52582,"thumbUrl":52583,"material":139,"size":139,"collection":181,"collections":52584,"showCount":297,"zanCount":48,"manualWeight":48,"mainColor":94},223248,"shan-shui-1-pu-hua-223248","山水1",[23,24,25,226,173,7,177,29,685,378,1273,686,37,106,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c51f44fe7b66a6cb2fe829666045ef9.jpg",[181,163],{"id":52586,"slug":52587,"title":52588,"dynasty":76,"author":2162,"museum":419,"description":2163,"tags":52589,"thumbUrl":52590,"material":67,"size":2173,"collection":139,"collections":52591,"showCount":297,"zanCount":48,"manualWeight":48,"mainColor":49},223048,"hong-lou-meng-173-sun-wen-223048","红楼梦173",[23,28,7,104,106,107,115,34,278,176,7723,279,409],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa24ebf169298a599f6c858be834d3e46.jpg",[],{"id":52593,"slug":52594,"title":52595,"dynasty":76,"author":2162,"museum":419,"description":2163,"tags":52596,"thumbUrl":52597,"material":67,"size":2173,"collection":139,"collections":52598,"showCount":297,"zanCount":48,"manualWeight":48,"mainColor":94},223016,"hong-lou-meng-141-sun-wen-223016","红楼梦141",[23,24,7,28,104,29,106,107,243,1241,34,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc84111c7cf762139844514a25f574e26.jpg",[],{"id":52600,"slug":52601,"title":52602,"dynasty":76,"author":2162,"museum":419,"description":2163,"tags":52603,"thumbUrl":52604,"material":67,"size":2173,"collection":139,"collections":52605,"showCount":297,"zanCount":48,"manualWeight":48,"mainColor":49},223006,"hong-lou-meng-131-sun-wen-223006","红楼梦131",[23,24,25,28,7,104,106,107,115,34,176,84,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a66779d2b4c3b4247ab7fa10a43a0b2.jpg",[],{"id":52607,"slug":52608,"title":52609,"dynasty":76,"author":2162,"museum":419,"description":2163,"tags":52610,"thumbUrl":52612,"material":67,"size":2173,"collection":139,"collections":52613,"showCount":297,"zanCount":48,"manualWeight":48,"mainColor":94},223005,"hong-lou-meng-130-sun-wen-223005","红楼梦130",[23,24,28,7,27,26,17248,106,59,107,108,926,611,1557,986,109,104,52611],"珍禽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5977ba55925ddfb890fab98b4c30ea9.jpg",[],{"id":52615,"slug":52616,"title":52617,"dynasty":76,"author":2162,"museum":419,"description":2163,"tags":52618,"thumbUrl":52619,"material":67,"size":2173,"collection":139,"collections":52620,"showCount":297,"zanCount":48,"manualWeight":48,"mainColor":94},222966,"hong-lou-meng-91-sun-wen-222966","红楼梦91",[23,24,25,26,7,28,104,106,12015,109,34,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1cb39e4fc09e1e3bc62862b5c2e0b2c8.jpg",[],{"id":52622,"slug":52623,"title":52624,"dynasty":76,"author":2162,"museum":419,"description":2163,"tags":52625,"thumbUrl":52628,"material":67,"size":2173,"collection":139,"collections":52629,"showCount":297,"zanCount":48,"manualWeight":48,"mainColor":94},222957,"hong-lou-meng-82-sun-wen-222957","红楼梦82",[23,28,7,52626,107,6710,278,37171,106,611,3673,2512,34,84,52627,409,29068,1557,3190],"古典庭院","石景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14fd19bbb13d2890a1bae246659c20ee.jpg",[],{"id":52631,"slug":52632,"title":52633,"dynasty":76,"author":2162,"museum":419,"description":2163,"tags":52634,"thumbUrl":52636,"material":67,"size":2173,"collection":139,"collections":52637,"showCount":297,"zanCount":48,"manualWeight":48,"mainColor":49},222943,"hong-lou-meng-68-sun-wen-222943","红楼梦68",[23,28,7,104,106,8432,4355,84,280,86,16123,52635,3007,13078,14200,3673],"书架","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c32ce07b23c9a117289cfb2e75eaa4a.jpg",[],{"id":52639,"slug":52640,"title":29254,"dynasty":76,"author":2162,"museum":419,"description":2163,"tags":52641,"thumbUrl":52643,"material":67,"size":2173,"collection":139,"collections":52644,"showCount":297,"zanCount":48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],{"id":52847,"slug":52848,"title":52849,"dynasty":302,"author":7943,"museum":191,"description":52850,"tags":52851,"thumbUrl":52852,"material":123,"size":10070,"collection":139,"collections":52853,"showCount":297,"zanCount":2368,"manualWeight":48,"mainColor":49},219132,"hua-hui-ce-hu-er-cao-wang-yuan-219132","花卉册-虎耳草","叶片展如虎耳，脉络细若蚕丝，淡绿晕染出层次分明的肌理。细茎托着素白小花，轻盈似欲随风摇曳。枝间小虫匍匐，梢头轻羽掠过，静中藏动，仿佛能嗅到草叶的清冽气息。墨线勾勒简洁精准，设色温润内敛，赭色背景衬得草木愈发清新。以极简物象捕捉生机，无浓艳之姿，却有静谧雅致的韵致，尽显对自然细微之美的深情凝视与文人画的空灵意趣。每一处笔触都藏着对生命的珍视，将平凡草木绘成诗意的存在，于无声中传递出自然与心灵的共鸣。",[23,24,25,81,28,7,83,84,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33ab3628f34bb94d9d39c9594686daf2.jpg",[],{"id":52855,"slug":52856,"title":52857,"dynasty":18,"author":257,"museum":191,"description":52858,"tags":52859,"thumbUrl":52860,"material":123,"size":52861,"collection":181,"collections":52862,"showCount":297,"zanCount":48,"manualWeight":48,"mainColor":94},218976,"xue-tang-chui-diao-tu-yi-ming-218976","雪塘垂钓图","这是一幅柳宗元诗歌《江雪》的画作，画中的渔夫带着嘀嗒声在江雪的天空中独自捕鱼。心情是空虚和冷漠的，笔触是清晰和减少的。虽然不一定是宋代，但可以追溯到元代。",[23,24,25,81,173,7,28,177,2086,29,795,174,6582,106,3519,685,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea60d2b0f61e8804c3f763b7d1d90dc6.jpg","23.8x25.5",[181],{"id":52864,"slug":52865,"title":52866,"dynasty":18,"author":257,"museum":191,"description":52867,"tags":52868,"thumbUrl":52870,"material":123,"size":52871,"collection":90,"collections":52872,"showCount":297,"zanCount":48,"manualWeight":48,"mainColor":94},218730,"yun-long-shan-que-tu-yi-ming-218730","筠笼山雀图","这幅画描绘了两只小鸟在笼子里和笼子外玩耍的情景，笔触沉重，笼子的结构处理得很差，钱的形式是艺术家的印章 顺口溜。这幅画和这枚印章都是不真实的，应该被视为普通的复制品。",[23,24,25,194,28,7,83,4904,52869,178,81],"竹笼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6fc639dbae1130bcbdab21b8cb2ceef9.jpg","26.9x25.9",[90],{"id":52874,"slug":52875,"title":1383,"dynasty":18,"author":257,"museum":191,"description":52876,"tags":52877,"thumbUrl":52878,"material":123,"size":139,"collection":181,"collections":52879,"showCount":297,"zanCount":48,"manualWeight":48,"mainColor":94},218694,"shan-shui-tu-yi-ming-218694","纨扇小景纳海天气象于尺幅间。浪涛奔涌，层层叠叠如堆雪翻银，墨线勾斫见波涛之势；右侧松枝如铁，虬曲横斜，松针密匝似攒云，树下亭榭隐现，似有幽人凭栏观海。动静相济里，壮阔与清寂交织——浪的奔腾衬松的苍劲，亭的静立藏观海者的悠然。墨色浓淡相宜，有限空间展无限遐思，尽得宋画小景中天地情怀与文人意趣，于细微处见苍茫，于静谧中藏生机。",[23,24,25,173,7,177,81,29,3041,34,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15a47d5422bb0d9703f21a3cb78e8308.jpg",[181],{"id":52881,"slug":52882,"title":1383,"dynasty":18,"author":257,"museum":191,"description":52883,"tags":52884,"thumbUrl":52885,"material":123,"size":139,"collection":181,"collections":52886,"showCount":297,"zanCount":2368,"manualWeight":48,"mainColor":94},218693,"shan-shui-tu-yi-ming-218693","烟波浩渺间，一叶扁舟轻泛，舟中人影依稀，似与水色相融。右侧松枝虬曲，墨色浓淡交错，松针如丝倚石而立；山石皴法简练，与浅草相映，添了几分野趣。远山如黛，晕染在淡雾里，似天地间的留白，引视野向无尽悠远。\n\n整幅画以淡墨铺陈，虚实相生：静穆中藏灵动——水面微澜、松枝轻颤，皆在笔墨间流转。不刻意渲染，却于简约中见深远，静谧中显生机。仿佛能听见风声掠松梢，见水波拍舟舷，沉湎于自然与心灵的契合，尽得宋人山水中的诗意栖居之趣。",[23,24,194,173,7,29,177,174,6582,353,1169,3519,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd413e20f9a81db648f7fa8472822843b.jpg",[181],{"id":52888,"slug":52889,"title":52890,"dynasty":18,"author":257,"museum":5827,"description":52891,"tags":52892,"thumbUrl":52893,"material":123,"size":52894,"collection":44,"collections":52895,"showCount":297,"zanCount":2368,"manualWeight":48,"mainColor":49},218484,"sui-yang-wu-lao-tu-zhu-guan-xiang-yi-ming-218484","睢阳五老图-朱贯像","这五位老人都是宋朝的重臣，辞官后住在南京的睢阳，他们经常聚在一起写诗。时称“睢阳五老会”。",[23,24,194,25,226,28,7,106,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50de006a9494fa16a40c48bf42f3ba28.jpg","40.3x32.2",[44],{"id":52897,"slug":52898,"title":52899,"dynasty":76,"author":9598,"museum":20,"description":52900,"tags":52901,"thumbUrl":52902,"material":123,"size":52903,"collection":44,"collections":52904,"showCount":297,"zanCount":48,"manualWeight":48,"mainColor":94},218403,"wang-shi-zhen-fang-bai-xian-tu-yu-zhi-ding-218403","王士禛放白鹇图","这幅画描绘了王士禛坐在花园前的沙发上，手里拿着卷轴沉思的样子，而他面前的一个孩子打开笼子的门，放出一只白野鸡。画面上，云雾缭绕，远处的山头，山下的房屋掩映在云雾之中，一派开阔宁静的景象，恰如其分地表达了一个身居高位的人思念故土、想要逃离牢笼的内心感受。场景和情境的交织，充分表达了王诗的内容，并通过绘画表达了其内在的韵律，具有诗意和极强的感染力。",[23,24,25,26,28,7,106,245,34,29,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F989f7c06a8f4982a8994af915a0e707f.jpg","26.1x110.7",[44],{"id":52906,"slug":52907,"title":52908,"dynasty":99,"author":10916,"museum":442,"description":52909,"tags":52910,"thumbUrl":52911,"material":123,"size":10920,"collection":139,"collections":52912,"showCount":297,"zanCount":2368,"manualWeight":48,"mainColor":2504},218373,"ri-ben-luo-han-tu-dui-fu-2-ji-shan-ming-zhao-218373","日本· 罗汉图对幅2","这是一幅中国元代风格的笔触和色彩的虎形浮雕僧人画。他在东福寺工作，是寺庙的看门人，负责打扫殿堂和点灯，被称为兆殿司。他学习了中国宋元的绘画技巧，用笔有力，色彩浓重。",[23,24,7,106,5443,260,226,746],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3aeb101a0ae115d9b9e4aacc84c9843.jpg",[],{"id":52914,"slug":52915,"title":52916,"dynasty":76,"author":52917,"museum":132,"description":52918,"tags":52919,"thumbUrl":52920,"material":88,"size":52921,"collection":181,"collections":52922,"showCount":297,"zanCount":48,"manualWeight":48,"mainColor":49},218311,"han-shan-si-tu-gu-zhong-quan-218311","寒山寺图","顾仲泉","月色轻笼层峦，远山如黛晕染朦胧。河面波光微漾，一叶扁舟张帆缓行，似载着晚归的思绪。岸边疏林掩映屋宇，禅意隐于其间。近景石砌水门轮廓苍劲，与远处静谧相映成趣。笔墨淡雅却含情致，江南水乡的清寂与古寺的悠远融于一卷。晚风仿佛拂过帆樯，隐约传来钟鸣，引人沉入悠然夜色，心绪随波轻漾，沉醉在画中禅意与诗意交织的静谧里。",[24,25,226,7,29,104,265,174,107,108,109,34,35,111,153,1169,11043],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc63cc8ddb867e90a5f40382b90fa4fb6.jpg","88.0x40.7cm",[181],{"id":52924,"slug":52925,"title":52926,"dynasty":99,"author":100,"museum":191,"description":11283,"tags":52927,"thumbUrl":52928,"material":123,"size":11288,"collection":139,"collections":52929,"showCount":297,"zanCount":48,"manualWeight":48,"mainColor":94},218178,"chun-xiao-tu-3-chou-ying-218178","纯孝图-3",[24,25,7,28,106,746,8378,245,29,378,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71bda439eb3eb85356e82377734aec1d.jpg",[],{"id":52931,"slug":52932,"title":52933,"dynasty":76,"author":3914,"museum":78,"description":5595,"tags":52934,"thumbUrl":52935,"material":88,"size":5598,"collection":139,"collections":52936,"showCount":297,"zanCount":48,"manualWeight":48,"mainColor":94},216970,"fang-song-yuan-shan-shui-ce-10-wang-jian-216970","仿宋元山水册-10",[23,194,24,25,81,105,177,173,7,29,34,176,1426,106,1171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F138231a7ee6fa33fd5483a4fe320cb8e.jpg",[],{"id":52938,"slug":52939,"title":52940,"dynasty":99,"author":100,"museum":316,"description":2383,"tags":52941,"thumbUrl":52942,"material":123,"size":139,"collection":139,"collections":52943,"showCount":297,"zanCount":48,"manualWeight":48,"mainColor":49},216273,"er-shi-si-xiao-tu-19-chou-ying-216273","二十四孝图-19",[194,24,25,28,7,104,106,229,378],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F710acee1da100d8112e16ea27cbc3fe7.jpg",[],{"id":52945,"slug":52946,"title":52947,"dynasty":76,"author":257,"museum":316,"description":52948,"tags":52949,"thumbUrl":52951,"material":123,"size":139,"collection":44,"collections":52952,"showCount":297,"zanCount":48,"manualWeight":48,"mainColor":94},216077,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-3-ce-yi-ming-216077","职贡图巨幅彩绘册页第3册","画面分绘两人，左者为女子，彩条纹长裙摇曳生姿，青蓝披肩轻覆肩头，步履间尽显温婉神态；右者乃男子，蓝布长褂配浅色内裳，腰间束带勾勒质朴身形，神情从容自然。画作以工笔彩绘而成，线条细腻流畅，色彩搭配和谐雅致，人物神情生动传神，精准呈现出不同族群的服饰风貌与生活气息。作为职贡图的一部分，它不仅是技法精湛的艺术佳作，更承载着记录清代边疆族群文化、反映民族交流融合的历史价值，为后人窥探当时的社会风貌提供了珍贵的视觉窗口。",[23,194,24,6083,28,7,106,59,52950],"少数民族服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ca5d1171391264734f402225c7c7f29.jpg",[44],{"id":52954,"slug":52955,"title":52956,"dynasty":76,"author":257,"museum":191,"description":42822,"tags":52957,"thumbUrl":52958,"material":123,"size":139,"collection":139,"collections":52959,"showCount":297,"zanCount":48,"manualWeight":48,"mainColor":94},215202,"sheng-ping-le-shi-tu-ce-5-yi-ming-215202","升平乐事图册-5",[24,25,81,7,28,106,175,378,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80b66be545962c4fc4be968a79c1d91b.jpg",[],{"id":52961,"slug":52962,"title":52963,"dynasty":76,"author":257,"museum":191,"description":42822,"tags":52964,"thumbUrl":52965,"material":123,"size":139,"collection":139,"collections":52966,"showCount":297,"zanCount":48,"manualWeight":48,"mainColor":94},215195,"sheng-ping-le-shi-tu-ce-12-yi-ming-215195","升平乐事图册-12",[24,25,81,7,28,106,107,34,14200,2385,278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b1edb7d2f34ec33c6d52b393b3d95d6.jpg",[],{"id":52968,"slug":52969,"title":52970,"dynasty":76,"author":52971,"museum":316,"description":52972,"tags":52973,"thumbUrl":52975,"material":123,"size":52976,"collection":181,"collections":52977,"showCount":297,"zanCount":1379,"manualWeight":48,"mainColor":94},215147,"min-sheng-yan-chang-tu-juan-hua-xin-pu-sa-bao-215147","闽省盐场图卷-画芯","菩薩保","清朝时期的闽省盐场图卷-画芯是一件著名的文物。它是由清朝时期的画家所作，描绘了当时闽省的盐场景象。闽省盐场图卷-画芯因其精细的绘画技巧和对闽省盐场生产的精确描述而闻名。这件文物被认为是清朝时期艺术史上的重要作品，并被列为国家一级文物保护单位。",[23,24,26,7,28,104,29,31,10383,6928,7599,3884,14764,114,27762,52974],"盐场","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2369b612c63db4d4809f238f9bdb851a.jpg","38x860",[181],{"id":52979,"slug":52980,"title":1383,"dynasty":76,"author":257,"museum":608,"description":52981,"tags":52982,"thumbUrl":52983,"material":123,"size":52984,"collection":181,"collections":52985,"showCount":297,"zanCount":48,"manualWeight":48,"mainColor":49},215146,"shan-shui-tu-yi-ming-215146","佚名是一个指代不确定的人的称呼，所以无法提供具体的信息。但是，清朝时期的山水图是一种流行的艺术形式，在当时是非常受欢迎的。山水图通常是一种静态的描绘自然景观的图画，其中包含了山峰、河流、树木、云彩和其他自然元素。山水图通常以水墨画的形式呈现，但也有其他艺术形式，如铜版画、绢本画和纸本画。山水图的主要目的是表现自然的美丽，并通过艺术的手段来传达观赏者的情感和思想。",[24,25,29,173,7,174,353,808,177],"https:\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家具（屏风）",[24,25,226,194,7,177,173,29,34,106,176,109,114,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e350d4065062d4a7428a6d1c958bfbc.jpg","本幅 57x30.9公分、全幅 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厩图屏风第1屏","左侧林园寒梅绽雪，仙鹤临水伫立，石畔流泉衬出幽寂古雅的闲趣。右侧厩房内，仕女团坐低语，栏中骏马昂首腾跃，仆从正打理鞍辔，将宅邸日常的烟火气静静铺展。\n\n古旧柔和的色调晕开岁月的质感，细腻线条勾勒出骏马的矫健昂扬与仕女的温婉神态，将林泉雅致与俗世日常相融，动静交织，晕染出旧日宅邸里平和悠然的浮生图景，藏着沉缓静谧的古韵意趣。",[24,7,28,279,150,106,60,820,109,108,114,115,34,2235,209,746,5264,1463,912],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bdcb98befae1e2d016d8577385a6c21.jpg",[],{"id":53848,"slug":53849,"title":53850,"dynasty":256,"author":257,"museum":316,"description":53851,"tags":53852,"thumbUrl":53853,"material":599,"size":600,"collection":139,"collections":53854,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":2504},231597,"lian-cang-shi-dai-kong-zi-xiang-li-zhou-yi-ming-231597","镰仓时代 孔子像立轴","画面以沉古绢底铺陈，主尊安坐榻上，垂髯宽袍，神态温蔼端方，尽显儒者雍容亲和的气度。两侧弟子恭侍身侧，或持卷凝思，或侧耳聆教，定格孔门问道的静谧瞬间。\n\n线条朴拙凝练，衣褶晕染自然，无繁复修饰，以简淡笔墨勾勒出千年前师授道传的肃穆学风。残旧题字晕开岁月痕迹，晕染出古雅沉穆的氛围，将圣人的温润风骨与孔门治学的笃厚气象融于笔底，尽显东方人文的厚重意韵。",[23,24,25,226,106,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec32456e70e2976707c878a961b9b2c7.jpg",[],{"id":53856,"slug":53857,"title":53858,"dynasty":99,"author":170,"museum":78,"description":53859,"tags":53860,"thumbUrl":53861,"material":638,"size":53862,"collection":139,"collections":53863,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":94},231594,"song-xing-tu-shen-zhou-231594","送行图","在明代以前，作为一种表现送别主题的“江岸送别”图式在南宋时期就已经产生。学者石守谦认为，十二世纪晚期佚名画家的《送海东上人归国图》）是现存最早的江岸“送别图”。此幅作品采用南宋时期常用的半边式构图，画中景物都集中在右半边，右侧岸边上有两棵松树，松树下有一个小亭，旁边共有五人，站在亭子外面看着左边正要离去的船。其中有两人抱拳鞠躬在向船上的人临江告别。而在画面中央波涛汹涌的江面上，有一艘大船被巨浪包围着，船上的水手们或鼓帆拉弦，或奋力划船，气氛十分紧张，与岸上的依依送别之情形成鲜明的对比。纵观整幅作品，从浩瀚江面上扬帆起航的行舟，到送者与被送者隔岸拜别，再到岸边的饯别小亭，其所描绘的“送别”景象基本上构成了江岸送别图式的基本要素，标志着江岸送别图式的形成。这种图式中，岸边友人拱手送别、水中舟船待发等场景是必不可少的。",[23,24,25,26,173,7,177,178,1070,86,212,29,34,106,1654,31,176,1273,3712,175,174],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e41518bb5ef131e0f1424e3a5b315e2.jpg","纵30.0厘米，横125.5厘米",[],{"id":53865,"slug":53866,"title":53867,"dynasty":76,"author":53868,"museum":316,"description":53869,"tags":53870,"thumbUrl":53871,"material":139,"size":53872,"collection":139,"collections":53873,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},231377,"yi-yuan-tu-ce-shen-cang-231377","怡园图册","沈苍","顾沄，字若波，号云壶、壶隐等。吴县（江苏苏州）人。工画山水，清丽疏古，得“清初六家”之长。怡园位于苏州，同治十三年（1874年）时任浙江宁绍道台的顾文彬购得此地，兴建怡园。由于顾文彬当时在外地任官，营造事宜由其子顾承主持，顾文彬特地嘱咐他多与画家商议。三年后园林建成，顾沄为绘怡园十六景，后又补绘四景。在苏州园林中，怡园是建造较晚的一座，顾文彬希望能荟萃诸园之长，从顾沄图中可以看到，《松籁阁》的画舫效法拙政园的香洲，《南雪亭》的石幢有似留园的经幢，《绛霞洞》的假山则模仿狮子林，其他如网师园的水池、沧浪亭的复廊等等都能在怡园找到痕迹。顾沄的《怡园图册》将观者带入园中，近距离地游赏各景。\n对研究怡园而言，最重要的是顾沄的十六景图和顾文彬的“词并序”。顾文彬的《怡园十六景词并序》共有十六段，前面有小序介绍园景，后面一阕小词阐发意蕴，与《十六景图》一一对应。这组景致按游览顺序展开，各景为先后关系，而非主次关系。怡园有幸留存至今，提供了将园图与实景对照的机会，从中可发现这套册页的写实程度之高。值得注意的是，传统山水画往往在明山秀水间点缀人物，提示观者应如何欣赏风景，但《怡园十六景图》则未画任何人物。这从侧面证明，顾沄和顾承的主要目的是再现景致。在《怡园图》中，园景成为重点，少了人物的干扰，观者反而可以更专注地投入其中，享受这一片天然的“无我之境”。",[23,24,104,7,28,29,107,175,34,176,109,1364],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58131b67127eeb79a8a1cfa85c6f53b7.jpg","33.3×42.4×26",[],{"id":53875,"slug":53876,"title":11293,"dynasty":99,"author":257,"museum":316,"description":53877,"tags":53878,"thumbUrl":53879,"material":139,"size":139,"collection":139,"collections":53880,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},231355,"ming-dai-di-hou-ban-shen-xiang-yi-ming-231355","明宣宗朱瞻基（1399年3月16日－1435年1月31日），或称宣宗章皇帝，明仁宗嫡长子，永乐九年（1411年）立为皇太孙；永乐二十二年（1424年）十月立为皇太子。洪熙元年（1425年）即位，次年改元宣德，明朝第5位皇帝，在位十年，享年35岁。宣德元年（1426年）平定高煦之乱，和其父仁宗一样，比较能倾听臣下的意见，听从二朝元老兼阁臣杨士奇、杨荣、杨溥等建议，停止对交阯用兵，与明仁宗并称“仁宣之治”，宣宗时君臣关系融洽，经济也稳步发展。不过，他也开启此后宦官干政的局面。",[23,24,28,7,106,11296,860,63,7692],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff976655db328fbf0430dd7f89d4a9c84.jpg",[],{"id":53882,"slug":53883,"title":53884,"dynasty":99,"author":3774,"museum":316,"description":53885,"tags":53886,"thumbUrl":53887,"material":139,"size":139,"collection":139,"collections":53888,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},230939,"han-jiang-diao-ting-tu-lu-zhi-230939","寒江钓艇图","萧寒荒寂间，虬曲枯木褪去繁枝，薄雪覆身，岸畔衰草凝着霜华。孤舟静泊，渔翁拥蓑戴笠，垂纶独钓，任飞雪漫过江天，自守一方安闲。\n\n笔致苍劲写枯木，尽透老辣荒寒，人物简笔勾勒，静穆自在的神态跃然绢上。浅淡设色晕染出清冽冬日，将江野冷寂揉成一片空明澄澈。题诗与画境相融，把寒江独钓的幽寂，化作世外高逸的精神栖所，寄寓着超脱尘俗、静守本心的雅趣，淡而愈厚，清韵悠长。",[24,25,226,99,7,28,174,6582,795,19833,2562,212,29,48453],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4301604eb72c0415bd85976d519f8a4f.jpg",[],{"id":53890,"slug":53891,"title":29820,"dynasty":99,"author":14232,"museum":316,"description":53892,"tags":53893,"thumbUrl":53894,"material":139,"size":139,"collection":139,"collections":53895,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},230890,"zi-mu-ji-tu-zhu-zhan-ji-230890","此作用淡墨勾勒，以留白晕染出禽鸟素洁的羽毛，笔触细腻写实，将绒羽的肌理纤毫毕现。亲鸡护持雏鸡啄食，雏鸟环绕依偎，亲昵互动间尽显舐犊温情，将田家寻常的天伦之趣凝于绢素。\n\n古雅棕调的绢底衬出群禽的素净雅致，写实功力与脉脉温情相融，把田园平凡生机化作细腻动人的诗意图景，尽显院体花鸟的雅致工巧，将日常烟火里的温情娓娓道来，让田家生趣跃然绢上。",[194,24,25,226,7,28,83,2703,11426,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc65a4cbda63247618482e600f8b523c.jpg",[],{"id":53897,"slug":53898,"title":53899,"dynasty":76,"author":11085,"museum":316,"description":53900,"tags":53901,"thumbUrl":53902,"material":139,"size":139,"collection":139,"collections":53903,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},230361,"shi-liu-ying-zhen-tu-ce-hua-ce-ren-xiong-230361","十六应真图册画册","青绿设色古雅沉静，山崖一隅苍松虬曲，苔点攒簇尽显苍劲古意。画中三人情态各异：袒胸束发的朗笑长者，布衣褶皱朴拙写意，满是山野散逸之气；身侧女子抬首远眺，眉目灵秀，衣袂轻盈柔和；幼童席地回望二人，憨态可掬。\n\n背景以淡赭晕染空蒙天色，石青铺陈崖壁，冷暖色调相映，拉开虚实层次。整幅用工笔兼写意，人物形神兼备，山水布景简而不空，将世外悠游的自在意趣融于尺幅间，把林下忘机的逍遥图景刻画得鲜活动人。",[24,25,81,28,7,106,34,176,260,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0090bfaa29ee878a050b82ecf118445.jpg",[],{"id":53905,"slug":53906,"title":53907,"dynasty":76,"author":5049,"museum":316,"description":53908,"tags":53909,"thumbUrl":53910,"material":139,"size":139,"collection":139,"collections":53911,"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珐瑯彩开光三羊图长方盒",[48027,41344,7,12818,12819,229,6162,106,34,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98f7699f66d78bdff9e1da6c0f32f0db.jpg",[22956],{"id":53933,"slug":53934,"title":53935,"dynasty":76,"author":53936,"museum":316,"description":53937,"tags":53938,"thumbUrl":53939,"material":599,"size":600,"collection":139,"collections":53940,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":94},229037,"kang-xi-fu-zheng-yu-wai-ai-xin-jue-luo-xuan-ye-229037","康熙赋政于外","爱新觉罗.玄烨","清圣祖爱新觉罗·玄烨（1654年5月4日—1722年12月20日），清朝第四位皇帝，清定都北京后第二位皇帝（1661年-1722年在位），年号“康熙”。蒙古人称为恩赫阿木古朗汗；西藏方面尊称为“文殊皇帝”。顺治帝第三子，生母为孝康章皇后佟佳氏。",[23,86,937,1070,212,26,65,406,28605,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5f5f9ae660ee4168f660acd64c30d7a.jpg",[],{"id":53942,"slug":53943,"title":53944,"dynasty":76,"author":17997,"museum":316,"description":53945,"tags":53946,"thumbUrl":53947,"material":139,"size":139,"collection":139,"collections":53948,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":94},229028,"fang-huang-zi-jiu-qing-luan-ji-cui-juan-wang-yuan-qi-229028","仿黄子久晴峦霁翠卷","此卷以浅绛绘江南丘壑，山峦延绵层叠，林木蓊郁苍秀，村居错落点缀水畔崖间，平远、深远兼具，铺展出清旷温润的山水胜境。\n笔墨承娄东家法，以干笔积墨反复皴擦，笔力苍劲老辣，墨色由淡及浓层层晕染，浑朴厚重中不失秀逸灵透，既谨守黄子久平淡天真的元人神韵，又融入自身沉雄苍密的风格特质。\n全作用笔绵密松灵，元气淋漓，咫尺长卷藏千里丘壑，融文人山水的笔墨意趣与林泉襟怀于一体，是摹古出新的精心佳构，尽显晚年炉火纯青的画艺造诣。",[23,24,25,26,7,29,177,105,212,178,86,685,262,34,35,107,108,175,809,1981],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f1892f4002ef7bf98ec0b17eaf74171.jpg",[],{"id":53950,"slug":53951,"title":53952,"dynasty":76,"author":11822,"museum":316,"description":53953,"tags":53954,"thumbUrl":53955,"material":139,"size":139,"collection":139,"collections":53956,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},228951,"bie-yuan-guan-lan-tu-juan-yuan-jiang-228951","别苑观览图卷","此作以全景铺展别苑胜境，水天浩渺晕开朦胧烟霭，远山如黛卧于淡墨氤氲间。园林依山水错落排布，亭台廊榭形制工细严整，山石皴擦苍劲古拙，林木扶疏间点缀三两行人，衬出苑中雅静又暗藏生趣。界画技法精绝，屋舍梁柱、城垣路径分毫毕现，又以写意笔墨晕染烟波，将规整气派的苑囿与清逸空濛的江南山水相融，精工之中不失雅致韵致，尽现院宇山水合璧的精妙意境。",[23,24,25,26,104,7,28,29,107,175,34,176,114,106,150,262,1169,115,1785],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe776ca4204dca827b152a3572e3d2c2a.jpg",[],{"id":53958,"slug":53959,"title":53960,"dynasty":76,"author":53961,"museum":316,"description":53962,"tags":53963,"thumbUrl":53964,"material":139,"size":139,"collection":139,"collections":53965,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":94},228937,"fang-gu-shan-shui-tu-ce-8-zhen-lu-han-228937","仿古山水图册8帧","陆汉","此作用浅绛糅合青绿晕染山峦，远山以淡墨轻笼云气，晕开幽谷空濛之态。近坡苍松虬曲，桃枝缀花，点染出春日融融生机。溪桥田舍错落排布，渔人操舟、乡人行聚，将武陵桃源的恬适日常铺陈开来。\n\n线条细劲秀雅，皴染柔和，将山水清润与村居和乐融为一体，笔墨间藏着对隐逸田园的向往，把出世之思揉进烟火日常的描摹里，恬淡悠然，意趣绵长。",[24,7,27,29,81,177,108,109,174,175,245,378,35,243,227,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc1d30e9ffc96d3a4b2b4aa3622ccefd3.jpg",[],{"id":53967,"slug":53968,"title":53969,"dynasty":18,"author":1599,"museum":316,"description":53970,"tags":53971,"thumbUrl":53972,"material":139,"size":139,"collection":139,"collections":53973,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},228851,"wan-xian-chao-zhen-tu-juan-liu-song-nian-228851","万仙朝真图卷","绢面虽蒙岁月褐晕，仍铺展浩荡仙仪长卷。群仙或乘云驭鹤，或执笏徐行，仪仗森然奔赴灵阙。山峦松枝勾勒清劲，宫观台宇隐现林岫，晕染出缥缈仙气。神祇形貌各殊，衣带翩跹舒展，尽显白描秀逸工致。后幅题跋笔意清隽，与前幅绘事呼应，文墨丹青共叙玄门盛会的庄雅恢弘，将天界朝贺的雍容气象凝于尺幅间，尽显中古仙佛绘事的极致匠心。",[23,24,25,26,2003,260,106,29,107,7,352,212,406],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4550bd33f196963e0c2517d9a36fde44.jpg",[],{"id":53975,"slug":53976,"title":18665,"dynasty":99,"author":257,"museum":316,"description":53977,"tags":53978,"thumbUrl":53979,"material":139,"size":139,"collection":139,"collections":53980,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},228823,"ying-tu-yi-ming-228823","这幅工笔设色花鸟，以双鹰为画面核心。两只猛禽或侧目远眺，或昂首凝望，身姿苍劲傲然。翎毛发丝尽染，笔触细腻入微，将猛禽的威严沉凝尽显无遗。\n\n古梅虬曲遒劲，寒花点点缀于枝桠，清寂雅致；嶙峋怪石边，艳红山茶绽于丛间，柔红破寒，晕开一抹生机。右下角飞泉直下，水流宛转灵动，打破画面沉静，动静相融自成韵律。\n\n棕褐底色晕染出幽谧山林氛围，工写结合间，既刻画出猛禽的雄健肃穆，又以花木泉石勾勒出清冷高古的意境，将山林幽寂与猛禽孤傲融为一体，尽显精妙写实功力，内敛悠长的意趣藏于笔墨之间。",[23,24,28,7,83,3300,820,176,1426,34,226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6425a6d54ecf9644f158bf0096b6915d.jpg",[],{"id":53982,"slug":53983,"title":53984,"dynasty":99,"author":257,"museum":316,"description":53985,"tags":53986,"thumbUrl":53987,"material":139,"size":139,"collection":139,"collections":53988,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},228779,"fang-li-tang-hao-pu-tu-juan-yi-ming-228779","仿李唐濠濮图卷","此作用斧劈皴写山石，棱角方硬苍劲，两岸危崖叠峙、古木盘根虬曲，浓墨点染的林木蓊郁深秀，暗带秋意。溪谷水面留白晕出浅波，汀渚碎石错落，衬出涧谷幽寂空远。右侧平石之上，雅士简笔勾勒，凭坐观流，恬淡静穆，尽显林泉遁世的悠然意趣。画作兼取北派山水的雄劲与文人画的萧散，将山水之胜与林下雅兴相融，把秋日溪畔的幽寂雅情绘得淋漓尽致，尽显古意山水里的文人心境。",[23,24,26,105,177,7,29,378,686,109,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8fcd1d7c4fadcfa69c00bdc8807b573b.jpg",[],{"id":53990,"slug":53991,"title":53992,"dynasty":99,"author":20061,"museum":316,"description":53993,"tags":53994,"thumbUrl":53995,"material":139,"size":139,"collection":139,"collections":53996,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},228352,"hu-zhou-shi-ba-jing-xian-ding-song-xu-228352","湖州十八景－仙顶","此作用高远、深远法铺展丘壑，以干笔皴擦勾勒山峦筋骨，石体质朴苍拙，遍山松针攒簇，蓊郁深秀。蜿蜒山道盘绕幽谷，引视线拾级而上，崖顶朱红楼阁隐于翠色间，恍若世外梵宫。山坳茅舍幽藏，溪涧穿谷而过，山脚田亩横陈，将林泉野趣与山居烟火相融。笔墨苍劲老辣，设色淡雅清和，兼融浙派刚健与吴门文秀，既绘尽峰峦奇崛之态，又暗合仙境幽绝尘寰的逸韵，把出世高怀与俗世雅趣揉为一体，尽显明代文人心中的林泉雅志。",[23,24,25,81,7,177,29,107,34,176,109,1049,212,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb9a8a320b1a8a8144d6247b75f4a65f5.jpg",[],{"id":53998,"slug":53999,"title":54000,"dynasty":99,"author":857,"museum":132,"description":858,"tags":54001,"thumbUrl":54002,"material":139,"size":862,"collection":139,"collections":54003,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},228300,"hua-niao-cao-chong-xie-sheng-ce-zhu-cha-die-bao-chen-hong-shou-228300","花鸟草虫写生册-朱茶蝶抱",[194,24,25,81,7,28,83,661,484,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb0b666b51003f2c1d45f96d154a53f9.jpg",[],{"id":54005,"slug":54006,"title":12279,"dynasty":302,"author":257,"museum":316,"description":26163,"tags":54007,"thumbUrl":54008,"material":599,"size":600,"collection":139,"collections":54009,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":2504},228234,"shi-jia-mu-ni-fu-yi-ming-228234",[23,24,25,226,260,7,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7165e041acdac0f305da7edefa17ee14.jpg",[],{"id":54011,"slug":54012,"title":54013,"dynasty":302,"author":257,"museum":316,"description":54014,"tags":54015,"thumbUrl":54016,"material":139,"size":139,"collection":139,"collections":54017,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},228195,"shi-liu-shen-jun-tu-yi-ming-228195","十六神骏图","画面群骏错落排布，姿态鲜活灵动，或引颈伫立、或俯首啜饮、或扬蹄疾行，亦有两马偎依嬉闹。骏马毛色各异，斑纹勾勒细腻写实，筋骨晕染柔和自然，将神骏膘肥体健的身姿刻画入微。\n\n红衣骑者神情悠然，控马徐行，与群马相映成趣。浅淡墨色晕染沙岸浅滩，古雅底色衬出悠长留白意境，尽显画工精妙，将良骏灵动神采尽数铺展，尽显古朴雅致的画中逸趣。",[23,194,24,25,26,7,28,106,150,746],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd6cb686b05759e704136a50854c09ba.jpg",[],{"id":54019,"slug":54020,"title":54021,"dynasty":302,"author":257,"museum":316,"description":54022,"tags":54023,"thumbUrl":54024,"material":139,"size":139,"collection":139,"collections":54025,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},228190,"jin-bi-shan-shui-ye-yi-ming-228190","金碧山水页","此作以青绿晕染崖壁，石面肌理苍然古朴，崖巅古木虬曲横斜，丹红叶色点破秋日山岑的清寂。左侧林木扶苏，深浅墨色糅合淡青，尽显层叠苍润之意。\n\n溪山之间，策蹇行者徐行山道，林畔立者似在问询，山野幽居的闲适意趣随画面铺展。构图疏密有致，空阔留白予人遐想余地，设色古雅沉静，将秋日山林的萧散淡远晕染尽致，以小景见丘壑深致，尽显寄情林泉的元人山水意韵。",[24,25,81,7,27,29,34,150,106,686,3389],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48cb32e3f645aa67e7806a281a54bc9d.jpg",[],{"id":54027,"slug":54028,"title":54029,"dynasty":302,"author":5007,"museum":316,"description":54030,"tags":54031,"thumbUrl":54032,"material":139,"size":139,"collection":139,"collections":54033,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},228047,"guan-chao-tu-sheng-mao-228047","观潮图","咫尺尺幅铺展江天寥廓，右下方白衣高士踞坐石矶，抬眸望江，神思随浪涛远走，静穆出尘。右侧老树枝叶垂覆如翠幄，掩映出幽寂观潮之地。远景山峦以澹墨轻晕，烟霭空濛，将天地晕染成一片浑茫。\n\n笔墨简括柔润，浅设色温婉清和，以大片留白暗喻江潮浩渺，以静写动，未着潮声却似能耳闻浪拍长岸，把文人耽游林泉、寄情山水的雅怀藏在留白间。简淡画面中晕开悠远诗意，将凝神观潮的忘我意态，融在烟水山色里，尽显山水以景寄兴的悠然意境。",[23,24,173,7,177,29,106,378,262,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82a29a6ce0c5bedcec8cc9a7d7960888.jpg",[],{"id":54035,"slug":54036,"title":54037,"dynasty":302,"author":303,"museum":316,"description":54038,"tags":54039,"thumbUrl":54040,"material":139,"size":139,"collection":139,"collections":54041,"showCount":11,"zanCount":2368,"manualWeight":48,"mainColor":49},228023,"wen-dao-tu-ye-qian-xuan-228023","问道图页","此作用淡墨铁线描勾勒人物，衣褶圆劲简练，清隽古雅。两位老者相对躬身作揖，左侧老者微伛着身子，神色满含敬慕，右侧长者神态端凝安然，俯仰之间将问道求贤的诚敬与传道的雍容尽数铺展。\n设色简淡素雅，古旧绢底晕染出沉静古意，留白处晕开林下空寂悠然的氛围，暗合问道求真的幽远意境。画面题印错落排布，与笔意浑然相融。整幅小品简而不薄，淡而有味，将圣贤问道的澹泊襟怀藏于笔墨方寸间，尽显文人画简逸出尘的风骨，悠悠古意漫溢绢素。",[23,194,24,25,81,352,7,106,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7c59d1ad5138d4daa0cafd170924d42.jpg",[],{"id":54043,"slug":54044,"title":54045,"dynasty":302,"author":16330,"museum":316,"description":54046,"tags":54047,"thumbUrl":54048,"material":139,"size":139,"collection":139,"collections":54049,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":94},227988,"shan-shui-shi-hua-tu-ye-gao-ke-gong-227988","山水诗画图页","此作用水墨淡设色晕染江南烟景，以留白铺陈云气，山峦如青螺浮沉雾海，似隐似现，尽显雨后初霁的空濛柔润。下方汀洲萦回，村居隐于深林，板桥跨水连岸，扁舟系于浅滩，草木苍润秀雅，处处浸透着湿润清和的初夏意韵。\n\n画面配题诗，诗画交融，将山野村居的幽寂闲适娓娓道来。笔致简淡松灵，墨色层次柔和，淡赭轻敷晕染，褪去浓丽，只留清远悠然，尽显寄情丘壑的隐逸意趣，于简淡间铺展出悠远禅意，将自然清旷与林下闲情融为一体。",[23,24,25,81,173,7,29,108,109,174,34,35,37,1169,86,178,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F250879626c2381a1366ce09a71bf0f75.jpg",[],{"id":54051,"slug":54052,"title":54053,"dynasty":18,"author":257,"museum":316,"description":54054,"tags":54055,"thumbUrl":54056,"material":139,"size":139,"collection":139,"collections":54057,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},227930,"zhang-qiao-wo-bo-tu-yi-ming-227930","长桥卧波图","《宋扇面画长桥卧波图》是宋代佚名画家创作的一幅设色扇面画。\n此图原载《纨扇画册》。\n绘朱红长桥一座，横卧江面，两岸房舍成群，古塔高耸，树影婆娑。\n河面水波涟漪，舟船点点，以破长桥的呆板形体。\n远方云雾中露出银装素裹的山峰，分外妖娆。\n全图用笔精工，设色艳美，构图空阔浩渺，意境深远，是南宋早期画院高说所作。\n画中钤有「仪周珍藏」印一方，说明此图曾为清人 收藏，见《石渠宝笈三编》著录。\n本幅无款印。\n钤收藏印“仪周珍藏”一方。\n图中高架平湖的木桥刻画精微，与波澜不兴的水纹相映成趣。\n画面大片的空白使得作品兼具坚实与空灵之美，虚实相生的艺术效果给观者以“无画处皆成妙境”的想象空间。",[23,24,25,29,104,7,28,984,3519,111,1169,107,1157,175,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6193c1927a01527760b310dc59e09697.jpg",[],{"id":54059,"slug":54060,"title":54061,"dynasty":18,"author":257,"museum":316,"description":54062,"tags":54063,"thumbUrl":54065,"material":139,"size":139,"collection":139,"collections":54066,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":94},227925,"jiao-yin-ji-qiu-tu-ye-yi-ming-227925","蕉荫击球图页","《蕉阴击球图》是宋代佚名画家创作的一幅绢本设色画，现藏于 。\n无作者款印。\n对幅清高宗弘历御题诗一首。\n本幅、对幅及裱边钤高宗弘历“古稀天子”、“八徵耄念之宝”、“ ”等鉴藏印，共6方。\n此外，湖石拉开了前景人物与背景芭蕉间的距离，增强了画面的纵向层次感。\n在笔法上，作者注重物象间的对比互衬关系。\n人物与芭蕉为中锋运笔，线条工整细匀，如行云流水；着色渲染浓淡相宜，清新明洁的色调有助于表达轻松活泼的主题。\n湖石则以粗笔重墨表现，线条劲练，转折顿挫中见洒脱。\n湖石所呈现出的坚硬质地成功地衬托出人物纤秀婉约的形象及芭蕉飘逸润泽的自然美。\n在宋代类似于《蕉阴击球图》的作品很多。\n以写实的笔法描绘民间生活、反映“市井细民”的审美趣味是宋代绘画的一大特色。\n当时涌现出众多绘风俗画的著名画家，如王居正、张择端、李嵩、苏汉臣等人，他们的作品以富有浓郁的生活气息而在中国绘画史上占有重要的地位。\n原题签作者为苏汉臣。\n此幅虽在题材、笔法上与苏汉臣的画风较为接近，但在艺术表现的造诣上却远不及苏汉臣，因此，此图当是与苏汉臣同时代的佚名画家之作。\n此图原载《宋人名流集藻册》。\n图绘一仕女童于桌旁观看一老一小两人作击球行了游戏。\n庭院中绿草如茵，湖石矗立，芭蕉成荫。\n仕女认真观球的神态和儿童击球的细小动作刻画得自然生动。\n全图用工笔重彩法，衣纹勾线简练细劲，设色艳而不火，工而不板，为南宋小幅人物画精作。\n此图蕉题签为苏汉臣作，但究其画风，与苏汉臣有别。\n在古代，见婴戏必题 作，见牛必题戴嵩，见马即题韩干之类，实属偏见，故今改为无名氏作。\n画中钤有「东莱」印一方，经《 》著录。",[23,24,25,6083,28,7,106,2385,54064,178,212,40382],"蕉树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ea29c347ebabee65faf94a2305bd7ce.jpg",[],{"id":54068,"slug":54069,"title":54070,"dynasty":18,"author":257,"museum":316,"description":54071,"tags":54072,"thumbUrl":54073,"material":139,"size":139,"collection":139,"collections":54074,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},227864,"chun-shan-yu-ting-ye-yi-ming-227864","春山渔艇页","这幅团扇以平远之法铺陈春景，淡晕的山峦柔缓舒展，烟霭轻笼水岸，晕开朦胧的春日清氛。陂陀石岸旁，林木枯荣交错，带着早春初醒的疏懒意态，青绿与赭石轻扫山石水岸，晕染出江南春山的温润水汽。\n\n一叶渔艇静浮水面，独钓的渔翁将幽寂闲散的隐逸意趣揉入空阔水色中。整作无繁复刻画，以简淡笔触晕开春日水滨的清寂淡然，将宋人娴静雅致的山水心境藏在尺幅之间，淡而弥远，静中生境，把江南早春的疏朗与幽隐心绪融成一缕绵长余韵。",[23,24,25,1260,7,29,174,353,109,796,177,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcce57e3ac98b56a84f84c690afbf0f9b.jpg",[],{"id":54076,"slug":54077,"title":54078,"dynasty":18,"author":257,"museum":316,"description":54079,"tags":54080,"thumbUrl":54082,"material":139,"size":139,"collection":139,"collections":54083,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":94},227838,"xian-nv-cheng-luan-tu-yi-ming-227838","仙女乘鸾图","《五代周文矩仙女乘鸾图》是五代南唐画家 所创作的一幅 。\n此图原载《历代名笔集胜册》第一册。\n此图线条工谨精细，如春蚕吐丝，柔中见刚。\n《五代周文矩仙女乘鸾图》，图画明月一轮，一仙女乘鸾飞翔。\n笔墨精妙飞动，设色艳丽，构图简洁，为宋画中精品。\n无款，旧题周文矩作。\n画中钤有「黔宁王子子孙孙永保之」、「都尉耿信公书画之章」、「信公珍赏」、「珍秘」、「会侯珍藏」、「明安国玩」、「宜尔子孙」等印多方。\n对幅有耿昭忠题，经《虚斋名画录》著录。\n耿昭忠题云：“风格高妙，飘飘然有凌霞绝尘之姿，是盖周文矩胸中迥出天机，故落笔超乎物表。\n张、吴、顾、陆、何难继踵。\n”襄平耿昭忠题。\n”本幅及裱边、对幅钤耿昭忠“真赏”、“黔宁王子孙永保之”、“丹诚”、“都尉耿信公书画之章”、“信公珍藏”、“珍秘”、“宜尔子孙”、“公”等鉴藏印，共17方。\n《圣朝名画评》云：“周文矩，建康句容人。\n美风度，学丹青，颇有精思。\n仕李煜，为待诏，能画冕服车器人物仕女。\n”又云：“周文矩用意深远，于繁富则尤工。\n”按此图虽无款，而作风飞动精丽，允为北宋早期的作品。\n旧题 作，今从之。\n《五代周文矩仙女乘鸾图》图绘一鸾凤于薄云淡雾中振翅飞鸣，其背上一仙女正茫然回首目视身后的一轮圆月。\n画家将仙女回眸之一刹那所显露出的怅惘之情刻画的生动传神，使本来单调的景物变得极富情趣并给人以想像力。\n仙女的眼神原无形，然作者却利用它使圆月和鸾凤之间产生一种内在的呼应关系，使画面具有气脉贯通的完整性。\n画家通过描绘仙女的衣带向后飘举暗示出无形的风力，并以此表明鸾凤疾翔时的速度与强烈的动感，与圆月之间形成动与静的对比。\n在人物形象的塑造上，仙女的造型越出了隋唐时期仕女画丰腴健壮的体态，表现出女性身材比例合理，造型匀称的特点。\n此图旧签题以及对幅耿昭忠的题记均言作者是五代周文矩。\n周文矩受南唐后主李煜颤笔书法的影响，喜以瘦挺颤掣的笔法入画，线条多转折顿挫，刚中有柔。\n与周文矩的用笔特点不符，因此，它应是宋代佚名画家所作。\n周文矩，生卒年代不详，句容（今属江苏）人，曾在南唐后主李煜时任画院翰林待诏。\n工画佛道、人物、车马、屋木、山水，尤精于仕女，多以宫廷或文人生活为题,以“用意深远”著称。\n其仕女画师从周昉，作风更加纤丽繁复，用笔多以“战笔”为特点。\n现藏故官博物院的《重解会棋图》是他的传世作品之一。\n传世作品有《重屏会棋图》、《 》等。",[23,24,1260,28,7,106,59,54081,245,734,37,212],"神鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecd1fa7526358a03d725c63f905f8a92.jpg",[],{"id":54085,"slug":54086,"title":21159,"dynasty":18,"author":21160,"museum":316,"description":54087,"tags":54088,"thumbUrl":54089,"material":139,"size":139,"collection":139,"collections":54090,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":94},227577,"fan-wang-li-fo-tu-juan-zhao-guang-fu-227577","此图画中国周边少数民族酋长、番王朝拜佛祖的形象。佛祖高坐莲台，诸番王作礼拜、贡献之状，服饰皆异域装束。画面气势宏大，人物安排疏密有致，表情各异，生动自然，是宋代人物画的一幅杰作。\n\n赵光辅 (公元10世纪中-11世纪初)〔北宋〕耀州华原(今陕西耀县)人，五代南唐时布衣，北宋初爲图画院学生，故乡里呼爲“赵评事”，生卒年不详。画艺活动在宋太祖、太宗、真宗(960-1022)间。工画道释人物，兼精蕃马走兽，亦工竹木花卉，笔锋劲利，名“刀头燕尾”。所作线条流畅，人物形象清楚，骨骼厚重，刻画细致入微，设色典雅沉稳，有唐吴道子遗风。曾在许昌开元、龙兴两寺创作壁画，在开元寺所画之《五百罗汉图》，“姿质风度互有意思，坐立瞻听皆得其妙，貌若悲觉以动观者”。据北宋绍圣元年(1094)著名金石、书画家游师雄《题赵光辅画壁》碑云：“云阳(今陕西泾阳县)孟店镇西寺殿后画《自在观音》一壁，曲尽端严闲暇态度。其左有外国胡王与人从焚香状，貌极恭虔；其右有衣王者服，罄瞻礼之容，旁有衔花野兽，麋鹿虎豹各尽驯伏情状。至于竹木花卉，无不精至，南向画魔女恼佛，云雷震电，其势可怖；魔女变形，揽镜自照，遽作惊惭自失之状，尤爲奇绝。然后知光辅不独工于马也。……”碑今存泾阳县文化馆。",[23,24,25,26,7,28,260,106,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20b7f502dddb1a49e90b3c6d1c398b59.jpg",[],{"id":54092,"slug":54093,"title":54094,"dynasty":18,"author":257,"museum":316,"description":44535,"tags":54095,"thumbUrl":54096,"material":139,"size":139,"collection":139,"collections":54097,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":801},227369,"yu-lin-ku-003-ku-yong-dao-bei-bi-yi-ming-227369","榆林窟003窟甬道北壁",[23,511,18,106,7,260,1846,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51da7113ec81f9462529514cfda561f0.jpg",[],{"id":54099,"slug":54100,"title":29,"dynasty":76,"author":5341,"museum":316,"description":21688,"tags":54101,"thumbUrl":54102,"material":139,"size":139,"collection":139,"collections":54103,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":94},226637,"shan-shui-pu-ru-226637",[23,194,24,25,226,7,177,29,108,109,106,34,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7dfafb3f4a22295b4ee5698a9d0333c4.jpg",[],{"id":54105,"slug":54106,"title":11620,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":54107,"thumbUrl":54108,"material":599,"size":600,"collection":139,"collections":54109,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},226424,"ku-zhu-shi-dong-bi-yi-ming-226424",[511,1846,6768,11933,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faffa667d699ae385b48b7655b858dd63.jpg",[],{"id":54111,"slug":54112,"title":23704,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":54113,"thumbUrl":54114,"material":599,"size":600,"collection":139,"collections":54115,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},226362,"ku-zhu-shi-nan-bi-yi-ming-226362",[511,260,7,106,352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecfebe700aeb24c3afccab84817dec54.jpg",[],{"id":54117,"slug":54118,"title":17921,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":54119,"thumbUrl":54120,"material":599,"size":600,"collection":139,"collections":54121,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},226357,"ku-yong-dao-ding-bu-yi-ming-226357",[511,260,7,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28dd75959bb76b4357ad480a85dbfd65.jpg",[],{"id":54123,"slug":54124,"title":54125,"dynasty":256,"author":6236,"museum":316,"description":6237,"tags":54126,"thumbUrl":54129,"material":599,"size":600,"collection":3195,"collections":54130,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},225778,"long-grass-with-butterflies1890-fan-gao-225778","Long Grass with Butterflies1890",[194,3187,16431,912,54127,484,54128,7],"长草","自然风光","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F453cb745ef0582cef77e3e57a4b826a7.jpg",[3195],{"id":54132,"slug":54133,"title":54134,"dynasty":256,"author":3184,"museum":316,"description":6534,"tags":54135,"thumbUrl":54137,"material":599,"size":600,"collection":3195,"collections":54138,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":2504},225625,"rembrandt-harmensz-van-rijn-034-lun-bo-lang-225625","Rembrandt Harmensz.van Rijn - 034",[3187,8377,3189,7,106,260,11296,3193,54136],"质感表现","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee89473c83c74be1c50996f899e5ae4f.jpg",[3195],{"id":54140,"slug":54141,"title":54142,"dynasty":256,"author":257,"museum":316,"description":54143,"tags":54144,"thumbUrl":54145,"material":139,"size":139,"collection":139,"collections":54146,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":94},225310,"fu-shi-hui-42-yi-ming-225310","浮世绘42","澄澈圆月悬于墨蓝天幕，清辉遍洒高台式木质廊榭。三位仕女身着纹彩妍丽的和服，姿态悠然舒展：一人抬指望月似在私语，一人缓步凭栏神情温婉，最后一位持物随行，将夜游闲雅缓缓晕开。暖调提灯晕着柔光，与冷色月色交织相融，明丽暖黄的木构廊台衬着幽深夜色，冷暖碰撞间把静谧柔美的夜宴氛围烘托恰到好处，将和风市井里温婉雅致的夜游意韵，永远定格在画面中。",[12745,4006,7,106,59,107,265,14200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fddb76223ea6f0d154274980f6a36c302.jpg",[],{"id":54148,"slug":54149,"title":54150,"dynasty":256,"author":257,"museum":316,"description":54151,"tags":54152,"thumbUrl":54153,"material":139,"size":139,"collection":139,"collections":54154,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":94},225305,"fu-shi-hui-32-yi-ming-225305","浮世绘32","这幅山水绘以平远视角铺展幽寂景致，澄澈湖水切割出错落洲渚，岩崖间白练飞瀑垂落，晕开一汪幽潭清涟。苍劲虬曲的古松或孤植洲头，或茂生崖畔，隐在云霭间的山居添了悠然野趣。\n\n远景淡青山峦托着朱色浅丘，与靛蓝湖水相映，留白如轻烟岚雾层层推开空间，糅合装饰性与写意感。明快柔和的石青、草绿晕染出温润生机，凝练利落的线条勾勒林泉肌理，将幽寂禅意融于湖光山色，尽显日式山水绘的空灵悠远，复刻出侘寂闲静的自然之趣。",[12745,4006,7,29,109,1273,1426,37,35,32,686,37298],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77cc601009e26987e67a465c679f8627.jpg",[],{"id":54156,"slug":54157,"title":54158,"dynasty":76,"author":7596,"museum":316,"description":54159,"tags":54160,"thumbUrl":54163,"material":139,"size":139,"collection":139,"collections":54164,"showCount":11,"zanCount":2368,"manualWeight":48,"mainColor":94},224471,"liang-chang-shan-guan-tu-wang-hui-224471","良常山馆图","此画以高远构法铺展丘壑，主峰巍峨矗立，以细密披麻皴勾勒山石苍厚肌理，崖壁挺拔如削，尽显山川雄浑气魄。山间林木错落枯荣交织，深谷幽坳里茅庐隐现，清溪绕石穿林，携着潺潺野趣蜿蜒而出。\n笔墨兼工带写，秀润中透着苍劲，浅淡晕染柔和雅致，将山野沉郁的厚重与山居的清寂相融，把幽居丘园的隐逸雅兴，尽数藏进咫尺山水间，尽显静穆淡远的林下雅韵。",[23,194,24,3559,226,1733,3052,7,176,981,54161,4842,11646,13236,20109,54162],"茅庐","静穆淡远","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20794c152eb9e022b762b85b450fba70.jpg",[],{"id":54166,"slug":54167,"title":21899,"dynasty":76,"author":7596,"museum":316,"description":54168,"tags":54169,"thumbUrl":54170,"material":139,"size":139,"collection":139,"collections":54171,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":94},224446,"fang-huang-gong-wang-shan-shui-tu-wang-hui-224446","《仿黄公望山水图》是清朝文物，故宫博物院馆藏的绘画。\n《仿黄公望山水图》轴，清，王翚绘，纸本，设色，纵227.cm，横82.4cm。\n图绘群山巍峨、叠嶂攀升、峡谷溪涧曲转迂回之景，山腰处的古刹及林谷间隐现的屋舍均表明此山此景是士人希冀向往的隐居之所。\n全幅为高远式构图，重点描绘了中远之景。\n其景致充盈，繁而不乱，令人有望之所见、遐所不见之思。\n图中的物象被施以各种技法加以表现，山石以短线条皴擦，山脊以落茄点横向点染，苔草以焦墨擢点，醒目灵动。\n树叶以墨晕、双圈设色逸笔绘出。\n全图以青、绿、赭石兼墨色皴擦渲染，使山林呈现郁郁明净之气，既得黄公望画格的精髓，又有超逸之趣。\n本图是作者步入中年时仿黄公望浅绛山水笔意精心绘制之作，用以祝王时敏之子王揆5岁寿辰，并祝贺王揆之子王原祁29岁登进士第之禧。\n本幅款署：“岁己酉，芝翁先生春秋五十，翬寄迹金陵，阙跻堂称祝之礼。\n今年春，令嗣茂京先生南宫高捷，余方倦游归，闻报雀跃，亟图此幅为先生寿，并以致茂京得隽之贺云。\n庚戌闰月既望，虞山石谷子王翚。\n”钤“王翚之印”朱文印。\n“庚戌”即清康熙九年（167年），作者时年9岁。\n鉴藏印有“金黼廷瘦仙氏收藏”、“固始张氏收藏金石文字”等诸方。\n，明，一级文物。\n绢本墨色，纵167厘米、横81厘米。",[23,24,25,226,7,177,29,34,686,809,1169,37,1273],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8306b5ad774b6b0e1585dad6e50b98b.jpg",[],{"id":54173,"slug":54174,"title":38547,"dynasty":76,"author":17997,"museum":316,"description":54175,"tags":54176,"thumbUrl":54177,"material":139,"size":139,"collection":139,"collections":54178,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":94},224401,"xi-hu-shi-jing-tu-juan-wang-yuan-qi-224401","此作以全景长卷铺陈湖山胜景，浅绛设色清润雅致。峰峦以干笔积墨皴擦勾勒，层叠苍秀，兼具浑厚古朴与秀润之气。湖面浩渺空阔，洲渚星罗，烟柳桃林、亭台梵塔错落点缀，渔舟轻泛波心，将西湖温婉灵韵尽数铺展。\n\n既承娄东画派笔墨法度，又以细腻写实还原十景雅致意境，将江南山水的旖旎柔媚与文人山水的书卷气相融。静穆苍劲的山峦与明秀澄澈的湖光交织，晕染出晴日西湖的通透明丽，于淡逸间藏深秀，是实景山水画中的上乘佳制。",[23,24,26,7,29,177,175,107,108,109,245,34,111,10383,4774],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F718e976d8d85dc8f898d2ea2d0f8eb5b.jpg",[],{"id":54180,"slug":54181,"title":54182,"dynasty":76,"author":11031,"museum":316,"description":54183,"tags":54184,"thumbUrl":54185,"material":638,"size":139,"collection":181,"collections":54186,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":49},224258,"zhuo-se-shan-shui-tu-cha-shi-biao-224258","着色山水图","查士标(1615--1698)，字二瞻，号梅壑散人，懒老。新安(今安徽歙县、休宁)人，流寓江苏扬州。明末生员，家富收藏，故精鉴别，擅画山水，为海阳四家之一。清初著名画家，书法家和诗人。与孙逸、汪之瑞、僧弘仁等书画家一起被称为'新安四家'。专事书画，家多鼎彝，及宋元人真迹，遂精鉴别。画初学倪高士，后春梅华道人、董文敏笔法。用笔不多，惜墨如金，风神飘散，气韵荒寒，逸品也。与同里孙逸、汪之瑞、僧弘仁合称四大家。晚年画益超迈，直窥元人之奥。朱漫堂不轻许可人，独以得其狮子林画册为快。说者谓其晓起最迟，凡应酬，临池挥洒，必于深夜，不以为苦，八十余，尚童颜。商丘宋漫堂牵为之立传，并序行其诗。书法襄阳，极似董文敏。艺舟双揖评其行书为佳品上。",[23,24,25,7,29,177,685,378,175,108,109,1785,176,809,986,34,18000],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cfc9de1d2902bcb919c9edfaed550ab.jpg",[181],{"id":54188,"slug":54189,"title":54190,"dynasty":76,"author":563,"museum":316,"description":54191,"tags":54192,"thumbUrl":54193,"material":139,"size":139,"collection":139,"collections":54194,"showCount":11,"zanCount":48,"manualWeight":48,"mainColor":94},224191,"she-se-qu-yu-shuang-qi-tu-hua-yan-224191","设色鸲鹆双栖图","此作以空灵留白铺陈底色，枯木虬曲舒展，淡蓝花萼点缀枝桠，晕染出清寂雅致的春日氛围。禽鸟或独立垂首，或依偎枝梢，墨色浓淡变化尽显鸟羽蓬松柔润质感，红爪尖喙鲜亮醒目，将鸲鹆的灵动机趣刻画入微。\n\n笔墨工写相融，写意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（1102年—1128年），宋钦宗赵桓的皇后，开封祥符人。\n宣和七年，钦宗即位，册封朱氏为皇后。后来金兵攻陷汴京城，俘虏徽、钦二帝，郑氏、朱氏二后，后宫宗室、大臣三千余人北归，当时正值农历四月，北方天气仍很寒冷，徽钦二帝和郑朱二后衣服都很单薄，晚上经常冻得睡不着觉。朱后当时二十六岁，艳丽多姿，经常受到金兵的调戏。据说他们到达会宁府时，金人举行了献俘仪式，命令二帝及其后妃、宗室等都到金太祖庙去行“牵羊礼”，又下令皇太后、皇后入金宫“赐浴”。朱皇后不堪污辱，当天投水自杀身亡。",[24,25,1260,7,28,83,135,209,84,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65b39af0ff0a9b58b99cb3a51736e249.jpg",[],{"id":55330,"slug":55331,"title":55332,"dynasty":76,"author":55333,"museum":316,"description":37904,"tags":55334,"thumbUrl":55335,"material":139,"size":139,"collection":139,"collections":55336,"showCount":436,"zanCount":48,"manualWeight":48,"mainColor":94},234661,"shu-guo-tu-shan-mian-ni-can-234661","蔬果图扇面","倪灿",[24,25,1260,7,28,9850,178,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14fdbfb30efaafcffbc74d2df0fe17cd.jpg",[],{"id":55338,"slug":55339,"title":45256,"dynasty":99,"author":4128,"museum":316,"description":55340,"tags":55341,"thumbUrl":55342,"material":139,"size":139,"collection":139,"collections":55343,"showCount":436,"zanCount":48,"manualWeight":48,"mainColor":49},234567,"shan-shui-ren-wu-shan-qian-gong-234567","钱贡（公元16－17世纪初）明代著名画家，字禹方，号沧洲，吴县（今江苏苏州）人。\n山水不甚高雅，而位置可观。善人 物，间仿文、唐两家，却能逼真。万历十四年（一五八六）作山水图，四十年（一六一二）作渔翁乐图，继承南宋刘、李一派及唐寅画法，有仿唐寅人物大幅几能乱真。从艺活动在万历间。\n钱贡画山水“往往出入文征仲太史。”后人曾把他作为文征明门人之高弟。人物则“尤其所长”，“仿唐伯虎大幅，咄咄逼真”，继承了唐寅的人物大幅之风格，所画几可乱真。（《明画录》）\n其作品多旧藏于清宫内，其中录于《石渠宝笈》者甚多。绘画风格颇得清帝青睐，其作乾隆御题者众。\n《明画录》、《无声诗史》、《书史会要》、《中国版画研究重要书目》",[24,1260,7,29,106,174,34,176,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9cf9fc6383b90fab6279bc982778d65.jpg",[],{"id":55345,"slug":55346,"title":55347,"dynasty":76,"author":17256,"museum":20,"description":55348,"tags":55349,"thumbUrl":55350,"material":770,"size":55351,"collection":139,"collections":55352,"showCount":436,"zanCount":48,"manualWeight":48,"mainColor":94},234501,"bai-ying-lou-tu-ce-ye-fan-qi-234501","拜影楼图册页","《拜影楼图》共十二开，是清初多位画家以扬州拜影楼为主题创作的作品合册。册中或远山耸峙，或水波澹荡，或江烟寥廓，是文人雅士借画怀古、以画咏志之作。拜影楼位于明代扬州名园影园之中，是园主之子郑掌和清初于几近荒废的影园中所建。时过境迁，昔日名园与名楼今皆已不存，观赏此作，可一睹其当日风采。",[81,173,7,29,353,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F158a279126b10b356fa6e901a87f1410.jpg","纵19.5厘米 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风和水在河面上升起，泛起涟漪和波浪。 一叶孤舟在风浪中前行，船舱里的一位乘客抬起头看向河岸。 近岸的芦苇、树枝、藤蔓在狂风暴雨中剧烈摇曳，与逆风行进的小船相呼应。 破石匆匆用笔，掀起狂风暴雨。 远处，天与水同色，云与山遥遥相望。 全天的浓烈和浓重都恰到好处，水墨是典型的南宋风格。",[24,25,81,173,7,177,29,174,34,176,109,6582],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F090650b9f7490bc6479d959f1e649073.jpg","25.6×25.3cm",[],{"id":55424,"slug":55425,"title":16624,"dynasty":76,"author":7863,"museum":20,"description":16625,"tags":55426,"thumbUrl":55427,"material":16628,"size":16629,"collection":139,"collections":55428,"showCount":436,"zanCount":2368,"manualWeight":48,"mainColor":94},233397,"shan-shui-ren-wu-ce-jin-nong-233397",[24,25,81,7,173,352,177,29,106,230,378,1754,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9affef318a27a3eff09070d1263ab9ff.jpg",[],{"id":55430,"slug":55431,"title":55432,"dynasty":18,"author":257,"museum":20,"description":55433,"tags":55434,"thumbUrl":55435,"material":3146,"size":55436,"collection":139,"collections":55437,"showCount":436,"zanCount":48,"manualWeight":48,"mainColor":49},233207,"liu-xi-chun-se-tu-ye-yi-ming-233207","柳溪春色图页","此画又名《柳溪春色图》，无名款，从其风格判断应属南宋时期作品。图绘一处屋宇依山傍水，四周柳树环绕，此时正值春天，微风吹拂柳叶飞动，整幅画面洋溢着春日气息。庭院中一群仕女似乎在排演着歌舞，屋前有一大片空地可能类似如今的广场。此画构图十分特别，不似传统「三远法」中任何一种，画面的组织皆围绕着建筑展开平铺直叙。其画法属工细一路，用笔精致，设色淡雅。画中前景用斧劈皴画一巨石，茂林密柳以「胡椒点」为之，有别于常见的人、个、介字的排列画法；屋宇平直处用界画成，曲折处稍用笔有放逸；远山勾画简略，几乎是平涂而成，意在衬托出前面繁密的景物。作者在马夏风格一统画坛的南宋时期，仍可另辟蹊径创出一种新面貌，故此画当属难得的宋人佳作。",[24,1260,6083,28,7,173,177,29,2532,16684,2235,378,109,36999],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fa316a638cfd655a3d2997055ce7f48.jpg","纵23.4厘米，横24厘米",[],{"id":55439,"slug":55440,"title":55441,"dynasty":76,"author":6641,"museum":78,"description":6642,"tags":55442,"thumbUrl":55443,"material":638,"size":139,"collection":139,"collections":55444,"showCount":436,"zanCount":48,"manualWeight":48,"mainColor":94},233191,"hua-hui-ce-shui-xian-la-mei-shan-cha-ye-zhao-zhi-qian-233191","花卉册-水仙腊梅山茶页",[24,25,81,7,83,898,1219,661],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e75ccdf1d358573b0aa5f407c002699.jpg",[],{"id":55446,"slug":55447,"title":55448,"dynasty":76,"author":6641,"museum":78,"description":6642,"tags":55449,"thumbUrl":55451,"material":638,"size":139,"collection":139,"collections":55452,"showCount":436,"zanCount":48,"manualWeight":48,"mainColor":94},233185,"hua-hui-ce-jin-si-tao-ye-zhao-zhi-qian-233185","花卉册-金丝桃页",[24,25,83,81,7,28,84,55450,228,484],"金丝桃","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F167f99e8ad1f1ec22c3cff05765160c8.jpg",[],{"id":55454,"slug":55455,"title":5614,"dynasty":76,"author":997,"museum":20,"description":5615,"tags":55456,"thumbUrl":55457,"material":638,"size":5618,"collection":139,"collections":55458,"showCount":436,"zanCount":48,"manualWeight":48,"mainColor":94},233127,"yuan-ji-shan-shui-ce-shi-tao-233127",[24,25,81,173,7,177,29,174,808,34,35,37,178,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20cb7a6d40f44117b887d4717d35798b.jpg",[],{"id":55460,"slug":55461,"title":55462,"dynasty":302,"author":257,"museum":316,"description":55463,"tags":55464,"thumbUrl":55465,"material":139,"size":139,"collection":139,"collections":55466,"showCount":436,"zanCount":48,"manualWeight":48,"mainColor":49},233028,"ren-zong-huang-di-hou-xiang-yi-ming-233028","仁宗皇帝后像","全册七开，设色画后妃、太子头像共十三人，每开有题签记名。",[24,25,7610,28,7,106,63,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4fb391e6701e427c9be24a3b640f5e07.jpg",[],{"id":55468,"slug":55469,"title":55470,"dynasty":18,"author":257,"museum":20,"description":55471,"tags":55472,"thumbUrl":55473,"material":67,"size":55474,"collection":139,"collections":55475,"showCount":436,"zanCount":48,"manualWeight":48,"mainColor":94},233012,"qing-feng-ju-die-tu-ye-yi-ming-233012","青枫巨蝶图页","描绘了伸出嫩绿色枫树一株，枝叶婆娑。一只赭黄色巨蝶从右上侧凌空飞临，与枫叶构成平衡的对角关系。\n图左下方更有鲜红色瓢虫伏于枫叶之上，十分俏皮。\n画风高度写实，细致入微。\n画法的特点一是细线勾勒，笔若游丝，使蝶与枝、叶的形态皆极为轻倩灵秀；二是设色淡雅明快，红、绿、黄对比鲜明，给人以清新出尘之感，不落浓艳俗套。",[194,24,7,28,83,2626,484,212,6083,67],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4422c7a10a05c4dac53bafdc3ea79086.jpg","23cm ，横：24.2cm",[],{"id":55477,"slug":55478,"title":55479,"dynasty":99,"author":1196,"museum":20,"description":55480,"tags":55481,"thumbUrl":55482,"material":18180,"size":55483,"collection":139,"collections":55484,"showCount":436,"zanCount":48,"manualWeight":48,"mainColor":94},232999,"pei-tai-shi-jing-tu-ye-tang-yin-232999","沛台实景图页","唐寅在题诗中讲述了绘制此图的原由。明正德元年丙寅（1506年），唐寅36岁时，陪同大学士王鏊游览沛台后绘此图，并赠茂化学士。沛台，又名歌风台，位于今江苏省沛县境内，相传，汉高祖刘邦曾于此饮酒放歌，后人于是筑此台以纪之。\n唐寅此图纯用水墨，完全是纪实写生之作。庭院屋舍结构清晰，颇具透视感。各种树木相间杂，多用空勾夹叶，繁而不乱。近景坡石用细笔长皴，微作晕染，工劲中兼有细秀圆润，是唐寅较富特色的山石画法。远景一角山林，雾气沉沉，墨色湿润，与近景相比较，虽有近大远小的区别，但在空间位置上却有很大的随意性，反映了中国古代画家对空间处理的独特理解。整幅作品融宋代院体技巧与元人笔墨韵味为一体，呈现出劲峭而又不失秀雅的品貌。",[24,25,81,173,7,29,34,107,686,115,108,86,178,212,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1acb6d5b3fad39148cdbb7680a8d2d8.jpg","纵26.2厘米，横23.9厘米",[],{"id":55486,"slug":55487,"title":55488,"dynasty":18,"author":12243,"museum":20,"description":55489,"tags":55490,"thumbUrl":55491,"material":1342,"size":55492,"collection":139,"collections":55493,"showCount":436,"zanCount":48,"manualWeight":48,"mainColor":94},232994,"qi-shi-lie-gui-tu-ye-zhao-bo-su-232994","骑士猎归图页","此图写番人狩猎归来，正在整理箭羽，神情愉悦轻松；身后驮着一只野羊的马匹却已尽显疲态，鬃尾下垂，低首张口，可以想象得到它刚经历了一场激烈的追逐。画中人、马及饰物刻画详细，用笔工整，表现出不同的质感。",[194,24,25,81,28,7,106,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c051a85d681e82e45ab80d08660bcce.jpg","41x66cm",[],{"id":55495,"slug":55496,"title":4264,"dynasty":76,"author":14034,"museum":20,"description":14035,"tags":55497,"thumbUrl":55498,"material":529,"size":139,"collection":139,"collections":55499,"showCount":436,"zanCount":2368,"manualWeight":48,"mainColor":94},232946,"hua-hui-tu-ce-fan-ting-zhen-232946",[24,28,7,83,81,84,553,554,632],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9b7096fc476d30387be59b262e27467.jpg",[],{"id":55501,"slug":55502,"title":55503,"dynasty":302,"author":6965,"museum":12886,"description":55504,"tags":55505,"thumbUrl":55506,"material":500,"size":55507,"collection":139,"collections":55508,"showCount":436,"zanCount":2368,"manualWeight":48,"mainColor":94},232900,"mo-li-gong-lin-ren-ma-tu-quan-juan-zhao-yong-232900","摹李公麟人马图全卷","赵雍（1289—约1360），元代书画家。字仲穆，湖州（今属浙江）人。赵孟頫次子。以父荫入仕，官至集贤待制、同知湖州路总管府事。书画继承家学，赵孟頫尝为幻住庵写金刚经未半，雍足成之，其联续处人莫能辨。擅山水，尤精人物鞍马，亦作界画。书善正、行、草，亦长篆书。精鉴赏。传世作品有《兰竹图》、《溪山渔隐》等。\n此卷为临仿北宋李公麟白描《五马图》中的第一组人马像，并敷以颜色。牵马者身穿朱衣，两臂袍于腹前，侧脸望着身后的贡马，漫步前行。画人马用线细劲连绵，人物胡须及马尾线描极为精彩。与原作相比，马体略显肥胖，而神骏英发之气似嫌不足。",[23,24,25,26,105,352,7,106,150,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c18bb2f97acaf2887d33f422c15e0a1.jpg","纵31.7厘米，横73.5厘米",[],{"id":55510,"slug":55511,"title":11678,"dynasty":18,"author":1599,"museum":316,"description":31218,"tags":55512,"thumbUrl":55513,"material":67,"size":55514,"collection":139,"collections":55515,"showCount":436,"zanCount":48,"manualWeight":48,"mainColor":49},232876,"ren-wu-gu-shi-tu-juan-liu-song-nian-232876",[23,194,24,25,26,28,7,104,86,178,212,106,107,115,34,176,5501,278,1364,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc83c436c11f7cca4cd37dca18f9de04f.jpg","26.1x446.5厘米",[],{"id":55517,"slug":55518,"title":55519,"dynasty":99,"author":756,"museum":223,"description":55520,"tags":55521,"thumbUrl":55522,"material":638,"size":55523,"collection":139,"collections":55524,"showCount":436,"zanCount":48,"manualWeight":48,"mainColor":94},232643,"you-he-ming-qin-wen-zheng-ming-232643","幽壑鸣琴","此画题诗：“万千层峦叠翠，千丈飞瀑洗尘心。愿我红弦的和声，是对松风古老的卑微回答。歌曲。” 这幅画存在不同的版本。学者们认为，这里看到的岩体的实体效果图和体积山体的构造更像是文征明的学生陆治（1496-1576）的特征。\n文徵明（1470年11月28日－1559年3月28日），原名壁（或作璧），字征明，四十二岁起，以字行，更字征仲。因先世为衡山人，故号衡山居士，世称“文衡山”。南直隶苏州府长洲县（今江苏苏州）人。明代画家、书法家、文学家、鉴藏家。",[194,24,25,226,7,177,29,176,1426,34,809,109,11646],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb01cc776866ad354558b4fa54af76059.jpg","132 x 50.5 厘米",[],{"id":55526,"slug":55527,"title":55528,"dynasty":256,"author":55529,"museum":316,"description":55530,"tags":55531,"thumbUrl":55532,"material":599,"size":600,"collection":139,"collections":55533,"showCount":436,"zanCount":2368,"manualWeight":48,"mainColor":49},231738,"shi-ting-shi-dai-si-ji-shan-shui-tu-ping-feng-er-ping-yang-yue-231738","室町时代 四季山水图屏风-二屏","杨月","这幅山水以淡墨晕染空濛烟岚，远近山境层次尽显。近景烟波之上，渔翁撑舟而行，舱内隐者安坐，江湖野趣扑面而来。半山栈道上行人独行，山腰楼阁藏于松荫叠嶂之间，山居雅意自生。\n山石以简劲斧劈皴写就，林木点染苍秀，干湿墨色相互映衬，将幽寂山景晕染出朦胧空寂的禅意，把江湖隐逸之思与山居闲趣融为一体，萧散淡远间尽显东方山水留白余韵，悠悠勾勒出侘寂悠然的世外清境。",[23,24,25,173,7,29,107,174,109,176,34,108,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79061f8926eabe2c2bff2a6fa4b3debc.jpg",[],{"id":55535,"slug":55536,"title":55537,"dynasty":256,"author":55538,"museum":316,"description":55539,"tags":55540,"thumbUrl":55541,"material":139,"size":139,"collection":139,"collections":55542,"showCount":436,"zanCount":48,"manualWeight":48,"mainColor":94},231662,"da-zheng-yuan-nian-xiao-xiang-ba-jing-heng-shan-da-guan-231662","大正元年 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日月山水图屏风-月屏","浅金晕染出朦胧夜气，以青绿为主调铺展山野幽境。挺秀松林错落坡巅，笔墨清简勾勒出苍古意态。浅滩茅庐半隐于草色间，坡岸随色块开合错落，墨笔轻绘竹叶、草叶，疏朗雅致。\n\n整体以平远构图铺陈，删繁就简，用色块晕染出月夜山野的清寂淡远，将东方禅意融于侘寂风物中，于简淡空灵里，尽显静穆古雅的山水幽趣，藏着独属于山野夜色的宁谧安然。",[23,7,27,29,279,1273,685,912,734,989,3712],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4805b1904a7c472e2a9775631e4451df.jpg",[],{"id":55594,"slug":55595,"title":55596,"dynasty":256,"author":257,"museum":316,"description":55597,"tags":55598,"thumbUrl":55599,"material":139,"size":139,"collection":139,"collections":55600,"showCount":436,"zanCount":48,"manualWeight":48,"mainColor":94},230531,"tang-hua-fen-ben-shan-shui-hua-hui-tu-juan-yi-ming-230531","唐画粉本-山水花卉图卷","此作四段分绘雅景与人世行旅：首段烟波浩渺，渔翁垂竿扁舟，三两棹影浮沉沧溟，尽显江湖散逸之趣。次段江干松下，执戟侍者侍立，士人临水话别，林风簌簌似作离歌。三段云海拥卫都门，朱衣仪仗簇拥策官走马，金阙飞甍隐于云涛，尽显仪制煊赫。末段秋山丹枫灼灼，飞瀑漱石，幽居枕流，空山寥寂见林泉高致。通卷以淡彩写形，笔墨清隽，以诗画相映的分段小景，铺陈出江湖林泉到都邑行旅的万象闲情。",[23,24,25,26,7,28,104,29,106,107,174,6582,150,378,2235,4786,109,796,108,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1baa70be8acd15b6541e2270d885e01e.jpg",[],{"id":55602,"slug":55603,"title":55604,"dynasty":76,"author":257,"museum":316,"description":55605,"tags":55606,"thumbUrl":55607,"material":139,"size":139,"collection":139,"collections":55608,"showCount":436,"zanCount":48,"manualWeight":48,"mainColor":94},230329,"hai-guai-tu-ji-ce-hua-ce-yi-ming-230329","海怪图记册－画册","这两幅异鱼异兽，以左右对开铺陈深海奇想。左畔奇鱼朱红鳞身鎏着金辉，纤长触须飘然曳动，圆瞳清透，带着幽溟生灵的疏离仙气。右侧怪鱼扁躯银灰，钴蓝唇尾撞色醒目，獠牙外露神态桀骜，棘刺张弛间尽显悍野之态。\n\n画师以细腻工笔晕染设色，浓丽雅致又兼具写实质感，将臆想中的沧溟异客勾勒得鲜活灵动，带着东方志怪独有的瑰奇浪漫，在素净纸间铺展出深海秘境的荒诞绮梦，让观者恍如窥见了烟波之下不为人知的诡谲天地。",[24,25,81,28,7,722],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F697c0daf4f00a0f4769048e3acba6a2b.jpg",[],{"id":55610,"slug":55611,"title":32158,"dynasty":76,"author":4285,"museum":316,"description":55612,"tags":55613,"thumbUrl":55614,"material":139,"size":139,"collection":139,"collections":55615,"showCount":436,"zanCount":48,"manualWeight":48,"mainColor":94},230178,"fang-gu-shan-shui-ce-wang-shi-min-230178","水雾轻笼远岫，淡墨晕开江乡初夏的朦胧底色。柳丝垂曳拂过浅溪，田埂蜿蜒牵起篱舍人家，浓荫将村居温柔包裹。水渚间汀草错落，小巧板桥横卧溪上，连起幽僻乡路。\n\n浅绛设色调清润柔和，笔触松秀温婉，远山以虚笔淡墨晕染，留白铺就空濛水汽，将溽热化作悠悠闲意。近林点染疏密相宜，把江南村居的日常烟火，晕成了悠然冲淡的诗意，藏着文人归田园居的清梦，尽显江乡夏日的静穆安闲。",[24,25,2428,7,29,177,35,34,109,176,1241],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b30a7edaa0aac1a21f11cf6e484343d.jpg",[],{"id":55617,"slug":55618,"title":26927,"dynasty":76,"author":10978,"museum":316,"description":55619,"tags":55620,"thumbUrl":55621,"material":599,"size":600,"collection":139,"collections":55622,"showCount":436,"zanCount":48,"manualWeight":48,"mainColor":49},230161,"shou-zi-qian-long-230161","清高宗弘历，清朝第六位皇帝，清军入关之后的第四位皇帝，生于1711年9月24日，卒于1799年2月7日。年号“乾隆”，寓意“天道昌隆”。\n清高宗于1736年2月12日开始使用“乾隆”年号，至1796年2月8日为止。1795年10月3日，清高宗立爱新觉罗·颙琰为皇太子，并下令从1796年2月9日开始改用“嘉庆”年号 。1796年2月9日，清高宗传位于爱新觉罗·颙琰，正式退位。但是皇宫内依然用“乾隆”纪年，如乾隆帝临终医案仍为乾隆六十三年十二月。",[86,178,7,406,226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd69523a170f0e268eb320e9e0782df9a.jpg",[],{"id":55624,"slug":55625,"title":55626,"dynasty":76,"author":17997,"museum":191,"description":35011,"tags":55627,"thumbUrl":55628,"material":1307,"size":55629,"collection":139,"collections":55630,"showCount":436,"zanCount":48,"manualWeight":48,"mainColor":94},229029,"lu-hong-cao-tang-shi-zhi-tu-ce-wang-yuan-qi-229029","卢鸿草堂十志图册",[24,25,81,7,29,177,808,34,109,1426,176,37,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b855412011780d4faf10c5428332274.jpg","约纵：29cm，横：29.5cm",[],{"id":55632,"slug":55633,"title":32158,"dynasty":76,"author":7596,"museum":316,"description":55634,"tags":55635,"thumbUrl":55636,"material":139,"size":139,"collection":139,"collections":55637,"showCount":436,"zanCount":2368,"manualWeight":48,"mainColor":94},229015,"fang-gu-shan-shui-ce-wang-hui-229015","此作用浅绛糅合青绿设色，层层铺展山水意趣。近汀杂木错落，渔舟泛于清波，野意悠然；中景山峦叠翠，飞瀑自岩间垂落，山巅古寺隐于葱郁间，藏露得宜；远景江天浩渺，淡墨晕染远山，虚实相生。\n\n笔墨师法元人，皴擦细腻勾勒出山峦肌理，设色雅致柔和，既带着宋画山川的浑厚静穆，又晕染出江南水乡的温润灵秀，师古而不泥古，将仿古意趣与自然生机相融，尽显清丽雅逸的山水意境。",[24,25,81,29,7,177,685,262,175,174,34,686,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf0e0cce94c65cffbabf3b95f530cab5.jpg",[],{"id":55639,"slug":55640,"title":55641,"dynasty":99,"author":756,"museum":316,"description":55642,"tags":55643,"thumbUrl":55644,"material":139,"size":139,"collection":139,"collections":55645,"showCount":436,"zanCount":48,"manualWeight":48,"mainColor":94},228886,"cun-ju-tu-wen-zheng-ming-228886","存菊图","淡墨轻皴汀洲远山，清润秀雅，茅庐隐于林间，窗内人影凭眺，秋水横波，江天旷远，晕染出江南秋日萧疏淡远的意趣。\n书画合璧，行书题诗笔致温秀，以存菊寄寓林下高逸襟怀，将文人澹泊心境融于水墨湖山。笔底无浓艳重彩，却自见悠悠古意，淡而不薄，秀而不媚，尽显诗书画一体的雅致风神，把秋日怀想与文人雅趣藏进卷中，清和隽永。",[23,24,25,26,7,29,28,177,86,178,212,685,262,378,1273,795,989,897],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e9a4a897929f713d7c2804fe86703e6.jpg",[],{"id":55647,"slug":55648,"title":55649,"dynasty":99,"author":14115,"museum":316,"description":54965,"tags":55650,"thumbUrl":55651,"material":599,"size":600,"collection":139,"collections":55652,"showCount":436,"zanCount":48,"manualWeight":48,"mainColor":94},228854,"xun-yang-song-ke-tu-juan-wen-bo-ren-228854","浔阳送客图卷",[23,24,25,26,173,7,29,174,245,34,176,177,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5504d48b2948047af35986cb9bd270c8.jpg",[],{"id":55654,"slug":55655,"title":55656,"dynasty":99,"author":257,"museum":316,"description":55657,"tags":55658,"thumbUrl":55659,"material":139,"size":139,"collection":139,"collections":55660,"showCount":436,"zanCount":48,"manualWeight":48,"mainColor":49},228781,"fang-li-tang-bai-niu-tu-juan-yi-ming-228781","仿李唐百牛图卷","此作取景平远雅致，水岸林皋间意趣悠然。左侧群牛或立或卧，于浅滩闲散憩息，肌理厚重朴拙，憨态尽显。右侧童子策杖徐行，与近旁食草的牛只相映成趣，野逸生机扑面而来。\n\n林木皴染兼具苍劲与秀润，枯木虬枝疏密错落，新发柔条轻拂水岸，尽显春日郊野的清润之气。设色淡雅沉稳，赭石与墨色晕染出古绢沉静质感，追摹院体笔意又融入牧歌式恬淡，铺陈出物我相忘的山野闲趣，尽显旧朝牧放题材的风雅余韵。",[23,24,25,26,7,106,151,746,34,29,105,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e62a1ad2b0378e674fd4cb6fc02c2d3.jpg",[],{"id":55662,"slug":55663,"title":55664,"dynasty":99,"author":100,"museum":316,"description":55665,"tags":55666,"thumbUrl":55667,"material":599,"size":600,"collection":139,"collections":55668,"showCount":436,"zanCount":48,"manualWeight":48,"mainColor":94},228446,"mo-li-tang-zhong-jiang-die-zhang-tu-chou-ying-228446","摹李唐重江叠嶂图","绘大江高岭，长松红枫，游人往来于山中茅舍，一派江村深秋美景，览之忘世外之情。设色雅静，用笔精诣，是仇英传世摹古浅绛山水精品。",[23,24,25,26,28,7,105,29,5903,30,34,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5a57fdde2240683083bccd12c1185c9.jpg",[],{"id":55670,"slug":55671,"title":55672,"dynasty":99,"author":792,"museum":316,"description":55673,"tags":55674,"thumbUrl":55675,"material":139,"size":139,"collection":139,"collections":55676,"showCount":436,"zanCount":48,"manualWeight":48,"mainColor":49},228429,"fa-zhao-ling-rang-hu-zhuang-yan-liu-bi-yi-lan-ying-228429","法赵令穰湖庄烟柳笔意","此作用淡墨晕染出空濛湖烟，枯柳虬枝错落披拂，将水乡早春的氤氲柔霭铺陈开来。水岸茅庐幽敞，隐者凭窗闲坐，滩头策杖人彳亍独行，湖面轻舟随波缓漾，处处浸着江南水村的清寂闲雅。\n画师以简淡清润的笔意，褪去繁饰，将幽居澹泊的文人心境融于烟水寒林之中，萧散诗意漫溢画面，尽显文人寄情丘壑的悠远意趣，是一帧极具抒情性的山水小品佳构。",[23,24,25,226,173,7,29,1353,353,174,109,175,105,177,796],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ca318bcb9c27742b74afc59762c66ca.jpg",[],{"id":55678,"slug":55679,"title":55680,"dynasty":99,"author":3307,"museum":316,"description":55681,"tags":55682,"thumbUrl":55684,"material":139,"size":139,"collection":139,"collections":55685,"showCount":436,"zanCount":48,"manualWeight":48,"mainColor":49},228370,"yan-bo-lu-si-tu-lv-ji-228370","烟波鹭鸶图","暮月浮空，烟柳垂曳，江色晕成一片朦胧柔澹。两只鹭鸶踞于汀石之上，一只昂首引颈远眺烟水深处，一只敛羽静憩，姿态悠然生动。\n\n画作兼工带写，禽鸟羽翼晕染细腻，绒羽蓬松质感宛然可见，水岸渚石以水墨破晕，苍润写意。柳条轻拂间，漾开江晚景致的空寂萧疏，写实工致与水墨意趣相融，将江渚暮色的清寂野韵尽数铺展，晕开澹泊悠远的诗意，尽显幽谧雅致的晚江闲趣。",[23,24,7,28,83,55683,987,230,265,1980,226],"鹭鸶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8e99361f9eb6549e3533363dcac0288.jpg",[],{"id":55687,"slug":55688,"title":14504,"dynasty":99,"author":14505,"museum":316,"description":55689,"tags":55690,"thumbUrl":55691,"material":599,"size":600,"collection":139,"collections":55692,"showCount":436,"zanCount":48,"manualWeight":48,"mainColor":94},228315,"xi-xiang-ji-cha-ye-min-qi-ji-228315","自幼读书勤奋，好作诗文，以刻书为事。明万历四十四年(1616)主持采用朱、墨两色套印《春秋左传》，获得成功。后又改为五色套印，先后刻印经、史、子、集等一批古书及诸多戏曲、小说。因印刷技艺日臻完美，名声大振，与著名刻书著作家凌蒙初齐名。著有《六书通》。",[24,25,81,352,7,106,59,212,86,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fe13a4e9fe642c86c413e86118e4e78.jpg",[],{"id":55694,"slug":55695,"title":55696,"dynasty":302,"author":257,"museum":316,"description":55697,"tags":55698,"thumbUrl":55699,"material":139,"size":139,"collection":139,"collections":55700,"showCount":436,"zanCount":48,"manualWeight":48,"mainColor":49},228227,"xu-kong-zang-pu-sa-xiang-li-zhou-yi-ming-228227","虚空蔵菩萨像立轴","此作所绘菩萨面容慈悲恬和，端坐莲云宝台之上，周身璎珞环佩错落华贵，衣纹卷草繁复精美。身后圆光放射清辉，将法相衬得愈发澄澈庄严。设色沉雅古艳，晕染柔和细腻，带着浑穆静雅的气质。下方青绿山水澹然悠远，将神圣法界与俗世林泉相融，传递出安宁清寂的禅意。笔致工谨入微，既恪守宗教造像的肃穆仪轨，又暗合传统绘事的雅致意韵，尽显神性之美与笔墨意趣，是兼备信仰内涵与艺术价值的上乘之作。",[23,24,25,7610,226,260,106,28,7,1488,29,7701],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4519e845bfd0c73213cf3ff0697c5d5.jpg",[],{"id":55702,"slug":55703,"title":55704,"dynasty":302,"author":1977,"museum":316,"description":55705,"tags":55706,"thumbUrl":55707,"material":139,"size":139,"collection":139,"collections":55708,"showCount":436,"zanCount":48,"manualWeight":48,"mainColor":49},228056,"xi-ma-tu-ye-zhao-meng-fu-228056","洗马图页","枯林之下，奚官执扇为白马拂除尘秽、驱走飞蝇，马上圉人俯身假寐，神态松弛慵懒。画面写实中带着文人写意的闲淡，白马丰腴神骏，毛发晕染柔和细腻，将良驹的质感尽显，人物衣纹简劲利落，服饰细节朴拙写实。枯木勾勒苍劲古雅，褪去了院体鞍马画的精工秾丽，以古旧绢色衬出林下幽寂氛围，将日常洗马的闲散瞬间凝住，把鞍马题材从仪仗的肃穆转向幽居的闲逸，尽显悠远沉静的隐逸雅趣，意韵绵长。",[23,194,24,25,81,28,7,106,150,378],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F254f9dafbb6196819987369a5b0bd4cd.jpg",[],{"id":55710,"slug":55711,"title":16760,"dynasty":302,"author":8800,"museum":316,"description":55712,"tags":55713,"thumbUrl":55714,"material":139,"size":139,"collection":139,"collections":55715,"showCount":436,"zanCount":48,"manualWeight":48,"mainColor":49},228055,"qiu-shan-xing-lv-tu-wang-zhen-peng-228055","此作用色沉郁苍润，虽经年色泽淡褪，青绿晕染的层叠山峦依旧幽邃厚重，尽显秋山沉静萧疏之态。边角处板桥茅舍隐现，策杖旅人徐行于郊野，将行旅清寂融于林山空寂之间。咫尺扇面以山林为骨，把山居行旅的闲逸藏于一隅，以简淡笔墨铺展山野深幽，暗合文人林泉高致的寄怀，晕染出空灵淡远的山水意韵。",[23,24,25,1260,7,29,106,34,108,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6aa5a9693bc3afcdabe1cdbda25bf66e.jpg",[],{"id":55717,"slug":55718,"title":55719,"dynasty":302,"author":5007,"museum":316,"description":55720,"tags":55721,"thumbUrl":55722,"material":139,"size":139,"collection":139,"collections":55723,"showCount":436,"zanCount":48,"manualWeight":48,"mainColor":94},228040,"shan-shui-ye-sheng-mao-228040","山水页","此作以咫尺扇面铺展山水清境，近景崖石盘结，苍木层生，干笔皴擦写出岩体苍厚肌理，点染间见林木错落生机。远景以淡墨晕染远山，江天留白处轻舟横渡，晕开烟波浩渺的空寂诗意。\n\n笔墨兼工带写，既承精工之态，又融萧散简淡的意趣，浓淡墨色铺陈出深远空间层次，将林泉幽致藏于方寸之中，尽显文人寄情山水的悠远襟怀，清雅古淡之间，留存山水小品独有的静谧余韵。",[194,24,25,81,173,7,177,29,378,174,1169,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77d8beb27fb73713a6098a1128fdf4ce.jpg",[],{"id":55725,"slug":55726,"title":55727,"dynasty":302,"author":13331,"museum":316,"description":55728,"tags":55729,"thumbUrl":55730,"material":139,"size":139,"collection":139,"collections":55731,"showCount":436,"zanCount":48,"manualWeight":48,"mainColor":94},227990,"chun-jiang-tu-ma-wan-227990","春江图","此作用笔苍润秀雅，以淡墨晕染远岫平林，江波如练，渔舟轻漾，铺就江天寥廓之境。近岸危崖层叠，嘉木葱茏，间有丹叶点破春山碧色，山麓小径间策蹇徐行的旅人，为空寂江乡添上几分烟火意趣。\n全画以披麻皴写山石肌理，干湿互济，墨色苍润交融，诗题于画端，将春日江村的静穆野趣与文人逸怀相融，尽显悠远冲淡的林下幽情，晕染出江天春景的空濛诗意。",[24,194,25,226,173,7,177,86,212,29,5903,174,34,176,106,808,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42e6fe60e76037c1ff051d0063db8088.jpg",[],{"id":55733,"slug":55734,"title":55735,"dynasty":18,"author":257,"museum":316,"description":55736,"tags":55737,"thumbUrl":55738,"material":139,"size":139,"collection":139,"collections":55739,"showCount":436,"zanCount":48,"manualWeight":48,"mainColor":94},227926,"xi-hu-chun-xiao-tu-ye-yi-ming-227926","西湖春晓图页","这幅小品以淡墨晕染出江南春晓的空濛诗意。柳丝垂岸，水乡村居错落掩映在烟树之间，黛瓦茅舍伴着新绿，尽是闲雅野逸的栖居意趣。湖面波色澹澹，渔翁摇橹泛于水上，寥寥数笔便将春日清晨的慵懒闲淡勾勒尽致。远景山峦隐在薄雾轻岚之中，佛塔尖顶刺破烟霭，晕染出悠远空寂的氛围感。整幅画作以简淡笔墨铺陈开西湖春晓的湿润清宁，不见繁复着色，全凭水墨层次晕开江南烟雨的朦胧诗意，将春日湖山的幽微之美藏于尺幅之间，尽显雅致禅意。",[23,24,25,6083,173,7,29,174,34,114,109,1169,6582,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9efff2dd90e43563a3a2ba33dc58941d.jpg",[],{"id":55741,"slug":55742,"title":55743,"dynasty":18,"author":257,"museum":316,"description":55744,"tags":55745,"thumbUrl":55746,"material":139,"size":139,"collection":139,"collections":55747,"showCount":436,"zanCount":2368,"manualWeight":48,"mainColor":49},227918,"geng-huo-tu-ye-yi-ming-227918","耕获图页","它将江南农耕的收种全序铺展在团扇尺幅间，陂塘田垄错落交织，揉成鲜活的郊野劳作长卷。水畔有人俯身插秧，田埂上乡人肩挑饱满稻穗，场院间众人打谷堆粮，连跨水板桥、茅舍林木都晕染出江南乡野的温润烟火。\n\n构图疏密相宜，把忙而不紊的农忙日常拆解入微，小人物身形虽小却鲜活灵动，或挥汗劳作，或歇憩闲谈，尽显田家夏耘秋收的质朴暖意。以淡墨轻晕远山近树，褪去繁复设色，将纪实的乡居劳作绘成充满生机的风物小诗，藏着对烟火日常的细致体察，把辛劳又鲜活的田家日常定格为隽永的乡野图景。",[23,24,25,1260,28,7,106,151,13428,108,109,34,29,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f946904c60ad2b0f73b01e183f9e3ae.jpg",[],{"id":55749,"slug":55750,"title":55751,"dynasty":18,"author":257,"museum":316,"description":55752,"tags":55753,"thumbUrl":55754,"material":139,"size":139,"collection":139,"collections":55755,"showCount":436,"zanCount":48,"manualWeight":48,"mainColor":49},227906,"qiu-shu-qu-yu-tu-yi-ming-227906","秋树鸜鹆图","此作以团扇形制铺陈秋意，浓墨绘就禽鸟，羽翼晕染层次分明，玄色翎毛光泽宛然，顶间细羽轻耸，目光锐而不厉，爪紧扣枯枝，静立间暗含灵动生机。旁侧秋树枯淡萧疏，枝叶以浅赭晕染，枯涩苍劲的枝干与浓黑禽鸟形成鲜明的色形对比。\n\n整幅笔意工细写实，将秋日林间的清寂氛围烘托尽致，于尺幅之间藏着雅致悠远的意境，尽显对自然生趣的细致体察，把禽鸟的慵懒幽闲与秋意的萧索柔和相融，是小品中的精妙之制。",[23,24,25,1260,7,28,83,353,245,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34fcea6e0955e2524931f7f5c1713d17.jpg",[],{"id":55757,"slug":55758,"title":55759,"dynasty":18,"author":257,"museum":316,"description":55760,"tags":55761,"thumbUrl":55762,"material":139,"size":139,"collection":139,"collections":55763,"showCount":436,"zanCount":48,"manualWeight":48,"mainColor":94},227905,"qiu-ting-ying-xi-tu-ye-yi-ming-227905","秋庭婴戏图页","《秋庭婴戏》是24年7月1日 出版的图书 出版社: 上海书画出版社; 第1版 (24年7月1日) 丛书名: 国宝在线 平装: 4页 开本: 8开 ISBN: 78672664 条形码: 978786726648 尺寸: 29.8 22.4 .6 cm 重量: 281 g 这套丛书按绘画题材、风格技法等要素重新进行分类，将中国画史上的国宝级名作聚于一堂，放大至原寸，为学画者提供了下真迹一等的范本。\n本书对书中收入的每一幅名画进行了详尽的介绍与分析，部分局部放大，叙述这些流传千年的国宝背后的故事，并插入与之相关的其他名画的照片与材料，为广大喜爱中国艺术的读者提供了丰富的欣赏素材和参考资料。\n欣赏和学习中国画，离不开对画史上经典名作的了解。\n中国画的历史源远流长，由于种种原因，古代流传至今的绘画名作非但数量十分稀少，而且散佚于世界各地。\n缘于此，我们编辑了这套《国宝在线》丛书，按绘画题材、风格技法等要素重新进行分类，将中国画史上的国宝级名作聚于一堂，精心印制，并尽量放大至原寸，为学画者提供了下真迹一等的范本。\n此外，我们还对书中收入的每一幅名画进行了详尽的介绍与分析，叙述这些流传千年的国宝背后的故事，并插入与之相关的其他名画的照片与材料，为广大喜爱中国艺术的读者提供了丰富的欣赏素材和参考资料。\n书评 婴戏题材在唐代便已出现，时间当与仕女画相差无几，但数量不多，技法也远未发展成熟。\n据《宣和画谱》记载，唐代著名人物画家张萱善旦画人物……又能写婴儿，此尤为难。\n盖婴儿形貌、态度自是一家，要于大小岁数间，定其面目髫稚。\n世之画者，不失之于身小而貌壮，则失之于似妇人。\n又贵贱气调与骨法，尤须各别。\n事实上，婴孩的画法脱胎于成人，因此，早期一些不成功的婴戏画中往往会具有一小大人的特征，铅华未洗，尚不能表现出儿童稚气天真的特质。\n正如唐代人物画的兴盛与其成教化，助人伦的辅政功能不可分割一样，宋代婴戏题材画之所以流行也同样有其社会背景。\n宋代重文治，虽然对外一直积弱不振，但内部局势却相对较为稳定。\n农业生产不断增长，城市经济日渐繁荣，工商业发达，人口集中。\n市民阶层迅速壮大并逐渐形成一支可以影响画坛趣味的力量。\n绘画从主要服务于宗教及贵族阶层的利益，转而开始考虑普通群众的需求。\n人物画的题材中，道释及帝王肖像一统天下的局面被打破，表现市井平民生活的风俗画开始兴盛，这其中便包括以孩童嬉戏为主要表现内容的婴戏题材画。\n当时的观念认为，儿童可以消灾解难，会带来吉祥幸福。\n例如，北宋熙宁年间京师久旱，皇帝便让京师的儿童祈雨；南宋时期，除夕时在皇宫里，呈王女童驱傩，装六丁、六甲、六神之类一等等。\n因此，宋代社会对儿童事业颇为重视，当时的京城中设有官办的慈心幼局类似于今天的幼儿园或孤儿院，还出现了私人的儿科大夫和儿童药房等。\n显然，这种社会时尚在当时的文艺创作中不能不有所反映，就绘画而言，可以说婴戏画正是在这样的背景下发展起来的。\n著名的瓷器孩儿枕也出现于这一时期。\n一 在宋代，擅作婴戏题材的画家已有相当的人数，如勾龙爽、刘宗道、杜孩儿、苏汉臣、徐世荣等。\n其中以苏汉臣最为著名，流传下来的作品也最多，以 收藏的《秋庭婴戏图》最引人观注。\n他的成就，从后世作婴戏图者多托名于之便可见一斑。\n杜孩儿，顾名思义，因擅画婴儿而得名，《画继》说他在政和间，其笔盛行，而不遭遇，流落辇下。\n画院众工，必转求之，以应宫禁之须。\n《画继》还记载：刘宗道，京师人。\n作《照盆孩儿》，以水指影，影亦相指，形影自分。\n每作一扇，必画数百本，然后出货，即日流布，实恐他人传模之先也。\n由此可见婴戏画在当时流行风靡的程度。\n又据《图绘宝鉴》所云：勾龙爽，蜀人。\n好丹青，喜为古衣冠，多作质野不媚之状。\n尤善婴孩，得其态度。\n国初为翰林待诏。\n徐世荣，画界画，兼工婴儿。\n然而，遗憾的是这些画家的作品均已失传，我们只能通过前人的寥寥数语来想像他们的风貌了。\n宋代的画坛还有一些精通人物、山水、花鸟的全能画家，如李嵩、刘松年等，他们也画过一些婴戏题材作品，而且都极为精妙。\n我们知道，宋人作画重视写生，宋代画家在再现客观世界的能力方面较之前代画家取得了长足的进步。\n因此，尽管总体而言人物画的地位远逊于晋唐，但画家的技能不仅不逊于前辈，通常还有过之而无不及。\n婴戏画便是很能说明问题的例子。\n宋代画家很好地解决了前代在画孩童时常出现的问题，他们已能够驾轻就熟地表现儿童那种特有的体貌和神态了。\n这种技术上的进步与宋代婴戏题材的流行可以说是一种互为因果的关系。\n婴戏题材除了在两宋较为兴盛外，明、清以及民国时期也十分常见，这也和其时代的经济、文化繁荣息息相关。\n然而，像宋代那样有大批一流画家参与婴戏题材创作的情况却不复再现，作品也殊难和宋画相媲美。\n纵观历朝历代的人物画，婴戏题材并不占有十分重要的地位，但却不可或缺。\n由于婴戏画反映的是生活中美好、祥和的一面，为广大群众所喜闻乐见，因此常成为表现节日里吉庆欢愉的吉祥画，而在近代，这一题材则逐渐转化成祈求安康、丰乐的年画而进入寻常百姓家了。\n宋 苏汉臣 秋庭婴戏图 轴 绢本 宋 苏汉臣 秋庭婴戏图 轴 局部 宋 苏汉臣 秋庭婴戏图 轴 局部 宋 苏汉臣 秋庭婴戏图 轴 局部 宋 苏汉臣 秋庭婴戏图 轴 局部 宋 苏汉臣 秋庭婴戏图 轴 局部 宋 苏汉臣 婴戏图 页 绢本 宋 苏汉臣 婴戏图 页 绢本 宋 佚名 冬日婴戏图 轴 绢本 宋 佚名 冬日婴戏图 轴 局部 宋 佚名 冬日婴戏图 轴 局部 宋 李嵩 货郎 图 卷 绢本 宋 李嵩 货郎图 卷 局部 宋 李嵩 货郎图 卷 局部 宋 李嵩 市担婴戏图 宋 李嵩 骷髅幻戏图 页 绢本 宋 李嵩 骷髅幻戏图 页 局部 宋 佚名 狸奴婴戏图 页 绢本 宋 佚名 荷亭婴戏图 页 绢本 宋 佚名 荷亭婴戏图 页 局部 宋 佚名 秋庭婴戏图 页 绢本 宋 佚名 秋庭婴戏图 页 绢本 宋 佚名 秋庭婴戏图 页 局部 宋 佚名 蕉阴击球图 页 绢本 宋 佚名 蕉阴击球图 页 局部 宋 佚名 百子嬉春图 页 绢本 宋 佚名 端阳婴戏图 页 绢本 元 佚名 杂技戏孩图 元 佚名 货郎图 轴 绢本",[23,194,24,25,81,28,7,106,8665,263,34,212,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bfe0afb989a2894074a38cc534a2c6c.jpg",[],{"id":55765,"slug":55766,"title":55767,"dynasty":18,"author":257,"museum":316,"description":55768,"tags":55769,"thumbUrl":55770,"material":139,"size":139,"collection":139,"collections":55771,"showCount":436,"zanCount":48,"manualWeight":48,"mainColor":94},227889,"cang-hai-yong-ri-tu-ye-yi-ming-227889","沧海涌日图页","此作用浓淡变幻的墨色勾勒翻涌沧波，层叠浪涛卷着白沫奔涌不息，一轮朝日自海雾中缓缓浮现，晕染开朦胧天光。水纹肌理刻画入微，浪涛的雄浑动感与朝日的静穆柔和相映，将拂晓山海间辽远磅礴又带着初醒静谧的意境尽数铺展。\n\n左侧题诗与画境呼应，诗画合璧，以尺幅团扇承载浩瀚山海气象，尽显以小见大的精妙意趣，笔力苍劲细腻，墨色层次丰富，把沧海涌日的磅礴瞬间凝于绢素之上，藏天地灵韵于方寸之间。",[23,2003,24,25,81,28,7,29,33370,408,18822,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29729fff9eb5bf2c5f979e5438cdbc4f.jpg",[],{"id":55773,"slug":55774,"title":55775,"dynasty":18,"author":257,"museum":316,"description":55776,"tags":55777,"thumbUrl":55779,"material":139,"size":139,"collection":139,"collections":55780,"showCount":436,"zanCount":48,"manualWeight":48,"mainColor":49},227881,"tong-yin-wan-yue-tu-ye-yi-ming-227881","桐荫玩月图页","此作以工致笔触铺陈出夏夜闲游的雅景。界笔精谨绘就深宅错落屋宇，窗牖梁枋皆细致入微，尽显宅邸雅致规制。虬劲梧桐亭亭如盖，枝叶扶苏间筛下朦胧月色，晕开夏夜清宁。\n\n廊下雅客围坐把盏，清谈消暑，尽是松弛意态；阶前仕女凭栏凝睇，似浸在月色里漫思幽怀，阶下仆役垂首静立，衬出宅邸的安闲氛围。淡墨晕开暮色，草木柔润晕染，将宋人士族日常宴游的闲雅意趣藏进方寸之间，把玩月的悠然诗意刻画尽致，尽显宋人刻入日常的雅致慢调。",[23,24,194,28,7,104,106,59,107,265,353,115,1364,55778,264],"石盆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff31f6caa12baf6d4b5085cfd27df4b4.jpg",[],{"id":55782,"slug":55783,"title":55784,"dynasty":18,"author":257,"museum":316,"description":55785,"tags":55786,"thumbUrl":55787,"material":139,"size":139,"collection":139,"collections":55788,"showCount":436,"zanCount":48,"manualWeight":48,"mainColor":94},227865,"chun-jiang-fan-bao-tu-ye-yi-ming-227865","春江帆饱图页","近岸怪石崚嶒，古松盘虬错节，笔墨苍劲朴拙，尽显山野清旷之气。江面波平水远，风帆饱胀满张，逐浪悠游，远山晕染在烟霭之中，虚实相生铺展出平远无尽的江天胜景。\n\n诗画合璧，将春水放舟的闲逸融入尺幅之间，以小景承载阔远意境，简淡空灵里暗合寄情林泉的幽远意趣，尽显含蓄隽永的古典山水审美意韵。",[23,24,25,6083,173,7,177,29,5903,1654,34,176,1169,49495,178,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f17c75276403ef9deb01b11f04db765.jpg",[],{"id":55790,"slug":55791,"title":55792,"dynasty":18,"author":257,"museum":316,"description":55793,"tags":55794,"thumbUrl":55796,"material":139,"size":139,"collection":139,"collections":55797,"showCount":436,"zanCount":48,"manualWeight":48,"mainColor":94},227852,"shan-dian-feng-lian-tu-ye-yi-ming-227852","山店风帘图页","此帧水墨小品以边角取景，于尺幅间铺展幽寂冬日山居。嶙峋崖石以斧劈皴利落勾勒，苍劲笔墨写出硬质肌理，枯木虬枝弯折古拙，尽显萧寒之态。山坳间的野店隐于林泉，淡墨晕染的远峰裹挟烟岚，朦胧悠远。画师以简淡洗练的笔法拉开远近层次，留白空灵清旷，将山野间荒寒冷寂的氛围渲染尽致，暗含着文人士大夫心向往之的静穆淡远林下幽思，尽显以小见大、以景寄情的隽永意趣。",[23,24,25,81,173,7,29,177,178,212,685,686,34,114,55795],"风帘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09d24dc4618a7f329647a52ced4edb35.jpg",[],{"id":55799,"slug":55800,"title":26309,"dynasty":18,"author":257,"museum":316,"description":55801,"tags":55802,"thumbUrl":55803,"material":139,"size":139,"collection":139,"collections":55804,"showCount":436,"zanCount":48,"manualWeight":48,"mainColor":49},227393,"gao-shi-guan-pu-tu-yi-ming-227393","此画为宋离、唐所画，无据可查，但整体画面陡峭优美。 在这幅画中，由远及近的山峦和竹林，都以恰如其分的虚实笔触描绘。 图中的瀑布悬垂至谷底，水雾缭绕。 溪流的一角，两位高手俯视着飞泉，神采飞扬，神情陶醉。",[23,194,24,25,7,177,29,106,227,1426,176,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa9400dc5e0fc602c5191a698fc5fa38.jpg",[],{"id":55806,"slug":55807,"title":55808,"dynasty":18,"author":257,"museum":316,"description":55809,"tags":55810,"thumbUrl":55811,"material":139,"size":139,"collection":139,"collections":55812,"showCount":436,"zanCount":48,"manualWeight":48,"mainColor":49},227388,"guan-pu-tu-ye-yi-ming-227388","观瀑图页","史载王羲之曾在团扇上画小人物；其子王献之的《为桓温书并画乌牸驳牛扇》。《历代名画记》中载：梁·肖贲“曾于扇上画山水，咫尺内万里可知”。到了宋代，随着绘画艺术的蓬勃发展，特别是山水画、花鸟画在唐末、五代基础上得到空前的提高。文人与绘画的关系越来越密切，形成了文人画创作高潮。加上皇帝对扇面艺术的重视，书画扇面相应得到飞速发展，臻于顶峰。《书继》中载：“政和间，徽宗每有画扇，则六宫诸邸竞皆临仿一样，或至数百本。”两宋盛极一时的画扇，创作了大批不朽之作，流传至今为人们饱览了两宋绘画的高尚艺术。小至花鸟画中的野草闲花，昆虫禽鱼，都运以精心，出以妙笔。",[23,194,24,25,6083,7,29,177,106,1426,34,686,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01b16031931e91f7aed2413780f1bd06.jpg",[],{"id":55814,"slug":55815,"title":55816,"dynasty":18,"author":257,"museum":316,"description":55817,"tags":55818,"thumbUrl":55820,"material":139,"size":139,"collection":139,"collections":55821,"showCount":436,"zanCount":48,"manualWeight":48,"mainColor":49},227361,"lou-guan-sha-ting-chui-diao-tu-yi-ming-227361","楼观沙汀垂钓图","在文人画里，一切都在情不自禁地轻轻飘动着。宋画是广阔的，岂止在视觉感受上，从题材、内容到形式都在自由组合中与审美达成了会心一笑似的默契和经典。宋画是现实的，就像刚刚从老庄的思想里走出，又误入了风景或花鸟的旋律。",[23,24,25,226,7,29,106,28,177,174,6582,245,176,55819,109,796],"沙汀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F437e8c42c3072d6bf3d4366c3df1f44c.jpg",[],{"id":55823,"slug":55824,"title":26468,"dynasty":54,"author":257,"museum":316,"description":55825,"tags":55826,"thumbUrl":55827,"material":139,"size":139,"collection":139,"collections":55828,"showCount":436,"zanCount":48,"manualWeight":48,"mainColor":49},227129,"gong-yuan-tu-juan-yi-ming-227129","《宫苑图》绘青山碧水之间，殿宇壮丽巍峨、行人络绎不绝的繁华盛景。画面以潺潺流水串联起星罗棋布的亭台楼阁，营造出一座精致华美的山水之城。该图“青绿为质，金碧为文”的笔法特色，以及在处理景物关系时的娴熟技巧，都是了解中国古代宫苑画如何走向成熟的重要参考。",[23,24,25,26,7,104,28,29,107,108,109,106,986],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb131de98f8b7428d587a3235aa38356b.jpg",[],{"id":55830,"slug":55831,"title":11620,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":55832,"thumbUrl":55833,"material":599,"size":600,"collection":139,"collections":55834,"showCount":436,"zanCount":48,"manualWeight":48,"mainColor":94},226472,"ku-zhu-shi-dong-bi-yi-ming-226472",[511,7,106,260,22981,4027,7696,11370,6767],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2f2ec14254b5c252f0383f5be26bdf7.jpg",[],{"id":55836,"slug":55837,"title":52391,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":55838,"thumbUrl":55839,"material":599,"size":600,"collection":139,"collections":55840,"showCount":436,"zanCount":48,"manualWeight":48,"mainColor":49},226466,"ku-qian-shi-ding-bu-yi-ming-226466",[7230,511,260,7,106,4027,21043,1489,7698,6767,27970,4028,41104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3a5ea8e92db7c1aacd4220fc12109bd.jpg",[],{"id":55842,"slug":55843,"title":26544,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":55844,"thumbUrl":55845,"material":599,"size":600,"collection":139,"collections":55846,"showCount":436,"zanCount":48,"manualWeight":48,"mainColor":49},226452,"ku-yong-dao-nan-bi-yi-ming-226452",[511,260,106,7,352,22981],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52b0a89e90a1ca0d05216a89cf15e457.jpg",[],{"id":55848,"slug":55849,"title":55850,"dynasty":256,"author":6236,"museum":316,"description":6237,"tags":55851,"thumbUrl":55852,"material":599,"size":600,"collection":3195,"collections":55853,"showCount":436,"zanCount":48,"manualWeight":48,"mainColor":94},225816,"self-portrait-with-straw-hat-march-june-fan-gao-225816","Self-portrait with straw hat (March - June )",[3187,7,106,22341,34373,20173,11296],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff688f1ddf6f5513dbfb768e46b0a8fa1.jpg",[3195],{"id":55855,"slug":55856,"title":55857,"dynasty":256,"author":6236,"museum":316,"description":6237,"tags":55858,"thumbUrl":55860,"material":599,"size":600,"collection":3195,"collections":55861,"showCount":436,"zanCount":48,"manualWeight":48,"mainColor":2504},225762,"head-of-a-woman-march-fan-gao-225762","Head of a woman (March - )",[194,3187,106,23716,7,55859,20173],"头巾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94413b58dfb10ecc539e6c2c3f667324.jpg",[3195],{"id":55863,"slug":55864,"title":55865,"dynasty":256,"author":3184,"museum":316,"description":6534,"tags":55866,"thumbUrl":55867,"material":599,"size":600,"collection":3195,"collections":55868,"showCount":436,"zanCount":48,"manualWeight":48,"mainColor":2504},225686,"rembrandt-harmensz-van-rijn-096-lun-bo-lang-225686","Rembrandt Harmensz.van Rijn - 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、乞丐、流氓、渔民等下层人民的形象，这在古代的画家当中是十分难得的。康熙间至扬州卖画，人争客之。是中国清代杰出书画家，为“扬州八怪”之一。与郑燮友善。擅草书，后以狂草笔法作画。亦能诗。有《蛟湖诗钞》。\n黄慎14岁时，父亲客死湖南，两妹相继夭折，家境十分穷困，为生计，母亲命其学画，为人写真。16岁时，离家从师，他勤奋苦学，悉心钻研，画艺日进。\n黄慎擅长人物、山水、花鸟，并以人物画最为突出，题材多为神仙佛道和历史人物，也有一些现实生活中的形象，多从民间生活取材，不少作品塑造了纤夫、乞丐，流民、渔民等下层人物形象，如《群乞图》取材现实生活，描写灾荒年中，乞丐们流落街头，受人欺凌的悲惨画面，表现出他对人民疾苦的同情。画神仙佛道如《醉民图》，多操大幅，用笔设色，泼辣大胆，于迷离扑朔中见形象神韵。描绘文人生活的有《东坡玩砚图》，用笔迅疾，衣纹顿挫，线条硬折，墨公浓淡相间，人物轩昂、富有气势，为其成熟后的代表画风。\n他的花鸟画宗法徐渭，亦纵逸泼辣挥洒自如，如《瓶梅图》《菊蟹图》等。他的山水虽“不以山水名”，但山水画有一定的造诣，大幅和小景都各尽其妙，潇洒有致，山水代表作如《渔归图》，两株柳树，“姿态婀娜劲挺，耸立奇峭山岩，淡墨轻赭横扫出沙滩，中景两只渔船，一笔勾出船舷，船中人物，神态右辨，画面左角草书题画诗三行，诗、书、画、印紧相配合，自然贴切。\n黄慎擅草书，书法学“二王”，更得怀素笔意，从章草脱化而出，其栖劲运笔亦用于绘画之中，故画面多干枯、飞白和迅疾之迹，黄慎的草书，点画纷披，散而序，评者说它象疏景横斜，苍藤盘结，具有“字中有画”之趣，他的书法出于章草，颇难认识，故而仿效者不多，但他不趋时尚，敢于标新立异。 他的草书不昧古法，又难辨古人踪迹，不强调章法的疏密聚散，而以方折顿挫的笔法，忽断忽连，顾盼呼应，凸显铿锵有声的点画节奏感，呈现一幅落英缤纷珠丸跳荡逸趣迭生的画面感。其代表作《草亭飞万竹诗草书轴》章法奇异如松柏之剪影，点画浓淡如花叶之缠枝，真非书非画，亦书亦画，堪称奇观。",[23,24,7,83,81,84,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe2d3d35648681b608bad9800279f0f3d.jpg","29.5x36.6",[],{"id":56150,"slug":56151,"title":56152,"dynasty":99,"author":56153,"museum":101,"description":56154,"tags":56155,"thumbUrl":56156,"material":67,"size":56157,"collection":181,"collections":56158,"showCount":436,"zanCount":48,"manualWeight":48,"mainColor":49},222575,"ting-zhou-fang-mei-tu-zhao-zi-jun-222575","停舟访梅图","赵子俊","绘远山近水，河岸山石之上，松柏修长翠绿，梅花朵朵盛放，一人坐于梅下，抬头观望赏梅，梅下岸边河边船只停泊。另一边数座房屋呈现，房前屋后翠竹茂盛，梅花灼灼。画面疏密有致，意境辽阔清雅。",[23,24,25,1260,7,29,820,174,1273,989,1169,378],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b03376e9df78efc27198473fd5577ce.jpg","40x50",[181],{"id":56160,"slug":56161,"title":56162,"dynasty":99,"author":26310,"museum":101,"description":56163,"tags":56164,"thumbUrl":56165,"material":67,"size":56166,"collection":139,"collections":56167,"showCount":436,"zanCount":48,"manualWeight":48,"mainColor":49},222390,"shan-shui-liu-ce-he-juan-sheng-mao-ye-222390","山水六册合卷","盛茂烨，明代画家，长洲（今江苏苏州）人。善山水、人物，笔力雄健，烘染精到，好作长林叠嶂巍峨险峻之景，有烟林清旷之概。\n此册六开，因藏于海外，国内学者较少提及，无论是用笔、用墨还是构图、气韵，其独特的艺术风格都表现出一流的大家风范。",[23,24,173,7,81,26,177,29,108,109,174,353,3176,107,106,212,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d02a1e0c9772dc5dacd3bbddaec7765.jpg","28.6 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周帝打醮，但从人物旁边的手杖来看，这幅画描绘的是道教传说中的八仙之一的李铁拐。传说他是一个魁梧的人，在成为不朽的人之后，被赋予了一个饥饿的人的身体，因此他的外表很丑陋。明朝的一位宫廷画师也制作了类似的图像，用来驱除邪灵。",[23,194,24,25,81,28,352,7,106,1273,176,408,10537],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e1584d50aced77bd7bb3f19029177fc.jpg","23.9x21",[44],{"id":56319,"slug":56320,"title":56321,"dynasty":99,"author":14115,"museum":191,"description":56322,"tags":56323,"thumbUrl":56324,"material":123,"size":56325,"collection":44,"collections":56326,"showCount":436,"zanCount":48,"manualWeight":48,"mainColor":94},218263,"yang-ji-jing-xiao-xiang-juan-wen-bo-ren-218263","杨季静小像卷","这幅画作于文伯仁24岁时（1526年，嘉靖五年），可能是他现存最早的纪年画，也是他唯一的一幅人物画。画中的主人公杨季静（1504-1530年之前）是苏州有名的琴师，与文征明等人关系友好，所以文博仁有机会为他画了一幅小肖像。",[23,24,25,26,173,7,106,195,86,212,178,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F158b55ad0eb5f9db452582a9d910d80a.jpg","29.1x23.9",[44],{"id":56328,"slug":56329,"title":56330,"dynasty":76,"author":2849,"museum":191,"description":56331,"tags":56332,"thumbUrl":56335,"material":88,"size":139,"collection":139,"collections":56336,"showCount":436,"zanCount":48,"manualWeight":48,"mainColor":94},218041,"tian-wang-xiang-3-yao-wen-han-218041","天王像-3","画面中央人物端坐石上，神态安详，衣袂纹饰繁复细腻，红绿蓝三色交织却显和谐雅致。身旁花木扶疏，枝叶舒展间缀满粉白黄紫的花朵，生机盎然。下方水波荡漾，蓝发精灵自水中探身，托举鲜果盘盏，动态鲜活；右侧童子躬身呈物，姿态恭谨。背景祥云缭绕，飞天隐现于云端，仙袂飘飘，更添缥缈意境。整幅画作工笔精湛，线条婉转流畅，设色明丽温润，细节处见匠心——无论是衣纹的褶皱、花叶的脉络，还是水波的纹理，皆刻画入微。动静相宜的构图，将人物的沉静与周遭的灵动巧妙融合，营造出清寂而又充满生气的氛围，尽显传统工笔重彩的典雅韵致。",[24,28,7,260,106,19429,4027,261,56333,4876,447,3661,31764,13705,56334],"精灵","典雅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3dab5aee7d3ceb67daa4b6ae007ad6d.jpg",[],{"id":56338,"slug":56339,"title":56340,"dynasty":302,"author":7943,"museum":191,"description":56341,"tags":56342,"thumbUrl":56343,"material":123,"size":10070,"collection":139,"collections":56344,"showCount":436,"zanCount":48,"manualWeight":48,"mainColor":94},216754,"hua-hui-ce-shui-xian-wang-yuan-216754","花卉册-水仙","水仙攒簇，瓣白蕊黄，纤叶劲挺如剑，兼具水墨苍劲与工笔细腻。一只粉蝶翩跹于侧，翅翼轻颤似欲落，为静穆画面添几分生动意趣。背景淡赭铺陈，衬以深青墨块，虚实相生间更显花姿孤洁。笔墨兼工带写，花叶勾勒精准却不失灵动，古雅设色与简淡构图暗合文人清逸之思。整幅画于细微处见匠心，清雅空灵如沐春风，尽显花木自然神韵与画者笔墨情致，寥寥数笔便将水仙的孤高与生机凝于尺幅之间。",[23,24,25,81,7,83,898,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa61e07edb91f812267058fdf2d606136.jpg",[],{"id":56346,"slug":56347,"title":56348,"dynasty":99,"author":14505,"museum":316,"description":56349,"tags":56350,"thumbUrl":56351,"material":88,"size":139,"collection":139,"collections":56352,"showCount":436,"zanCount":48,"manualWeight":48,"mainColor":94},216336,"xi-xiang-ji-cha-ye-16-min-qi-ji-216336","西厢记插页-16","画面以虚实相生的构图铺展西厢意韵。圆月窗棂内，案前剪影静对烛火，似凝着未诉的思绪；栏边女子衣袂轻染淡蓝，纤手抚栏，眸光越过云霭，牵系着窗内的影。右侧云气如缕，裹挟着另一女子的身姿，步履间藏着婉转心事。线条细腻如丝，勾出衣纹的柔、窗棂的雅；色彩淡雅晕染，蓝的云、橙的栏、灰的窗，衬出庭院幽寂。整幅画将西厢中含蓄情愫凝于方寸，以版画精致传递古典浪漫，每处细节都低语着跨越礼教的相思，尽显晚明版画的文人雅致与叙事张力。",[24,25,4006,7,106,59,107,278,2235,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F505f8b736e035077b82deb41761ff571.jpg",[],{"id":56354,"slug":56355,"title":56356,"dynasty":99,"author":8966,"museum":132,"description":56357,"tags":56358,"thumbUrl":56360,"material":88,"size":139,"collection":139,"collections":56361,"showCount":436,"zanCount":48,"manualWeight":48,"mainColor":94},216267,"han-xi-meng-xiu-song-yuan-ming-ji-ce-chun-niao-tu-han-xi-meng-216267","韩希孟绣宋元名迹册·鹑鸟图","韩希孟（1740年 - 1813年）是一位中国画家，他的艺术风格主要受汉画的影响，他的作品风格独特，充满了生活气息。他的作品《韩希孟绣宋元名迹册·鹑鸟图》是他的经典作品之一，这幅画描绘了一只鹑鸟在花丛中的样子。在这幅画中，鹑鸟的羽毛明亮而有光泽，给人一种活力和自然的感觉。同时，这幅画还很注重细节，每个花朵和草叶都很精确地画出来，使得整幅画看起来更加生动。",[8969,7,105,6083,83,56359,86,7260],"鹑鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff07034368db54b811db721de4064c826.jpg",[],{"id":56363,"slug":56364,"title":56365,"dynasty":76,"author":257,"museum":316,"description":56366,"tags":56367,"thumbUrl":56368,"material":88,"size":139,"collection":139,"collections":56369,"showCount":436,"zanCount":2368,"manualWeight":48,"mainColor":94},215865,"qing-dai-gong-ting-ren-wu-hua-ce-4-yi-ming-215865","清代宫廷人物画册-4","鬓边珠翠攒成彩冠，青丝挽作典雅髻鬟。锦袍绣凤衔云，蓝绿绒线交织出羽翼的灵动，朱红点缀翎尾，祥云纹样环绕周身。裙摆层叠，紫缎镶边衬着花卉绣饰，足履精巧。人物神态温婉娴静，眉眼间流露宫廷女子的端庄气质。画作线条细腻，色彩浓艳却不失和谐，衣料的质感与纹样的繁复尽显清代宫廷服饰的华贵，每一处针脚仿佛都藏着旧时宫闱的精致与雍容。",[320,28,7,106,31263,63,64,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa56835eb1f94ec1c7d6a220d5b7d2840.jpg",[],{"id":56371,"slug":56372,"title":56373,"dynasty":76,"author":257,"museum":316,"description":56374,"tags":56375,"thumbUrl":56376,"material":88,"size":139,"collection":139,"collections":56377,"showCount":436,"zanCount":2368,"manualWeight":48,"mainColor":94},215863,"qing-dai-gong-ting-ren-wu-hua-ce-7-yi-ming-215863","清代宫廷人物画册-7","冠上羽翎轻缀，饰件精巧别致。深蓝袍服挺括有型，胸前补子绣瑞禽，羽翼舒展如生；袖口与下摆以彩线织就缠枝花卉，粉紫花瓣衬青绿叶片，雅致灵动。人物面容沉稳，眉眼间透着端庄气度，须髯修整得体，尽显清代宫廷人物的威仪与从容。画面纸色泛黄，带着时光沉淀的斑驳痕迹，线条细腻流畅，设色浓郁却不失雅致，将人物身份地位与服饰华美细节刻画得淋漓尽致，尽显清代宫廷绘画的严谨格调与精致韵味。",[24,25,81,7,28,106,63,292,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F013c48dd1d28c4ff283b04ce074e3e68.jpg",[],{"id":56379,"slug":56380,"title":56381,"dynasty":76,"author":257,"museum":191,"description":42822,"tags":56382,"thumbUrl":56383,"material":123,"size":139,"collection":139,"collections":56384,"showCount":436,"zanCount":48,"manualWeight":48,"mainColor":94},215197,"sheng-ping-le-shi-tu-ce-8-yi-ming-215197","升平乐事图册-8",[24,7,28,106,245,820,34,912,2385,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febc9282a4057d1e6a797c906811623e0.jpg",[],{"id":56386,"slug":56387,"title":56388,"dynasty":76,"author":7209,"museum":4901,"description":56389,"tags":56390,"thumbUrl":56391,"material":88,"size":139,"collection":139,"collections":56392,"showCount":436,"zanCount":48,"manualWeight":48,"mainColor":94},214817,"shan-shui-hua-hui-tu-ce-3-gao-feng-han-214817","山水花卉图册-3","高凤翰（1762-1843）是一位著名的清代画家，他的主要作品是山水花卉图册。高凤翰生于江苏省的吴县，他曾在杭州学习画画，后来进入了江南画派。他的画风独特，被称为“高氏画法”，以其精细、细腻的线条和浓郁的色彩闻名。\n\n高凤翰的山水花卉图册是他的代表作之一，包括了许多精美的山水画作品。这些作品描绘了自然风光，包括山峦、河流、湖泊、树木、花草等。高凤翰的山水画作品经常带有浓厚的写意气息，表现出自然之美。他的画作还常常加入人物、建筑、动物等元素，使得作品更加丰富多彩。\n\n高凤翰的山水花卉图册在当时颇受欢迎，并且被视为江南画派的杰出代表作。他的作品被认为是清代山水画发展的重要贡献，对后世的山水画家也产生了很大的影响。",[24,173,7,81,136,137,83,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1390e062dcc9a31e1c77611f2c4c8842.jpg",[],{"id":56394,"slug":56395,"title":56396,"dynasty":76,"author":7596,"museum":132,"description":40901,"tags":56397,"thumbUrl":56398,"material":88,"size":139,"collection":139,"collections":56399,"showCount":436,"zanCount":48,"manualWeight":48,"mainColor":49},214601,"fang-gu-shan-shui-ce-4-wang-hui-214601","仿古山水册-4",[24,81,29,173,7,105,177,108,109,176,1426,34,35,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb92338e3965f50d1b87453e6a88b9d0.jpg",[],{"id":56401,"slug":56402,"title":56403,"dynasty":76,"author":257,"museum":6891,"description":6892,"tags":56404,"thumbUrl":56406,"material":123,"size":6895,"collection":139,"collections":56407,"showCount":436,"zanCount":48,"manualWeight":48,"mainColor":49},214335,"da-bei-shen-zhou-fo-xiang-3-yi-ming-214335","大悲神咒佛像-3",[23,24,25,7,28,260,106,81,5883,56405,409,2943,1488],"神咒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F675029d17e74ae020b3464aadad3b83c.jpg",[],{"id":56409,"slug":56410,"title":56411,"dynasty":76,"author":3593,"museum":78,"description":56412,"tags":56413,"thumbUrl":56414,"material":139,"size":139,"collection":139,"collections":56415,"showCount":436,"zanCount":48,"manualWeight":48,"mainColor":56416},203468,"hua-hui-ce-shi-kai-yun-bing-203468","花卉册十开","此帧花卉以没骨法绘就，朱红牡丹嫣然绽放，花瓣层叠间色阶过渡细腻，如凝晨露之润。翠叶以墨绿晕染，叶脉婉转隐现，枝干用笔简洁却见风骨，秀逸中含遒劲。设色明丽而不失清雅，承恽派写生之韵，将牡丹的雍容华贵与枝叶的清劲挺秀相衬，鲜活展现春日花事的生机盎然。画面留白疏朗，于方寸册页间藏自然意趣，尽显作者对花鸟情态的精准捕捉与文人审美之融合，读来如沐春风，悦目怡心。",[24,25,81,7,82,83,292,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96659e821af8e162b03e31f0b2dd5524.jpg",[],"c3a885",{"id":56418,"slug":56419,"title":56420,"dynasty":99,"author":2425,"museum":78,"description":56421,"tags":56422,"thumbUrl":56423,"material":139,"size":139,"collection":181,"collections":56424,"showCount":436,"zanCount":48,"manualWeight":48,"mainColor":56425},203466,"xiao-jing-ba-fu-ce-dong-qi-chang-203466","小景八幅册","董其昌此册页小景，笔墨兼具南北宗之妙。左幅水墨疏朗，山石以披麻皴写就，线条清劲秀逸，平远构图中村落隐现，意境空灵悠远；右幅设色淡雅，红绿点染秋叶，树木姿态古拙，山石结构简括，自然生机与文人简淡相融。画面以书入画，笔墨韵律天成，小景中见大格局，尽显晚明文人画的空灵雅韵，是其“以画为乐”理念的生动体现。",[23,24,25,81,173,7,177,3560,29,176,34,35,1169,3561,109,3850,1273,3519],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14fe7ab7651450e8bb454fd86615685e.jpg",[181],"c1bcb3",{"id":5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museum":20,"description":56996,"tags":56997,"thumbUrl":56998,"material":40,"size":56999,"collection":181,"collections":57000,"showCount":475,"zanCount":48,"manualWeight":48,"mainColor":49},237463,"luo-han-tu-zhou-wu-bin-237463","图中画三位佛教人物，其中身披红色袈裟者手持一钵正在降伏半空中的飞龙。佛教修行中的最高果位是佛，其次为菩萨，然后是罗汉。宋代以前流传十六罗汉，之后又衍生出两尊，即降龙和伏虎，于是成为十八罗汉。降龙罗汉位列十八罗汉的第十七位，根据古印度的传说，降龙罗汉最初的原形是庆友尊者。相传古印度那竭国有恶魔煽动国人杀害出家的佛弟子，尽毁佛殿佛塔，劫掠经书。当时海龙王发动洪水，淹没了那竭国，并将佛经收藏于龙宫之内，等待有法力的僧人取回，最终庆友尊者完成大任，因此他被称为降龙罗汉。本图中的人物形象古朴，线条细劲绵长，设色浓丽。《图绘宝鉴续纂》记载吴彬：“善人物，奇行怪状，迥异旧人，自立门户。”",[24,25,226,260,7,106,406,1273,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ae99e6225085f994b39be7e25626092.jpg","纵145.9厘米，横76.1厘米",[181],{"id":57002,"slug":57003,"title":131,"dynasty":99,"author":1057,"museum":56,"description":15771,"tags":57004,"thumbUrl":57005,"material":1342,"size":15774,"collection":139,"collections":57006,"showCount":475,"zanCount":48,"manualWeight":48,"mainColor":94},237440,"hua-hui-ce-xiang-sheng-mo-237440",[24,25,81,7,83,897,178,212,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F055700a31cac6a5d48ae1e0a0424c8e1.jpg",[],{"id":57008,"slug":57009,"title":6834,"dynasty":76,"author":57010,"museum":316,"description":57011,"tags":57012,"thumbUrl":57013,"material":638,"size":139,"collection":181,"collections":57014,"showCount":475,"zanCount":48,"manualWeight":48,"mainColor":94},237428,"shan-shui-ce-chen-jia-le-237428","陈嘉乐","「画中十哲」即董邦达、高翔、高凤翰、李世倬、允禧、张鹏翀、李师中、王延格、陈嘉乐、张士英。\n十哲为娄东派，他们崇古保守的画风，与「虞山画派」相依托，即这10位娄东派的画家，亦兼写虞山画派，如李世倬。他们又受「四王」的影响甚大，其主要以临摹复古为主，但其中也有自出机杼、别故致新的画家，如高凤翰、高翔等。\n陈嘉乐，字子显，号东原，历城（今山东济南）人。善山水，学王原祁，奕譓招之京邸，从学画。为朱文震画中十哲歌「十哲」之一。性孤介，殁后家贫如洗。《历代画史汇传补编》、《墨林今话》、《画传编韵》、《八旗画录》、《画家知希录》、《山东通志》、《家言随记》、《清画家诗史》。",[24,81,7,177,29,34,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc94b76754f2313b0c9f956f9fed64fb.jpg",[181],{"id":57016,"slug":57017,"title":14993,"dynasty":76,"author":2122,"museum":20,"description":14994,"tags":57018,"thumbUrl":57019,"material":770,"size":139,"collection":139,"collections":57020,"showCount":475,"zanCount":48,"manualWeight":48,"mainColor":94},237182,"hua-niao-kun-chong-ce-zhou-quan-237182",[24,81,7,28,212,83,568,62,838],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe92d48af594005a5759d52a88d96298a.jpg",[],{"id":57022,"slug":57023,"title":57024,"dynasty":76,"author":42725,"museum":316,"description":57025,"tags":57026,"thumbUrl":57027,"material":139,"size":139,"collection":181,"collections":57028,"showCount":475,"zanCount":48,"manualWeight":48,"mainColor":94},237140,"tao-li-yuan-tu-zhou-wu-chao-237140","桃李园图轴","吴焯（1676年--1733年），男，字尺凫，号绣谷，晚号绣谷老人，清钱塘（今杭州）人（一说安徽歙县人）。以家有古藤，花开时垂如璎珞，遂构亭名“绣谷”。\n仿晁公武、陈振孙书目体例，所辑《薰习录》（一作《绣谷亭薰习录》），是其专记所藏秘册、叙述原委、购书、读书记，与《读书敏求记》颇为相似，但篇幅较小，仅经部1卷，集部2卷。又有《瓶花斋书目》今已不传。精校勘，手自丹黄，每购一书，必兼数本，相互参比，如有考证心得，辄书诸卷首。小山堂赵昱回忆与吴焯的交往时曾说“绣谷藏书颇矜惜，不轻借人，独许予抄，予所藏多绣谷亭本。予偶得善册，先生见之亦必取以勘定。”乾隆三十八年（1773），诏开四库馆，采访天下遗书，次子吴玉墀以古书百余种进呈朝廷，与鲍廷博“知不足斋”、汪宪“振绮堂”、孙宗濂“寿松斋”、汪启淑“飞鸿堂”，各整比所藏，踊跃呈献，获赐《佩文韵府》1部及书数种。藏书印有“绣谷手典”、“疏雨薰习”、“流传勿污损”、“性命以之”等多枚。刻书甚富，达50余种，数千卷。与厉鹗、赵昱等往来极密，每得一秘本，彼此互相抄录，抄书用纸印墨格或绿格，版心刻有“绣谷亭”三字，有的左栏外刻有“西泠吴氏绣谷亭抄书”或“绣谷亭抄书”等字样。所藏书身后大多归于汪宪“振绮堂”、许宗彦“鉴止水斋”及马氏兄弟等家。藏书印有“绣谷所藏”、“绣谷薰习”、“尺凫”、“愿流传勿损污”等。著有《绣谷杂抄》、《药园诗稿》、《陆渚飞鸿集》、《玲珑帘词》、《经山游草》等。与厉鹗、赵昱合撰《南宋杂事诗》。",[24,25,226,7,28,177,29,106,107,108,175,2288,10406,34,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F632fa63692d7afa3a89ed69ddf696e28.jpg",[181,2065],{"id":57030,"slug":57031,"title":16624,"dynasty":76,"author":48238,"museum":316,"description":57032,"tags":57033,"thumbUrl":57034,"material":139,"size":139,"collection":181,"collections":57035,"showCount":475,"zanCount":48,"manualWeight":48,"mainColor":94},237129,"shan-shui-ren-wu-ce-shang-guan-zhou-237129","上官周（1665－1749后），福建长汀南山官坊人，原名世显，后改名周，字文佐，号竹庄，清代著名画家，终生布衣。1665年生于长汀南山官坊的一户农民家庭。山水和人物画造诣很高，门生有“扬州八怪”之一的黄慎。所著《晚笑堂画传》最为著名，成为后人临习人物画的范本，而其山水画谱长期流落民间，未见刊行。上官周自幼聪颖，治艺勤奋，学识渊博，擅长诗文、书法、篆刻，尤精于画。",[24,25,81,352,173,7,106,29,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d4cfaf6570d41d377a6f14d68bd8e89.jpg",[181,44],{"id":57037,"slug":57038,"title":57039,"dynasty":99,"author":57040,"museum":20,"description":57041,"tags":57042,"thumbUrl":57043,"material":638,"size":139,"collection":181,"collections":57044,"showCount":475,"zanCount":48,"manualWeight":48,"mainColor":94},237013,"xi-zhu-ce-zhu-ying-237013","西筑册","朱瑛","朱瑛《西筑》册（北京故宫博物院藏，蒙加斯列莫夫兄见告），号为十咏，止见其八，题曰“引泉”、“种竹”、 “负薪”、 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“初学仇十洲”，面仇英之画，近师周臣，远“摹唐来人之画，皆能夺真”，由此推之，袁江的画上溯可至唐代的李思训、李昭道父子以及赵伯驹和赵伯骑兄弟。袁江工整细致，设色浓丽的楼阁界画风格，确有仇英的遗韵。又据《画人补遗》记载：“中年得无名氏所临古人画稿”，这“无名氏”又是谁?学术界说法不一，而据有的学者推测，它应该是来人名迹，因为从袁江的山水画中，可以看出有北宋范宽，郭熙，李成、阎次平以及南宋的马远、夏圭等人的画法和遗风。在经营位置上，他又吸收了元明以来山水画的长处，予以融合变化，形成自己的特色。他学“院体”，但又脱去院画中纤弱之笔和艳俗之弊，变为凝炼厚重、工致妍美、艳而不俗的风格。袁江的楼阁界画，更是继承了唐李思训父子，宋赵伯驹兄弟和郭熙以来界画的传统以及元代王振鹏等楼阁画用笔严谨．精雕细刻的画风，并加以发扬光大。",[24,25,194,26,7,173,28,83,567,57301,136,292,629,634,898,896,820,579,227,897,569,84,210,212],"西瓜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18aa0380b6630459be1fef1dc09c8650.jpg",[],{"id":57305,"slug":57306,"title":57307,"dynasty":18,"author":257,"museum":20,"description":57308,"tags":57309,"thumbUrl":57310,"material":529,"size":57311,"collection":139,"collections":57312,"showCount":475,"zanCount":48,"manualWeight":48,"mainColor":49},234006,"shui-xian-tu-ye-yi-ming-234006","水仙图页","水仙（Narcissus tazettaL. var. chinensis Roem. ）又名中国水仙，是多花水仙的一个变种。是石蒜科多年生草本植物。水仙的叶由鳞茎顶端绿白色筒状鞘中抽出花茎（俗称箭）再由叶片中抽出。一般每个鳞茎可抽花茎1-2枝，多者可达8-11枝，伞状花序。花瓣多为6片，花瓣末处呈鹅黄色。花蕊外面有一个如碗一般的保护罩。鳞茎卵状至广卵状球形，外被棕褐色皮膜。叶狭长带状，蒴果室背开裂。水仙性喜温暖、湿润，花期在春季。\n作为中国传统观赏花卉的水仙，原种为唐代从意大利引进，是法国多花水仙的变种，在中国已有一千多年栽培历史，经上千年的选育而成为世界水仙花中独树一帜的佳品，为中国十大传统名花之一。因为鳞茎生得颇象洋葱、大蒜、故六朝时称“雅蒜”、宋代称“天葱”。之后，人们还给她取了不少巧妙、美丽的名字，如金盏、银台、俪兰、雅客、女星等等。水仙花早在宋代就已受人注意和喜爱。\n南宋佚名《水仙图》只画了一株水仙，一花五叶。画面的中心水仙花盛开，清新可人，叶片四展而不零乱，飘逸潇洒，并将画面分割成五部分，花蕊正好位于最能够吸引目光的黄金分割位置，凸显全画的核心。花瓣以尖细之笔勾勒轮廓，再染白粉，花蕊以橘黄点染，设色淡雅清逸。《水仙图》可谓是着笔简洁而韵味无穷，是南宋院体花鸟画的精品。\n南宋佚名《水仙图》无款印。裱边旧题签：“赵子固写生水仙”。赵子固即赵孟坚，中国南宋画家。生于庆元五年（1199），卒于景定五年（1264），一说卒于咸淳三年（1267）。字子固，号彝斋；宋宗室，为宋太祖十一世孙，汉族，海盐广陈（今嘉兴平湖广陈）人。曾任湖州掾、转运司幕、诸暨知县、提辖左帑。工诗善文，家富收藏，擅梅、兰、竹、石，尤精白描水仙；其画多用水墨，用笔劲利流畅，淡墨微染，风格秀雅，深得文人推崇。有书法墨迹《自书诗卷》，绘画《墨兰图》、《墨水仙图》、《岁寒三友图》等传世，著《彝斋文编》4卷。",[24,194,25,83,28,7,898],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba119f21392b89dbae54545959e6887a.jpg","24.6x26cm",[],{"id":57314,"slug":57315,"title":41490,"dynasty":18,"author":257,"museum":20,"description":57316,"tags":57317,"thumbUrl":57318,"material":37114,"size":41495,"collection":139,"collections":57319,"showCount":475,"zanCount":2368,"manualWeight":48,"mainColor":49},233811,"han-ting-luo-yan-tu-zhou-yi-ming-233811","此图画古木栖鸦，寒汀落雁。树下芦早疏疏，十数大雁、野鸭分两组栖于岸边，其态悠闲。",[24,194,25,226,173,7,29,795,3765,44813,245,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59211b1b7d5c6f3104b8131f33873b5f.jpg",[],{"id":57321,"slug":57322,"title":15779,"dynasty":76,"author":997,"museum":20,"description":15780,"tags":57323,"thumbUrl":57324,"material":770,"size":15784,"collection":139,"collections":57325,"showCount":475,"zanCount":48,"manualWeight":48,"mainColor":94},233773,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233773",[24,25,81,173,7,29,34,3518,109,176,106,178,212,177,175,108],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Facfe15b15dd27ffce25b8a5334ea64a4.jpg",[],{"id":57327,"slug":57328,"title":57329,"dynasty":76,"author":11085,"museum":20,"description":57330,"tags":57331,"thumbUrl":57332,"material":57333,"size":57334,"collection":139,"collections":57335,"showCount":475,"zanCount":2368,"manualWeight":48,"mainColor":94},233720,"hua-wang-yu-yan-xie-lan-tu-xiang-pan-gong-shou-bu-tu-zhou-ren-xiong-233720","画王玉燕写兰图像潘恭寿补图轴","任熊（1823年7月19日—1857年11月23日），字渭长，一字湘浦，号不舍，浙江萧山人，清代晚期著名画家，“海派”艺术的代表人物之一。\n幼时家贫，跟塾师学画人像，后寓居苏州、上海以卖画为生。曾流浪到宁波。曾居于挚友周闲之范湖草堂三年，并得遇著名文人姚燮，在其家“大梅山馆”学画，深得宋人笔法。任熊是绘画全才，人物、花卉、山水、翎毛、虫鱼、走兽，无一不精。画法宗陈洪绶，与弟任薰，儿子任预、侄任颐合称“海上四任”，又与朱熊、张熊合称“沪上三熊”。概述图为任熊自画之像。\n代表作有为著名词人与画家周闲所绘之《范湖草堂图》、以及由周闲等题跋之《十万图册》等。",[24,25,226,7,28,106,579,378,230,897,4226,1011,1012,4227,86,178,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb520acac6950d49e8cce35de80872eb2.jpg","纸本,设墨","111.5cm×41.6cm",[],{"id":57337,"slug":57338,"title":24612,"dynasty":76,"author":563,"museum":20,"description":57339,"tags":57340,"thumbUrl":57341,"material":770,"size":57342,"collection":139,"collections":57343,"showCount":475,"zanCount":48,"manualWeight":48,"mainColor":49},233718,"tian-shan-ji-xue-tu-hua-yan-233718","华嵒的人物画造型极具特色，以表现人物鲜明的个性和内在的神韵取胜。《天山积雪图》是其晚年的代表作品。\n边塞行旅是华嵒经常表现的题材之一。本图画唐人远行边塞诗意。图中，天山脚下，一个身披大红斗篷、藏掖宝剑的单身旅客，牵一匹双峰老驼，艰难地缓行于冰雪之中。天色灰暗，四野空旷，道路漫漫，白雪皑皑。一只孤雁横掠空中，旅者和老驼举首仰望，此情此景似引起了游子的万千思绪。画中情景交融，意境含蓄。画面构图狭长，造成天高地迥的视觉效果，以衬托人物孤寂的内心世界。设色雅致，色彩之间的搭配，冷暖色调的对比，都十分考究。人物、老驼的形象塑造在写实的基础上恰当地运用夸张手法，人物前倾的动势，老驼富于人情味的表情，都使得主题更为突出。作品展现了画家独特的艺术构思和出众的绘画才能。",[24,25,226,7,106,8628,2724,13277,245,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c8b21a5c0ed7a5463b2bc0eedb1ac28.jpg","纵159.1厘米，横52.8厘米",[],{"id":57345,"slug":57346,"title":18810,"dynasty":76,"author":10084,"museum":20,"description":18811,"tags":57347,"thumbUrl":57348,"material":770,"size":18814,"collection":139,"collections":57349,"showCount":475,"zanCount":48,"manualWeight":48,"mainColor":94},233445,"ren-wu-shan-shui-ce-luo-pin-233445",[24,6083,7,638,106,29,820,989,115,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99425d9cb891e7242e250ced234210b2.jpg",[],{"id":57351,"slug":57352,"title":16624,"dynasty":76,"author":7863,"museum":20,"description":16625,"tags":57353,"thumbUrl":57354,"material":16628,"size":16629,"collection":139,"collections":57355,"showCount":475,"zanCount":48,"manualWeight":48,"mainColor":94},233400,"shan-shui-ren-wu-ce-jin-nong-233400",[24,25,81,173,7,352,29,106,174,109,8421,353,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F719bb0fb0ca34e2f5d64acbe64f13589.jpg",[],{"id":57357,"slug":57358,"title":57359,"dynasty":76,"author":7596,"museum":20,"description":57360,"tags":57361,"thumbUrl":57362,"material":500,"size":57363,"collection":139,"collections":57364,"showCount":475,"zanCount":48,"manualWeight":48,"mainColor":94},233232,"qing-shan-bai-yun-shan-mian-wang-hui-233232","青山白云扇面","王翚自称「于青绿法，静悟三十年，始尽其妙」（王翚《清晖画跋》），可见其青绿山水不仅是他对色墨融合技法的探索，亦融入了其个人的人生体验。王翚画山水不为「南宗」所囿，有集「南北宗」画家之大成，《读画辑略》称「画分南北二宗至石谷合而为一」，恽寿平亦称「古今来笔墨之至龃龉不能相入者，石谷则罗而致之笔端，融洽而出，神哉技乎」。\n（张庚《国朝画徵录》卷中）集多家笔法之大成的特点在其青绿山水中有突出体现，如王翚三十八岁（一六六九年）所作《青山白云图》扇题识中说：「尝见高尚书《夏麓晴云》、赵承旨《潇湘水云》、方羽士《奇峰出云》，此写《青山白云图》，参用三家笔意，而设色兼施僧繇没骨法，不知得以古人神韵否？」此外，王翚在设色上强调「轻」、「清」，他在《清晖画跋》中言：「凡设青绿，体要严重，气要轻清，得力全在渲晕……皴擦不可多，厚在神气，不在多也，气愈清则愈厚。」强调着色本身要实，气韵要虚。",[24,25,1260,7,173,29,6662,8450,34,176,177,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d74d1c3b7e9d91f8a42a81093d1e944.jpg","纵：22.9，横：23.9厘米",[],{"id":57366,"slug":57367,"title":57368,"dynasty":18,"author":1588,"museum":20,"description":57369,"tags":57370,"thumbUrl":57371,"material":40,"size":57372,"collection":139,"collections":57373,"showCount":475,"zanCount":48,"manualWeight":48,"mainColor":49},233198,"ju-lv-tu-ye-ma-lin-233198","橘绿图页","图中橘子由绿转黄，满压枝头。画家以粗细匀整的用笔流畅地勾画出橘叶的外形轮廓，并以黄绿色填涂叶面，叶片虽然不多，但其充满生命力的色彩为画面增添了几许活力，而侧、转、反、正的种种姿态又为全图带来灵动的节律。橘子的画法一改平涂晕染，直接以笔着色粉戳染成形，从而生动地表现出橘皮粗糙不平的质感。虽然画作历经磨损，许多白色粉点已经剥落，并露出了黄色的绢底，但仍然可见马麟的非凡技艺。\n橘子又称香圆，寓团圆之意。台北故宫博物院藏南宋画院画家林椿创作的一幅《橙黄橘绿图》与本幅在构图及橘、叶的表现技法上均相同，可见此类题材及画法在南宋画院较为普遍。",[194,24,25,28,7,83,4687,554,836],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c205a8ffc34c15b750b08bc5bfa96be.jpg","纵23厘米，横23.5厘米",[],{"id":57375,"slug":57376,"title":57377,"dynasty":76,"author":563,"museum":20,"description":57378,"tags":57379,"thumbUrl":57381,"material":770,"size":57382,"collection":139,"collections":57383,"showCount":475,"zanCount":48,"manualWeight":48,"mainColor":94},233196,"qiu-shu-dou-qin-tu-zhou-hua-yan-233196","秋树斗禽图轴","此图绘古树一株，枝上藤萝缠绕，黄叶飘零，一派深秋之景。一只黑色的鸜鵒（音瞿欲，俗称八哥）倒挂枝头，注视着正在空中相斗的另外两只，它们争斗激烈，情节颇为有趣，增强了画作的生活气息和生动感。\n全幅用笔灵活清新，枯枝、藤萝用率笔写意，翎毛用兼工带写之法，虚实结合，为华氏大写意画之代表作。",[24,25,226,7,173,498,83,1353,353,245,1530,211,9475,28605,16703,57380],"斗禽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52808a81b496ddbe9081578a515878f7.jpg","纵117厘米，横54.3厘米",[],{"id":57385,"slug":57386,"title":57387,"dynasty":76,"author":563,"museum":20,"description":57388,"tags":57389,"thumbUrl":57392,"material":770,"size":57393,"collection":139,"collections":57394,"showCount":475,"zanCount":48,"manualWeight":48,"mainColor":94},233143,"han-tuo-can-xue-tu-zhou-hua-yan-233143","寒驼残雪图轴","图绘天寒地冻、晓月高悬的雪夜，一旅者与驼露宿山路的景象。画面以对角线分割，右下为该画主体即人与驼。在雪山脚下寒林枯树旁，一枯瘦的双峰驼正低头啮雪，帐篷中一人向外观望。作者用寥寥数笔简练地绘出帐篷的圆形；人物高鼻、卷发、胡须浓密，似西域人；骆驼以线勾出后稍加晕染，驼骨微露，双目圆睁，神情专著，充分显示出华嵒减笔画的深厚功力。左上以淡墨染底表示雪夜的阴霾，以浓墨勾出一弯残月与孤雁，这与下部留白所表示的残雪形成对照，视觉反差强烈，由此可以看出华嵒驾驭画面的高超能力和文人的审美情趣。\n该画的画意与华嵒的《天山积雪图》有相似之处，二图的人物面象也略似，两件作品均形象生动，是华嵒的代表作。",[24,25,226,7,173,8628,106,57390,57391,265,245,212,2562,32900],"残雪","孤树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81cfed74214149a504d200af26a333aa.jpg","纵139.7厘米，横58.4厘米",[],{"id":57396,"slug":57397,"title":4264,"dynasty":76,"author":14034,"museum":20,"description":14035,"tags":57398,"thumbUrl":57399,"material":529,"size":139,"collection":139,"collections":57400,"showCount":475,"zanCount":48,"manualWeight":48,"mainColor":94},232943,"hua-hui-tu-ce-fan-ting-zhen-232943",[24,25,194,83,292,7,82,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd6bba090af366abeabd6fe7f40c3a9d.jpg",[],{"id":57402,"slug":57403,"title":57404,"dynasty":18,"author":7833,"museum":316,"description":57405,"tags":57406,"thumbUrl":57407,"material":67,"size":57408,"collection":139,"collections":57409,"showCount":475,"zanCount":48,"manualWeight":48,"mainColor":49},232883,"ren-wu-shou-juan-chen-ju-zhong-232883","人物手卷","陈居中，南宋画家。嘉泰年间（1201-1204）画院待诏，生卒年不详。专工人物及马，杂画亦佳。擅画反映贵族游乐、出猎生活和表现少数民族放牧风情等题材，注重写实，观察入微，构图简洁，风格清新，富于生趣。明人题其《八骏图》称“精彩逼真似唐画，系临史道硕、韩幹之辈，为两宋人物第一神品也”（吴其贞《书画记》）。元代夏文彦《图绘宝鉴》谓其“布置着色，可亚黄宗道”。",[23,24,25,26,28,7,106,150,746,29,34,3982],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6a8d26c75f65f46eee8b4627c5dcacc.jpg","29.8x229cm",[],{"id":57411,"slug":57412,"title":57413,"dynasty":256,"author":53795,"museum":316,"description":57414,"tags":57415,"thumbUrl":57420,"material":599,"size":600,"collection":139,"collections":57421,"showCount":475,"zanCount":48,"manualWeight":48,"mainColor":49},232575,"wei-lian-a-dao-fu-bu-ge-luo-190-wei-lian-a-dao-fu-bu-ge-luo-232575","威廉·阿道夫·布格罗190","威廉·阿道夫·布格罗，1825年生于法国拉罗谢尔，是一名画家。他是法国19世纪学院派最重要人物，曾先后在安格尔画室、法朗索瓦·爱德华·皮柯特工作室接受训练，后入巴黎国家高等美术学院，以及到罗马进修。\n875年在巴黎朱利安美术学院教学，1888年成为巴黎国家高等美术学院教授。画风唯美，擅长创造美好、理想化的境界。题材多为神话、天使和寓言。",[53798,3187,8377,7,53799,15392,57416,57417,912,553,264,1187,57418,20176,3193,57419],"卷发","石质平台","箭囊","裸体","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7189aa6cf41c5a116086c984ea337ce2.jpg",[],{"id":57423,"slug":57424,"title":57425,"dynasty":302,"author":57426,"museum":191,"description":57427,"tags":57428,"thumbUrl":57430,"material":638,"size":57431,"collection":139,"collections":57432,"showCount":475,"zanCount":48,"manualWeight":48,"mainColor":49},232252,"qiao-mu-gao-zhai-tu-zhao-meng-xu-232252","乔木高斋图","赵孟吁","在元代文人画家笔下，画的内容仅仅只是载体了，重要的是画上寄托的情感。他们追求“逸笔草草，不求形似”，目的是抒写“胸中逸气”；追求笔墨趣味，以笔墨的形式与结构来表达绘画者自己的主观精神境界。",[24,7,28,177,353,1273,106,114,57429,230,115],"石墙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff809b42c21c90b2a4b015928f355643c.jpg","102.4x51.3公分",[],{"id":57434,"slug":57435,"title":57436,"dynasty":256,"author":57437,"museum":316,"description":57438,"tags":57439,"thumbUrl":57440,"material":599,"size":600,"collection":139,"collections":57441,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第1屏","下村观山","下村观山 1873-1930 (明治六-昭和五)58岁。本名晴三郎。和歌山县和歌山市生人,少时问业藤岛常兴.狩野芳崖,后专师桥本雅邦,东京美术学校毕业。",[23,279,7,28,7693,820,18822,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bbedc44d1bf5a58dd8dda8357ef6692.jpg",[],{"id":57443,"slug":57444,"title":57445,"dynasty":99,"author":57446,"museum":223,"description":57447,"tags":57448,"thumbUrl":57449,"material":638,"size":57450,"collection":139,"collections":57451,"showCount":475,"zanCount":2368,"manualWeight":48,"mainColor":49},231545,"xu-ting-fei-pu-tu-zhang-ning-231545","虚亭飞瀑图","张宁","在中国绘画史上，张宁的名字并没有像沈周、文徵明那样引人注目。甚至于当人们讨论明代绘画的时候，张宁也很少被提及。作为一朝大臣的张宁并不是一位职业画家，但也绝不是一个票友，他的诗文、书法和绘画在当时就名动一时。如果注意到他的吴人身份，把他和王绂、刘珏等吴门先驱放在一起，便不难发现他在绘画史上是应该有一席之地的。无奈目前能够找到的张宁作品和资料并不是很多，史籍上关于他的记载也大多是他的政绩而非艺术，故这里对张宁的讨论也只能是抛砖引玉。\n张宁（1426—1496），字靖之，号方洲，一作芳洲，海盐(今属浙江)人；一作嘉兴(今属浙江)人；又作吴(今苏州)人。明朝中期大臣。景泰五年进士，授礼科给事中。丰采甚着，与岳正齐名，英宗尝称为“我张宁”云。成化中出知汀州，先教后刑，境内利病悉罢行之。后为大臣所忌，弃官归，公卿交荐，不起。能诗画、善书法，才思敏捷，诗文书画皆有名。性喜绘事，工人物山水。抒写烟月，点染林丘，为艺苑所珍。曾奉旨出使朝鲜，化解了朝鲜王室内部纷争。画兰竹赠朝鲜王李扶。张宁才高志大，英宗意欲重用。但他久居谏坛，直言无忌，为朝中权贵所恶。给事中王徽因弹劾大学士李贤而获罪，张宁率六科论救，由是渐与内阁相忤。后出为汀州知府，抑郁不得志，遂以病免职。家居30年，屡次被荐，终不复召。在家乡筑方洲草堂（为海盐著名的园林，今不存），以琴书自娱。张宁为文遵古法，才思敏捷，兼善画，著有《读史录》、《删改史论》、《方洲集》等。\n张宁首先是明朝中期见诸史载的一位大臣，同时也是一位卓有成就的诗人和画家。清徐沁《明画录》：“张宁字静之，吴人，画山水有声。”明朱谋垔《画史会要》：“张宁，字靖之，号芳洲，海盐人。景泰进士，官汀州知府。书画皆有名。”可见作为朝中大臣的张宁在当时书法绘画就很有名。\n明中叶以后，以沈周、文徵明为代表的吴门派取代浙派而盛极一时。沈周、文徵明都是吴（苏州）人，因此被称为吴门派。在沈周、文徵明之前的赵源、王绂、徐贲、陈汝言、刘珏、张宁等同样是吴人的画家，对沈周、文徵明等后来的吴门画派都有重要的影响，画法也有近似之处。只是当时还没有“吴门派”的说法。\n张宁同时具有双重身份，既是官僚，又是书画家。从他的文章里不难发现，他与同时代的画家有着密切的交往。米芾以喜欢奇石而闻名，明代画家谢环也喜欢奇石，张宁在他的《方洲杂言》提到：“观音寺衙衕寺僧所收谢廷循一石，方广三四寸，中劈为二，内函鱼骨一具，首尾皆全。”由此可见他与谢环的交情非同一般，他还曾为友人徐溥（时用）所收藏的谢环（廷循）的画上题过诗。\n张宁在中国画发展史上处于吴门画派形成之前，他和王绂、徐贲、陈汝言、刘珏等吴门画派的先行者对沈周和文徵明的影响在绘画史研究中已经引起了学者的注意。或许是因为未被列入职业画家的行列，他的作品见诸著录及馆藏极少。尽管可能绘画对张宁的“余事”，但其艺术水平丝毫不逊色于职业画家。张宁的绘画技法有着很明显的元代传统特征，尤其是元四家之一王蒙的影响。但张宁似乎不太喜欢王蒙那种凝重，他的作品并没有元人那种浑厚苍茫，而更多地倾向于表现秀雅和清旷的意境。",[23,24,7,177,226,29,1426,175,34,176,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff32ef3f130d45e39b134d17480d98bae.jpg","109.8 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宴饮，细碎笔触将《长恨歌》里骊宫盛景具象化，处处可见诗中缱绻日常与雍容气象。全卷笔墨工细雅致，布景疏密得宜，将盛世风华融于长卷，古韵悠然，尽显摹写中国古画的精妙造诣。",[23,26,28,7,104,106,107,29,108,109,175,34,2234,968,37,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a21bc527443be8d54d48f5ae87ae103.jpg",[],{"id":57517,"slug":57518,"title":57519,"dynasty":76,"author":22486,"museum":316,"description":57520,"tags":57521,"thumbUrl":57524,"material":599,"size":600,"collection":139,"collections":57525,"showCount":475,"zanCount":48,"manualWeight":48,"mainColor":94},230258,"xin-xi-lie-xin-feng-tian-jin-bo-wu-guan-hong-yi-fa-shi-230258","信系列-信封(天津博物馆)","李叔同（1880年10月23日－1942年10月13日），又名李息霜、李岸、李良，谱名文涛，幼名成蹊，学名广侯，字息霜，别号漱筒。\n李叔同是著名音乐家、美术教育家、书法家、戏剧活动家，是中国话剧的开拓者之一。他从日本留学归国后，担任过教师、编辑之职，后剃度为僧，法名演音，号弘一，晚号晚晴老人，后被人尊称为弘一法师。\n1913年受聘为浙江两级师范学校（后改为浙江省立第一师范学校）音乐、图画教师。1915年起兼任南京高等师范学校音乐、图画教师，并谱曲南京大学历史上第一首校歌。1942年10月13日，弘一法师圆寂于泉州不二祠温陵养老院晚晴室。",[320,86,178,212,7,57522,57523,22971,14097],"纸质","书信","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20e0f3d64e776a98d557a75865bbc2e9.jpg",[],{"id":57527,"slug":57528,"title":57529,"dynasty":76,"author":3914,"museum":316,"description":35516,"tags":57530,"thumbUrl":57531,"material":599,"size":600,"collection":139,"collections":57532,"showCount":475,"zanCount":48,"manualWeight":48,"mainColor":94},230196,"shan-shui-qing-yin-tu-ce-wang-jian-230196","山水清音图册",[24,25,81,29,177,173,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8eb2f0ceb447a93b509790441983584e.jpg",[],{"id":57534,"slug":57535,"title":57536,"dynasty":76,"author":3914,"museum":316,"description":57537,"tags":57538,"thumbUrl":57539,"material":139,"size":139,"collection":139,"collections":57540,"showCount":475,"zanCount":48,"manualWeight":48,"mainColor":94},230195,"fang-gu-shan-shui-ce-yi-wang-jian-230195","仿古山水册一","此作用色清雅柔润，以披麻皴绘出山峦起伏肌理，敷色温润秀雅，淡染出层叠山势的虚实层次。\n\n近岸屋舍隐于苍林之下，古木森秀，枝叶苍润；中景板桥横跨水渚，渔人泛于清波，谷壑间雾气轻漫，晕开远近景深，远景峰岫含翠，淡远空灵。\n\n整体恬静安谧，将文人幽居理想融于尺幅，笔致沉稳工细，明丽设色却无艳俗之感，尽显仿古山水的雅致格调，观之如临幽林静渚，尘虑尽消。",[24,25,81,7,29,177,105,212,108,109,34,808,35,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F371b62bc0f3bc1935cd4ac5a11e90071.jpg",[],{"id":57542,"slug":57543,"title":57544,"dynasty":76,"author":257,"museum":316,"description":41342,"tags":57545,"thumbUrl":57547,"material":599,"size":600,"collection":22956,"collections":57548,"showCount":475,"zanCount":48,"manualWeight":48,"mainColor":49},229215,"qian-long-yao-fa-lang-cai-deng-huo-sheng-ping-wan-yi-ming-229215","乾隆窑 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生卒年不详，字仲贤，中山（今定州）人。元代画家。曾因画《裕宗像》得到赏识，得补御衣局使。善画道释、人物、山水、花竹、鸟兽。道释人物师法晋唐，山水师法北宋郭熙，花竹、鸟兽亦能集古人之长。",[24,226,260,106,19429,7,34,10342,212,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdc29cb28110a35f79e223ad2e816aec.jpg",[],{"id":58568,"slug":58569,"title":58570,"dynasty":302,"author":257,"museum":316,"description":58571,"tags":58572,"thumbUrl":58573,"material":599,"size":600,"collection":139,"collections":58574,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":49},290899,"hu-zhou-yi-ming-290899","虎轴","此画通幅描绘如真，渍染极得润厚的韵致。画无名款，旧签定为元人。惟据画风判断，与明代宫廷画风，颇多相近处，是以推断，该幅或出自明代良工之手。松林石涧间，一巨虎黄皮黑纹，毛色鲜丽，体态威武雄壮。虎之双眼，俱以金粉涂饰，并略染汁绿，显得格外神气逼人。其背隆起，宛如张弓欲发，隐然有即将出击之势。虎口微启，低吟而未啸。树梢，二山鹧见状，相与惊跃鸣叫，更为此猛虎出山的场景，平添紧张、不安的气息。",[24,25,226,173,7,5443,746,29,176,689,194],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcfa32d80abd84bff6536c89b106cb3b.jpg",[],{"id":58576,"slug":58577,"title":35452,"dynasty":302,"author":257,"museum":316,"description":58578,"tags":58579,"thumbUrl":58581,"material":599,"size":600,"collection":139,"collections":58582,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":49},290895,"ming-fei-chu-sai-tu-zhou-yi-ming-290895","《汉书》记公元前三三年，匈奴呼韩邪单于臣服汉威并愿为汉婿，于是元帝将後宫王嫱（字昭君）赐单于。这段史实得到後世的关注同情，故事亦陆续增添情节及意象。如“马上琵琶”原指昭君出塞途中，马上乐师鼓奏琵琶以慰藉；然唐诗描写昭君出塞，已加入昭君马上弹抱琵琶倾诉哀怨的形象。",[24,226,7,106,59,150,29,34,2954,58580],"明妃出塞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f3b054994f0a1d28ee1d07f7d7248c8.jpg",[],{"id":58584,"slug":58585,"title":58586,"dynasty":99,"author":1196,"museum":316,"description":2456,"tags":58587,"thumbUrl":58588,"material":599,"size":600,"collection":139,"collections":58589,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":94},290848,"ji-zhen-ji-zhou-tang-yin-290848","鸡真迹轴",[194,24,25,226,2746,7,2703,630,227,484,176,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedb864d815658b9038e4cbbc6da8f12b.jpg",[],{"id":58591,"slug":58592,"title":58593,"dynasty":302,"author":257,"museum":191,"description":58594,"tags":58595,"thumbUrl":58597,"material":88,"size":58598,"collection":90,"collections":58599,"showCount":603,"zanCount":2368,"manualWeight":48,"mainColor":49},290741,"jiu-que-xian-chun-tu-zhou-yi-ming-290741","鸠雀先春图轴","水傍石上，水鸟两只，一微露背，一见全体，足趾间有蹼相系，当系野鸭之属。其上重叠作茶花、竹、石、梅、雀、花卉俱用双钩，虽粗细不同，而笔力一皆挺秀，用色傅粉，亦极沉着。",[194,24,25,226,28,7,83,820,661,227,10342,245,58596,4323,47630],"鸠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbea2b2e763b0ca5b7e1db8a44f60e5d.jpg","150.9x31.3",[90],{"id":58601,"slug":58602,"title":58603,"dynasty":18,"author":257,"museum":316,"description":58604,"tags":58605,"thumbUrl":58606,"material":599,"size":600,"collection":139,"collections":58607,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":49},290685,"ke-si-chen-ju-zhong-tian-xian-gong-shou-tu-zhou-yi-ming-290685","缂丝陈居中天仙拱寿图轴","将南天竹果和水仙、蜡梅花共衬,配一对绶带鸟,隐含吉祥寿瑞之意",[194,24,25,226,83,7,1329,820,898,245,212,3827],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d66807053d65d71c73e71a6d2fb4d15.jpg",[],{"id":58609,"slug":58610,"title":58611,"dynasty":18,"author":257,"museum":191,"description":58612,"tags":58613,"thumbUrl":58614,"material":599,"size":48891,"collection":139,"collections":58615,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":49},290622,"gong-zhao-na-liang-tu-zhou-yi-ming-290622","宫沼纳凉图轴","南宋时期《宫沼纳凉图》描绘了南宋宫掖妃子在池边纳凉赏花的场景，画面正中妃子闲坐于榻上，面容圆润，神情闲适，双手盘于膝上。其身后有一名官宦及一名侍女，官宦执白色蒲扇，扇面之上绘有凤纹，喻示后妃身份。侍女立于桌前，手中所捧之物似为香料。三人身后绘有莲花池，占据了整幅画卷的上半部分。时值盛夏之日，池中群花盛开，岸边垂柳成荫，主仆三人纳凉于池塘边，惬意从容。\u2028 画面最左边一名侍女，身穿交领窄袖上襦，领襟及袖端处缘边。下身着黄褐色长裙。上襦之外为白色披帛，内着白色中单。侍女腰间佩戴组绶。古人佩玉，组绶是用以系玉的丝带，穿衣时通常系在衣服的最外面，由彩色的丝线编织而成。《礼记·玉藻》记载：“天子佩白玉而玄组绶，公侯佩山玄玉而朱组绶，大夫佩水苍玉而纯组绶，世子佩瑜玉而綦组绶，士佩瓀玟而緼组绶。” 该侍女发式为双平髻，髻上插梳。双平髻是双挂式的一种，起源于秦朝。其特点是将发顶平分两大股，梳结成对称的环，相对垂挂于两侧。这种发式多用于宫廷。",[24,226,7,106,28,59,136,4629,12465],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bedfc707d44a7540422c8ce063b6905.jpg",[],{"id":58617,"slug":58618,"title":58619,"dynasty":99,"author":27163,"museum":316,"description":46066,"tags":58620,"thumbUrl":58622,"material":599,"size":600,"collection":139,"collections":58623,"showCount":603,"zanCount":2368,"manualWeight":48,"mainColor":49},290602,"peng-shan-yu-nian-zhou-zhang-chong-290602","蓬山遇辇轴",[194,24,226,27,7,28,106,29,243,150,59,20055,58621,2459],"辇车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd74639a5bcfa89c2ad174b07008010f8.jpg",[],{"id":58625,"slug":58626,"title":58627,"dynasty":76,"author":14270,"museum":316,"description":36185,"tags":58628,"thumbUrl":58629,"material":599,"size":600,"collection":139,"collections":58630,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":94},290589,"gao-zong-yu-bi-qiu-hua-shi-zhou-zhang-ruo-ai-290589","高宗御笔秋花诗轴",[24,226,104,7,28,107,109,115,83,292,86,212,4120],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbcc5d7aafbdc6bc856a662c88c5e026.jpg",[],{"id":58632,"slug":58633,"title":58634,"dynasty":76,"author":1892,"museum":316,"description":42890,"tags":58635,"thumbUrl":58636,"material":599,"size":600,"collection":139,"collections":58637,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":94},290566,"fang-tian-wang-xiang-yi-zhou-xu-yang-290566","仿天王像（一）轴",[24,226,260,7,6170,28,34845,6768,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fccf01e15251ff69fa4b4315c8ba1b7a2.jpg",[],{"id":58639,"slug":58640,"title":58641,"dynasty":76,"author":32888,"museum":316,"description":58642,"tags":58643,"thumbUrl":58644,"material":599,"size":600,"collection":139,"collections":58645,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":94},290518,"dai-ding-hong-wu-290518","岱顶","爱新觉罗·弘旿（1743-1811），清朝宗室、画家。字卓亭，号恕斋，一号醉迂，别号瑶华道人，又号一如居士。康熙帝爱新觉罗·玄烨孙，爱新觉罗·胤秘第二子。封固山贝子，两次缘事革退，复赏封奉恩将军。能诗，工书、画，以三绝称。弘旿工画，师董邦达，自署瑶华道人，名与紫琼道人胤禧并。论者称其“山水得董、黄之妙谛。”永珠既夺爵 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的、最形象的资料之一，许多资料使人们对古代军事领域的认识更进一步。譬如，关于当时的兵种构成、组合搭配和结阵形式，兵器、兵器配置形式以及甲具防护装备，军伍组织结构和指挥系统，甚至军伍士卒的来源等，都有珍贵的资料价值。二号坑弩兵的单独结阵，骑兵、轻车兵的编队和配合，是以前有所不知或知之不详的重要资料，以之对照《孙膑兵法》中关于车、步、骑配合原则的论述，给人留下的印象是极其深刻的。古代军事著述中关于兵器配置中长短相杂、相救的原则在秦俑坑兵器配置中也有直观表现，同样有其军事科学上的研究价值。难怪有人将秦俑三坑称为一座内容丰厚的秦代军事博物馆。\n历史本身赋予了秦俑多种历史文化价值。秦俑所折射的历史层面既多又广，在建筑史、服饰史、制度史尤其是王陵制度史等方面，具有独特的认识价值。即使秦俑的身高、体魄、服饰发髻、刻记文字以及秦人在俑坑留下的生产工具和劳作痕迹，都能从不同侧面反映出秦代社会生活的真实影像，反映出一个时代的文化特质，反映出秦兴亡的历史真谛。\n秦俑坑出土文物的精美和丰富，是文物所代表的那个时代物质成就的直接见证。它让人们重新认识和评价那个时代，也提出了许多值得探讨的历史课题，譬如关于帝王权力的重新认识、秦代文化的特质、秦在中国历史发展中的地位等。与之相联系的是，秦始皇的历史评价又一次成为人们关注的话题，秦俑坑出土文物所反映的科技水平和生产能力，在一定程度上反映出秦始皇所起的某种积极作用，同时也从一个侧面证实史书中提到的秦代好大喜功、横征暴敛的统治问题。秦俑考古还在继续，相信对这些问题的研究将会随着考古的进展而不断深入。",[2720,12818,7,106,26405,22309],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F852973871f4e428ebfa1932851395a06.jpg",[],{"id":58902,"slug":58903,"title":22306,"dynasty":1939,"author":257,"museum":316,"description":58897,"tags":58904,"thumbUrl":58907,"material":599,"size":600,"collection":139,"collections":58908,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":2504},252839,"tao-hua-cai-wu-shi-yong-yi-ming-252839",[58905,58906,7,22309,26405,106],"陶","彩塑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab0f7129d2b6bfaffed714ad7371533d.jpg",[],{"id":58910,"slug":58911,"title":58912,"dynasty":76,"author":257,"museum":316,"description":58913,"tags":58914,"thumbUrl":58916,"material":599,"size":600,"collection":139,"collections":58917,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":2504},252829,"ni-ren-zhang-su-ba-xian-lv-dong-bin-xiang-yi-ming-252829","泥人张塑八仙吕洞宾像","此作塑剑仙风神卓然，面容清癯虬髯，神色肃穆又暗含飘逸道骨。橙黄道袍晕染古朴柔润，周身饰太极八卦纹样，暗合道家玄理。斜背长剑暗藏侠气，衣褶流转自然，将织物垂坠质感尽皆呈现。匠者以精妙手艺，把吕洞宾儒雅出尘的仙侠气韵凝练于泥塑之中，形神兼备，尽显彩塑技艺的精湛造诣。",[76,58915,7,260,106,63,2439],"泥塑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51af89f48304e5c5499781f10da4dd76.jpg",[],{"id":58919,"slug":58920,"title":58921,"dynasty":99,"author":257,"museum":316,"description":51738,"tags":58922,"thumbUrl":58924,"material":599,"size":600,"collection":139,"collections":58925,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":49},246225,"jia-jing-kuan-ti-cai-lian-tang-long-zhou-wen-he-ye-shi-pan-yi-ming-246225","嘉靖款剔彩莲塘龙舟纹荷叶式盘",[860,37774,58923,5513,7,48792,22299,406,137,136,229],"剔彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5401e06e7807f981fbcd1dcc40472ca3.jpg",[],{"id":58927,"slug":58928,"title":58929,"dynasty":76,"author":6776,"museum":316,"description":34971,"tags":58930,"thumbUrl":58932,"material":599,"size":600,"collection":139,"collections":58933,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":49},239358,"lin-luo-han-tu-juan-ding-guan-peng-239358","临罗汉图卷",[23,24,25,26,7,28,105,212,106,260,406,5443,746,150,10505,2479,34,176,3661,3429,58931,7690,3766],"车辇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89a77006da2a741773d5c2053a0a1462.jpg",[],{"id":58935,"slug":58936,"title":58937,"dynasty":76,"author":58938,"museum":316,"description":58939,"tags":58940,"thumbUrl":58942,"material":139,"size":139,"collection":2065,"collections":58943,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":94},239228,"hui-shi-ce-hu-zhen-kai-239228","绘石册","胡贞开","[清]字循蜚，号瑟庵，又号皋鹤，别号耳空居士，仁和（今杭州）人。",[24,25,81,7,58941,86,320,173],"彩石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11f77c57ed9d3d91b05fec166fdc06af.jpg",[2065],{"id":58945,"slug":58946,"title":58947,"dynasty":76,"author":37845,"museum":316,"description":37846,"tags":58948,"thumbUrl":58949,"material":599,"size":600,"collection":90,"collections":58950,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":94},239174,"hua-hui-ren-wu-ce-chen-zi-239174","花卉人物册",[24,25,81,178,7,1133,230,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb82e326337b97264a726f19238d7447b.jpg",[90,45],{"id":58952,"slug":58953,"title":131,"dynasty":76,"author":4891,"museum":316,"description":19304,"tags":58954,"thumbUrl":58955,"material":599,"size":600,"collection":139,"collections":58956,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":94},239094,"hua-hui-ce-ma-yuan-yu-239094",[24,7,173,81,83,897,5674,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11574ea984d1eb6477ac8e118d6fe93f.jpg",[],{"id":58958,"slug":58959,"title":19020,"dynasty":76,"author":19021,"museum":316,"description":19022,"tags":58960,"thumbUrl":58961,"material":599,"size":600,"collection":139,"collections":58962,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":49},239077,"hua-niao-ping-liao-yun-jin-239077",[24,28,7,83,230,245,579,34,569],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F011e8653f2125ec769fee1900f4fdaaf.jpg",[],{"id":58964,"slug":58965,"title":58966,"dynasty":76,"author":58967,"museum":316,"description":58968,"tags":58969,"thumbUrl":58970,"material":139,"size":139,"collection":163,"collections":58971,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":94},238945,"lin-yue-se-tu-ce-ye-xu-fang-ping-238945","林月色图册页","徐方平","此作用淡墨晕开空蒙月色，枯木疏枝错落伸展，勾勒出秋夜林野的清寂轮廓。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。",[24,25,226,7,106,150,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8bc760660ccaab1de00c8df1d1e4ccc.jpg",[],{"id":59164,"slug":59165,"title":59166,"dynasty":99,"author":257,"museum":316,"description":59167,"tags":59168,"thumbUrl":59169,"material":139,"size":139,"collection":139,"collections":59170,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":94},235557,"lu-zhi-hao-shang-song-bie-zhou-yi-ming-235557","陆治濠上送别轴","此作用淡墨轻染铺展早春濠上水色，以远近三层景致铺陈离情。远山空灵浅秀，淡赭晕染出清寂春山轮廓，衬出天地辽远。中景城郭屋舍临水错落，水榭间暗藏饯别之意，烟火气揉入依依别情。近岸柳林疏瘦、嘉木立渚，枝条轻曳间满含缱绻。\n\n整体笔墨秀雅简淡，以吴门画派典型的写意淡设色出之，浅青淡赭晕染出江南早春的柔润清和。题诗与画作相映，将送别时的含蓄心绪寄寓在空蒙湖山烟霭中，文辞清隽晕开画中离思，诗画相融之间，把文人饯别时的幽微深情藏在澹澹濠波里，雅静淡远，尽显抒情山水的悠然意韵。",[24,25,226,173,7,177,29,107,34,174,109,212,114,31,795,1169,5702,111,1896],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fcb37015866d001a2c187f682336b00.jpg",[],{"id":59172,"slug":59173,"title":131,"dynasty":99,"author":36399,"museum":316,"description":51983,"tags":59174,"thumbUrl":59175,"material":599,"size":600,"collection":139,"collections":59176,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":94},235476,"hua-hui-ce-qi-xun-235476",[24,25,81,7,83,84,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc85aee482046e4ebb9752e5c7e49deac.jpg",[],{"id":59178,"slug":59179,"title":6754,"dynasty":76,"author":563,"museum":316,"description":17905,"tags":59180,"thumbUrl":59181,"material":599,"size":600,"collection":139,"collections":59182,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":94},235389,"hua-niao-tu-ce-hua-yan-235389",[24,25,81,7,83,209,62,7428,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4724964af8175a5c1b0cbce108d96bbb.jpg",[],{"id":59184,"slug":59185,"title":59186,"dynasty":76,"author":11822,"museum":316,"description":14712,"tags":59187,"thumbUrl":59188,"material":599,"size":600,"collection":139,"collections":59189,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":94},235294,"huang-li-ming-liu-zhou-yuan-jiang-235294","黄鹂鸣柳轴",[194,24,25,226,7,83,245,2532,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdfee4bca22c5f86a39d248aa74512a2e.jpg",[],{"id":59191,"slug":59192,"title":131,"dynasty":76,"author":24889,"museum":316,"description":24890,"tags":59193,"thumbUrl":59194,"material":599,"size":600,"collection":139,"collections":59195,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":94},235219,"hua-hui-ce-zhang-wei-235219",[24,25,81,7,28,83,885,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56b790e5f0e87a83fd74fc4393e25d6d.jpg",[],{"id":59197,"slug":59198,"title":59199,"dynasty":76,"author":257,"museum":316,"description":59200,"tags":59201,"thumbUrl":59202,"material":139,"size":139,"collection":90,"collections":59203,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":94},235039,"yuan-ji-za-hua-tu-ce-yi-ming-235039","原济杂画图册","此作为山水小品，以淡彩晕染出空濛春山，远峰如烟似雾，淡宕朦胧。垂柳柔丝轻曳，笔致细秀，尽写垂拂之姿。苔石旁高士凭岩静坐，敛神凝睇，似将身心融于林泉烟景之中。\n\n设色清润柔和，山石以淡赭、花青轻扫而成，不作繁复勾勒。左侧题诗与画面相映，诗画交融更添文气。全幅笔法松秀空灵，以简淡笔墨写尽山水清寂淡远之致，将文人寄情林泉、静赏春色的幽怀融于尺幅之间，简淡中见隽永风神，尽显文人画的雅致意境。",[194,24,25,81,173,7,29,106,1241,230,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff086b9647f1af5e2513b93a9ed806f3b.jpg",[90,45],{"id":59205,"slug":59206,"title":10247,"dynasty":76,"author":997,"museum":20,"description":11041,"tags":59207,"thumbUrl":59208,"material":1123,"size":5618,"collection":139,"collections":59209,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":94},235004,"yuan-ji-shan-shui-tu-ce-shi-tao-235004",[194,24,25,173,7,177,81,86,212,29,106,795,37,37203],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe1d5969137e19a3568085176acf242b.jpg",[],{"id":59211,"slug":59212,"title":59213,"dynasty":76,"author":59214,"museum":316,"description":59215,"tags":59216,"thumbUrl":59217,"material":599,"size":600,"collection":139,"collections":59218,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":94},234948,"xie-zhao-jiang-ting-xi-bu-jing-yun-li-xiang-zhou-mang-gu-li-234948","写照蒋廷锡补景允礼像轴","莽鹄立","莽鹄立（1672~1736），字树本，伊尔根觉罗氏，初隶蒙古正蓝旗，后改满洲镶黄旗，清朝大臣、画家。",[24,226,7,28,106,378,176,84,36646,838],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3b2d681c384f9443e813b4ad60db51c.jpg",[],{"id":59220,"slug":59221,"title":59222,"dynasty":99,"author":10632,"museum":20,"description":27875,"tags":59223,"thumbUrl":59224,"material":770,"size":27878,"collection":139,"collections":59225,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":94},234812,"wu-men-zhu-jia-shou-yuan-fang-zhai-san-jue-ce-wen-jia-xiu-zhu-wu-tu-ye-wen-jia-234812","吴门诸家寿袁方斋三绝册-文嘉修竹坞图页",[24,25,81,7,29,177,227,176,34,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6272ba27d4700665a7cf4f2657f469af.jpg",[],{"id":59227,"slug":59228,"title":59229,"dynasty":99,"author":10632,"museum":20,"description":27875,"tags":59230,"thumbUrl":59231,"material":770,"size":27878,"collection":139,"collections":59232,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":94},234807,"wu-men-zhu-jia-shou-yuan-fang-zhai-san-jue-ce-yang-he-jian-tu-ye-wen-jia-234807","吴门诸家寿袁方斋三绝册-养鹤涧图页",[24,25,81,7,29,378,175,109,60,212,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb209611b069597ed97b0b3f1804b6054.jpg",[],{"id":59234,"slug":59235,"title":3868,"dynasty":76,"author":59236,"museum":20,"description":59237,"tags":59238,"thumbUrl":59239,"material":770,"size":139,"collection":139,"collections":59240,"showCount":603,"zanCount":1379,"manualWeight":48,"mainColor":94},234767,"huang-shan-tu-ce-jiang-zhu-234767","江注","江注（1626～1685），字允凝，号若米舫。一些美术画论和辞典称其又字允冰，徽州歙县桃源坞人，僧渐江之侄，能诗善画，著有《允凝诗草》，幼从渐江学画，意境幽僻，用笔清劲，笔墨苍古，清远冷峻，常年隐于黄山，曾陪伴弘仁在黄山纪游写生，搜胜穷幽，颇得渐江真传，与姚宋、祝昌、吴定并称为“渐江四弟子”。\n江注《黄山图册》册页五十帧，现收藏于故宫博物院。由于渐江亲授，在绘画思想和风格上“酷肖弘仁”。他常和渐江结伴出游，一样痴迷黄山，有“渐公坐文殊台上吹笛，江允凝倚歌和之，发音嘹亮，上彻云表”之故事。",[24,25,81,7,29,176,107,108,109,175,34,178,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c19b8f917096bf3b23a305e7fcab4ed.jpg",[],{"id":59242,"slug":59243,"title":50322,"dynasty":76,"author":59244,"museum":316,"description":59245,"tags":59246,"thumbUrl":59247,"material":139,"size":139,"collection":139,"collections":59248,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":94},234668,"mei-zhu-shan-ye-xu-qi-234668","徐琪","徐琪（1849～1918），字玉可、花农，号俞楼，室名玉可盦、九芝仙馆、香海盦、青琅玕馆等，浙江杭州人。光绪六年进士，授编修，历官山西乡试副考官，广东学政、官至兵部侍郎。俞樾弟子。工诗词、书画，善花卉，神似恽南田，著述甚丰。",[24,25,1260,7,28,820,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1be9d9bfb423e714147a62ce9fa58179.jpg",[],{"id":59250,"slug":59251,"title":59252,"dynasty":76,"author":59253,"museum":316,"description":59254,"tags":59255,"thumbUrl":59257,"material":139,"size":139,"collection":139,"collections":59258,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":94},234624,"tao-hua-lu-yu-wan-shan-lang-bao-chen-234624","桃花鲈鱼纨扇","郎葆辰","郎葆辰(1763—1839)，初名福延，又名遂峯，字文台，号苏门，晚号桃花山人。浙江安吉人。1817年（嘉庆二十二年），授翰林院编修，掌印给事中，升贵州粮储道。\n官御史，卒于家。生前曾疏请开浚太湖七十二溇，当地百姓深受其利；又平反徐察氏冤狱。在贵州，还教当地人民种桑织布。归里后，与山人墨客为友。工诗古文辞，善行、楷书，写生得陈道复、徐渭之法。超纵生疎，别具旨趣。画蟹如生，有郎蟹之目。著有《桃花山馆诗稿》。卒年七十七。事迹收录于《墨香居画识》、《墨林今话》、《朱小茗耐洽谭》、《山东省金石书画展纪略册》。",[24,1260,7,83,243,59256,212,86,178],"鲈鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7cef9325b487e627eace839e064ec50.jpg",[],{"id":59260,"slug":59261,"title":59262,"dynasty":76,"author":257,"museum":316,"description":59263,"tags":59264,"thumbUrl":59265,"material":599,"size":600,"collection":139,"collections":59266,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":49},234407,"yi-zhu-chao-fu-zuo-hua-xiang-zhou-yi-ming-234407","奕詝朝服作画像轴","此作工笔细腻沉稳，设色华贵雅致，将帝王伏案挥毫的片刻凝于绢本之上。主角身着满饰龙纹的朝服，明黄、石青与金彩层层晕染，云锦肌理纤毫毕现，矫健龙纹暗合九五威仪。\n\n画师以精微笔触勾勒面容，眉眼清隽沉静，执笔落墨间神态端肃安然，揉合了帝王威仪与文雅气度。案头文房清供、博古摆件错落有致，既藏文人情趣，亦显宫廷器物的精致考究。\n\n整幅构图均衡规整，素净背景衬出人物庄重气场，将纪实性与审美性相融，是清代宫廷肖像画的精妙之作。",[24,7,28,226,106,63,4226,1011,1012,4227,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F971c26820df64b0aa633e4422e60e6c7.jpg",[],{"id":59268,"slug":59269,"title":59270,"dynasty":76,"author":257,"museum":316,"description":59271,"tags":59272,"thumbUrl":59274,"material":599,"size":600,"collection":139,"collections":59275,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":94},234379,"fu-lin-chao-fu-xiang-zhou-yi-ming-234379","福临朝服像轴","此作以细腻写实之笔，定格帝王威仪。帝王安坐鎏金宝座，面容沉敛端方，眉眼自带九五之尊的肃穆气场。明黄朝服遍饰五爪金龙，宝蓝织金镶边勾勒华贵轮廓，朱红暖帽顶戴东珠，纹样精细规整，尽显礼制森严与皇家尊荣。画师晕染入微，还原帝皇神采气韵，衣袍褶皱层次分明，金线绣纹在素绢上熠熠有光，台毯繁纹疏密得当，构图庄重严整，将皇权的庄重尊贵凝于绢素，是兼具纪实性与艺术性的肖像佳构。",[24,226,320,28,7,106,333,334,335,336,50168,59273,23715,13705],"金色装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff11740411748d6f819c4f679c5dd2844.jpg",[],{"id":59277,"slug":59278,"title":6834,"dynasty":76,"author":3061,"museum":20,"description":59279,"tags":59280,"thumbUrl":59281,"material":770,"size":139,"collection":139,"collections":59282,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":94},234292,"shan-shui-ce-jin-ting-biao-234292","金廷标，清代，字士揆，乌程(今浙江湖州)人，一作桐乡人，为当地望族。画家金鸿(字耕山)子，生卒年不详。继承父艺，工画人物、山水、写真、花卉，界画亦精致。尤擅白描，设色淡逸明洁，用线刚劲，转折处锋芒毕露，无不劲健。衣纹提按长描连绵不断，眉目传神。乾隆二十五年(1760)弘历南巡，其进呈白描罗汉》册称旨，得入内廷供奉。所画不以工致取胜，而以机趣为尚。入值数载，卒于京寓。其卒后，所作皆得高宗题咏，并命装裱收藏，此举可见这位内廷供奉画家受乾隆之器重程度。\n金廷标（ -1767）字士撰。乌程（今浙江吴兴）人，其父金鸿亦为小有名声的画家，廷标能绍父艺，擅画白描人物，亦善写真（肖像），兼能花卉、山水、乾隆二十二年（1757），乾隆帝第二次南巡时，金廷标进献《白描罗汉图》，得乾隆“称旨”，遂得以入宫供职，成为当时的一名宫廷画家。\n金廷标所作画，极得乾隆欣赏，御题诗句甚多，赞美之意溢于言表，如题其《放鹤图》云：“是谓善写照，传神在阿堵。”题其《江村图》云：”七情写毕皆得神，顾陆以后今几人。”又在他《临唐寅琵琶行图》后如此题道：“内府藏弆唐寅画琵琶行于江边扁舟直写一女抱琵琶，廷标此图不画琵琶女，而画居易等属耳之情，便觉高出其上。此与宋人画‘踏花归去马蹄香’以数蝶随骑意同。向未题句，兹偶见之，因拈其妙，然画院中能作如此解者实少也。”对金廷标能高出当时的宫廷画家，给予肯定。\n金廷标死后，乾隆在翻阅他的画作时又一再叹息，有诗这样写道：“去年命写寻常事，今日谁知珍惜加。”“足称世画无双画，可惜斯人作古人。”对金廷标的去世，表示无限的惋惜。一个自命“古稀天子”的帝王，能对一名宫廷画师如此的眷顾，极为难能，于此亦可见金廷标画艺的超群。\n清代未见有“书院”之称，（文献记载仅见“书院处”一词），更不像宋代书画院中设有具体的“待诏”、“艺学”等明确的官职。清代宫廷中供职的画家，一般情况均需有人举荐，有的还需要经过考核。文献记述金廷标只是自己进献作品以自荐，即得乾隆帝的“称旨”，可见他的画艺不凡。从本文介绍的这件作品来看，他也可以称得是当时画院中具有代表性的人物画家。\n传世作品有《拜石图》，图录于《故宫书画集》；《碧桃图》《孟母移居图》《枫林晚坐图》《萱花寿石图》册页图录于《中国历代名画集》；《高贤遇隐图》轴图录于《中国绘画史图录》下册；《春元瑞兆图》轴藏日本大阪市立美术馆；乾隆二十六年(1761)作《观音大士像》轴现藏沈阳故宫博物院；《婕妤挡熊图》轴、《瞎子说唱图》轴、《罗汉图》轴、《莲塘纳凉图》轴等藏故宫博物院。",[24,7,173,177,6083,212,29,1273,662,176,109,175,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8386cfaad20e26fd82e317e8e3a5b140.jpg",[],{"id":59284,"slug":59285,"title":47826,"dynasty":76,"author":3571,"museum":20,"description":59286,"tags":59287,"thumbUrl":59288,"material":529,"size":19328,"collection":139,"collections":59289,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":49},234286,"tang-dai-xiao-yuan-xian-yong-tu-ce-tang-dai-234286","唐岱小园闲咏图册，绢本设色，25.7×33厘米，共十五开，绘宝亲王弘历《御制小园闲咏》十五首诗意，故宫博物院藏。\n唐岱（1673—1752后），字毓东，号静岩，又号默庄，满洲正蓝旗人。康熙中以荫官参领。从王原祁学画，丘壑似王原祁，远宗宋人，“泼墨淋漓，气韵生动”。康熙后期常将其召入宫中作画，品题其画为当时第一手，赐称“画状元”。",[24,7,81,86,212,29,176,34,175,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc49860ee591171309ea73ae89226743e.jpg",[],{"id":59291,"slug":59292,"title":59293,"dynasty":99,"author":59294,"museum":20,"description":59295,"tags":59296,"thumbUrl":59297,"material":40,"size":59298,"collection":139,"collections":59299,"showCount":603,"zanCount":2368,"manualWeight":48,"mainColor":94},234251,"gui-fen-tu-deng-fu-234251","归汾图","邓韨","图绘山西汾河流域风景。垂柳成行，百姓生活点缀其间。景色疏旷清远，线条细劲简练，笔法在刻意中见疏放，可见赵孟頫、文徵明画法的影响。",[23,24,25,26,7,177,86,29,108,109,175,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb4f326f594cb4f73d23597696bfe00b.jpg","纵26.9厘米，横124厘米",[],{"id":59301,"slug":59302,"title":59303,"dynasty":76,"author":7596,"museum":20,"description":28697,"tags":59304,"thumbUrl":59305,"material":40,"size":59306,"collection":139,"collections":59307,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":94},234193,"bai-di-ye-yue-tu-juan-wang-hui-234193","白堤夜月图卷",[23,24,25,194,26,7,29,177,265,108,109,1654,34,107,175,1273,1241,35,9559],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24027dcacd6db83d61b7db7fb396350b.jpg","纵39厘米，横219.5厘米",[],{"id":59309,"slug":59310,"title":59311,"dynasty":76,"author":59312,"museum":316,"description":59313,"tags":59314,"thumbUrl":59316,"material":770,"size":139,"collection":139,"collections":59317,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":49},234184,"lin-yong-tu-xiang-di-er-juan-yin-zhen-234184","临雍图像第二卷","胤禛","清世宗爱新觉罗·胤禛（1678年12月13日 —1735年10月8日），清朝第五位君主（1722年—1735年在位），定都北京后第三位皇帝。年号雍正。康熙帝第四子，母为孝恭仁皇后（即德妃乌雅氏），生于北京紫禁城永和宫。\n康熙三十七年（1698年）封贝勒；康熙四十八年（1709年）胤禛被封为和硕雍亲王。在二废太子胤礽之后，胤禛积极经营争夺储位，康熙六十一年（1722年）十一月十三日，康熙帝在北郊畅春园病逝，他继承皇位，次年改年号雍正。雍正帝在位期做了一系列改革。为加强对西南少数民族的统治，实行改土归流。废除贱籍制度，实行摊丁入亩， [2] 减轻了无地、少地农民的经济负担，促进了人口增长。并且大力整顿财政，实行耗羡归公，建立养廉银制度，实行官绅一体当差一体纳粮。雍正元年（1723年）出兵青海，次年平定罗卜藏丹津叛乱。 [88-89] 在政治上，整顿吏治，创立密折制度监视臣民，设立军机处以专一事权。 [90] 而且改善秘密立储制度，使得皇位继承办法制度化，也在一定程度上避免康熙帝晚年诸皇子互相倾轧的局面。雍正帝在位期间，勤于政事，自诩“以勤先天下” 、“朝乾夕惕”。\n雍正帝的一系列社会改革对于康乾盛世的连续具有关键性作用。雍正十三年（1735年）农历八月二十三日驾崩，终年58岁。庙号世宗，谥号敬天昌运建中表正文武英明宽仁信毅睿圣大孝至诚宪皇帝，葬清西陵之泰陵，传位于第四子弘历。",[23,24,25,26,7,28,106,107,34,115,59315,1703,16355,320],"古代建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76703745414aaf3c5171983bea62096c.jpg",[],{"id":59319,"slug":59320,"title":59321,"dynasty":99,"author":3774,"museum":20,"description":8790,"tags":59322,"thumbUrl":59324,"material":638,"size":139,"collection":139,"collections":59325,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":94},234143,"jiang-nan-bie-yi-juan-lu-zhi-234143","江南别意卷",[23,59323,26,173,7,178,14061,29,986,34,108,109,106],"吴门画派","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7318ab2ac09bf9c15a1e91c7c9ced007.jpg",[],{"id":59327,"slug":59328,"title":59329,"dynasty":99,"author":756,"museum":20,"description":59330,"tags":59331,"thumbUrl":59332,"material":529,"size":59333,"collection":139,"collections":59334,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":94},234134,"wen-zheng-ming-cang-xi-tu-juan-wen-zheng-ming-234134","文徵明沧溪图卷","文徵明《沧溪图卷\u002F沧谿图卷》，75岁为宜兴吴俦作（嘉靖二十三年），绢本设色，尺寸31.7厘米×139.8厘米，故宫博物院藏。王文治书法题跋：文衡山沧谿图并记。\n《沧谿记》；嘉靖二十三年（1544年），岁在甲辰二月既望前，翰林待诏将仕佐郎兼修国史，长洲文徵明书。",[23,24,25,26,7,28,177,178,86,29,175,108,109,176,34,35,689],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0dda54a1515fc400167e23cfd822052.jpg","31.7×139.8厘米",[],{"id":59336,"slug":59337,"title":205,"dynasty":76,"author":563,"museum":12886,"description":16023,"tags":59338,"thumbUrl":59339,"material":88,"size":16026,"collection":139,"collections":59340,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":94},233950,"hua-niao-ce-hua-yan-233950",[24,81,7,173,498,83,209,836,554],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e8acbfb0acec1b9fe73ea2e9c49f2c6.jpg",[],{"id":59342,"slug":59343,"title":205,"dynasty":76,"author":563,"museum":12886,"description":16023,"tags":59344,"thumbUrl":59345,"material":88,"size":16026,"collection":139,"collections":59346,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":94},233949,"hua-niao-ce-hua-yan-233949",[24,25,81,7,83,245,820,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F94fd54133a0f6a38efa9e9bbcff52f16.jpg",[],{"id":59348,"slug":59349,"title":205,"dynasty":76,"author":563,"museum":12886,"description":16023,"tags":59350,"thumbUrl":59351,"material":88,"size":16026,"collection":139,"collections":59352,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":94},233944,"hua-niao-ce-hua-yan-233944",[194,24,7,83,245,838,212,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F278310beb50feb1c1543485ef6eba788.jpg",[],{"id":59354,"slug":59355,"title":59356,"dynasty":18,"author":59357,"museum":20,"description":59358,"tags":59359,"thumbUrl":59360,"material":67,"size":59361,"collection":139,"collections":59362,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":94},233851,"he-quan-cao-tang-ke-hua-tu-ye-he-quan-233851","何荃草堂客话图页","何筌","《草堂客话图》为南宋画家何荃所作。画左方松树干上署“辛卯何筌制”五字款。裱边题签“何荃草堂客话图”。对幅李佐贤跋云：“此幅旧题‘何筌《草堂客话》’，系梁蕉林相国笔迹。按筌名画谱无徵，不知此题何所据，然画笔细入毫芒，无微不到而一丝不乱，工雅兼长，洵属宋人真实本领，元以后无此画境矣。”\n图绘乡间草堂两间，绿柳、青松、翠竹环绕其间。左侧屋内两人对坐，一童子侍立院中。右侧亭内一人侧躺，神态悠闲。乡间小路上孩童三三两两，嬉戏游玩。\n何荃，南宋画家，生卒年不详。",[24,25,81,173,7,29,107,108,109,106,34,175,177,86,178,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4373cb59dd54263cc79e2110d7f29cec.jpg","24x23cm",[],{"id":59364,"slug":59365,"title":15779,"dynasty":76,"author":997,"museum":20,"description":15780,"tags":59366,"thumbUrl":59367,"material":770,"size":15784,"collection":139,"collections":59368,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":94},233780,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233780",[24,25,81,178,86,173,7,498,177,106,378,1133,2532,176,1171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08b5ac46bfdfbb00f6719c0a94a89517.jpg",[],{"id":59370,"slug":59371,"title":59372,"dynasty":99,"author":100,"museum":20,"description":1661,"tags":59373,"thumbUrl":59374,"material":40,"size":22352,"collection":139,"collections":59375,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":94},233763,"ren-wu-gu-shi-ce-10-chou-ying-233763","人物故事册10",[194,24,25,6083,28,7,29,106,34,176,31,175,13705],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc532d574111f7457513fb93f908a5be.jpg",[],{"id":59377,"slug":59378,"title":59379,"dynasty":99,"author":1057,"museum":20,"description":59380,"tags":59381,"thumbUrl":59382,"material":67,"size":59383,"collection":139,"collections":59384,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":49},233463,"jian-yue-jiang-qiu-tu-juan-xiang-sheng-mo-233463","剪越江秋图卷","本幅设色，引首陈鸿寿隶书四大字，后隔水有钱楷题记，后幅有载光曾题记。\n项圣谟（1597—1658年），字孔彰，号易庵，又号胥山樵，别号松涛散仙、存存居士，浙江嘉兴人，晚明大收藏家项元汴之孙。家学渊厚，诗画俱佳，于历代诸家多有临习，尤得力于北宋技法与元人神韵，山水、花鸟、人物无不笔墨清隽，格调高雅，是明末不可多得的自成一格的文人画家。",[24,26,29,7,177,30,37,34,5903,174,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a78a5368103a80910bbda050a2fc172.jpg","纵34.5cm 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利玛窦向中国明万历皇帝呈献第一件自鸣钟起，陆续有西洋钟表进献宫廷。清康熙帝把西洋钟表作为一种新科学加以重视，将西洋钟表（也称自鸣钟）贮于端凝殿南端，并将此处命名为自鸣钟处，还在宫内成立了做钟处。到乾隆时，钟表已成为帝后们生活中不可缺少之物，不但在各宫殿内陈设，就连外出乘坐的车、轿、船、马鞍上也都置有钟表。因而每年都要使用大批新奇钟表。这些钟表有清宫做钟处、广州、苏州制造的，也有英国、法国、德国、瑞士、日本等国制造的。",[59508,59509,59510,7,106,59511,59512,229,64,59513],"镶珠","珐琅","金属工艺","西洋建筑","剧场场景","西洋风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd05973ae0665f948f055be6a62f11d62.jpg",[],{"id":59517,"slug":59518,"title":59519,"dynasty":302,"author":36532,"museum":316,"description":59520,"tags":59521,"thumbUrl":59524,"material":14427,"size":59525,"collection":139,"collections":59526,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":94},232637,"mo-lou-shu-can-zhi-tu-cheng-qi-232637","摹楼璹蚕织图","《耕织图》是中国古代为劝课农桑，采用绘图的形式详实记录耕作与蚕织的系列图谱，原为南宋绍兴年间画家楼璹所作，作品得到了历代帝王的推崇和嘉许。此内整理：传元程棨摹楼璹绘本、清康熙三十五年焦秉贞绘、内府刊本（两种）、清雍正时期陈枚彩绘本、清代彩绘本及和刻本，共九种版本。\n南宋绍兴年间于潜县令楼璹绘制的《耕织图》呈献给宋高宗，深得高宗赞赏并获得吴皇后题词。皇上还专门召见他，并将其《耕织图》宣示后宫，一时朝野传诵，从而引发了“耕织图”发展的第一次高潮。社会上接连不断地出现了许多《耕织图》，形成了中国绘画史、科技史、农业史、艺术史中一个独特的现象，成就了中国文化遗产的一大瑰宝。《耕织图》历经近千年流传到世界各地。\n楼璹的《耕织图》又是一卷诗画相配的文学艺术作品，有人将他的诗与南宋诗人范成大的作品相比较，充满田园气息，也有人评价他的作品的内容更像是以农业为主题的农学著作，有人将它与《天工开物》、《农政全书》相媲美。说是一部有韵的农书。\n《耕织图》描绘细致入微又富有艺术感染力，有赖于楼璹对农业生产的长期观察体验和高超的艺术造诣。他在任县令时，跑遍於潜县治十二乡之周边的南门畈、横山畈、方元畈、祈祥畈、对石畈、竹亭畈、敖干畈等大畈，深入田头地角，出入农家，与当地有经验技术的农夫蚕妇研讨种田、植桑、织帛等经验技术得失。尤其难得的是，它在画面上留下的从事农业生产的图像，为研究农业特别是农具留下了无法从文字资料中得到的珍贵资料。例如《灌溉》《一耘》图，绘出了当时使用戽斗、桔槔和龙骨车抽水灌田的情景。从《收割》图中看到的是一幅紧张的割稻场面。《织》和《攀花》等图绘出了当时已经使用的素织机和花织机，使人们能够更形象地了解当时蚕桑及纺织的发展面貌。其中记载的许多耕织知识和生产工具一直沿用至今。\n该图为康熙年间，江南士人进呈南宋楼璹《耕织图诗》，康熙命内廷供奉焦秉贞重绘而成。康熙亲自题序，并为每幅图“制诗一章，以吟咏其勤苦而书之于图”。时著名木刻家朱圭、梅裕凤奉旨镌版印制。本次编辑将楼诗原文、康熙行草释文用简体文字附于图页，方便读者阅读。《御制耕织图》含23幅耕种图和23幅纺织图，每幅图都配有一首诗。这些诗是由康熙皇帝所作。清宫廷画家焦秉贞创作的这些画很大部分是根据南宋楼璹的《耕织图》来创作的，创作时做了调整。",[23,194,24,26,7,28,106,17029,59522,7220,86,40286,59523],"蚕织","传统技艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cc381aebd2353ed49054ea70b9ec3a5.jpg","32.7X1049",[],{"id":59528,"slug":59529,"title":59530,"dynasty":256,"author":53795,"museum":316,"description":53796,"tags":59531,"thumbUrl":59540,"material":599,"size":600,"collection":139,"collections":59541,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":2504},232275,"wei-lian-a-dao-fu-bu-ge-luo-1-wei-lian-a-dao-fu-bu-ge-luo-232275","威廉·阿道夫·布格罗1",[3187,8377,7,106,19470,59532,59533,23717,59534,59535,59536,59537,42717,59538,59539],"床","枕头","裸身儿童","闭眼","托腮","光线柔和","床单","绳结","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0fcaa4f875f6eea5a9e554b66563444.jpg",[],{"id":59543,"slug":59544,"title":59545,"dynasty":256,"author":59546,"museum":316,"description":59547,"tags":59548,"thumbUrl":59550,"material":599,"size":600,"collection":139,"collections":59551,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":94},231807,"ming-qing-ri-ben-gu-hua-fen-ben-zhuo-yao-juan-he-guo-xiao-zhai-231807","明清日本古画粉本-捉妖卷","河锅晓斋","河鍋曉齋是日本幕末至明治時期的浮世絵師。評論家認為他是「一個獨立的帶有個人主義的，可能是傳統日本畫的最後大師」。",[23,11932,7,26,106,3712,912,1896,745,59549],"粉本","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3b5900c3a3fda86d8ad4b7a8c7ca938.jpg",[],{"id":59553,"slug":59554,"title":59555,"dynasty":256,"author":27376,"museum":316,"description":27377,"tags":59556,"thumbUrl":59557,"material":599,"size":600,"collection":139,"collections":59558,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":94},231745,"jiang-hu-shi-dai-xia-qiu-cao-tu-ping-feng-xia-fen-jiu-jing-bao-yi-231745","江户时代 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端坐于蒲团之上，正在修行。画心题“问法金銮不顺情，折盖潜向少林行。 若无断臂来承受，辜负如来十万程。”署款“庚子新春写于云间超果精舍。”押 “宋旭之印”、“石门山人”二印。",[23,24,25,226,7,177,260,106,230,109,264,212,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1fe66a812dbe56cfccf70204e699ab7.jpg","纵121.3横32.2厘米",[],{"id":59578,"slug":59579,"title":59580,"dynasty":99,"author":756,"museum":316,"description":59581,"tags":59582,"thumbUrl":59584,"material":139,"size":139,"collection":139,"collections":59585,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":49},231565,"fei-quan-gu-shu-tu-wen-zheng-ming-231565","飞泉古树图","文征明（1470--1559），初名壁(或璧)，字徵明，一字征仲，号衡山。江苏长洲（苏州）人。明代中期著名的画家、书法家。他与沈周、唐寅、仇英并列，合称明四家(吴门四家或“吴门四杰”）。与唐伯虎、祝枝山、徐祯卿并称“江南四大才子”。书法上与祝允明、王宠并誉为“吴中三家”。晚年与老师沈周并驾齐驱，继沈周之后成为吴门派领袖。\n文征明的书画造诣极为全面，其诗、文、书、画无一不精，人称四绝全才。诗宗白居易、苏轼，文受业于吴宽，学书于李应祯，学画于沈周。\n文征明的绘画兼善山水、花鸟、人物，尤精山水。早年师事沈周，后致力于赵孟頫、王蒙、吴镇三家，自成一格。画风呈粗、细两种面貌。粗笔源自沈周、吴镇，兼取赵孟頫古木竹石法，笔墨苍劲淋漓，又带干笔皴擦和书法飞白，于粗简中见层次和韵味；细笔取法赵孟頫、王蒙，布景繁密，较少空间纵深，造型规整，时见棱角和变形，用笔细密，稍带生涩，于精熟中见稚拙。设色多青绿重彩，间施浅绛，于鲜丽中见清雅。细笔山水画属本色画，具装饰性、抒情味、稚拙感的特征，也奠定了“吴派”的基本特色。文徵明是继沈周之后的吴门画派的领袖，门人、弟子众多，形成当时吴门地区最大的绘画流派。\n文征明传世画作有《千岩竞秀》、《万壑争流》、《石湖草堂》、《石湖诗画》、《横塘诗意》、《虎丘图》、《天平纪游图》、《灵岩山图》、《洞庭西山图》、《拙政园图》等。",[23,24,25,29,7,177,11176,59583,176,34],"飞泉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1449fe9e3fac0372a5e26f2d03ddcc88.jpg",[],{"id":59587,"slug":59588,"title":59589,"dynasty":18,"author":1599,"museum":191,"description":59590,"tags":59591,"thumbUrl":59592,"material":638,"size":59593,"collection":139,"collections":59594,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":94},231411,"ren-wu-tu-shuang-ye-liu-song-nian-231411","人物图双页","刘松年，南宋画家，钱塘（今浙江省杭州）人，居清波门，俗称“暗门”，因有“暗门刘”之称。淳熙年间为画院学生，其师张敦礼是李唐的学生，故画风与李唐一脉相承，而笔法俊秀，墨色亦显清淡，绍熙年间升至画院待诏，历经南宋孝宗、光宗、宁宗三朝，其画作有“院人中绝品”之名。工人物、山水、界画，是“南宋四家”中画风最为精致细微的一家。",[24,25,194,81,28,7,178,106,378,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde61b5e1de6fecb202d7da5f1239102b.jpg","纵117公分 横55.8公分",[],{"id":59596,"slug":59597,"title":59598,"dynasty":99,"author":257,"museum":191,"description":59599,"tags":59600,"thumbUrl":59601,"material":59602,"size":59603,"collection":139,"collections":59604,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":49},231358,"yuan-ren-hua-lie-qi-tu-zhou-yi-ming-231358","元人画猎骑图轴","一队人马行进於秋林之中，人物之衣冠，马匹之鞍具，与李唐、陈居中文姬归汉图之胡骑甚相似。但此幅用笔较为纤秀，旧传为元人之作。",[24,25,226,7,28,106,150,685,378,212,1049],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ad70a4cebe3d61e2604c96263c616d7.jpg","轴","39.4x60.1公分",[],{"id":59606,"slug":59607,"title":59608,"dynasty":76,"author":59609,"museum":316,"description":59610,"tags":59611,"thumbUrl":59612,"material":139,"size":139,"collection":139,"collections":59613,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":49},230920,"yin-tang-xiao-yue-tu-lan-tao-230920","银塘晓月图","蓝涛","此作用笔清隽工细，设色雅致柔和。暮春晓月晕开朦胧柔光，池畔梨花如云叠缀，柔枝轻曳舒展，将春夜清寂揉入花枝。绣眼静栖枝头，羽色苍褐温润，身形灵动传神，似在聆听春夜余声。画面留白疏朗空灵，师法宋元院体意趣，将幽淡宁和的春夜诗意凝于尺幅，尽显古典花鸟的雅致韵致，把塘边春宵的温柔静谧永远定格于绢素之中。",[23,24,25,194,226,28,7,83,265,209,62,836,2532,838],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcafc6fa2c004fa104f0237b2fc2238e0.jpg",[],{"id":59615,"slug":59616,"title":59617,"dynasty":256,"author":3187,"museum":316,"description":59618,"tags":59619,"thumbUrl":59621,"material":599,"size":600,"collection":139,"collections":59622,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":49},230598,"la-anunciaci-n-you-hua-230598","La-Anunciación","神性的光晕自左上角铺陈而下，鎏金天光里伸出神之手，一道光束破空穿透葱郁林野，将天国的启示引渡向尘世。\n\n林间草木丰茂，柑橘缀满枝头，棕榈舒展阔叶，细腻笔触晕开满溢生机。天使敛翼俯身，神态恭谨低垂，亚当夏娃居于画下，懵懂的神情里藏着未觉的命运波澜。\n\n柔和的色调消解了宗教叙事的厚重，金箔柔光与青翠绿意交融，将天启的肃穆融于伊甸的宁谧静雅，把神圣瞬间定格在静谧林间，静穆中暗涌着命运流转的张力。",[3187,7,260,106,53799,245,34,264,569,114,42098,59620,15392],"光线","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7b9e6f3b8816a416fecae111668883b.jpg",[],{"id":59624,"slug":59625,"title":59626,"dynasty":256,"author":257,"museum":316,"description":59627,"tags":59628,"thumbUrl":59629,"material":599,"size":600,"collection":139,"collections":59630,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":94},230544,"shi-ting-shi-dai-bang-song-tu-ping-feng-di-yi-ping-yi-ming-230544","室町时代 浜松图屏风-第一屏","这幅以金箔为底，晕染出柔婉的烟云水色，垂柳枝条袅袅垂落，拂过细劲勾勒的粼粼水波。群鸟灵动错落，或栖于柳梢私语，或掠波振翅，或静立汀渚理羽，将幽寂水岸的春日生机尽数铺陈。墨色苍润的汀渚点缀浅滩，华贵金底晕开朦胧柔美的氛围感，工细的笔致揉合写意的松弛，将雅致闲静的水岸意趣，揉进富丽又清寂的和风意境里，静中藏动，尽显幽闲雅致的东方意韵。",[23,194,7,28,7693,83,245,1241,2235,262,263,912],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0de117802efd0cb25b10b9881d05f169.jpg",[],{"id":59632,"slug":59633,"title":28712,"dynasty":256,"author":257,"museum":316,"description":59634,"tags":59635,"thumbUrl":59640,"material":599,"size":600,"collection":139,"collections":59641,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":2504},230512,"fu-nie-pan-tu-yi-ming-230512","整体色调沉穆古旧，晕染出哀戚而庄严的氛围。释迦牟尼右胁安卧，面容恬然平和，尽显圆寂时的超脱自在。环绕的诸天眷属与弟子，或垂首哀哭，或肃穆伫立，悲恸之态与佛陀的安然形成强烈对冲。朦胧错落的林间花枝，将尘世悲绪融于苍茫禅意。岁月斑驳侵蚀了画面，却未掩去画师的精妙笔力，把涅槃之际的神圣氛围与众生哀恸交织一处，观者仿佛踏入这场肃穆法会，在静谧与悲怆的碰撞之间，体悟寂灭背后的永恒禅机。",[24,260,7,106,34,245,28,4009,6170,11623,37546,59636,59637,59638,59639],"树木景观","飞鸟元素","工笔技法","传统国画风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8172060eb990fda95c7360f8fb135bca.jpg",[],{"id":59643,"slug":59644,"title":36002,"dynasty":76,"author":49312,"museum":316,"description":59645,"tags":59646,"thumbUrl":59647,"material":599,"size":600,"collection":139,"collections":59648,"showCount":603,"zanCount":2368,"manualWeight":48,"mainColor":94},230353,"fang-gu-shan-shui-zhou-kun-230353","字天池，江苏常熟人。黄霆子。画承家学，工山水、人物，梅花亦佳。乾隆（一七三六至一七九五）时供奉如意馆。尝以闾阎疾苦情形托诸艺事，蒙御题，有：“监门遗故事，咨尔溯其踪”句。所作多藏石渠宝笈。《国[清]朝画徵续录、虞山画志、石渠宝笈、清画家诗史》",[24,25,194,29,2428,7,176,37,1169,175,378,81,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb26cb02769aeda20dba4113895ea76f.jpg",[],{"id":59650,"slug":59651,"title":59652,"dynasty":76,"author":257,"museum":316,"description":59653,"tags":59654,"thumbUrl":59655,"material":139,"size":139,"collection":90,"collections":59656,"showCount":603,"zanCount":2368,"manualWeight":48,"mainColor":94},230331,"qing-shi-quan-tu-ce-shi-kai-yi-ming-230331","清十犬图册-十开","《十犬图册》是清代画家佚名创作的一幅绢本设色画。\n此图册为乾隆时期的宫廷画家所绘，表现猎犬“守则有威，出则有获”，“骨相多奇，仪表可嘉”的主题。\n画法工整，具有一定的程式。\n对开有内廷侍臣陈邦彦、王图炳、励廷仪、张廷玉、蒋廷锡、张照、薄海等书写的《山海经》及晋傅休奕的《走狗赋》、唐杜甫的《天狗赋》等诗赋。",[24,25,81,28,7,746,8941,353,230,178,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51e2d3c8edc551956dced1e277f84ec6.jpg",[90],{"id":59658,"slug":59659,"title":59660,"dynasty":76,"author":257,"museum":316,"description":48958,"tags":59661,"thumbUrl":59663,"material":599,"size":600,"collection":139,"collections":59664,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":2504},230095,"jin-qi-xiang-long-peng-zhu-wen-fang-he-yi-ming-230095","金漆祥龙捧珠纹方盒",[37774,59662,7,406,229],"金漆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8bb64591706d2a20b7e1793867e698c2.jpg",[],{"id":59666,"slug":59667,"title":59668,"dynasty":76,"author":257,"museum":316,"description":22950,"tags":59669,"thumbUrl":59670,"material":599,"size":600,"collection":22956,"collections":59671,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":49},229637,"guan-yao-fen-cai-si-ji-hua-hui-chang-fang-hua-pen-yi-ming-229637","官窑 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出沉静禅意。身旁侍童神态恭谨，刻画生动入微。背景以水墨晕染古木虬枝，丹实缀叶，衬出幽寂山林禅境。\n\n画作承宋院体写实余韵，线条精细劲挺，人物造型传神肃穆，兼具宗教造像的庄严感与世俗写实的生动意趣，尽显禅门清寂高古的沉静氛围，是佛画中精妙的写实佳制。",[23,24,7,28,260,106,34,686,59751,264,409],"拂尘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e886b4f713ab229b96a54aa9d6ebe1f.jpg",[],{"id":59755,"slug":59756,"title":1383,"dynasty":302,"author":59757,"museum":316,"description":59758,"tags":59759,"thumbUrl":59760,"material":139,"size":139,"collection":139,"collections":59761,"showCount":603,"zanCount":2368,"manualWeight":48,"mainColor":49},228170,"shan-shui-tu-cao-xing-228170","曹兴","这幅山水小品以留白云雾切割山峦，将平远、高远之景相融，铺展出空濛幽深的山水意境。山石以短皴点苔，笔墨苍劲朴拙，林木简括灵动，尽显简淡萧疏的气质。山脚板桥连起村居野渡，行旅缓步其上，将山林清寂与烟火日常相融，消解了丘壑荒寒，晕染出悠然安闲的意趣。淡墨晕染烟岚，浅设色晕衬古雅基调，以留白凸显虚空之境，把文人寄情林泉的隐逸诗意与田园安和揉为一体，笔简意足，尽显小品山水的隽永意韵。",[23,24,25,1260,173,7,29,177,108,109,34,176,37,114,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F742d2d75db062a93d851a095a2564c3b.jpg",[],{"id":59763,"slug":59764,"title":59765,"dynasty":302,"author":22220,"museum":316,"description":59766,"tags":59767,"thumbUrl":59768,"material":139,"size":139,"collection":139,"collections":59769,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":2504},228076,"li-xian-xiang-zhou-yan-hui-228076","李仙像轴","以宣传道教教义与神仙 为主要内容的造型艺术。\n包括日常供奉和用于斋醮等祈禳祭祀活动的神仙画像或雕塑的神像、故事画、水陆画以及宫观的藻饰与法器上的花纹图案、浮雕等。\n制作神像，形式多样。\n《太上洞玄灵宝国王行道经》称造像“随其所有,金银珠玉，绣画织成,刻本范泥,凿龛琢石,雕牙镂骨,印纸图画”等均可,只要“一念发心，大小随力,庄严朴素,各尽当时”。\n但具体制作，皆有定式。\n据道书《洞玄灵宝三洞奉道科戒营私》规定,造像必须“依经具其仪相”，“衣冠华座，并须如法”。\n天尊“帔以九色离罗或五色云霞、山水杂锦”等，“不得用纯紫、丹青、碧绿等”。\n真人“不得散发、长耳、独角，并须戴芙蓉、飞云、元始等冠”。\n左右二真“或持经执简，把诸香华，悉须恭肃，不得放诞手足，衣服偏斜”等。\n早期道教的塑像或画像曾经受到佛教艺术一定的影响。\n唐释法琳《辨正论》引王淳《三教论》云：“近世道士，取活无方，欲人归信，乃学佛家制作形像。\n假号天尊，及左右二真人。\n”唐太宗为王远知建太平观以及王轨重建茅山华阳观，其内殿塑造元始天尊像一躯，都取左右二真人夹侍的形式。\n其后，号然又取法佛教在诸天神头部加添圆光，但是，其形象是中国化的人物面貌，其创作思想深受道家哲学和道教教义的影响，其技法又是中国古铜器、汉画像砖以及古代人物画技法的直接继承，具有明显的道教美术自身的风格。\n有 北郊清源山老君像巨型石刻，晋祠彩塑以及元代的龙山石窟等。\n其中泉州石刻老君像，背松倚望，意态谦恭，两眼平视，慈祥和蔼，美须大耳，左手依膝，右手靠几，全身线条遒劲有力，洗炼概括。\n石像高5.1米,以整块天然巨石雕成，宏伟壮观，是道教造像艺术中的珍品。\n太原晋祠圣母殿创建于北宋天圣(12～12)年间，有圣母、宦官、女官及侍女像共4尊彩塑,以皇后、群臣、宫女的生活形象为范本,脸型、体态和感情流露都近于世俗生活的原型（见彩图）。\n龙山石窟，在太原西南约2公里处。\n始建于元元贞六年(1295)以前，窟内雕有三清、虚皇、张天师、三皇、玄真子、披云子和北七真的石像。\n主要修建者为随邱处机西游的十八行者之一的宋披云。\n他还增修龙山石窟五个洞，使其“殿阁峥嵘，金碧丹艧，如鳌头突出”。\n既运用中国传统的绘画手法，又力图体现道教的教义思想。\n以“画以立意”为宗旨，采用“以形写神”和“以神写形”的方法。\n在创作中不仅调动“出水”、“当风”等多种艺术手段，而且体现了道教对绘制神像的种种要求。\n唐开元二十九年 (741)，画玄元皇帝(太上老君)像，并以高祖、太宗、高宗、中宗、睿宗等五像陪祀。\n画家吴道子有五帝、五官、星宿像等，其中画于河南鹿邑太清宫的太上玄元皇帝像，史载系绢本，即绘于单幅绢上，不施裱褙，供奉时悬挂于壁间架上，后刻石于苏州玄妙观，才得以传世。\n秦汉间神仙思想盛行，在藻饰宫殿、陵墓的美术作品以及帛画中，常有关于神仙、祥异等内容。\n辽宁金县营城子汉墓壁画，其左上端云气缭绕，中有一人，身披羽毛；右上端有一龙，昂头相向。\n画中央有戴三山冠的佩剑人和白发之老翁，作神仙与墓主言谈状。\n壁画黑仙人佩剑、羽衣、须发、云气等形象朴茂高古，线条古朴随意，为道教壁画的先声。\n现存的泰山岱庙天贶殿的巨幅壁画《 》，以皇家宫廷生活为模式，描绘泰山神东岳大帝出巡和回銮的情景，场面浩大，人物众多，生动逼真，山水人物相互衬托，艺术的世俗化倾向浓厚，虽经明、清画工重加彩绘，工匠制作痕迹较重，但尚能体现宋代道画的特色。\n元代宫廷设有“诸色人匠总管府”，专门管理修建宫廷庙宇的各种工匠,彩塑家刘元统领“梵像提举司”,各地著名画工还加“待诏”衔。\n元代初期道教全真道曾盛极一时，山西永乐宫道教壁画就是集唐宋道画传统的中国美术史上的杰作。\n永乐宫壁画画面长9.68米，高4.26米,实绘大小神像共 286尊。\n三清殿壁画沿用《朝元仙仗图》的样式，以“三清”为中心，组成层次井然的仪仗，表达出“三清譬如北辰，居其所而群神拱之”的意思。\n全画分成多组，有雷公雨师、南斗六阙、北斗七星、八卦神君、十二生肖神君、 、三十二天帝君等群像。\n每位帝君和圣母左右均有十余名玉女侍奉。\n云气缭绕，壮丽浩荡，金碧辉煌，显示出元代道画画工们巨大的构图能力。\n线条圆润流畅，色彩浓淡相谐，宁静清逸，庄严肃穆。\n纯阳殿另有《纯阳帝君神游显化之图》壁画共52幅，七真殿有叙述全真教创始人王重阳诞生、得道、成仙和历次度化马丹阳、孙不二、邱处机等北七真事迹的故事画共42幅。\n这些壁画把山水、花鸟、鞍马、界画和人物糅合在一起，以表现人物情节为主。\n永乐宫壁画是由元代民间画工集体绘制而成的，他们堪称14世纪中国绘画史上最具有创造性的民间艺术家。\n元代以降，各地道观虽亦有以壁画传世，但大都陈陈相因,因袭模仿,无甚佳作。\n以道教故事、神仙思想为题材的道画，历久不衰，画家辈出。\n晋代画家顾恺之崇尚老庄，多以龙为题材作道画，附会老子犹龙之说法，其后云龙遂成为道画的特色之一。\n据《贞观公私画录》，顾恺之还画过《刘仙像》、《三天女像》等，并且著有《画云台山记》，叙述他的道祖故事画的内容和构思。\n画面上有丹崖险峻高大，颜色红紫，显示其为神仙之境。\n张天师脸形瘦削，飘然若仙，于丹崖七试弟子。\n其弟子王长穆然坐答，赵升神爽气怡。\n另二弟子则魄散神飞、汗流失色。\n唐代吴道子道释画兼擅。\n画家张素卿本人就是道士，乾符（874～879）中居四川青城山常道观，史载曾画有《老子过流沙图》、《五岳朝真图》、《九皇图》、《五星图》、《老人星图》、《二十四化真人像》、《太无先生像》等。\n前蜀主王建修青城山丈人观，请其于真君殿上画五岳、四渎、十二溪女、山林、溪沼、树木诸神及岳渎曹吏。\n蜀主诞辰时，张素卿画十二仙真，备受赞赏。\n凡有醮斋，开悬供奉。\n据《图画见闻志》称，五代时有名画家25余人，其中以道释画为主者达11人。\n丰富了道画的表现力。\n画家武宗元曾在宋真宗营造玉清昭应宫时,居名应召画殿画匠之首，史载，他17岁就画北邙山老子庙壁，颇称精绝。\n其传世道画《朝元仙仗图》原是壁画粉本，长 6米，高.48米。\n描绘南极天帝和东华天帝君率领仙官、侍从和仪仗朝谒玄元皇帝的场面，共有神仙人物87名，其中男仙11名，神将8名,余皆为手捧供品、仙果、乐器的仙女。\n画幅以手持宝剑的护法神开道，以甲卒、神将殿后，其中二天帝君都略高大于其他神仙，其处理手法与唐阎立本《历代帝王图》相类。\n各神仙的头上或身旁都有一个长形墨线描画的题名牌框，并标上该神仙的尊号，如“东华天帝君”、“扶桑大帝”等。\n全图主次分明，层次井然，线描人物各具神态，不相雷同，线条流畅，具有线描艺术的韵律感。\n宋元文人作画崇尚卷轴、册页、扇面，或有以道教题材结合山水、花鸟的内容，追求“清静无为”的境界，形成了超逸、淡泊、高雅的艺术风格。\n元代有些画家,如黄公望、张彦辅、马臻、方从义等本人就是道士。\n张渥所作《九歌图》和《太乙真人像》等，以白描手法描绘太乙真人手执如意,乘舟荷叶,舒展飘逸的“仙风”。\n元代画家颜辉有传世之作《李仙像》轴，画八仙之一的铁拐李，侧坐石上，神情肃穆，笔法精劲，人物与山水融和，表现了画家洒脱、超逸的情趣。\n明代画家吴伟所作《北海真人》，写骑龟仙者悠然泛海，昂首天外，无拘无碍。\n清代扬州画派金农所作的张天师像，更以古拙的笔墨趣味，表现画家超凡逸群的情思。\n当代画家张大千早年曾久居四川青城山，所绘王母、麻姑、陈抟、纯阳和张陵等道画，刻石于山，至今犹存。\n宋元以后，道教失去朝廷的支持，文人道画也逐渐衰微而同民间美术相结合。\n此后各地民间画工广泛从事于壁画、版画、年画以及用于道教斋醮活动中的水陆画。\n道教斋醮仪式中则广泛使用民间木雕、刺绣以及纸扎工艺美术品作为法器或陈设。\n各道观建筑中也普遍采用民间广泛流传的八仙、麒麟、万年青等吉祥辟邪的装饰图案。\n木版印制的门神、灶君、关帝、财神等神像，在民间流传尤盛。",[23,24,25,226,260,106,29,173,7,1426,230,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff919d05c6f3b085bd2715d0b212f39ef.jpg",[],{"id":59771,"slug":59772,"title":59773,"dynasty":302,"author":6965,"museum":316,"description":59774,"tags":59775,"thumbUrl":59777,"material":139,"size":139,"collection":139,"collections":59778,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":49},228058,"ma-xi-tu-zhao-yong-228058","马戏图","此作棕褐绢底上，一众骑手纵马驰骋，热烈图景扑面而来。骏马昂首扬蹄，鬃尾飞动，将奔跃张力尽数铺开；骑手或控马回身，或俯身驯骑，动态鲜活灵动，尽显驯马驰驱的飒爽意气。人物服饰晕染雅致鲜明，胡汉装束兼具，暗合塞上风情。线条劲挺流畅，勾勒出马的矫健筋骨与人的生动情态，朴拙笔触里带着刚健力道。\n\n后附题跋墨色淋漓，笔意苍劲，书画相映成趣，将鞍马游猎的雄健快意定格绢素，古意盎然，尽显此类题材画作的雄浑气度。",[23,194,24,26,7,28,106,150,59776,86,178,212],"马戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff87f7bf4a9f1d905dd707947937bd78f.jpg",[],{"id":59780,"slug":59781,"title":59782,"dynasty":302,"author":36532,"museum":316,"description":59783,"tags":59784,"thumbUrl":59785,"material":139,"size":139,"collection":139,"collections":59786,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":94},228036,"mo-lou-shu-geng-zuo-tu-cheng-qi-228036","摹楼璹耕作图","它以长卷娓娓铺展江南农耕全景，从育秧插田到收谷晾晒，田埂间农人往来忙碌，挑担、插秧、打谷各尽其事，农舍林木点缀其间，晕开融融烟火气。\n笔墨以淡彩衬白描，人物形神鲜活灵动，田畴草木朴拙写实，完整复刻出古早农事的全过程。卷身遍留历代题跋钤印，让这幅纪实之作，又成为递藏传承的书画珍迹，既是乡土民生的鲜活注脚，也承载着后世对旧时田家意趣的追慕。",[23,194,24,25,26,105,7,28,178,1070,212,106,151,13428,8379,15610,378,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6a0dc446b4b1e22194f3aab6e230f72.jpg",[],{"id":59788,"slug":59789,"title":59790,"dynasty":302,"author":25955,"museum":316,"description":59791,"tags":59792,"thumbUrl":59793,"material":599,"size":600,"collection":139,"collections":59794,"showCount":603,"zanCount":2368,"manualWeight":48,"mainColor":94},228025,"fan-qi-tu-juan-zhao-lin-228025","番骑图卷","作品绘边塞人马、骆驼行进行列，人物披裘戴高帽，以袖掩面，马匹步履蹒跚，展现出沙漠荒原风急天寒的气候环境。作品线条细劲流畅，具很高的艺术水平。明代都穆见其《番骑图》，赞日：“黄沙野蒿，鞭马疾驰，非余之目击，则也莫能知其妙也。”",[23,24,25,26,352,7,106,150,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04a422fb91c6b267bc128150d1d205bb.jpg",[],{"id":59796,"slug":59797,"title":39881,"dynasty":302,"author":303,"museum":316,"description":59798,"tags":59799,"thumbUrl":59800,"material":139,"size":139,"collection":139,"collections":59801,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":94},228022,"xiao-yi-zhi-zhuan-lan-ting-xu-tu-juan-qian-xuan-228022","此卷以淡设色铺展传奇掌故，堂内二人对坐，萧翼神色暗藏机锋，辩才老僧浑然不察，朴拙屋舍与枯淡山石衬出沉静古雅氛围，笔意清润简淡，将智赚兰亭的幽微张力隐于画面。后接行书题跋，笔墨秀逸流丽，诗画相映，复现这段秘事的跌宕意趣。全卷诗画合璧，叙事含蓄雅致，尽显元人书画相融的清雅韵致，将暗涌的心机藏于淡然古雅的卷气之中。",[23,24,25,26,7,28,106,86,212,280,1010],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8de278903b52c332e06be2ce71661d22.jpg",[],{"id":59803,"slug":59804,"title":59805,"dynasty":18,"author":1315,"museum":316,"description":59806,"tags":59807,"thumbUrl":59808,"material":139,"size":139,"collection":139,"collections":59809,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":49},227968,"niu-tu-li-tang-227968","牛图","此作用边角构图铺展意境，淡墨晕染出山峦烟岚空蒙的朦胧质感，远山隐于虚淡暮色之中，将山野荒陂的清寂悠远铺陈开来。\n\n坡岸间三头水牛成为画面生机所在，两头抵角嬉闹，憨态尽显，另一头闲步缓行，悠然自得，将乡野牧歌的松弛意趣揉入淡远山水间。笔墨苍简疏朗，舍去繁复勾勒，以极简笔意烘托出空灵静谧的氛围感，尽显宋人简淡野逸之美，平朴画面藏着悠然禅意，将山野闲趣融于山水烟岚之中。",[23,24,7,29,151,746,177,808,912],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd74b8ed2232c30132e78af099212babd.jpg",[],{"id":59811,"slug":59812,"title":59813,"dynasty":18,"author":257,"museum":316,"description":59814,"tags":59815,"thumbUrl":59816,"material":599,"size":600,"collection":139,"collections":59817,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":94},227426,"xi-shan-wu-jin-tu-quan-juan-yi-ming-227426","溪山无尽图全卷","以水墨浅绛写江南四季景色，布局多取近景，突出崖岸，山石作大斧劈皴，方硬有棱角。山峰林立，峭壁悬崖间有流泉飞瀑，松柏蓊郁、云雾弥漫、长桥石栏、渔舟帆客、楼观村庄，清幽秀俊的江南景色成为一个整体，有着诗意般的意境。此卷画风当属南宋马远。构图布景与《溪山秋爽图》有异曲同工之妙。此卷绘于宋笺纸上，山石为马远典型的斧劈皴，乔松远树，皆用拖枝法，柳林含风，千笔万笔，笔笔不乱。画幅中间，数株红树，点缀溪山丛莽间，有画龙点睛之妙。而纸寿千年，其完好程度与绢本不可同日而语。此卷创作年代当稍晚于绢本，水法两卷亦有不同，此卷水的画法更接近马远《水图》。",[23,194,24,25,26,173,7,29,176,34,108,109,177,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2183e53c5ef5d0f52c06cae5adadc2d.jpg",[],{"id":59819,"slug":59820,"title":59821,"dynasty":18,"author":257,"museum":316,"description":44535,"tags":59822,"thumbUrl":59826,"material":139,"size":139,"collection":139,"collections":59827,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":49},227365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Langlois bridge (March - )",[194,3187,7,108,109,174,119,912,106,35,34,6244,16431],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd318fc35b367994358e3cf58d7e0426.jpg",[3195],{"id":59880,"slug":59881,"title":59882,"dynasty":256,"author":6236,"museum":316,"description":6237,"tags":59883,"thumbUrl":59888,"material":599,"size":600,"collection":3195,"collections":59889,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":94},225771,"la-mousme-fan-gao-225771","La Mousmé",[194,3187,7,106,23716,36541,62,59884,59885,59886,59887],"条纹","波点","上衣","裙子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa46028d83b509f97c3cd0376c416b85d.jpg",[3195],{"id":59891,"slug":59892,"title":59893,"dynasty":256,"author":3184,"museum":316,"description":6534,"tags":59894,"thumbUrl":59896,"material":599,"size":600,"collection":3195,"collections":59897,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":2504},225656,"rembrandt-harmensz-van-rijn-066-lun-bo-lang-225656","Rembrandt Harmensz.van Rijn - 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意思是。",[24,2003,28,7,83,746,10516,4039,34,84,245,226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa52192bd8849e9471b8b5eddc6dd495.jpg","72.7x32.1",[],{"id":60199,"slug":60200,"title":60201,"dynasty":18,"author":60202,"museum":191,"description":60203,"tags":60204,"thumbUrl":60205,"material":123,"size":60206,"collection":181,"collections":60207,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":94},218871,"cang-ji-qing-yue-tu-zhu-ci-zhong-218871","苍矶清樾图","祝次仲","这幅画描绘了从河面上凸出的河岛，清波荡漾，岛上绿草如茵，而学者则盘膝而坐，眺望着广阔的河面。这幅画的笔触与李唐相似，岩石是用草书的笔触凿出来的，松散而不夸张。",[23,24,1260,173,7,29,230,34,245,3884],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6f4386ca16a392d3045300e4db4d45d.jpg","26.4x19.8",[181],{"id":60209,"slug":60210,"title":60211,"dynasty":18,"author":257,"museum":191,"description":60212,"tags":60213,"thumbUrl":60214,"material":123,"size":139,"collection":181,"collections":60215,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":94},218711,"wu-kuan-ce-jian-tu-yi-ming-218711","无款策蹇图","纨扇小景里，寒林疏枝以墨线轻勒，淡赭暮色晕染古绢，似浸着时光的沉香。驴背文人衣袂微拂，随林间风意缓行，身后僮仆持杖相随，步履从容。笔触细腻处，枝桠虬曲、草叶疏斜皆见匠心，却无雕琢之痕。小径蜿蜒向林深处，隐现的屋舍若有若无，藏着宋时文人的隐逸意趣。不追喧嚣，只向林泉寻一份悠然——驴蹄轻踏的是岁月缓调，目光所及是心之所向的清宁。古绢斑驳如记忆纹理，将千年前的从容心境凝在这方圆镜里，引观者沉湎于淡远诗意，仿佛听见林间风过枝叶的轻响，触到宋代特有的雅寂与温厚。",[23,24,25,173,7,177,29,378,106,6927,1049,245,795],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac997e7b74e20f2dc71b1bc5a8a80c3a.jpg",[181],{"id":60217,"slug":60218,"title":60219,"dynasty":18,"author":15329,"museum":191,"description":60220,"tags":60221,"thumbUrl":60222,"material":123,"size":139,"collection":139,"collections":60223,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":94},218676,"xi-hu-shi-jing-tu-liu-lang-wen-ying-ye-xiao-yan-218676","西湖十景图-柳浪闻莺","烟峦淡远，柳丝拂岸，亭台楼阁隐于葱茏间。墨色温润如宋时烟雨，将柳浪的柔曼与闻莺的清越融于一纸。远山含黛，近树扶疏，建筑错落有致，似有流莺啼鸣穿林而过，惹得柳丝轻摇。题字笔意洒脱，与画作相映成趣，尽显文人雅趣。整幅画以淡墨晕染出西湖春日的清幽，不著艳色却意境悠远。观者仿佛立于湖畔，听柳浪翻涌，闻莺声婉转，沉醉在那抹宋时湖光的温柔里。",[23,24,25,81,7,173,29,2532,245,175,107,34,265,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2de438d4c2cddd2b29b345f3825a0337.jpg",[],{"id":60225,"slug":60226,"title":60227,"dynasty":18,"author":15329,"museum":191,"description":60228,"tags":60229,"thumbUrl":60230,"material":67,"size":139,"collection":139,"collections":60231,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":94},218672,"xi-hu-shi-jing-tu-nan-ping-wan-zhong-ye-xiao-yan-218672","西湖十景图-南屏晚钟","画面山峦层叠，淡墨晕染出朦胧烟霭，似将暮色轻笼南屏。近处松枝苍劲，针叶细劲如丝，间或矮松错落，添几分野趣。山腰楼阁隐现，飞檐翘角藏于林麓，若古寺禅院静候晚钟。左侧题字笔墨流畅，行楷雅致，诗韵与墨色山水相映，更添文人意趣。\n\n作品以简淡之笔勾勒景致，虚实间传递悠远禅意——仿佛能闻钟声穿林渡水，涤荡尘嚣。西湖暮色里的宁静与空灵，凝于尺幅，让观者于笔墨间触摸到那份跨越时空的悠然与澄澈。",[23,24,25,29,173,7,177,808,34,107,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f5b702e55d3128a1523bbd2c2120fdc.jpg",[],{"id":60233,"slug":60234,"title":60235,"dynasty":18,"author":15329,"museum":191,"description":60236,"tags":60237,"thumbUrl":60238,"material":67,"size":139,"collection":139,"collections":60239,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":94},218671,"xi-hu-shi-jing-tu-liang-feng-cha-yun-ye-xiao-yan-218671","西湖十景图-两峰插云","画面以淡墨晕染湖山底色，双峰对峙如黛，破云而出，尽显“插云”之姿。云雾以留白与淡墨交织，虚虚实实间，峰峦似隐似现，缥缈若仙境。近处亭台依水而立，屋宇线条简练精巧，与远山朦胧影相映成趣。左侧书法笔意流畅，墨色浓淡相宜，诗画相融，更添文人雅致。整幅作品以简驭繁，用清逸之笔勾勒西湖山水的空灵悠远，将两峰插云的朦胧意境凝于尺幅。观之如临西子湖畔，见双峰在云间若隐若现，心随景远，顿生悠然之思，尽显宋画清雅秀逸之态。",[23,24,25,81,173,7,29,30,37,107,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F621724a098a46f28b1031499dc6f3bd9.jpg",[],{"id":60241,"slug":60242,"title":60243,"dynasty":18,"author":15329,"museum":191,"description":60244,"tags":60245,"thumbUrl":60246,"material":123,"size":60247,"collection":139,"collections":60248,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":94},218669,"xi-hu-shi-jing-tu-san-tan-yin-yue-ye-xiao-yan-218669","西湖十景图-三潭印月","烟水空濛间，远山如黛，轻烟似纱，将峰峦轮廓晕染得朦胧温柔。湖面敛着淡月清辉，几处汀洲疏树错落，墨色浓淡间淌着江南温润气息。三潭倩影隐在水云深处，似与月影低语，惹得笔墨也浸了几分禅意。旁侧题跋笔墨流转，与山水淡远相映，字里行间皆是对湖山胜景的眷恋。整幅画如一首婉约小令，把西湖月夜的静谧空灵凝于尺幅，每一笔都带着水墨氤氲，每一处都藏着江南诗意，叫人一眼便坠入这清宁的湖山梦境里。",[23,24,25,81,7,29,177,265,808,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0268e1d23cc4cbce336dac9b0a7abd11.jpg","23.9x20.2",[],{"id":60250,"slug":60251,"title":60252,"dynasty":76,"author":6776,"museum":191,"description":60253,"tags":60254,"thumbUrl":60255,"material":88,"size":17173,"collection":139,"collections":60256,"showCount":603,"zanCount":48,"manualWeight":48,"mainColor":94},218452,"shi-liu-luo-han-xiang-di-er-a-zi-da-zun-zhe-ding-guan-peng-218452","十六罗汉像-第二阿资答尊者","画面中阿资答尊者盘腿端坐磐石之上，面容褶皱如岁月镌刻的禅痕，双目微阖间似含悲悯与澄明。披衫以细密点染显质感，内层素衣线条流畅如行云，双手交握的姿态沉静而有力。磐石皴法古朴，与人物衣袂的柔劲形成呼应。笔墨细腻处见工致，设色淡雅中透庄重，将罗汉历经劫波后的澄静心境刻画得入木三分。整体气韵古朴悠远，仿佛能窥见修行者内心的万籁俱寂，尽显佛画题材中“以形写神”的妙境，引人沉潜于禅意的悠远时空里。",[24,25,260,106,28,7,230,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc74c4056f9417377094733d742b5e9e3.jpg",[],{"id":60258,"slug":60259,"title":60260,"dynasty":76,"author":2849,"museum":191,"description":60261,"tags":60262,"thumbUrl":60263,"material":88,"size":139,"collection":139,"collections":60264,"showCount":603,"zanCount":2368,"manualWeight":48,"mainColor":94},2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。\n此图是描绘仲秋稻谷成熟时期的一角情景。\n画绘左侧下端有一棵截取的稻秆，向画面右上方伸展，稻叶疏密有致，相互交错，在秋风吹拂下摆动，而沉甸的稻穗将稻朴压弯，呈低沉状态。\n唯独有一只螳螂于稻叶之上，举目侧望，昂首挺胸，似欲作捕捉状，悠然自得，为整个画面增添了生气。\n此画布局方面，所画的景物都集中在画面中下端，上端却空旷一片，仅在左上角有款题。\n此画构图十分简洁，浓淡干湿墨色随意点染，飞动不露笔痕的粗细线条，将一螳螂的神形，表现得十分出色。\n故此幅画为他小品指画中的代表作之一。\n高其佩（166或1672—174年），字韦之，号且园，辽宁铁岭人，隶汉军镶黄旗，官至刑部侍郎。\n他擅长指画，即用手掌、手指和指甲勾划线条，并佐以毛笔。\n所绘人物、山水、花卉栩栩如生，丰富了中国画的表现技法，在清代画坛以指画独树一帜。\n清雍正年间曾宫中作画。",[24,25,226,7,83,12097,874,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F372b120f258fb1d4c1366bb580f66867.jpg",[],{"id":61245,"slug":61246,"title":131,"dynasty":76,"author":2805,"museum":316,"description":2806,"tags":61247,"thumbUrl":61248,"material":599,"size":600,"collection":139,"collections":61249,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":94},235600,"hua-hui-ce-wang-wu-235600",[24,25,81,7,83,178,212,230,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ecafdea033fb2dd3906ac6c25436dac.jpg",[],{"id":61251,"slug":61252,"title":19884,"dynasty":99,"author":257,"museum":316,"description":61253,"tags":61254,"thumbUrl":61255,"material":599,"size":600,"collection":139,"collections":61256,"showCount":751,"zanCount":2368,"manualWeight":48,"mainColor":94},235586,"wen-chu-hua-hui-ce-yi-ming-235586","此作用泥金笺为底，淡彩绘就幽兰。兰叶以浅墨绿写形，舒展挺秀，带着清逸疏朗之态；粉茎托着青白色兰花，花瓣晕染柔润，瓣心轻敷白晕，将盛放之姿的娇妍与花苞的含露待放绘得灵动自然。\n\n画面留白疏阔，以极简笔墨勾勒出兰的清隽风骨，尽显君子雅韵，无需繁饰便将幽兰的高洁藏于淡色晕染间。右下角朱印落得妥帖，添了一抹明艳点缀，衬得整幅画作幽淡空灵，气韵悠然，观之如临空谷，暗嗅兰芷清芬。",[24,25,81,7,28,83,579,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf759215efc4b4451abec55014b8d822.jpg",[],{"id":61258,"slug":61259,"title":4264,"dynasty":76,"author":14034,"museum":316,"description":45263,"tags":61260,"thumbUrl":61261,"material":599,"size":600,"collection":139,"collections":61262,"showCount":751,"zanCount":2368,"manualWeight":48,"mainColor":94},235465,"hua-hui-tu-ce-fan-ting-zhen-235465",[23,24,25,81,28,7,83,897],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd10c3379fd88ffd87e24315cd2729ea4.jpg",[],{"id":61264,"slug":61265,"title":61266,"dynasty":99,"author":257,"museum":316,"description":61267,"tags":61268,"thumbUrl":61272,"material":139,"size":139,"collection":139,"collections":61273,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":94},235298,"sun-ai-can-sang-tu-zhou-yi-ming-235298","孙艾蚕桑图轴","以没骨法晕染桑枝，叶片水色清浅柔润，晕透出自然通透的质感，枝桠苍朴舒展，带着山野原生的意趣。桑蚕伏于叶间，身形稚拙灵动，纤毫毕现，将春蚕食叶的日常情态刻画入微。\n画面留白疏朗，搭配清雅题诗，诗画相融，把江南蚕桑的寻常乡景，晕染出文人小品的澹然意趣。笔致简淡无华，却于浅墨轻色之间，将乡野恬然生机尽数铺陈，尽显写生佳作的冲淡幽远之美。",[24,25,226,7,28,61269,61270,10963,61271,86,212],"桑枝","桑叶","蚕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F983d4718bb25737f461472c2e21417fd.jpg",[],{"id":61275,"slug":61276,"title":61277,"dynasty":99,"author":792,"museum":316,"description":46453,"tags":61278,"thumbUrl":61279,"material":139,"size":139,"collection":139,"collections":61280,"showCount":751,"zanCount":2368,"manualWeight":48,"mainColor":94},234634,"fang-zhao-song-xue-shan-shui-shan-ye-lan-ying-234634","仿赵松雪山水扇页",[24,1260,7,29,174,1273,176,34,106,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39567596c4b94d544a1394f90e146675.jpg",[],{"id":61282,"slug":61283,"title":40313,"dynasty":99,"author":61284,"museum":316,"description":61285,"tags":61286,"thumbUrl":61287,"material":139,"size":139,"collection":139,"collections":61288,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":94},234486,"shan-shui-shan-wei-zhi-huang-234486","魏之璜","魏之璜（1568～1647），明代画家。字叔考，上元（今南京）人。能书善画，以卖画为生。书师法《黄庭经》，结构严密，神采流丽。山水宗宋人，不袭粉本，岩壑树石多变化，别具风格。亦擅花卉及佛像。",[1260,24,25,173,7,177,29,34,176,107,35,1171,1024,686,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F689fbbc66d94f153ceabb94254d50706.jpg",[],{"id":61290,"slug":61291,"title":61292,"dynasty":76,"author":9671,"museum":20,"description":50464,"tags":61293,"thumbUrl":61296,"material":139,"size":139,"collection":139,"collections":61297,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":94},234465,"cui-zhu-gu-ting-tie-luo-shen-zhen-lin-234465","翠竹孤亭贴落",[24,25,61294,173,7,11520,61295,212,86,230,498,28],"贴落","孤亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4daea092fc768f069f69a9adf8b4ae48.jpg",[],{"id":61299,"slug":61300,"title":61301,"dynasty":76,"author":257,"museum":316,"description":15366,"tags":61302,"thumbUrl":61303,"material":599,"size":600,"collection":139,"collections":61304,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},234462,"fu-hai-guan-shi-yin-pu-sa-tang-ka-yi-ming-234462","佛海观世音菩萨唐卡",[320,15368,260,7,28,106,84,3661],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ec56e1e433f7030b9f6b094f52d6cf9.jpg",[],{"id":61306,"slug":61307,"title":61308,"dynasty":76,"author":257,"museum":316,"description":61309,"tags":61310,"thumbUrl":61311,"material":139,"size":139,"collection":139,"collections":61312,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":94},234378,"nu-er-ha-chi-chao-fu-xiang-zhou-yi-ming-234378","努尔哈赤朝服像轴","爱新觉罗·努尔哈赤（1559年—1626年9月30日），女真族，建州女真首领、后金第一位大汗、清朝实际奠基者。生于建州左卫（今辽宁新宾县西南），父塔克世，母喜塔喇氏，努尔哈赤为长子。\n明万历十一年（1583年），被明廷任命为建州左卫都指挥使。同年，以祖、父遗甲十三副起兵，对建州女真各部展开了兼并战争，统一了建州各部。明万历十七年（1589年），受封为都督佥事、龙虎将军。其后，经过二十余年征伐，统一了松花江流域和长白山以北的诸部女真。为适应当时政治、经济需要，建立八旗制度。设议政王大臣，与八旗旗主共议朝政。创制满文。随着军事力量的日益强大，万历四十四年（1616年），于赫图阿拉建立“大金”（后金），自立为汗，建元天命。天命三年（1618年）起兵反明。在萨尔浒之战中，采取集中兵力、各个击破的作战原则，大败明军，势力进入辽河流域。在相继攻克沈阳、辽阳和辽河以东七十余城后，于天命六年（1621年）迁都辽阳。天命十年（1625年）迁都沈阳，占领了辽东大部地区。\n天命十一年（1626年），挥军进攻宁远（今辽宁兴城）。袁崇焕誓守孤城。努尔哈赤劝降不果，命奋力攻城。激战中，努尔哈赤被明军炮火击伤。在撤围败退沈阳途中，患痛疽病死于叆鸡堡，年68岁。卒后初谥承天广运圣德神功肇纪立极仁孝武皇帝，后累次加谥为承天广运圣德神功肇纪立极仁孝睿武端毅钦安弘文定业高皇帝。庙号太祖。葬沈阳福陵。",[24,25,226,28,7,106,63,12423],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdfc6dbe0298db1e9b8154acab15cb88.jpg",[],{"id":61314,"slug":61315,"title":6834,"dynasty":76,"author":3061,"museum":316,"description":59279,"tags":61316,"thumbUrl":61317,"material":139,"size":139,"collection":181,"collections":61318,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":94},234334,"shan-shui-ce-jin-ting-biao-234334",[320,24,25,81,173,7,29,174,106,150,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93d5cfaaa35db34dd3fc8041a6cf3523.jpg",[181,45],{"id":61320,"slug":61321,"title":61322,"dynasty":99,"author":257,"museum":20,"description":61323,"tags":61324,"thumbUrl":61325,"material":139,"size":139,"collection":139,"collections":61326,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},234211,"yue-dai-xi-shan-xiao-si-tu-juan-yi-ming-234211","岳岱溪山萧寺图卷","此作以长卷铺展山野溪居之境，开篇题墨淋漓，笔意苍劲朴拙。继而峰峦层叠，以干笔皴擦写尽山石肌理，苔点错落，尽显丘壑深邃。溪岸蜿蜒，洲渚间林木蓊郁，村居萧寺错落隐现于林泉之间，野意悠然。\n全作用墨清润淡雅，勾勒皴擦间尽显文人水墨的简淡意趣，将江南山野的清寂萧散缓缓铺陈，带着温润散逸的吴门意韵，在长卷间绘就林泉高致，尽显幽居林下的雅致情怀。",[23,194,24,25,26,173,7,177,29,107,108,109,175,245,1353,353],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e026addd26e1c769617a191992a01c8.jpg",[],{"id":61328,"slug":61329,"title":61330,"dynasty":18,"author":257,"museum":20,"description":61331,"tags":61332,"thumbUrl":61333,"material":67,"size":61334,"collection":139,"collections":61335,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},234027,"qiu-ting-xi-ying-tu-ye-yi-ming-234027","秋庭戏婴图页","此轴画风活泼清丽，表现庭院中，两孩在湖石花丛下嬉戏，用笔极为细致，精到而刚劲。设色艳丽，与画面气氛浑然一体，信息传达恰到好处。画的左上方有几行题跋，但非原画所有，旧传此画是汉臣之作，但仅就画面来说，其布局匀称得体，用笔熟练老到，确为功力颇深之人的作品。特别是两孩瞳如点漆，炯炯有神，堪称“点睛”妙笔。\n苏汉臣还擅画货郎担和婴儿嬉戏之景，情态生动，能成功地表现出儿童的形象及其游戏时天真活泼的情趣，且笔法简洁劲利，色彩明丽典雅。宋人画儿童题材，起于宋初。以儿童生活为题材的画家有刘宗道、杜孩儿等，但他们都极少有流传下来的作品。这幅苏汉臣的《秋庭戏婴图》就是此类作品的代表。\n赏析：《秋庭戏婴图》无款印，描绘的是两个儿童在花下嬉戏的情景。左上方有清高宗手书的七言绝句一首：“庭院秋声落枣红，拾来旋转戏儿童；丹青讵止传神诩，寓意原存相让风。”在庭院静谧、幽美的一角，满脸稚气的姐弟二人正围着小圆凳，聚精会神地玩推枣磨的游戏。头顶一绺黑发的男童全神贯注，沉浸其中，动作笨拙却逗人喜爱。旁边头梳发卷的姐姐，正用手指轻轻指点，张口露齿，仿佛欲叮嘱些什么。不远处的圆凳上、草地上，还散置着转盘、小佛塔、铙钹等精致的玩具。与姐弟玩兴正浓的推枣游戏对比，更能突显出孩童们喜新厌旧的天性，揭示出孩子们稚气未脱、天真烂漫的童心世界。\n背景部分，笋状的太湖石高高耸立，造型坚实挺拔，周围则簇拥着盛开的芙蓉花与雏菊，这样的布局，不仅冲淡了湖石的阳刚之气，也充分点出秋天的节令。画中姐弟俩所玩的枣子是中国北方的作物，在当时的江南并不生产。加上全画的描写，极端细腻、写实，符合北宋末期的宫廷院画特质。而且，徽宗素来喜欢搜集太湖石，所以即使此图无款印，也能据此推测出此画应该是北宋徽宗宣和画院时期的作品。图中两个儿童只占画面左下角的一小块位置，作为背景点缀的花石却很高大，成为全图最为醒目的标志。\n花石的高大反衬出了儿童的幼小，而四周丢弃的玩具则显示出儿童的天真本性。这种突出的对比在这幅画中到处可见。作者运用线条的功力深厚，使线条富于轻重、长短、转折、顿挫的变化。弟弟的上衣，运用了硬而碎的线条，表现出了布料的质感；姐姐的纱裙，行笔流畅圆润，虽用重色，却给人以薄到透明的感觉，使纱衣有了流动感。画湖石皴染结合，石质显得坚厚湿润而有立体感。花卉皆勾勒精劲，设色艳丽，展示了作者在这方面的高深造诣。仔细观察画中人物的发式、衣着，都是锦装玉琢，一看即知是官宦人家的子弟。\n顾炳在《历代名公画谱》中曾说：“汉臣制作极工，其写婴儿，着色鲜润，体度如生，熟玩之不啻相与言笑者，可谓神矣。”由此可见，苏汉臣的绘画具有造型精准、典雅妍丽的宫廷绘画本质。",[194,24,25,6083,1260,28,7,106,2385,34,263,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d40fc2e963083256e5593789d80158d.jpg","47x86cm",[],{"id":61337,"slug":61338,"title":3868,"dynasty":76,"author":45651,"museum":20,"description":61339,"tags":61340,"thumbUrl":61341,"material":770,"size":61342,"collection":139,"collections":61343,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":94},233890,"huang-shan-tu-ce-mei-qing-233890","黄山位于安徽省南部，歙县西北，山脉绵延三百余里，拥有72峰，以奇松、怪石、云海、温泉“四绝”名闻于世。清初安徽地区的著名画家弘仁、梅清、石涛等多以黄山奇景入画，形成了“黄山画派”。其中，梅清笔下的黄山以气势取胜，不同凡响。\n这套《黄山图》册是梅清晚年的精心之作。全册共八开，分别绘天都峰、莲花峰等黄山８景，或孤峰千仞，或云海茫茫，或苍松蔽日，或雄关峻岭，景色各异，气象万千。梅清画黄山之法有三，一以线条勾勒为主，二以墨色渲染为重，三是融勾勒与渲染为一炉。此图册便是采用第三种方法绘制而成。\n梅清的山水画远承宋元诸家的遗绪，近学“元四家”和沈周的笔墨技法，又尝与石涛相互切磋画艺，故功力尤深。他的创作最重师法自然，他曾在燕、吴、齐、楚之地游历名山大川，终日面对青山描摹写生。黄山和家乡宣城是梅清绘画中最着力表现的题材。在《赠慕潭黄山十六景》册上，他自题“余游黄山，凡有笔墨，大半皆黄山矣。”可见他对黄山景色用功之勤。梅清图写黄山自写生入手，又加入自己的主观感受，再以豪放、泼辣的用笔，突出黄山奇、峻、险、秀的意境，独树一帜，别开生面。",[24,25,29,81,173,7,177,685,1133,3518,106,230,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cc4dbbd059f61494cfc3a76e398e246.jpg","纵26厘米，横33厘米",[],{"id":61345,"slug":61346,"title":15779,"dynasty":76,"author":997,"museum":20,"description":15780,"tags":61347,"thumbUrl":61348,"material":770,"size":15784,"collection":139,"collections":61349,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":94},233779,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233779",[24,29,7,177,178,212,176,109,34,989,3562,108,1241,1273],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08499dfe7a18b26f6177db834ea5c8ca.jpg",[],{"id":61351,"slug":61352,"title":61353,"dynasty":302,"author":17434,"museum":316,"description":61354,"tags":61355,"thumbUrl":61356,"material":3146,"size":61357,"collection":139,"collections":61358,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},233700,"shan-ju-shuo-ting-tu-ye-tang-di-233700","山居说听图页","《山居说听图页》绘山水之景，远处山峦起伏，近处山石陡峭，树木苍翠；山脚下凉亭数间，亭内两人对坐饮茶，一童子执长扇一边伺侯；亭前溪水流淌，泛起层层水纹。唐棣（1296-1364年)，字子华，号遁斋,祖籍今浙江杭州，因先世在吴兴做官，迁徙今浙江湖州。唐棣父唐清，元初赠承务郎，任归安县令。唐棣幼聪颖好学，文思敏慧，能诗善画，有“奇童”之称，为赵孟頫、马煦赏识，弱冠时便拜赵孟頫为师，常出入赵府，交往益深，不久马煦升为刑部尚书，遂携唐棣至京，延佑初进荐仁宗，以绘画侍奉宫廷，在嘉熙殿画屏风“挥洒立就，天子称赏”，待诏集贤院，因而有机会遍览历代书法名画。此时赵孟頫也奉召至京，任翰林侍读学士。唐棣在朝廷中与文臣交往，诗文、书画得到虞集、偈傒斯、赵孟頫指授，技艺更趋成熟。元文宗天历二年应诏在南京龙翔寺绘制画壁，至顺四年第二次北上大都，奉诏在宫廷作画。在郴州、处州、江阴、嘉兴、休宁、兰溪州、吴江等地均做过官，有政绩。工山水，近学赵孟頫，远师李成、郭熙，亦工诗文，晚年返乡埋头读书作画，生活较凄苦。",[24,25,6083,7,29,378,176,35,109,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F967792a94d3373becb0b178e35ab2182.jpg","纵24厘米，横24.8厘米",[],{"id":61360,"slug":61361,"title":61362,"dynasty":18,"author":257,"museum":20,"description":46174,"tags":61363,"thumbUrl":61364,"material":40,"size":61365,"collection":139,"collections":61366,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},233456,"xie-sheng-cao-chong-tu-ye-yi-ming-233456","写生草虫图页",[24,194,25,81,28,7,83,483,264,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6cddca671bbcf7d7f148320861277a43.jpg","纵25.9厘米，横26.9厘米",[],{"id":61368,"slug":61369,"title":16624,"dynasty":76,"author":7863,"museum":20,"description":16625,"tags":61370,"thumbUrl":61371,"material":16628,"size":16629,"collection":139,"collections":61372,"showCount":751,"zanCount":2368,"manualWeight":48,"mainColor":94},233391,"shan-shui-ren-wu-ce-jin-nong-233391",[24,25,81,7,136,107,106,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17ee01c8657aec74e994e0a3b9597cea.jpg",[],{"id":61374,"slug":61375,"title":61376,"dynasty":18,"author":257,"museum":20,"description":61377,"tags":61378,"thumbUrl":61379,"material":67,"size":61380,"collection":139,"collections":61381,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},233206,"chi-shi-cheng-yang-tu-ye-yi-ming-233206","叱石成羊图页","叱石为羊，事本晋葛洪《神仙传·黄初平》：“黄初平者，丹溪人也。年十五，家使牧羊。有道士见其有良谨，便将至金华山石室中，四十余年，不复念家。其兄初起，行山寻索初平，历年不得。后见市中有一道士初起召问之曰：‘吾有弟名初平，因令牧羊，失之四十余年，莫知生死所在，愿道君为占之。’道士曰：‘金华山中，有一牧羊儿姓黄，字初平，是卿弟非疑。’初起闻之。即随道士去求弟，遂得相见，悲喜语毕，问初平羊何在，曰：‘近在山东耳。’初起往视之不见，但见白石而还。谓初平曰：‘山东无羊也。’初平曰：‘羊在耳，兄但自不见之。’初平与初起俱往看之。初平乃叱曰：‘羊起!’于是白石皆变为羊数万头。”",[24,25,81,28,7,106,6162,378,176,746],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f511db52d3d4cb1ab54c232c6ad6ab1.jpg","77.81x68.14cm",[],{"id":61383,"slug":61384,"title":61385,"dynasty":302,"author":6965,"museum":20,"description":61386,"tags":61387,"thumbUrl":61388,"material":67,"size":61389,"collection":139,"collections":61390,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},233201,"qiu-lin-yuan-xiu-tu-ye-zhao-yong-233201","秋林远岫图页","赵武灵王（约公元前340年—前295年），中国战国中后期赵国君主，嬴姓，赵氏，名雍。（先秦时期男子称氏不称姓，故当称为赵雍，不叫嬴雍。）赵武灵王在位时，推行的“胡服骑射”政策，赵国因而得以强盛，灭中山国，败林胡、楼烦二族，辟云中、雁门、代三郡，并修筑了“赵长城”。武灵王本人在前296年的沙丘之乱中被幽禁饿死，谥号为武灵王（“灵”为贬义谥号，表示“乱而不损”，赵国君主称王，自武灵王谥号始）。",[24,25,194,6083,1260,173,7,177,29,1353,353,1169,230,245,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b7e5b742b617c523f43b90f6a163971.jpg","68X77cm",[],{"id":61392,"slug":61393,"title":61394,"dynasty":76,"author":6641,"museum":78,"description":6642,"tags":61395,"thumbUrl":61396,"material":638,"size":139,"collection":139,"collections":61397,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":94},233190,"hua-hui-ce-shui-xian-ling-shi-ye-zhao-zhi-qian-233190","花卉册-水仙灵石页",[24,25,81,7,83,898,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed7825bfffeca2cb0f0b8420821bb54d.jpg",[],{"id":61399,"slug":61400,"title":61401,"dynasty":302,"author":257,"museum":61402,"description":61403,"tags":61404,"thumbUrl":61408,"material":638,"size":61409,"collection":139,"collections":61410,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},232804,"xi-luan-cong-xiao-tu-juan-yi-ming-232804","溪峦丛笑图卷","芝加哥艺术博物馆","以全景长卷铺展乡野嬉游盛景，浅溪漾波晕开两岸烟火。左畔村姑骑牛安坐，身侧稚童相随嬉闹；溪水中赤身孩童或逐犬泅水，或呼伴作乐，村人潮间呼喝相和，憨态尽显。右岸坡上乡老士人驻足笑望，眉眼舒展满是欣然。\n\n画师以淡墨晕染溪山底色，铁线白描勾勒身形，将众生欢悦鲜活尽数铺陈，无庙堂端肃，唯存乡野间的自在热络，将村野里乐天肆意的日常意趣定格绢素，尽显民间生活的淳朴真淳。",[23,24,26,7,173,28,106,2385,61405,151,109,34,686,61406,3884,26354,10209,61407],"成人","溪岸","水中活动","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62ae0bc4fce28f14af3c4a14d32f99bc.jpg","29x130cm",[],{"id":61412,"slug":61413,"title":61414,"dynasty":76,"author":17997,"museum":223,"description":61415,"tags":61416,"thumbUrl":61417,"material":638,"size":61418,"collection":139,"collections":61419,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":94},232675,"shan-shui-tu-qing-shan-gu-dao-wang-yuan-qi-232675","山水图(青山古道)","丁巳为康熙十六年（1677年），王原祁时年三十六岁。册前王时敏款署西庐八十七老人题，应为康熙十七年（1678年）所题，即王原祁创作该册后的次年所书。以丁巳下推至庚午，不足十五年，而自跋中今阅十五年，当是王原祁笔误。\n画前副页有王时敏隶书灵心自悟四大字。画册后跋纸为王原祁自题：此余丁巳春间往云间笔也。先奉常见之谓余为'可教'，题识四字。个阅十五年矣，于古人笔墨终未梦见，殊愧先大父指授，为之泫然。康熙庚午长夏观于毘陵舟次谨题，原祁。钤原祁之印（白文）、麓台（朱文）、兴与烟霞会（白文），画册首副页，尾纸只有庞元济藏印11方。\n该册仿古山水，是王原祁早期绘画的代表作品。所仿元六家山水各具形貌，笔墨或设色又颇具苍润、恬淡、秀丽等不同特点，所以王时敏以灵心自悟夸赞其孙王原祁在仿古的同时，边学习古人的画法，同时又寻求开创个人独特艺术特点的创作方向。该册是研究工原祁早期绘画的宝贵材料。\n王原祁为王派山水的小字辈，后来居上。他得益于乃祖王时敏的亲授从而间接吸收营养于董其昌的艺术和思想，无疑具有功力派和灵性派两类画人的资质。在此图册的第4开上，王原祁钤盖“西庐后人”白文印，以表明自己的身份。\n王原祁在吸收南宗诸大师的画艺，特别是黄公望的长处上更见功力。其画以笔墨论，处处见笔、处处有形、处处得意、处处显情，而又浑然一片，气脉贯连。他在淡墨积笔上有独到的把握，淡墨入画虽易见活气但极难苍厚，层层覆笔又易失之于浊，王原祁以淡墨作山石，或勾线以立形，或横笔以辅面，干笔皴擦，湿笔堆点，层层见笔，层层浑合，苍古厚润兼之以“毛”、“涩”，相交生发而神采愈显。此图册的第10开王原祁钤盖“苍润”朱文葫芦印，显示了自己的审美趣味。实际上，王原祁的这枚“苍润”闲章，刻了多方，不同的型制，于30余岁就已使用，沿用一生，充分体现出王原祁的绘画美学趣味，而其绘画本色也与“苍润”之实质十分符合。",[24,25,226,7,29,176,34,1049,178,212,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faec42a1201b6359b7b747022555c207d.jpg","80.4x43.5cm",[],{"id":61421,"slug":61422,"title":61423,"dynasty":18,"author":7833,"museum":12886,"description":61424,"tags":61425,"thumbUrl":61426,"material":500,"size":61427,"collection":139,"collections":61428,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":94},232595,"da-da-shou-lie-tu-juan-chen-ju-zhong-232595","鞑靼狩猎图卷","图绘早期少数民族狩猎的场景。陈居中，生卒年不详，南宋画家，宁宗嘉泰间（公元1201－1204年）任画院待诏。笔墨精致，色彩艳丽，形象准确，神情生动逼真。擅人物、蕃马、走兽等，作品多描绘西北少数民族生活情态及鞍马，多表现社会混乱、民族矛盾给人们带来的离别痛楚。其山羊走兽等亦富有情趣。有《文姬归汉图》、《四羊图》等传世作品。",[23,24,25,26,28,7,106,150,746,29,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6f998cad5ff4a67c13137dc8f8c858a.jpg","30.4cm×549.6cm",[],{"id":61430,"slug":61431,"title":61432,"dynasty":76,"author":12690,"museum":20,"description":61433,"tags":61434,"thumbUrl":61435,"material":638,"size":61436,"collection":139,"collections":61437,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":94},231886,"zhong-qiu-hua-tu-yu-sheng-231886","种秋花图","该画为全景式构图，表现课童种秋花的情景。画心上半部以远山和绿树表现出秋高气爽的时节，下半部重点突出了此画的主题——种秋花。庭院中，有的童子在房前空地处种植，有的给种好的秋卉培土、浇水。画中秋卉缤纷，蜂蝶两三萦绕篱径。整幅画面生动活泼，色彩妍丽，悦人眼目，表现出太平盛世人们安居乐业的惬意生活。",[23,24,7,28,106,34,84,176,35,115,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbdd685cefc1d1ead85b247370e33108.jpg","纵165.8厘米，横93.7厘米",[],{"id":61439,"slug":61440,"title":61441,"dynasty":256,"author":59546,"museum":316,"description":59547,"tags":61442,"thumbUrl":61443,"material":599,"size":600,"collection":139,"collections":61444,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":94},231790,"ming-qing-ri-ben-gu-hua-fen-ben-shan-shui-juan-he-guo-xiao-zhai-231790","明清日本古画粉本-山水卷",[23,24,26,173,7,29,30,37,34,380,2562,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d12f5d72d96918e6b40bcf86252f60d.jpg",[],{"id":61446,"slug":61447,"title":61448,"dynasty":256,"author":61449,"museum":316,"description":43219,"tags":61450,"thumbUrl":61452,"material":599,"size":600,"collection":139,"collections":61453,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},231753,"mu-ma-tu-ping-feng-di-yi-ping-zhang-gu-chuan-deng-bo-231753","牧马图屏风第一屏","长谷川等伯",[23,24,25,279,7,28,150,106,378,685,912,262,61451],"牧马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29ae7c460b8c7fa4288de97a20837dfb.jpg",[],{"id":61455,"slug":61456,"title":61457,"dynasty":256,"author":61458,"museum":316,"description":61459,"tags":61460,"thumbUrl":61461,"material":599,"size":600,"collection":139,"collections":61462,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},231742,"an-tu-tao-shan-shi-dai-hua-xia-you-le-tu-ping-feng-di-er-ping-shou-ye-zhang-xin-231742","安土桃山时代 花下游乐图屏风-第二屏","狩野长信","狩野長信（KanōNaganobu）是狩野派的日本畫家。狩野長信是狩野派狩野狩野的最小的兄弟。長信為京都的朝廷（包括御所）完成了許多委託，並創辦了自己的狩野派。在德川幕府統一控制該國並在那裡建立政府時，他是首位從京都移居江戶的主要畫師。",[23,194,24,25,226,7,28,177,83,176,227,62,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31dcbd30fdf392e7be2c5ed69db9ae9a.jpg",[],{"id":61464,"slug":61465,"title":61466,"dynasty":256,"author":44415,"museum":316,"description":44416,"tags":61467,"thumbUrl":61468,"material":599,"size":600,"collection":139,"collections":61469,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":94},231740,"an-tu-tao-shan-shi-dai-qin-qi-shu-hua-tu-ping-feng-di-er-ping-hai-bei-you-song-231740","安土桃山时代 琴棋书画图屏风第二屏",[23,24,226,173,7,29,230,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86678861db0d7126fe8de6b1c0631142.jpg",[],{"id":61471,"slug":61472,"title":61473,"dynasty":256,"author":257,"museum":316,"description":61474,"tags":61475,"thumbUrl":61476,"material":599,"size":600,"collection":139,"collections":61477,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":94},231708,"lian-cang-shi-dai-yin-fan-tang-yao-shi-yuan-qi-hua-juan-yi-ming-231708","镰仓时代 因幡堂药师缘起画卷","此卷以长卷铺陈起承转合，开篇池畔官邸廊桥萦回，士人往来水榭，尽显中古贵族日常的闲雅意趣。中段笔锋一转，山石林莽间骑队驰驱，人马错落间带出杀伐行旅的肃杀张力。末段复归静谧山门与深宅，还原仪礼日常。\n\n淡墨勾勒间晕染红褐屋瓦，线描柔劲兼具，古雅底色斑驳厚重。随行文书与画面相映成趣，将信仰缘起与世俗叙事揉为一体，尽展中古绘卷叙事与审美融合的独特韵味。",[23,24,25,26,7,28,104,106,107,150,29,34,35,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8500d26c5220b3230efe9d4238175c7f.jpg",[],{"id":61479,"slug":61480,"title":61481,"dynasty":256,"author":257,"museum":316,"description":61482,"tags":61483,"thumbUrl":61484,"material":139,"size":139,"collection":139,"collections":61485,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},231650,"mu-gui-tu-li-zhou-yi-ming-231650","牧归图立轴","这幅《归牧图》刻画细致生动，人、牛形神毕具",[23,24,25,194,226,7,28,177,151,106,1241,29,230,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc63ecd8f1f45323c17e46719497b70e4.jpg",[],{"id":61487,"slug":61488,"title":61489,"dynasty":256,"author":61490,"museum":316,"description":61491,"tags":61492,"thumbUrl":61493,"material":599,"size":600,"collection":139,"collections":61494,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":94},231607,"ju-zhen-hua-pu-shang-zhong-xia-ce-zhong-shou-ye-tan-you-231607","聚珍画谱.上中下册（中）","狩野探幽","狩野探幽（1602～1674），京都人，原名守信，狩野永德之孙，孝信长子，狩野派代表画家。",[24,25,83,7,81,84,635,484,483,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73e3f10043cd6901a649d6153921c292.jpg",[],{"id":61496,"slug":61497,"title":61498,"dynasty":18,"author":1599,"museum":191,"description":61499,"tags":61500,"thumbUrl":61501,"material":61502,"size":19432,"collection":139,"collections":61503,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},231410,"luo-han-tu-er-liu-song-nian-231410","罗汉图（二）","台北故宫藏画中，有三幅刘松年画罗汉，每幅都款署开禧丁卯（1207）刘松年画，此轴即为其中之一。幅中罗汉浓眉高鼻，貌若印度高僧，身著右袒式袈裟，倚树沈思。身侧随侍的和尚以衣袂承接树上长臂猿所摘之石榴，身前尚有二鹿仰观，画面生动。此罗汉脸上满布皱纹，双眉蹙起，神情专注，栩栩如生。全作用笔变化多端，衣纹流畅罗汉头後的圆光，及三树枝柯掩映，层次分明。全画敷色妍丽，繁缛精美，皆臻绝纱。\n隋唐以来，不少画家画过《罗汉图》，宋代更为盛行。画《罗汉图》不是用以供奉礼拜，而是为了赏玩，是把宗教题材世俗化，可以说，这是中国绘画史上的一大变迁。\n罗汉像多是耳戴金环，丰颐悬额，隆鼻深目，长眉密髯，服装与配饰具有异域色彩。五代之后，中国画家吸取我国传统人物画风格来画罗汉像，使具有宗教色彩的罗汉中国化。唐代禅宗兴起，主张顿悟，见性成佛，认为世间万物本身自有佛性。禅宗认为，自然界的山川河流、草木花鸟、风雨雷电和人世间百般实相都可以参禅，成为顿悟佛性的机缘。刘松年的这幅《罗汉图》(见图)又名《猿猴献果图》，绢本设色，纵117.2厘米，横56厘米，现存台北“故宫博物院”。他创作此幅《罗汉图》正是受禅宗思想的影响，把佛教壁画中守护在菩萨身边的罗汉，变成游山玩水的世俗僧人。图中前面是一棵历尽沧桑的枯树，树干由下而上呈“s”型，枯树叶已脱尽，只剩下遍体的嶙峋与凌乱的树权。后面是一株枝叶茂盛的阔叶大树，两树中间夹着结满果实的小树。画中的罗汉双手相交，趴伏在一横斜树枝上，深情地注视着面前两只温顺的小鹿，表情亲切、温和，流露出世俗的欢乐。罗汉的头部造型准确，虽与全身相比略显大些，但五官刻画细致，具有神韵。树上的两只猿猴居高临下，形态生动、活泼，正在摘熟透的果子。树下一清秀文雅的小和尚双袖合抱去接其中一只猿猴扔下的果子，一只小鹿仰头观望。这种极富生活情趣的描写，不仅表现了人与自然相依相存的亲密关系，也淡化了作品的宗教气氛。\n此画风格属于刘松年工整细润一路，是他晚年成熟的作品。画中人物用铁线描绘而成，线条流畅有力。服饰与面部均刻画得极其精细，用笔沉着稳健，神形兼备。画中罗汉与小和尚的僧袍色彩在多样变化中求得协调和统一，树木与山石注重写实。特别是树石的用笔，勾勒与皴擦，墨色浓淡相间，充分表现出了树干与山石的坚硬质感与体积感。枯树满身结疤和苍老坚硬的枝条与后面一棵枝叶浓密的树形成强烈对照，表现出了大自然所蕴涵的无限生机。浓密的枯枝与树叶衬托出疏朗的人物，形成疏密的对比，使人物形象在画中十分突出。此幅作品称得上是山水画和人物画完美结合的成功之作。\n这幅《罗汉图》虽然取自佛教题材，实际上已有着明显的世俗化的倾向。在意境表现上，画家通过对山石树木等自然景物的精心布置和渲染，营造出一个草木丰茂、秋清气爽、山果飘香的画境。罗汉与小和尚置身其境，神情悠然自得，营造了人与自然、人与动物之间互相依存的祥和气氛。\n另外，这幅《罗汉图》在艺术处理上吸取了佛教壁画在佛像头部画上佛光的方法，其表现手法是十分高超的。罗汉头像的佛光就如聚光灯一般，如雾如纱。朦胧中一组树枝隐约可见，使画面的虚实对比更加强烈。",[24,25,226,913,28,7,260,106,279,264,7438,23767,409,280],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33bad5af550efbba55abfcfb88b17f3e.jpg","绢本设色画",[],{"id":61505,"slug":61506,"title":61507,"dynasty":18,"author":7992,"museum":316,"description":61508,"tags":61509,"thumbUrl":61510,"material":599,"size":600,"collection":139,"collections":61511,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},231042,"pi-pa-yuan-xi-tu-yi-yuan-ji-231042","枇杷猿戏图","该画描述了一株枇杷树，干身扭曲，从石後横斜出了画面，又一枝干自上方角落窜进画中，这样的干身，笔墨虽不相连，意却相牵，但觉画外有画，这是作者在构思这幅画作时，别出心裁之处。",[24,194,25,2003,28,7,226,17563,10516,34,176,1036],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b53e0257dfb4e9133f98235b397650b.jpg",[],{"id":61513,"slug":61514,"title":2413,"dynasty":76,"author":7596,"museum":316,"description":61515,"tags":61516,"thumbUrl":61517,"material":139,"size":139,"collection":139,"collections":61518,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":801},230959,"jiang-shan-qiu-se-tu-wang-hui-230959","此作开合有度，近景流泉穿林而过，丹枫缀枝暗染秋意，山居幽舍藏于崖畔林樾之中，野趣悠然。中层平湖如镜，远山澹澹含烟，铺展出清旷秋山的辽远意境。\n\n笔墨枯润相生，以干笔皴擦写山石肌理，湿笔晕染出山岚空濛，披麻皴裹挟解索皴带出苍浑质感，兼得宋元山水的古雅厚重，又透出灵动秀逸之气。将秋山萧疏清寂与幽居之冶融为一体，师古而不泥古，把秋江林泉的静穆与生机娓娓铺陈，尽显寄兴林泉的文人意韵。",[24,173,177,7,29,108,109,176,34,1426,175,212,6711],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43cf446816c3e98846bde399ef42c87e.jpg",[],{"id":61520,"slug":61521,"title":61522,"dynasty":76,"author":61523,"museum":316,"description":61524,"tags":61525,"thumbUrl":61526,"material":139,"size":139,"collection":139,"collections":61527,"showCount":751,"zanCount":2368,"manualWeight":48,"mainColor":49},230895,"qiu-lin-yi-ju-tu-lan-meng-230895","秋林逸居图","蓝孟","《秋林逸居图》是中国清代画家 的国画作品。\n该画为立轴绢本，纵217.米，横68.厘米现藏于旅顺博物馆。\n蓝孟，生卒年不详，清代画家。\n字次公、亦舆，又字鸾，钱塘(今浙江杭州)人。\n著名画家蓝瑛之子。\n善画山水，师法宋元诸家。\n笔法疏秀，能传家法。\n约活动于顺治至康熙年间。\n《秋林逸居图》以鸟瞰手法写山水，具有立体感和空间感。\n山石多作矶头，磊落灵秀，树法朴拙，高拔劲挺，与山势相协调，村舍有曲径板桥可通，益增纵深感，溪边碎石大小相间，颇多奇趣，可谓匠心独运。\n全图笔墨苍润，一气呵成，是一幅丰富多彩的小青绿山水佳作。",[23,24,25,226,173,7,28,177,29,10677,35,34,176,108,109,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7bd02babbd73a0bb4302e9b8ccc3806.jpg",[],{"id":61529,"slug":61530,"title":61531,"dynasty":76,"author":7596,"museum":316,"description":61532,"tags":61533,"thumbUrl":61534,"material":139,"size":139,"collection":139,"collections":61535,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":94},230851,"lu-cun-gao-yi-tu-wang-hui-230851","麓村高逸图","画面以平远之法铺展幽居盛景，近处方林下，高士安坐，侍童静立旁侧，溪桥丹顶鹤独立顾盼。芭蕉修竹环合掩映，屋舍隐于烟林，远景以淡墨晕染，水雾空濛，将江南丘壑的温润清寂尽数铺陈。\n画作兼工带写，设色浅雅柔润，笔致秀逸灵和，把林下高逸散淡的襟怀融在咫尺山水间，环周题跋与画意呼应，书画合璧，尽显文人雅流出世的襟抱，悠悠林下风致扑面而来。",[23,24,7,29,106,3712,611,60,34,109,176,76,26,28,173,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfb7e72fa79915f2446b59af3c56c8c6.jpg",[],{"id":61537,"slug":61538,"title":61539,"dynasty":189,"author":22067,"museum":316,"description":61540,"tags":61541,"thumbUrl":61542,"material":599,"size":600,"collection":139,"collections":61543,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":94},230844,"huo-lu-tu-juan-li-zan-hua-230844","获鹿图卷","耶律倍（899年—937年1月11日），又名耶律突欲，赐名李赞华，是辽太祖耶律阿保机的长子，辽太宗耶律德光的长兄，辽世宗耶律阮的父亲。\n自幼聪颖好学，深得耶律阿保机的喜爱和器重，916年被立为皇太子。926年，封为东丹国王、称“人皇王”。926年太祖病逝后，耶律德光继位为帝。天显三年（928年）东丹国南迁，升东平为南京。同时耶律德光对耶律倍施以控制和监视。930年耶律倍弃国投奔后唐。936年后唐发生政变，耶律倍遇害，葬显陵。\n947年，耶律德光去世。耶律倍长子耶律阮最终夺回了皇位，追谥耶律倍为让国皇帝，庙号义宗。",[23,194,24,25,26,7,28,106,150,746,178,18387,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74c78c4635306e17df9bb76f00a59baf.jpg",[],{"id":61545,"slug":61546,"title":61547,"dynasty":256,"author":257,"museum":316,"description":61548,"tags":61549,"thumbUrl":61550,"material":599,"size":600,"collection":139,"collections":61551,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},230545,"shi-ting-shi-dai-bang-song-tu-ping-feng-di-er-ping-yi-ming-230545","室町时代 浜松图屏风-第二屏","苍劲古松盘虬扎根沙洲，枝干舒展如翠盖层叠，松下茅舍掩映，渔樵往来于烟波之间，晕染出悠然野逸的山居意趣。层叠浪涛带着灵动韵律，将画面割裂又串联，近岸石畔姹紫花卉葳蕤盛放，野禽栖于苔石，生机盎然。金箔底色晕开朦胧柔美的氛围感，将俗世渔樵烟火与林下幽情相融，把四时生机与闲静禅意揉为一处，尽显和风绘卷温润雅致的侘寂之美，藏着东方古典里独有的悠然意境。",[23,7,20148,28,29,83,1273,353,3041,109,174,106,989,245,947,20177,176,8381],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8426675663adcf6258597ace11c316e8.jpg",[],{"id":61553,"slug":61554,"title":61555,"dynasty":256,"author":257,"museum":316,"description":61556,"tags":61557,"thumbUrl":61558,"material":599,"size":600,"collection":139,"collections":61559,"showCount":751,"zanCount":2368,"manualWeight":48,"mainColor":94},230529,"gu-hua-mo-ben-ma-yuan-deng-tu-juan-yi-ming-230529","古画模本(马远等图卷)","此作绘折枝白牡丹，以浅设色工笔写就。花瓣以淡墨轻勾轮廓，留白晕染出莹润肌理，层叠舒展如堆雪凝霜，将白花清贵柔雅的姿态尽显。叶片以青绿晕染，深浅过渡自然鲜活，枝叶偃仰有态，衬得牡丹愈发冰洁脱俗。\n\n画面取折枝一角取景，简淡清雅，无繁复铺陈，以极简笔墨烘托出牡丹自带的端方贵气，尽显院体花鸟的雅致意趣。勾勒晕染可见细腻功力，于素净底色里藏着幽隽诗意，淡远之中尽显传统花鸟写生的精妙意韵。",[23,24,26,83,28,7,292,212,105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bcf111fbb76a851ceea6d4d8ac6220c.jpg",[],{"id":61561,"slug":61562,"title":61563,"dynasty":76,"author":61564,"museum":316,"description":61565,"tags":61566,"thumbUrl":61567,"material":599,"size":600,"collection":139,"collections":61568,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},230360,"zhang-guo-lao-huan-lv-tu-ce-ye-yin-qi-230360","张果老幻驴图册页","殷奇","字云生，江西石城人。善人物、山水，笔气文秀，烘染设色，俱法北宗笔法。",[24,25,81,352,173,7,106,6927],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F618fd5d61f2989656f94e86fc34ea545.jpg",[],{"id":61570,"slug":61571,"title":61572,"dynasty":76,"author":12690,"museum":316,"description":39425,"tags":61573,"thumbUrl":61574,"material":599,"size":600,"collection":139,"collections":61575,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":94},230214,"hua-hai-xi-ji-hui-ce-yu-sheng-230214","画海西集卉册",[24,25,81,7,28,83,230,947,3074,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89bd37e09a286a4c51cbf60bdd3607ac.jpg",[],{"id":61577,"slug":61578,"title":61579,"dynasty":76,"author":257,"museum":316,"description":51702,"tags":61580,"thumbUrl":61581,"material":599,"size":600,"collection":139,"collections":61582,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},229105,"fen-cai-huang-di-mei-que-wen-wan-yi-ming-229105","粉彩黄地梅鹊纹碗",[320,22953,12818,7,28,83,820,9796,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a43da2647b3bd13e97a9ad5f3bed845.jpg",[],{"id":61584,"slug":61585,"title":61586,"dynasty":76,"author":997,"museum":316,"description":37201,"tags":61587,"thumbUrl":61588,"material":139,"size":139,"collection":139,"collections":61589,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":94},229002,"tao-yuan-ming-shi-yi-tu-shi-tao-229002","陶渊明诗意图",[24,25,81,7,29,178,86,212,177,37203,989,34,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd852bf65fd37c1462cfb4617891b0385.jpg",[],{"id":61591,"slug":61592,"title":61593,"dynasty":99,"author":257,"museum":316,"description":61594,"tags":61595,"thumbUrl":61596,"material":599,"size":600,"collection":139,"collections":61597,"showCount":751,"zanCount":2368,"manualWeight":48,"mainColor":49},228805,"luo-han-xiang-long-tu-yi-ming-228805","罗汉降龙图","画面高远错落，祥云缭绕出清寂禅意。红袍虬髯的罗汉怒目圆睁，正施法定住惊涛中翻腾的蛟龙，鳞爪张舞的蛟龙满是桀骜，与罗汉的沉凝威势碰撞出强烈张力。上方禅坐的尊者宝相安然，将下方的奔波动势收束于静谧禅机之内。\n\n周遭僧众神态各异，或垂目静思，或注目凝神，层层烘托出伏魔场面的庄严肃穆。石青朱砂的古雅敷色，晕染出佛绘特有的厚重威仪，细腻笔触将人物神态、蛟龙肌理刻画入微，把禅门降伏神通的玄妙意境铺陈开来，尽显工笔佛画的精湛造诣。",[23,24,25,860,260,28,7,106,406,176,109,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e7b08be8a42e4de886d90750e888424.jpg",[],{"id":61599,"slug":61600,"title":61601,"dynasty":99,"author":257,"museum":316,"description":61602,"tags":61603,"thumbUrl":61606,"material":139,"size":139,"collection":139,"collections":61607,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},228778,"xian-ren-guo-hai-tu-yi-ming-228778","仙人过海图","画面绘两位仙人踏浪而行，左侧仙人虬髯光头，身披蓑草，双手捧持仙盏神态恭谨，身形桀骜野逸。右侧老者鹤发童颜，宽袍广袖，抬手作指点状，道骨仙风悠然自若。\n作者以刚柔相济的铁线勾勒衣纹，笔墨苍劲古拙，绢本底色晕染出沉雅古旧的质感。云水以曲线层叠铺陈，晕染出朦胧烟波，烘托出踏波而行的缥缈仙意。二人一动一静，神态相映，将仙家渡海的悠然清旷尽显笔端，尽显古雅飘逸的仙道逸趣。",[23,24,25,226,28,7,106,3041,12846,260,14097,860,14427,6170,61604,61605],"道教题材","海浪纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F435e9e93246d4faa17ab0f80984af411.jpg",[],{"id":61609,"slug":61610,"title":61611,"dynasty":99,"author":39547,"museum":316,"description":61612,"tags":61613,"thumbUrl":61614,"material":139,"size":139,"collection":139,"collections":61615,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},228387,"peng-lai-xian-yi-tu-juan-1-leng-qian-228387","蓬莱仙奕图卷-1","《蓬莱仙弈图》一图由明代 所绘 手卷，著录于《石渠宝笈三编》，有文征明题跋与文彭题引首，为仇英青绿山水的典型画风。\n1. 题跋。\n2. 题引首。\n. 梁清标、梁清寯、清内府递藏。\n图1中描绘池塘边敞轩水榭，绿柳掩映，塘中莲花片片，碧水微波。\n水榭中二高士对坐 ，全神贯注，另有一人侧卧床榻，一手支颐；又有三仕女，一执扇，一伏案，一取水，整幅意境悠闲雅淡。\n作品结构严整，层次清晰，布局有序，人物虽小但刻画精细，位置突出，反映出画家在驾驭复杂场景、安排主从次序方面精深的造诣。\n此图用大青绿设色，细劲的线条勾勒轮廓，浓艳的石青石绿渲染山石，追求色调的和谐，在宗法南宋青绿山水大家赵伯驹的基础上有所变化，是仇英青绿山水的典型画风。\n此件《蓬莱仙弈图》著录于《石渠宝笈三编》，有文徵明题跋与文彭题引首。\n将这幅画与北京故宫藏的一幅南宋团扇《荷亭对弈图》相比较可以发现，此图在图式、母题上与团扇有着惊人的相似之处，最大的区别只是把团扇改成了长卷，另外增加了其他画面中的母题和构图。\n而它与美国华盛顿弗利尔美术馆所藏的冷谦的《蓬莱仙弈》在构图、母题上也毫无二致。\n明代王鏊（145—1524）在《震泽长语》中首次收录了《蓬莱仙弈图》及 的仙化故事。\n“蓬莱”与“仙弈”是道教意象明显的神仙题材，在明代皇帝崇尚道教最鼎盛的嘉靖年间，凡人可成仙的观念已经凭借《蓬莱仙弈图》与多个摹本的传播而深入人心。\n作为民间职业画家的仇英绘制此一题材长卷，也深受当时社会思想风潮的影响。\n“高柳迎风，小亭临水，二人对弈，一人卧观，仕女三，一捧桃，一持扇，一盥于池，童子二，一捧瓶花，一扫地，款十洲仇英模，钤印一十洲。\n后幅题跋十洲仇子于诸画家无所不学，亦无所不似。\n此仙弈图效赵千里笔法，尤为逼真，乃未及三十时为吴文定公所作，正其卧王蒙于纸上，坐徐偃于笔端时也。\n观者可想见其临池之勤矣。\n长洲文徵明，题时丙辰七月五日。\n钤印二徵明。\n……”",[24,25,26,7,27,29,34,230,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f83116d1482be85f63c5b6bf0eda143.jpg",[],{"id":61617,"slug":61618,"title":15156,"dynasty":99,"author":20061,"museum":316,"description":61619,"tags":61620,"thumbUrl":61621,"material":139,"size":139,"collection":139,"collections":61622,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},228355,"luo-han-tu-song-xu-228355","此作用笔清隽沉稳，设色古雅柔和。主尊罗汉安坐岩穴，面含静穆，紫衣禅袍衣褶层叠凝练，抬手垂臂间自有出尘悠然气度。身前小沙弥身披朱红衲衣，俯身低首，以恭谨姿态衬得主尊静定庄严。背景枯木虬枝盘绕，苔点错落晕染出林麓荒寂，浅赭绢色晕染出幽谧山野氛围。画面以简淡笔触晕开禅意，将佛门清寂安然的林下修行之景，铺陈得静谧悠长，尽显平和冲淡的禅画意趣。",[23,24,25,860,260,106,7,230,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8bb748de064a314fbc717671321fa39.jpg",[],{"id":61624,"slug":61625,"title":61626,"dynasty":99,"author":20061,"museum":316,"description":61627,"tags":61628,"thumbUrl":61629,"material":139,"size":139,"collection":139,"collections":61630,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":94},228354,"hu-zhou-shi-ba-jing-bi-lang-hu-song-xu-228354","湖州十八景－碧浪湖","近景湖心石渚之上，七层浮屠卓然挺立，飞檐层叠错落，宝顶凌云。烟波里扁舟轻摇，水鸟掠波而过，漾开细碎涟漪。左侧崖壁巉岩嶙峋，林木层叠点染，山道间行人如蚁，衬出丘壑的阔远深邃。\n\n远景沙汀逶迤，楼阁隐现于浅赭山峦间，淡墨晕染的远山融于烟岚之中，晕开空濛天色。画作以浅绛设色，笔墨苍秀简逸，写意中兼具工致，既带着文人画的清雅意趣，又细致摹写出水岸林峦的错落层次，将湖山的旷远空濛与烟火生机相融，观之如临其境，尽览湖畔悠然澹远的朝暮意韵。",[23,24,173,7,29,107,174,245,686,34,177,104,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fdc45eb224b944a1ca856e776bdaec7.jpg",[],{"id":61632,"slug":61633,"title":61634,"dynasty":99,"author":17710,"museum":316,"description":61635,"tags":61636,"thumbUrl":61637,"material":139,"size":139,"collection":139,"collections":61638,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":94},228330,"jing-shan-xiao-zhong-tu-ye-qian-gu-228330","荆山晓钟图页","远景山峦以青绿轻晕，烟岚浮动于峰岫之间，晕染出空濛迷蒙的晓色。中景古寺隐于霜林之中，振翅惊飞的鸦群，将无形的晓钟化为可见的灵动画面，暗合钟声穿林、山乡初醒的意境。近野板桥逶迤，行旅徐行，林木枯荣相间，皴笔细劲，淡彩轻敷。\n整幅画作以虚写实，将听觉意象融于视觉画面，清逸雅致的色调晕开拂晓的清冷静谧，把乡山清晨的幽寂灵动尽数铺展，尽显诗意淡远的文人山水意趣。",[23,24,25,81,7,173,29,177,808,37,109,108,107,34,245,175,176,1171,106,353],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7d8940f47b0cc7d935c99acc7d337dc.jpg",[],{"id":61640,"slug":61641,"title":11247,"dynasty":99,"author":857,"museum":316,"description":5856,"tags":61642,"thumbUrl":61643,"material":599,"size":600,"collection":139,"collections":61644,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":94},228301,"hua-niao-jing-pin-ce-chen-hong-shou-228301",[24,25,81,7,28,83,292,228,634,243,898,245,136,745,2181,722],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ab22e59eca769a09ba77829421839ef.jpg",[],{"id":61646,"slug":61647,"title":61648,"dynasty":302,"author":257,"museum":316,"description":61649,"tags":61650,"thumbUrl":61651,"material":139,"size":139,"collection":139,"collections":61652,"showCount":751,"zanCount":2368,"manualWeight":48,"mainColor":49},228217,"quan-ma-tu-yi-ming-228217","犬马图","此作为典型元代鞍马小品，笔墨苍朴古雅，意境萧疏悠然。牵马奚官具胡地风貌，面容写实生动，衣褶简括沉稳，寥寥数笔便将其驯马时的安然神态尽显。所牵老马瘦骨棱棱，却筋骨开张，神骏之态未减，鬃毛细笔勾勒、马蹄晕染细致，将迟暮老马沉郁之姿描摹入微。\n趴卧侧望的细犬身姿矫捷灵动，毛发晕染柔润细腻，与老马的沉迟形成动静对照。淡墨晕染的空寂背景，衬出林下荒疏的氛围，以极简物象烘托出清寂落寞的意韵，于细节处见精妙功力，尽显元代鞍马画重神韵、尚意境的特质。",[24,7,28,106,150,8941,746],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdeff32c1fbb1a90bde90f1345e0e1efc.jpg",[],{"id":61654,"slug":61655,"title":61656,"dynasty":302,"author":257,"museum":316,"description":61657,"tags":61658,"thumbUrl":61659,"material":139,"size":139,"collection":139,"collections":61660,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":94},228188,"fang-li-gong-lin-huo-lang-tu-yi-ming-228188","仿李公麟货郎图","以清隽白描勾勒市肆一隅，货郎担上层层叠叠，诸般玩物吃食错落排布，将巷陌烟火气静静铺展。线条凝练温婉暗合法度，把货郎的劳碌、路人的注目藏在毫锋起落间，将旧时街头鲜活日常凝于绢素之上。清淡笔墨晕开市肆的生动模样，细碎货品暗藏民生的鲜活图景，古雅韵致里满溢着人间烟火的温热，把市井巷陌的鲜活日常定格在绢素中。",[24,25,105,352,7,106,50645,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37f63d9c2b19bc616137c0b88c450cc8.jpg",[],{"id":61662,"slug":61663,"title":61664,"dynasty":302,"author":61665,"museum":316,"description":61666,"tags":61667,"thumbUrl":61668,"material":139,"size":139,"collection":139,"collections":61669,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":94},228176,"xuan-men-shi-zi-tu-hua-zu-li-228176","玄门十子图","华祖立","《玄门十子图卷》是元代画家华祖立、吴炳共同所绘的画作，现收藏于上海博物馆。\n该图根据元赵孟頫《十子图》石刻本和木刻本摹写而成。\n十子为春秋战国时期著名道家人物，再加上老子共十一人。\n这十位分别为尹喜、辛钘（音jian）、庚桑楚、南荣趎（音chu）、尹文、士成绮、崔瞿、柏矩、列御寇（列子）和庄周（庄子）。\n该图所绘十一位人物神情严肃、造型各异、不设背景，其侧书以与之相应的传记。\n技法上，笔法刚劲，描绘人物线条园转秀逸，婉转流畅，设色淡雅，反映了这十一人的仙风道骨。\n华祖立（元代活动于十四世纪），字唐卿，籍贯不详，擅画人物。\n吴炳（元代活动于十四世纪），字彦辉，河南开封人，擅书法。",[23,24,25,26,352,7,106,230,212,55035],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dc04f788d9b54ae5367fa0e9826ee7a.jpg",[],{"id":61671,"slug":61672,"title":50039,"dynasty":302,"author":6965,"museum":316,"description":61673,"tags":61674,"thumbUrl":61675,"material":139,"size":139,"collection":139,"collections":61676,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":2504},228029,"fang-you-tu-zhao-yong-228029","此作以俯瞰视角铺展山林逸景，苍褐主调晕出秋山幽寂氛围，枯木茂林错杂交织，将山居隐于浓荫深处，屋中似有故友晤谈，山径上访客策杖徐行，为深林添了几分温然生机。\n\n笔墨融宋人之丘壑写实与元人之意韵疏淡，皴擦简括浑朴，敷色沉敛古雅，将林下访友的雅事晕染在荒寒深秀的山水间，把文人隔绝尘嚣的林下之思，与访旧晤谈的温情悄然揉合，隐逸静穆的意趣扑面而来，尽显幽淡萧散的文人画致。",[23,24,7,29,177,106,175,34,108,109,1049,1353,353,245,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d375ca9715c4bf281934c0bedd64bd5.jpg",[],{"id":61678,"slug":61679,"title":61680,"dynasty":18,"author":11133,"museum":316,"description":61681,"tags":61682,"thumbUrl":61683,"material":139,"size":139,"collection":139,"collections":61684,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},227975,"yan-cun-qiu-ai-tu-li-an-zhong-227975","烟村秋霭图","这幅画以淡墨轻晕铺就烟霭秋郊，虚实相生间尽显幽远意境。左侧茂林攒聚，细密点染出秋叶苍润的质感，林梢掩映隐约村舍，藏着乡野的静谧烟火。右侧枯木斜倚水岸，孤清萧疏，与左侧的苍林形成疏密对照。\n\n画师以留白晕染烟水空濛，墨色浓淡自然过渡，将暮秋薄霭浮动的氛围感烘托得恰到好处，把秋日郊野的冷寂清旷尽数铺展。带着独有的平和疏淡意趣，将乡野秋日的萧散之美藏在朦胧烟色中，尽显淡远幽微的山水诗意。",[23,194,24,25,29,173,7,177,34,7600,20753,109,795,5218],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2756c4f10a3cf56a3d7eba886bd268cd.jpg",[],{"id":61686,"slug":61687,"title":60691,"dynasty":18,"author":61688,"museum":316,"description":61689,"tags":61690,"thumbUrl":61691,"material":139,"size":139,"collection":139,"collections":61692,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":94},227960,"jiang-ting-lan-sheng-tu-zhu-wei-de-227960","朱惟德","《晋唐宋元书画国宝特集》是22年 出版的图书，作者是上海博物馆编、故宫博物院、 。\n22年，为庆祝上海博物馆成立5周年，由上海博物馆、故宫博物院、 联合举办的《晋唐宋元书画国宝展》在上海博物馆来开帷幕。\n本书集三大博物馆珍藏的国宝级 名迹72件，艺术、文化和史料价值极高。\n晋唐宋元是中国书画艺术史上最辉煌最重要的时期，作为展览的图录， 感录这些赫赫巨迹。\n其中被庋藏于清宫“三希堂”的晋王珣的《行草书伯远帖卷》，有隋展子虔的《游春图卷》，有五代南 唐时期顾闳中的千古杰作《韩熙载夜宴图卷》，还有北宋张择端脍炙人口的《清明上河图》、而王羲之的《行书上虞帖卷》、王献之的《行书鸭头丸帖卷》、欧阳询的《行书仲尼梦奠帖卷》、周昉的《簪花仕女图卷》等等精品，凡72件，引人探赜索隐。\n综观同类出版物，该书有三大特色：首先是入录书画均以原迹摄片电分，采用调频网先进技术印制。\n精密度高，真貌毕现。\n其次是卷册轴页形制齐全，所有作品前题后跋，作首次全面展示。\n三是历代鉴藏印记大都原收录，部分并以X光片摄片图版显示，以供研究。\n晋唐 1、东晋佚名曹娥诔辞卷 2、东晋王珣伯远帖 、东晋 4、东晋王献之鸭头丸帖 5、 6、唐欧阳询仲尼梦奠帖 7、唐虞世南摹兰亭序帖 8、唐孙过庭千字文 9、唐阎立本步图 1、唐韩滉五牛图 11、唐周肪簪花仕女图 12、唐颜真卿湖州帖 1、唐孙位高逸图 14、唐怀表苦荀帖 15、唐杜牧张好好诗 16、唐高闲千字文 17、 五代 两宋 18、五代杨凝式夏热帖 19、 2、五代董源夏景山待渡图 21、 22、五代顾闳中（传）韩熙载夜宴图 2、五代徐熙雪竹图轴 24、 轴 25、北宋李成茂林远岫图 26、北宋欧阳修自书诗文稿 27、北宋司马光宁州帖 28、北宋王安石楞俨经旨要 29、北宋郭熙幽谷图轴 、北宋王诜渔村小雪图 1、北宋王诜烟江叠嶂图 2、北宋蔡襄持书帖 、北宋苏轼答谢民师论文帖 4、北宋黄庭坚小子相帖 5、北宋 6、北宋李公麟韦偃牧放图 7、北宋崔白寒雀图 8、 9、 卷 4、北宋张择端清明上河图 41、金杨微二骏图 42、南宋李唐采薇图 4、南宋赵构养生论卷 44、南宋赵构书马和之画唐风图卷 45、南宋李迪雪树寒食图 46、南宋徐禹功雪中梅竹图等合卷 47、南宋陆游自书诗卷 48、南宋梁楷八高僧图 49、南宋文天祥草书木奚诗序 5、南宋朱惟德江亭揽胜图 51、南宋赵大亨薇亭小憩图 52、南宋李嵩骷髅幻戏图页 5、南宋马麟郊原曳杖图页 54、 元代 55、元代钱选浮玉山居图 56、元代赵孟俯秋兴赋卷 57、元代赵孟俯小村图卷 58、元代鲜于枢韩愈送李愿归盘谷序 59、元代吴镇渔父图 6、元代高克恭春山欲雨图 61、元代赵孟俯洞庭东山图 62、元代黄公望天池石壁图 6、元代任仁发 秋水凫鷖图轴 64、元代李士行竹石图轴 65、元代王冕墨梅图轴 66、元代杨维桢草书七绝诗 67、元代唐棣松荫聚饮图 68、元代王渊竹石集禽图 69、元代倪瓒渔庄秋霁图 7、元代王蒙青卞隐居图 71、元代 72、元代佚名民物熙乐图轴",[23,24,25,1260,7,29,178,5903,1169,1273,3574,33,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72f92e1824fd7136d2cdd1d263bc3b0b.jpg",[],{"id":61694,"slug":61695,"title":7991,"dynasty":18,"author":257,"museum":316,"description":61696,"tags":61697,"thumbUrl":61698,"material":139,"size":139,"collection":139,"collections":61699,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},227899,"yuan-lu-tu-yi-ming-227899","此作上下分景，将灵趣与恬然相融。枝头灵猿身姿轻捷，毛发晕染细腻蓬松，长臂挂于虬枝，正侧目窥望下方，机警灵动之态跃然绢上。地面母鹿抬首回望，幼鹿依偎身侧，躯体线条温婉柔和，满是温驯安然。\n\n淡墨轻色晕染枝叶，舒展自然，岩石皴擦朴拙写实，衬出山林的清寂野趣。工细笔触兼顾写意格调，将猿的机敏与鹿的恬和彼此呼应，把空山一隅的悠然生机静静铺展，尽显对自然生灵的细腻体察与雅致审美。",[194,24,25,7,28,746,10516,2479,378,379],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e67f98101322a96090bdd8e26302696.jpg",[],{"id":61701,"slug":61702,"title":61703,"dynasty":18,"author":257,"museum":316,"description":61704,"tags":61705,"thumbUrl":61706,"material":139,"size":139,"collection":139,"collections":61707,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":94},227863,"chun-shan-xun-mu-tu-yi-ming-227863","春山曛暮图","此作以边角构图造境，右侧苍松虬曲老硬，松针攒簇尽显苍古之姿，将山野幽意凝于枝桠间。远山以淡墨晕染，朦胧迤逦，晕开曛暮时分的空濛柔润。林麓茅亭隐现，枯木初萌新绿，幽人策杖徐行，将山居闲逸藏于尺幅。\n\n全作用笔精微写实，以虚衬实，淡墨轻烟里晕开春日薄暮的柔和暖意，把山野暮色的清旷悠然融于方寸之间，尽显简淡空灵的山水意趣，将文人心中萧散闲雅的山居图景晕染尽致，于小品之中见天地悠然，淡远静谧的氛围感扑面而来。",[194,24,25,7,29,175,1273,1169,3466],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bea0e87d5e65d183601f2308bcf0312.jpg",[],{"id":61709,"slug":61710,"title":61711,"dynasty":18,"author":257,"museum":316,"description":61712,"tags":61713,"thumbUrl":61714,"material":139,"size":139,"collection":139,"collections":61715,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},227848,"gong-yuan-tu-ye-yi-ming-227848","宫苑图页","此作以青绿晕染山林，界画精工勾勒宫阙楼宇，将苑囿隐于蓊郁林泉之间。山石皴染苍润古朴，旧色晕开厚重雅致的古韵，林木错落掩映殿台飞檐，层层递进的构图铺展出幽深秘境。楼宇斗拱分毫毕现，尽显匠造规整，却融于空山翠色，消解了楼宇冷硬，凭添林泉雅意。它兼具山水画的悠远意境与界画的精工细致，静静铺展着千年前林泉宫阙的静谧古雅，将人工意趣悄然融于天然山水，尽显清和雅致的林苑意韵。",[23,194,24,25,104,28,7,29,107,34,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9cd24c709139ea37f1960e2d62944f11.jpg",[],{"id":61717,"slug":61718,"title":61719,"dynasty":18,"author":257,"museum":316,"description":61720,"tags":61721,"thumbUrl":61723,"material":599,"size":600,"collection":139,"collections":61724,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},227408,"tong-gu-ding-shuang-long-wen-jing-1-yi-ming-227408","铜古鼎双龙纹镜-1","实物为铜镜。纹样大体呈圆形适合式。双龙呈对称相向结构，姿态为昂首并翻腾飞舞。马首蛇躯鳞身，尾巴似鱼尾。飞动的鬣毛与“S”形的头颈结构，加强了动势并毕现了神态。前肢一爪屈起，双龙似在相互招呼。体周云气蒸腾、水波涌动，蛟龙与云水的紧密联系披图可见，同时也使整个纹饰充实、丰富而多彩。",[14755,28935,334,28,7,84,243,212,55035,5513,61722],"铸造","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b6b1a6752a54092a5031165f5241e9c.jpg",[],{"id":61726,"slug":61727,"title":38752,"dynasty":18,"author":257,"museum":316,"description":61728,"tags":61729,"thumbUrl":61730,"material":139,"size":139,"collection":139,"collections":61731,"showCount":751,"zanCount":2368,"manualWeight":48,"mainColor":49},227358,"chun-you-wan-gui-tu-ye-yi-ming-227358","中国水墨发展伊始, 人们毕其功于将现实景象“转移”到二维画面上来。为了实现这种“转移”, 画家势必力求取景的完满与全面, 于是, 全景式构图诞生了。在这些大幅壁画、长卷或立轴的绘画作品中, 人物画多背景完整、气象宏大;山水画则恢宏壮阔、境界舒朗;至于以牛马等动物禽畜为题材的绘画, 则或量多、或体大, 每每也是通过大幅形制来展现。\n\n然而, 两宋时期, 中国山水画开始由北宋的磅礴雄壮向南宋的“一角半边”过渡。由墙壁转为纸绢的轴、卷、册、扇, 逐渐促成绘画由公共艺术转向私人艺术。区别于北宋山水画提倡的“外师造化”, 南宋文人画转而“内师诸心”, 为绘画开启了类似寄情寓性的功能。",[23,194,24,25,1260,7,28,104,106,150,34,107,1049,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb1af322108bf37992fc92f50569bfe5.jpg",[],{"id":61733,"slug":61734,"title":16056,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":61735,"thumbUrl":61736,"material":599,"size":600,"collection":139,"collections":61737,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},226495,"ku-zhu-shi-nan-pi-yi-ming-226495",[511,260,104,7,106,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ecd09e5896a3e0f1abe6ae7a73eff9b.jpg",[],{"id":61739,"slug":61740,"title":39735,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":61741,"thumbUrl":61744,"material":599,"size":600,"collection":139,"collections":61745,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},226263,"ku-qian-shi-nan-bi-yi-ming-226263",[511,7,260,106,3661,114,4027,2136,5884,22981,11370,6767,7696,61742,61743,4009],"洞窟壁画","古建元素","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F081a4c1b3f4f3e1c7f15e941388639d8.jpg",[],{"id":61747,"slug":61748,"title":17656,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":61749,"thumbUrl":61750,"material":599,"size":600,"collection":139,"collections":61751,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},226240,"ku-zhu-shi-xi-bi-yi-ming-226240",[511,260,7,106,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b44f3ccfe854e97e66e883d8f569ec9.jpg",[],{"id":61753,"slug":61754,"title":11067,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":61755,"thumbUrl":61756,"material":599,"size":600,"collection":139,"collections":61757,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},226225,"ku-zhu-shi-bei-bi-yi-ming-226225",[511,260,7,106,107,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfd94ad151ca285a2d772e96990c5656.jpg",[],{"id":61759,"slug":61760,"title":27976,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":61761,"thumbUrl":61763,"material":599,"size":600,"collection":139,"collections":61764,"showCount":751,"zanCount":2368,"manualWeight":48,"mainColor":49},226219,"ku-yong-dao-bei-pi-yi-ming-226219",[511,7230,7,28,44883,61762,8170,6767,33073],"流苏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff344ef10397038f08a23621ef9b9f164.jpg",[],{"id":61766,"slug":61767,"title":61768,"dynasty":256,"author":6236,"museum":316,"description":6237,"tags":61769,"thumbUrl":61770,"material":599,"size":600,"collection":3195,"collections":61771,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":94},225837,"the-rocks-1888-fan-gao-225837","The Rocks 1888",[3187,6241,7,686,34,912,16440,9086,3129,6244,10278],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79cffec417f3bb76b470a36fbff7867a.jpg",[3195],{"id":61773,"slug":61774,"title":61775,"dynasty":256,"author":6236,"museum":316,"description":6237,"tags":61776,"thumbUrl":61779,"material":599,"size":600,"collection":3195,"collections":61780,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},225775,"le-train-bleu-fan-gao-225775","Le Train Bleu",[3187,16431,6241,7,795,912,61777,16440,61778,119],"火车","建筑物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67fa431c05eebb0eac2e0f883cc96e8e.jpg",[3195],{"id":61782,"slug":61783,"title":61784,"dynasty":256,"author":257,"museum":316,"description":61785,"tags":61786,"thumbUrl":61787,"material":139,"size":139,"collection":139,"collections":61788,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":2504},225552,"fu-shi-hui-17-yi-ming-225552","浮世绘17","此作以墨色为底，将丹红鹦鹉作为视觉重心，艳色于沉暗中愈发鲜亮夺目。浅金棕的线条细腻勾勒，晕染出鹦鹉羽毛蓬松柔润的层次，飞羽的蓝灰点缀其间，增添灵动变化。枝桠叶片与浆果也以同色系刻画，脉络纹理纤毫毕现，雅致精巧。\n画面留白疏朗空寂，将禽鸟栖停的静谧瞬间定格，兼具装饰美感与东方禅意。整体配色克制又极具张力，华丽中带着侘寂的闲雅，尽显悠然平和的生机意趣。",[12745,7,83,4006,212,209,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b2ababaa6fa83130bc02c69fe11905f.jpg",[],{"id":61790,"slug":61791,"title":61792,"dynasty":256,"author":257,"museum":316,"description":38922,"tags":61793,"thumbUrl":61794,"material":599,"size":600,"collection":139,"collections":61795,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":94},225440,"fu-shi-hui-198-yi-ming-225440","浮世绘198",[12745,4006,7,106,59,2562,27226,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bf0d221a3b9b7b0aff602b828a639a0.jpg",[],{"id":61797,"slug":61798,"title":61799,"dynasty":256,"author":257,"museum":316,"description":61800,"tags":61801,"thumbUrl":61802,"material":139,"size":139,"collection":139,"collections":61803,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":94},225306,"fu-shi-hui-34-yi-ming-225306","浮世绘34","澄澈海面轻漾柔波，两艘渔舟缓行其上，晕开悠悠渔隐意趣。苍崖叠翠而起，深浅绿意晕染出繁茂植被的层次，暖黄石径蜿蜒穿梭林间，崖顶山居凭险而建，将山居与山海融为一体。\n\n右下角朱红岸滩衬着古朴鸟居与屋舍，冷暖色调交织柔化了山海边界，把南国的静谧悠然铺陈开来。整体兼具装饰意趣与东方山水意境，以雅致抒情的笔调定格幽远山海之美，带着和风特有的恬淡诗意，引人身临其境踏入这处避世的南国栖居地。",[12745,7,29,174,33,34,176,3884,17513,35,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c0bb9f4ca064dd87b79f48836bf455a.jpg",[],{"id":61805,"slug":61806,"title":18957,"dynasty":76,"author":8652,"museum":316,"description":61807,"tags":61808,"thumbUrl":61809,"material":139,"size":139,"collection":139,"collections":61810,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},224584,"shuang-ma-tu-yu-yuan-224584","此作用笔精细入微，两骏依偎伫立，霜色骏马在前，栗色良驹稍后，神态温驯雍容。鬃尾晕染丝缕分明，躯体肌理饱满写实，将骏马神骏却沉静的姿态刻画得淋漓尽致。画面右上题诗呼应画意，墨色雅致朴拙，与工稳的鞍马刻画相融，承继唐宋鞍马写实遗风，又融入文人意趣。敷色妍丽沉稳，古旧绢色更衬出画作静穆古雅的气质，整体简净清隽，状物精妙的同时兼具文墨情致，尽显良骏俊逸闲和之态。",[23,194,24,25,28,7,150,746],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf93d6b4b29bf71246809df96ec075a0.jpg",[],{"id":61812,"slug":61813,"title":61814,"dynasty":76,"author":4285,"museum":316,"description":27996,"tags":61815,"thumbUrl":61816,"material":27999,"size":28000,"collection":139,"collections":61817,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},224422,"shu-hua-shi-liu-kai-8-wang-shi-min-224422","书画十六开-8",[23,24,173,7,177,81,29,176,109,175,35,34,108,1171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2243c54b555496c4344dfbf997010309.jpg",[],{"id":61819,"slug":61820,"title":61821,"dynasty":76,"author":17531,"museum":316,"description":61822,"tags":61823,"thumbUrl":61824,"material":139,"size":139,"collection":139,"collections":61825,"showCount":751,"zanCount":2368,"manualWeight":48,"mainColor":94},224245,"shang-sai-jin-lin-tu-guan-huai-224245","上塞锦林图","《上塞锦林图》是中国清代画家 的国画作品。\n该画为立轴，纸本设色，纵142.6厘米，横64.6厘米，现藏于 。\n关槐，生卒年不详，清代画家。\n字晋卿，一宇晋轩，号云岩，一号曙笙，仁和(今杭州)人，官至礼部侍郎。\n善画山水，供奉内廷。\n画风学习宋元诸家，笔法苍润恬静。\n活动于乾隆时期。\n《上塞锦林图》描绘我国长城以北塞外的锦绣风光。\n绿色的灌木丛，红彤彤的柞枫树，错落于曲流之间，真实生动，俨然另逞独特面貌。\n用笔工细，设色鲜丽而又和谐。\n上方有高宗弘历御笔题七绝四首，借此图简述其先祖及弘历本人在北塞骑猎、武功的思念，以“祖德勤承告后人”。",[23,24,25,226,7,29,177,685,378,31,912,1754,38,212,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cefaa23d51965608581f81fade69f67.jpg",[],{"id":61827,"slug":61828,"title":61829,"dynasty":76,"author":26238,"museum":316,"description":61830,"tags":61831,"thumbUrl":61832,"material":139,"size":139,"collection":139,"collections":61833,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},224195,"zhe-xi-cao-tang-tu-wu-hong-224195","柘溪草堂图","《柘溪草堂图》是清代画家 创作的绢本设色画，现藏于南京博物馆。\n该画绘村前一座小桥，湖水绕村，树木绕斋，树林里楼台面水，宾主登楼安坐对谈，超然世外。\n笔墨挺健，景致平远，具有浓厚的写实风格。\n此画远处为较为平缓的山峦，山头仅露出水面。\n隐隐约约，烟雾蒙蒙，茫茫一片，山坡间新篁密密麻麻，白马湖东岸，在丛树掩映下的临水小村，一条清溪绕庄而行，竹树绕斋，楼台面小，并不华丽的庄园建筑，在苍松翠竹红枫的簇拥下显得古朴典雅；宾主登楼端坐其间，正在语笑风生，突然间一人回首远眺，似在观赏周围一片金秋美色，村边座落着一小板桥。\n一扁舟自远方来，泊于桥头，舟中一人捧物躬身而出，作献物状，岸上溪边另一人缓步走来作迎接状，神态自若。\n此图款署“壬子秋九月，拟李咸熙笔意，呈石翁先生教之，金溪吴宏、”钤印“吴宏私印”“远度”。\n画的裱边及玉池中有查士标，梁清标两人题诗，朱彝尊、程邃等七人题词。\n查士标题诗： 我爱白田好，来向白田去。\n白田城南有拓溪，闻是白田最佳处。\n溪边草堂称清幽，古木千章竹万头。\n奇石名花看不足，湖光更上东南楼。\n向年获识石林子，为言别业正在此。\n太公九十瑞人间，早岁弃官遂知止。\n闲来倚石手一编，倦即抛书石上眠。\n华发萧萧眸炯炯，无人知是地行仙。\n石林先生行最少，能读父书得其要。\n芥拾荣名自等闲，翰墨声诗兼众妙。\n命余为作草堂图，佳句传来幻有无。\n伸纸踌躇笔不下，俨如咫尺貌蓬壶。\n名园胜地世多有，辋川吟咏视平泉，主者何人斯不朽。\n千载流传复谁久。\n柘溪之水清且涟，湖波万顷绕平田。\n太平乐事长如此，还为高人结大年。\n梁清标题诗： 侍御结庐溪水浔，万株桑柘昼阴阴。\n迤逦晴沙眠野鹭，高低灌木鸣春禽。\n编篱插槿蔽风雨，琴书北窗何萧森。\n门无车马惊铃索，中有幽人事苦吟。\n幽人为谁侍御是，直节当年山岳峙。\n正笏曾陈痛哭书，拂衣早办登山履。\n经纶袖手赋归来，白头高卧草堂里。\n海水扬尘岁月移，草堂无恙日舒迟。\n蒹葭秋色霜飞后，鸡犬村扉昼闭时。\n巾车野服临湖岸，载酒轻船泛射陂。\n屏居白眼向寥廓，闻说先生犹健在。\n令子忻看傍凤池，闲身不羡图麟阁。\n倚杖频耕万亩云，延年岂假千金药。\n遥望伊人水一方，客来独拜德公床。\n疑是李愿住盘谷，不然种柳如柴桑。\n我欲从之问丹诀，放歌散发濯沧浪。\n《柘溪草堂图》作于康熙十一年（1672），此图为应宝应乔莱之请，画其父可聘居处柘溪草堂秋景。\n此画采用以实写虚的方法，借湖水、古木、草堂，以写云烟变幻，求得“有限中出无限，无画处成妙境”的艺术境地。\n此图中的物象并无高山峻岭，而只是湖天淼茫，属于通常所说的“平远”之景。\n但在吴氏的笔下却显示出“高远”的意境。\n画法不拘泥于前人，落笔大胆而收拾严整。\n笔墨苍秀，厚重劲健。\n板桥和山石等的勾勒，也皆是顿挫雄壮的阳刚之风。\n山石以乱柴皴间杂斧劈皴画之，水墨晕染，树木画法工细，繁而不乱，人物、房舍、扁舟表现自然，敷色清雅明亮。\n此画面有较大的空白，不仅体现了艺术家想象的本领，而且可以引起读者丰富的审美想象。\n教授张长虹：尽管带有应酬性质，吴宏此画仍属成功之作，这可能与其豪迈性格有关。\n吴宏，生卒年未详、清代画家。\n宏，一作弘，字远度，号竹史，江西金溪人，寓江苏汀宁（今南京）。\n诗书均精。\n幼好绘事，自辟蹊径。\n顺治十年（165）曾渡黄河，游雪苑，归而笔墨一变，纵横放逸，得诸家之长而能出己意。\n偶作竹石，亦有水墨淋漓之致。\n与樊圻、邹喆、叶欣、胡慥、谢荪、高岑、龚贤为“金陵八家”。",[23,194,24,25,226,7,177,29,35,34,108,109,174,353,1353],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F860319e9f372ae1d7066ef3c43aeaa92.jpg",[],{"id":61835,"slug":61836,"title":61837,"dynasty":76,"author":563,"museum":316,"description":61838,"tags":61839,"thumbUrl":61840,"material":139,"size":139,"collection":139,"collections":61841,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":94},224192,"ge-shui-yin-chuang-tu-zhou-hua-yan-224192","隔水吟窗图轴","《馆藏精品选（上海博物馆4共张）\u002F东方画谱》是218年文物出版社出版的图书，作者是（元）张中，[清] 高岑，华喦。\n本书共收录了部画作，包括：《隔水吟窗图轴》《芙蓉鸳鸯图》《江山无尽图》。\n《隔水吟窗图轴》采用平远构图法，画法运用没骨法，描绘了秀美的江南山水景色。\n远山用云海烘托，宽广的江面用留白法来衬托。\n近景树木高挺，枝繁叶茂。\n江岸上有茅屋几间，隐逸者于舍内休憩，观赏院中的丹顶鹤，此情此景，给人心旷神怡如入仙境之美感。\n《芙蓉鸳鸯图》描绘了鸳鸯戏水的情景。\n画中溪水缓缓而流，一对鸳鸯在清波中嬉游。\n雄鸟低头弄波，雌鸟仰头鸣叫。\n岸边野花丛生，与水草交错其间，石旁长着一棵枝繁叶茂、花开争艳的芙蓉树，整幅画面显得唯美秀雅。\n张中用笔细致圆柔，以淡墨勾出芙蓉花瓣，再稍作晕染，用笔简括，显得活灵活现，生动清艳。\n再用浓墨描绘芙蓉叶之向背，有没骨之韵，叶脉清晰可见。\n山石略以苔点修饰，具有唐代画风。\n《江山无尽图》兼用多种构图法绘制而成，有马远“一角式”构图法和郭熙的“三远法”构图法。\n描绘了江南山清水秀、风和日丽的美景。\n画面群山连绵，树木繁茂，百草复苏，一派春意盎然之景象。\n高山流水、水村人家、茅屋楼阁、渔舟泛江，所有景致，无不生动。\n设色淡雅，用笔圆润，无尽之江山景色，尽收眼底。\n《隔水吟窗图轴》 《芙蓉鸳鸯图》 《江山无尽图》 华喦（1682—1756），一作华岩，字德嵩，更字秋岳，号新罗山人、东园生、布衣生、白沙道人、离垢居士等。",[23,24,25,226,7,28,29,34,35,108,109,174,37,30,1273,3712],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F249d982ffce7384142d527b785ca8c69.jpg",[],{"id":61843,"slug":61844,"title":61845,"dynasty":76,"author":563,"museum":316,"description":61846,"tags":61847,"thumbUrl":61848,"material":139,"size":139,"collection":139,"collections":61849,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},224173,"xun-chun-tu-hua-yan-224173","寻春图","此作用高远章法铺展丘壑，石色苍浑松色沉郁，青绿设色带着古雅厚重的质感。近景老松虬曲盘绕，松下雅士晤言，溪石旁幽人闲坐，野趣盎然。中景村居错落隐于林麓，板桥之上一人策杖徐行，将山野居处的悠然缓缓铺陈。远景危崖如屏，林岚轻笼，山溪蜿蜒藏起春山秀色。右上角题诗呼应雅意，笔墨秀逸灵润，以山水清嘉承载文人雅怀，把春日山乡的清寂生机与林下逸致相融，尽显静穆悠远的山居春兴。",[23,24,25,226,7,28,177,29,106,108,109,175,35,1273,176,10384,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22c8a1e8dc6a5f030b51069951c9769f.jpg",[],{"id":61851,"slug":61852,"title":61853,"dynasty":76,"author":257,"museum":316,"description":61854,"tags":61855,"thumbUrl":61857,"material":139,"size":139,"collection":139,"collections":61858,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":94},223688,"li-tu-ye-yi-ming-223688","鲤图页","此作以工笔写鲤，细笔晕染鳞片刻画出硬挺莹润的质感，鱼鳍舒展灵动，双目圆睁有神，长须轻颤，将鲤鱼刚健灵动的身姿定格在破波欲跃的瞬间。淡墨轻勾水纹，线条柔婉清浅，不着浓色，仅以素雅晕染烘托池水静谧，一动一静相映成趣，把鲤穿波的鲜活生机尽显纸面。\n\n整幅画面清雅空灵，无冗余修饰，将对生灵的细致体察藏在笔触里，于留白间传递出含蓄的吉祥意趣，简淡中见精巧笔触，平淡中藏盎然生机，尽显传统花鸟小品的雅致意韵。",[23,194,24,25,81,28,7,722,61856],"鲤鱼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb693a3d05e3da75e3221a47a142fdca4.jpg",[],{"id":61860,"slug":61861,"title":61862,"dynasty":302,"author":257,"museum":316,"description":61863,"tags":61864,"thumbUrl":61865,"material":139,"size":139,"collection":139,"collections":61866,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},223626,"he-ting-dui-yi-tu-ye-yi-ming-223626","荷亭对弈图页","《荷亭对弈图页》是元代画家佚名创作的一幅绢本设色画，现收藏在故宫博物院。\n本幅无作者款识。\n收藏印钤“庞莱臣珍藏宋元真迹”、“项墨林父秘笈之印”二方。\n图中描绘 边敞轩水榭，绿柳掩映，塘中莲花片片，碧水微波。\n水榭中二高士对坐 ，全神贯注，另有一人侧卧床榻，一手支颐，不知是弈后的疲惫小憩还是战前的养精蓄神；又有三 ，一执扇，一伏案，一取水，整幅意境悠闲雅淡 此画将青绿山水与界笔楼阁有机结合，是南宋院画楼阁小品的沿展，只是风格更加清新活泼。\n此页旧题签“赵伯骕荷亭对弈”，实为元人所作。",[23,194,24,25,81,7,104,28,106,107,175,228,378],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ea73aea37bb0f5cf60b79d0bc39c0e2.jpg",[],{"id":61868,"slug":61869,"title":61870,"dynasty":18,"author":257,"museum":12886,"description":61871,"tags":61872,"thumbUrl":61873,"material":139,"size":139,"collection":139,"collections":61874,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},223571,"xi-pan-gui-mu-tu-yi-ming-223571","溪畔归牧图","柳溪边，一牧童骑牛渡水，一牛隔岸嘶鸣，作欲渡而又畏渡之态，具有浓郁的乡村生活气息。\n牧童用简笔描绘，柳、牛则用细笔勾描，笔法精工。",[23,24,25,7,28,177,29,109,151,106,353],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5951ff9e84033a61bc0d4c305cb17153.jpg",[],{"id":61876,"slug":61877,"title":61878,"dynasty":18,"author":257,"museum":316,"description":61879,"tags":61880,"thumbUrl":61881,"material":638,"size":61882,"collection":139,"collections":61883,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},223568,"xi-shan-xing-tu-zhou-yi-ming-223568","溪山行图轴","深深地描绘了秋天的景色。 绿图已枯，枫红团，山脚下长长的行人匆匆而过； 飞瀑流泻而下，水底已雾蒙蒙； 几间房屋隐藏在山谷中，或者寺庙是高大的殿堂，它们是住宅。 依山傍水，是一处修身养性的美丽之地； 山峰可能隐高，峰顶怪异，山脊稳定。",[23,24,194,226,7,177,29,685,2086,1426,34,108,109,107,106,150,686],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcce883a4d1591955ca3a0ac56dd2079.jpg","130x37",[],{"id":61885,"slug":61886,"title":61887,"dynasty":18,"author":257,"museum":20,"description":61888,"tags":61889,"thumbUrl":61890,"material":40,"size":61891,"collection":139,"collections":61892,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},223506,"song-yin-tan-dao-tu-ye-yi-ming-223506","松荫谈道图页","此图亦作《三教论道图》，图绘远处山峰连绵，近处一棵高大松树松杆遒劲，绿荫如盖；松荫下儒、释、道三位教徒或着长袍，或着叶装，端坐于松根、石块上谈经论道。此处环境清幽，阴凉静雅，似世外桃园般安逸。",[23,24,194,25,1260,28,7,106,1273,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F833d44227db51604372db96ab56fde5d.jpg","25.3＊25.6cm",[],{"id":61894,"slug":61895,"title":61896,"dynasty":18,"author":257,"museum":191,"description":61897,"tags":61898,"thumbUrl":61903,"material":529,"size":61904,"collection":139,"collections":61905,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},223476,"zhe-kan-tu-ju-bu-yi-ming-223476","折槛图（局部）","此图用形象生动的笔触，描忠臣犯颜直谏，图绘了朱云在皇帝、公卿大臣面前犯颜直谏的景象。御林军正在拖朱云，朱死抱住栏槛不放，还在强辩。成帝侧身坐龙椅上，长须飘洒，满面怒容，目光杀气腾腾，与朱云针锋相对。奸相张禹则手捧笏板得意地站在成帝身边，满脸奸笑。辛庆忌正躬身为朱云求情。画面情节紧张而热烈，人物神情刻画细腻生动，富有鲜明的个性。线条遒劲有力，色彩鲜明强烈，确是一幅人物画的精品之作。",[23,194,24,28,7,106,2954,1133,227,278,61899,61900,61901,61902],"龙椅","笏板","犯颜直谏","求情","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F326c2ce3f908eadcc8834818e4eed64e.jpg","纵173.9公分，横101.8公分",[],{"id":61907,"slug":61908,"title":61909,"dynasty":76,"author":6776,"museum":18883,"description":18884,"tags":61910,"thumbUrl":61911,"material":770,"size":18889,"collection":139,"collections":61912,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":94},223309,"fa-jie-yuan-liu-tu-juan-3-ding-guan-peng-223309","法界源流图卷-3",[23,28,7,26,260,106,4428,34845,19429,4027,3661,5443,10505,746,7690,1488,29,107,7694],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39be0fc022f890817bbffb782f3979ec.jpg",[],{"id":61914,"slug":61915,"title":58870,"dynasty":76,"author":6776,"museum":191,"description":61916,"tags":61917,"thumbUrl":61918,"material":139,"size":61919,"collection":139,"collections":61920,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":94},223247,"ji-le-shi-jie-ding-guan-peng-223247","丁观鹏(？-1771后)， 清代画家，艺术活动于康熙末期至乾隆中期，北京人。胡敬《国朝院画录》谓：“观鹏克传家学。”工道释、人物，尤擅仙佛、神像，以宋人为法，不尚奇诡，学明代丁云鹏笔法，有出蓝之誉。雍正四年(1726)进入宫廷为画院处行走，是雍正、乾隆朝画院高手，与唐岱、郎世宁、张宗苍、金廷标齐名。造诣深湛，得乾隆帝赏识，曾为《圣制诗》初集、二集、三集之多幅画卷题诗。弟丁观鹤，亦供奉内廷，工人物。\n丁观鹏在宫廷画院五十年左右，作品近二百件。传世作品有完成于乾隆三十二年(1767)《法界源流图》卷，纵33厘米，横1635厘米，该卷场面宏大，人物众多，描金设色，精细绚丽，为中国佛教艺术瑰宝、世界佛教艺术明珠，现藏吉林省博物馆；乾隆十三年(1748)作《乞巧图》卷藏上海博物馆；二十六年(1761)作《无量寿佛图》轴、《宝相观音图》轴藏故宫博物院；三十五年(1770)八月作《说法图》轴藏西柏林民俗博物馆。\n丁观鹏曾与弟弟观鹤同供奉于南熏殿。与陈枚等六家合作《庆丰图》卷，《太平春市图》卷，与陈枚、孙硝合作《丹台春晓图》卷等，均辑入《石渠宝笈》。传世作品有《摹宋人雪渔图》和《仿韩七子过关图》，均辑入《中国历代名画集》。",[23,24,28,7,11726,8245,104,6768,58870,5883,106,107,136],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c1315eb66f2c58f05c6831040a5c918.jpg","横60x纵119cm",[],{"id":61922,"slug":61923,"title":61924,"dynasty":76,"author":11085,"museum":20,"description":23382,"tags":61925,"thumbUrl":61926,"material":23385,"size":23386,"collection":139,"collections":61927,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":642},223143,"shi-wan-tu-ce-7-ren-xiong-223143","十万图册7",[23,24,194,25,81,28,7,29,107,378,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a7a1b10828519dc13f4704bee941031.jpg",[],{"id":61929,"slug":61930,"title":61931,"dynasty":76,"author":11085,"museum":20,"description":23382,"tags":61932,"thumbUrl":61933,"material":23385,"size":23386,"collection":139,"collections":61934,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":642},223141,"shi-wan-tu-ce-5-ren-xiong-223141","十万图册5",[23,24,7,27,28,81,29,230,3041,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3189bbf05898f4a844375d2898e2f33d.jpg",[],{"id":61936,"slug":61937,"title":61938,"dynasty":76,"author":6787,"museum":316,"description":61939,"tags":61940,"thumbUrl":61941,"material":7,"size":139,"collection":139,"collections":61942,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":94},223131,"qun-xian-tu-ren-xun-223131","群仙图","任薰（1835年—1893年），字舜琴，又字阜长，其父任椿，兄任熊都是画家。少丧父，从兄学画，青年时在宁波卖画为生，1868年与任颐去苏州，后寓居苏州、上海。任颐、任预均从其习画。人物与其兄同师陈洪绶，常用高古游丝、铁线、行云流水、兰叶几种描法。任薰治学严谨，在写生、临摹上均下了苦功夫。任薰兼工人物、花鸟、山水、肖像、仕女，画法博采众长，面貌多样，富有新意。 与顾文彬子顾承相友善，曾为设计怡园。1888年54岁时双目失明，后病卒于苏州。与任熊、任颐时称“三任”，合任预为“四任”，并为海上画派代表画家之一。\n任薰作画题材广泛，对人物、山水、花卉、翎毛、走兽（马、羊等）无所不能，更擅长花鸟、人物。粗写意、细双勾。技法初学其兄谓长，后吸取陈老莲的传统技法。用笔沉着力。\n在构图上有其特长，在大小不同的画面上，创作出许多新颖、宽广、意境深远的作品，尤其适应扇面上的表现技法，能笔随意转，在极小的团扇、折扇画面上，开拓出广阔、妙趣盎然的意境。\n任薰作品在结构上比较严谨，很重视疏密虚实的主从关系，无论一人、一花、一鸟的主从关系都能巧心安排得体。平淡中亦能出奇，宁静中又能生动。画面上给人一种空灵明快之感。\n他的另一特点是工于着色，浓淡相宜，清新可爱，绝无柔媚习气。\n他尤长于使用重彩着色，能把对比鲜明的色彩调和统一起来，使画面上的景色更显壮丽，又能从鲜艳色彩中透出古朴的意趣。任薰人物画，线条遒劲圆韧。尤其晚年人物衣褶，运笔如同书法中行草，似有行云流水之感，形态多奇伟的身躯，出乎 寻常容貌，带有性格的神态，别出心匠。\n任薰作品在香港拍卖较多，1986年即有作品参加拍卖，1986年5月一件《双钩花鸟册》（共十二张）卖到45000港元。1989年5月又拍卖过两幅作品，一幅扇面《钟馗》以24200港元成交，另一幅《秋景山水》轴也是24000港元。1990年11月拍卖的一件《花卉草虫画集》册页价格偏低，只有17600港元，第二年9月是一件册页则达到12万港元，这是一件八开山水人物册页，山水人物比他的花卉草虫要珍贵得多。\n任薰作品也在纽约拍卖，1989年拍卖的《人物》四屏立轴卖到18700美元，1990年11月拍卖的一幅《仕女》扇面是1540美元。1992年6月纽约苏富比公司又推出两幅任薰作品，一为山水轴（128.6*60.3），作于1876年，估价不高，为1200－1500美元，以1700美元成交。另一幅人物轴（92.7*41.3公分）由于起价太高而未拍出。",[23,24,25,7,28,106,29,107,34,746,2235,108,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a6b02a2a93b694310e08a39e6c70fa4.jpg",[],{"id":61944,"slug":61945,"title":6786,"dynasty":76,"author":6787,"museum":316,"description":6788,"tags":61946,"thumbUrl":61947,"material":139,"size":139,"collection":139,"collections":61948,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":94},223089,"shui-hu-ren-wu-ren-xun-223089",[23,24,25,226,7,28,106,2439,63,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a8bcbc88ceb89b051d93d71a7863e2b.jpg",[],{"id":61950,"slug":61951,"title":6786,"dynasty":76,"author":6787,"museum":316,"description":6788,"tags":61952,"thumbUrl":61953,"material":139,"size":139,"collection":139,"collections":61954,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":94},223084,"shui-hu-ren-wu-ren-xun-223084",[23,24,25,106,28,7,352,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19c69b7831b89491435ab19058724da7.jpg",[],{"id":61956,"slug":61957,"title":61958,"dynasty":76,"author":2162,"museum":419,"description":2163,"tags":61959,"thumbUrl":61960,"material":67,"size":2173,"collection":139,"collections":61961,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},222999,"hong-lou-meng-124-sun-wen-222999","红楼梦124",[23,24,28,7,17248,15524,614,107,115,6170,986,121],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe634b8a2479a7facb164cebb0f2fb17c.jpg",[],{"id":61963,"slug":61964,"title":61965,"dynasty":76,"author":2162,"museum":419,"description":2163,"tags":61966,"thumbUrl":61967,"material":67,"size":2173,"collection":139,"collections":61968,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},222984,"hong-lou-meng-109-sun-wen-222984","红楼梦109",[23,24,28,7,104,106,16123,34,1552,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F858eab4cec4a5f22c722e84f1f2a69c0.jpg",[],{"id":61970,"slug":61971,"title":61972,"dynasty":76,"author":2162,"museum":419,"description":2163,"tags":61973,"thumbUrl":61974,"material":67,"size":2173,"collection":139,"collections":61975,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":94},222980,"hong-lou-meng-105-sun-wen-222980","红楼梦105",[23,24,28,7,106,614,23394,24838,121,6866,150,795,27503,52649],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F173d1e044780feb5c210a6379f8cecd8.jpg",[],{"id":61977,"slug":61978,"title":61979,"dynasty":76,"author":2162,"museum":419,"description":2163,"tags":61980,"thumbUrl":61981,"material":67,"size":2173,"collection":139,"collections":61982,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":94},222967,"hong-lou-meng-92-sun-wen-222967","红楼梦92",[23,24,25,26,28,7,175,107,106,1241,611,176,243,1557,278,6710],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe37ac43c8394a731fbdbcf24bc56c51.jpg",[],{"id":61984,"slug":61985,"title":61986,"dynasty":76,"author":2162,"museum":419,"description":2163,"tags":61987,"thumbUrl":61988,"material":67,"size":2173,"collection":139,"collections":61989,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},222960,"hong-lou-meng-85-sun-wen-222960","红楼梦85",[23,24,28,7,25,106,614,107,2512,34,84,115,1557,17248,39834],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5931b04bf779205467c8bc8bd7f07551.jpg",[],{"id":61991,"slug":61992,"title":61993,"dynasty":76,"author":2162,"museum":419,"description":2163,"tags":61994,"thumbUrl":61996,"material":67,"size":2173,"collection":139,"collections":61997,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":49},222948,"hong-lou-meng-73-sun-wen-222948","红楼梦73",[23,194,24,25,28,7,106,39832,1930,3701,17249,17248,59,61995],"博古器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6359730aa5e71398982eff2318bb16a0.jpg",[],{"id":61999,"slug":62000,"title":34473,"dynasty":76,"author":2162,"museum":419,"description":2163,"tags":62001,"thumbUrl":62002,"material":67,"size":2173,"collection":139,"collections":62003,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":801},222938,"hong-lou-meng-63-sun-wen-222938",[23,24,28,7,106,107,115,34,176,280,4876,27504,409],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f82b48ad4bbd75929ec78aef15756fa.jpg",[],{"id":62005,"slug":62006,"title":35927,"dynasty":76,"author":2162,"museum":419,"description":2163,"tags":62007,"thumbUrl":62008,"material":67,"size":2173,"collection":139,"collections":62009,"showCount":751,"zanCount":48,"manualWeight":48,"mainColor":94},222921,"hong-lou-meng-46-sun-wen-222921",[23,28,7,104,106,59,107,108,34,611,115,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f68ca4c6fa9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尽得林下晤谈的悠然意趣。峡谷环溪，栈道萦回，咫尺扇面铺展出山林丘壑的深幽，构图疏密相宜，将江南山水的温润灵秀与文人隐逸襟怀相融。笔墨兼具元人山水的简淡萧散，暗合文人画崇尚的林泉雅韵，于尺幅之间，写尽林泉高致的悠悠况味。",[24,25,1260,173,7,29,106,1133,109,176,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb73d6c753cea02e3db1f54368f02b0d.jpg",[],{"id":62938,"slug":62939,"title":38565,"dynasty":99,"author":62940,"museum":316,"description":62941,"tags":62942,"thumbUrl":62943,"material":139,"size":139,"collection":139,"collections":62944,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},239212,"bai-ma-tu-juan-xu-bao-239212","许宝","《百马图卷》作者明代 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的山水画风和置景技巧。\n该卷堪称是现存最长的画马图，代表了明人画马的最高艺术成就。\n遗憾的是，许宝其人被画史疏漏，这卷杰作被深藏于皇宫大内，久不为世人所知。\n许宝（生卒年不详），明代画家。\n画史无载。\n存世画作有《百马图》，现存故宫博物院。",[23,24,26,7,28,177,150,746,34,176,912,809,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9cb3ca3a9a8b62711cebe01b4011b3a.jpg",[],{"id":62946,"slug":62947,"title":6834,"dynasty":76,"author":56833,"museum":316,"description":56834,"tags":62948,"thumbUrl":62949,"material":139,"size":139,"collection":139,"collections":62950,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},239011,"shan-shui-ce-li-dong-239011",[24,25,81,104,7,29,107,34,230,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7deb277063c436f61bd78e3b9d51ccb4.jpg",[],{"id":62952,"slug":62953,"title":62954,"dynasty":76,"author":47673,"museum":20,"description":62955,"tags":62956,"thumbUrl":62957,"material":638,"size":62958,"collection":181,"collections":62959,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},238983,"shan-shui-ce-zhong-lin-gao-xia-wang-chen-238983","山水册－重林高下","在册的画幅都比较小，从作者题语也可知道，很大程度上不是为明确目标而作，只是闲暇时自己借之寓意寄兴，因此画面气氛淡雅怡然。",[24,25,81,173,7,177,29,34,176,107,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad6b50a0c85ac70858bbdf6267b4a59f.jpg","纵21厘米，横28.2厘米",[181],{"id":62961,"slug":62962,"title":62963,"dynasty":76,"author":62964,"museum":316,"description":62965,"tags":62966,"thumbUrl":62967,"material":599,"size":600,"collection":44,"collections":62968,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},238941,"qing-xiang-si-shi-le-tu-xiang-ce-hu-jun-sheng-238941","庆祥四时乐图像册","胡骏声","字芑香，江苏常熟人。为缓溪翁族孙。翁擅添毫之技，晚岁目力稍衰，思得弟子相佐。骏声方弱冠，从毕琛学画臻众美。翁于是挈之共游凡数载，艺益进，遂为吴中之冠。陈芝楣抚苏时延至幕中，后丧妻，奉母居郡城，颜其斋曰“望禺”，饶幽居之趣。道光十年（1830）曾作仕女图。",[24,25,81,7,28,106,150,1273,176,1049,29,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6535153c09255e7dff49f2e5ec0692ad.jpg",[44,45],{"id":62970,"slug":62971,"title":62972,"dynasty":76,"author":257,"museum":316,"description":62973,"tags":62974,"thumbUrl":62975,"material":599,"size":600,"collection":139,"collections":62976,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},238884,"qing-ren-yang-ti-bi-mi-fo-xiang-zhou-yi-ming-238884","清人阳体袐密佛像轴","此作为密宗造像佳作，主体六臂蓝身本尊拥明妃安坐莲台，宝冠璎珞遍身，法相庄严肃穆。构图对称饱满，上方胁侍化相缭绕云间，下方护法神众神态威猛，青绿底色晕染出祥瑞云海，石青、朱红、赤金交织，色调浓烈明快。线条勾勒细腻流畅，衣袂纹饰晕染层次分明，诸佛神韵具足，护法气势凛然。将藏地密教的神秘仪轨融于重彩工笔之中，尽显清代藏传佛画的极致工巧，兼具宗教精神内核与极高审美价值。",[24,226,8245,28,7,7692,48943,5883,5029,106,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaa57ea55486a3cc7ae74c42e5ab83c9.jpg",[],{"id":62978,"slug":62979,"title":62980,"dynasty":76,"author":62981,"museum":316,"description":62982,"tags":62983,"thumbUrl":62984,"material":599,"size":600,"collection":45,"collections":62985,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":801},238855,"hui-yi-xiang-zheng-feng-tu-ce-qian-ru-cheng-238855","绘益象征丰图册","钱汝诚","钱汝诚（1722-1779），字立之，号东麓，浙江嘉兴人。清官员，官至刑部左侍郎。",[24,25,81,7,28,229,7135,320,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F321ca84cb16d8fa7051b6c272bab913e.jpg",[45],{"id":62987,"slug":62988,"title":26933,"dynasty":76,"author":6209,"museum":316,"description":26934,"tags":62989,"thumbUrl":62991,"material":599,"size":600,"collection":139,"collections":62992,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":801},238854,"mian-yi-hua-hui-xiao-ce-mian-yi-238854",[24,25,81,7,83,820,84,211,554,28,62990,3052],"水墨线条","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F368e50a27bb90081f6d4e4370ea94c70.jpg",[],{"id":62994,"slug":62995,"title":27320,"dynasty":76,"author":658,"museum":316,"description":14703,"tags":62996,"thumbUrl":62997,"material":139,"size":139,"collection":139,"collections":62998,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},238830,"dong-gao-mo-zhuang-lan-sheng-tu-ce-dong-gao-238830",[24,25,81,7,29,34,109,3518,177,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5706309f6fd33bb74c27c1cde65221ba.jpg",[],{"id":63000,"slug":63001,"title":27320,"dynasty":76,"author":658,"museum":316,"description":14703,"tags":63002,"thumbUrl":63003,"material":139,"size":139,"collection":139,"collections":63004,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},238829,"dong-gao-mo-zhuang-lan-sheng-tu-ce-dong-gao-238829",[24,25,81,7,28,86,212,175,107,34,176,611,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd02502eb809bcd8237cc41a3879222c5.jpg",[],{"id":63006,"slug":63007,"title":27320,"dynasty":76,"author":658,"museum":316,"description":14703,"tags":63008,"thumbUrl":63009,"material":139,"size":139,"collection":139,"collections":63010,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},238825,"dong-gao-mo-zhuang-lan-sheng-tu-ce-dong-gao-238825",[24,25,81,7,27,173,29,176,34,795,175,109,212,178,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe20f4b4295b749a2cf96304df748a5cf.jpg",[],{"id":63012,"slug":63013,"title":29002,"dynasty":76,"author":658,"museum":316,"description":8264,"tags":63014,"thumbUrl":63015,"material":599,"size":600,"collection":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著有《五百四峰堂诗钞》《五百四峰堂续集》《药烟阁词钞》，戏曲《芙蓉亭》等。\n诗从学李贺、黄庭坚入手，刻意求新，极“峻拔清峭”（王昶《湖海诗传》）之致，能自树一格。张维屏《国朝诗人征略》称：“其诗由山谷（黄庭坚）入杜，而取炼于大谢（灵运），取劲于昌黎（韩愈），取幽于长吉（李贺），取艳于玉溪（李商隐），取瘦于东野（孟郊），取僻于阆仙（贾岛）。锤焉凿焉，雕焉琢焉，于是成为其二樵之诗”。他的记游、题赠之作较多。不少诗描绘了两广山水风光、名胜古迹，如《藤县》《白马角》《龙门滩》《邕州》《白鹤观登五龙潭上玉女峰》《冲虚观至朱明洞》《浴日亭》《江南岸蕉园歌》等。也有少数篇章，反映民间疾苦，如《田中歌》，反映少数民族的风习，如《歌节》《大排三十八韵》等。\n其书法，意志追晋人，中年兼学李北海，晚年写苏黄两家为多，隶书真追《礼器》《熹平石经》，传世书法作品甚丰，显示了他在书法上的不断追求。肇庆七星岩石室岩洞内有他的《南服陨石》刻石，隶书体，秀劲舒放，纵横跌宕，属黎书上品。\n黎简工山水，早年粗犷、率意的用笔，侧重写生的表现，则多属效法明末清初的广东先哲。中年临摹倪云林、石涛作品，几可达到与真迹无异的境地。由近及远地求索，融古汇今地创新，师自前人，不囿于前人，始终是黎简所遵循的山水画创作主线。在这种意识指导下，创作出来的作品，自然会有一种清新、活泼的感觉。而且，由于他是以绝无“甜赖”气的元人、“搜尽奇峰打草稿”的石涛的技法，作为其创法的基调，又兼具乾隆盛世艺术所惯有的平稳、温润，对曾被扬州八怪个性化花鸟画震撼过的人们来说，黎简这种挑战主流派的山水画，又是一次新的震撼。\n黎简的篆刻，虽然属他诗书画的“余事”，但他有深厚的传统文化基础，才思敏捷。他的篆刻，得汉人神髓，参以己意，作品淳厚苍雄，意格甚高，自成面目。自刻图章曰“小子狂简”，刀法峻傥。又能治铜印。1962年，麦华三等辑成《二樵山人篆刻佚存》1册。",[24,25,226,173,7,177,29,34,1273,176,37,989,106,1171,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F682aee1e09b037e88fe4860d9478e6a0.jpg",[181,45],{"id":63095,"slug":63096,"title":56973,"dynasty":99,"author":56974,"museum":316,"description":56975,"tags":63097,"thumbUrl":63098,"material":139,"size":139,"collection":139,"collections":63099,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},237891,"ba-xian-tu-zhou-zheng-wen-lin-237891",[24,25,226,106,260,7,28,2235],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F992b234331038a7f652c8fbf536d1a1d.jpg",[],{"id":63101,"slug":63102,"title":63103,"dynasty":99,"author":27163,"museum":316,"description":46066,"tags":63104,"thumbUrl":63105,"material":599,"size":600,"collection":139,"collections":63106,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},237858,"lan-shi-shan-ye-zhang-chong-237858","兰石扇页",[24,1260,7,28,177,579,230,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6176f2e161445dd7366cd14b19eeabb.jpg",[],{"id":63108,"slug":63109,"title":63110,"dynasty":99,"author":26310,"museum":316,"description":17879,"tags":63111,"thumbUrl":63112,"material":599,"size":600,"collection":139,"collections":63113,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},237845,"shi-hu-yan-yu-shan-sheng-mao-ye-237845","石湖烟雨扇",[24,25,1260,173,7,29,28216,34,177,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb34da1d8c00124d4b0cf45f9a7503e11.jpg",[],{"id":63115,"slug":63116,"title":19142,"dynasty":76,"author":44608,"museum":316,"description":63117,"tags":63118,"thumbUrl":63119,"material":139,"size":139,"collection":181,"collections":63120,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},237773,"shan-shui-tu-ce-ye-xin-237773","此作以青绿晕染湖山，近岸花树沿陂陀错落，山坳幽居藏于林木间，空阔湖面一叶扁舟随波缓行，远岫含晕，漾起空濛淡荡之致。设色秀雅温润，笔致简净松灵，不事繁饰，将林泉幽居的闲散意绪尽数铺展。左侧题诗与画境相映成趣，诗画合璧，把文人耽恋泉石、寄迹烟水的雅怀融于尺幅间。观之如临江南水畔，可感湖风轻拂，坐忘于萧疏清寂的闲淡之中，尽显小品山水的隽雅意韵。",[24,25,81,7,29,174,175,34,176,109,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad576d6b1c3c42c220f6545a8771fde7.jpg",[181],{"id":63122,"slug":63123,"title":23645,"dynasty":99,"author":1057,"museum":316,"description":23646,"tags":63124,"thumbUrl":63125,"material":139,"size":139,"collection":139,"collections":63126,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},237699,"shan-shui-hua-guo-ce-xiang-sheng-mo-237699",[24,25,81,7,62,22689,210,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6b2598b5dfceaa9fca8709cd1d0c074.jpg",[],{"id":63128,"slug":63129,"title":131,"dynasty":76,"author":17610,"museum":316,"description":17611,"tags":63130,"thumbUrl":63131,"material":638,"size":139,"collection":139,"collections":63132,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},237286,"hua-hui-ce-wu-kai-237286",[24,25,81,7,28,83,84,212,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1562a4682ae49f5d261aafd103f1059b.jpg",[],{"id":63134,"slug":63135,"title":6834,"dynasty":76,"author":11483,"museum":20,"description":11484,"tags":63136,"thumbUrl":63137,"material":770,"size":139,"collection":139,"collections":63138,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},237197,"shan-shui-ce-sun-yi-237197",[194,24,25,81,7,173,177,29,107,34,176,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87c9ae6b32d3066b4d617082b16f677c.jpg",[],{"id":63140,"slug":63141,"title":6834,"dynasty":76,"author":11483,"museum":20,"description":11484,"tags":63142,"thumbUrl":63143,"material":770,"size":139,"collection":139,"collections":63144,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},237191,"shan-shui-ce-sun-yi-237191",[24,29,81,7,177,685,379,1133,378,262,175,1169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed226bcb7451e0855a0e8ac8e024d137.jpg",[],{"id":63146,"slug":63147,"title":14993,"dynasty":76,"author":2122,"museum":20,"description":14994,"tags":63148,"thumbUrl":63149,"material":770,"size":139,"collection":139,"collections":63150,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},237179,"hua-niao-kun-chong-ce-zhou-quan-237179",[24,7,81,83,230,84,838,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7fce8b64b25aff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江南的首郡就是金陵。在这些画家中，却单单有八位画家因一个概念而被画史铭记，这就是“金陵八家”。但是，关于“金陵八家”的构成一直为画史争论不休。先后出现了多个版本，这些不同的“金陵八家”组合其实可以分为三类：①为张庚《国朝画征录》中提出的以龚贤为首的“金陵八家”。②为标明是周亮工品题的不包括龚贤，并以陈卓领衔的“金陵八家”，《上元县志》、《新修江宁府志》、《上江两县志》和《金陵通传》这4部南京地方志采用该说。前三书完全相同，而《金陵通传》略有不同，将武丹换成了武弁（很可能是传抄的错误）。《眼福编》的组合虽与张庚之说相似，但将龚贤换成了邹喆的父亲邹典，故将之归到这一类。③为《昆山景物志》，此说也以龚贤为首，大概因为龚贤是昆山人。新入3人：施霖、盛丹、王概。这三类“金陵八家”构成以第一种受到的附合最多。为什么会出现如此多的“金陵八家”说不同版本，“金陵八家”最初由谁品题，为什么会发生变化，其动因又是什么呢？",[24,25,81,7,28,83,897,483],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd69d52209f5bf66a1de1c23e1b5d4804.jpg",[],{"id":63351,"slug":63352,"title":63353,"dynasty":76,"author":257,"museum":316,"description":63354,"tags":63355,"thumbUrl":63356,"material":599,"size":600,"collection":139,"collections":63357,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},234385,"xiao-sheng-xian-huang-hou-chao-fu-xiang-zhou-yi-ming-234385","孝圣宪皇后朝服像轴","此作写实精微，将女主人慈和端凝的神态刻画入微，鬓发丝缕、面部肌理皆细腻逼真，尽显沉静雍容的气度。\n朝服纹饰严整考究，盘龙绣纹张弛有度，缂丝刺绣的华美感跃然绢上，朝珠串珠层次分明，宝石的温润光泽与华贵质感尽显无遗。髹金雕龙座椅繁复富丽，地毯纹样规整华美，衬出皇家仪范的肃穆厚重。\n整体设色明丽沉稳，兼顾纪实性与艺术性，将帝后威仪与端庄气度相融，是清代宫廷肖像画的上乘之作。",[24,25,226,7,28,106,333,334,335,336,31857],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa222c1e4c1c25705b7fed860532e5504.jpg",[],{"id":63359,"slug":63360,"title":63361,"dynasty":76,"author":257,"museum":316,"description":63362,"tags":63363,"thumbUrl":63364,"material":599,"size":600,"collection":139,"collections":63365,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},234380,"xuan-ye-chao-fu-xiang-zhou-yi-ming-234380","玄烨朝服像轴","这是工笔重彩帝王肖像，画中帝王面容沉稳威严，沟壑纹路镌刻着半生理政的厚重阅历，神色持重内敛，尽显久居九五的肃穆气度。\n明黄朝服尽显至尊礼制，龙纹腾跃于衣身，辅以祥云、江崖海水，纹饰勾染精细妍丽，石青、朱红点缀其间，撞色沉稳华贵，织绣细节纤毫毕现，将清代冠服的森严等级尽数铺陈。髹金浮雕龙座与纹样规整的铺地织锦层层烘托，写实笔触精准恪守宫廷肖像的制式法度，定格下盛世帝王的仪范风骨，是清代肖像画工致典雅的典范。",[24,25,226,7,106,406,63,28,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d104575a2e03427d0d767f27dedb9b7.jpg",[],{"id":63367,"slug":63368,"title":19311,"dynasty":76,"author":7596,"museum":20,"description":63369,"tags":63370,"thumbUrl":63371,"material":1175,"size":139,"collection":139,"collections":63372,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},234305,"wang-hui-fang-gu-shan-shui-ce-wang-hui-234305","王翚（1632－1717），字石谷，号象文，一号臞樵、乌目山人、耕烟散人、耕烟外史、清晖主人、清晖老人、剑门樵客、耕烟野老、耕烟老人、天放闲人、雪笠道人、海虞山樵等。江苏常熟人。一代山水大家，开创“虞山画派”，有“画圣”之誉。与王时敏、王鉴、王原祁并称“四王”；合吴历、恽寿平，世称“清六家”。其画在清代极负盛名，康熙三十年奉诏绘制《康熙南巡图》，3年完成，得到皇帝的褒奖，被视为画之正宗，追随者甚众，为“虞山派”之首。",[24,25,81,7,177,2428,29,685,262,34,176,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F246786c908a5af84ff097e5edaba0cbb.jpg",[],{"id":63374,"slug":63375,"title":63376,"dynasty":18,"author":63377,"museum":20,"description":63378,"tags":63379,"thumbUrl":63380,"material":37114,"size":63381,"collection":139,"collections":63382,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},234010,"xue-jiang-mai-yu-ye-li-dong-234010","雪江卖鱼页","李东","李东，南宋画家。生卒年和籍贯均不详。南宋理宗时（公园1225-1264年）经常京师御街上出售他所画村田乐、常酣圆绘作品，为民间风俗画家。",[24,25,6083,173,7,177,29,109,174,796,353,1353,2086,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba081b5d70387e01e514cd9655afe981.jpg","纵23.6厘米,横25.2厘米",[],{"id":63384,"slug":63385,"title":205,"dynasty":76,"author":563,"museum":12886,"description":16023,"tags":63386,"thumbUrl":63387,"material":88,"size":16026,"collection":139,"collections":63388,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},233947,"hua-niao-ce-hua-yan-233947",[24,173,7,83,245,2532,498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa4b42e8ee5a36679f09cc1bd3da89ec.jpg",[],{"id":63390,"slug":63391,"title":26617,"dynasty":302,"author":831,"museum":20,"description":26618,"tags":63392,"thumbUrl":63393,"material":40,"size":26621,"collection":139,"collections":63394,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},233828,"er-ma-tu-juan-ren-ren-fa-233828",[24,25,26,28,7,150,746,178,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1058010d2a8e2e377aa7c701fb014f9b.jpg",[],{"id":63396,"slug":63397,"title":63398,"dynasty":54,"author":257,"museum":20,"description":63399,"tags":63400,"thumbUrl":63401,"material":638,"size":63402,"collection":139,"collections":63403,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},233783,"yao-shi-ru-lai-xiang-ye-yi-ming-233783","药师如来像页","本幅所绘为药师佛，结跏趺坐于莲花宝座上，内着绿地红色团花僧祇支，外披红色田相袈裟。左手持药钵，右手执两股六环杖头锡杖。背后有身光、头光。背景图案中的团花用淡红、紫红、黑色、绿色等色彩层层晕染勾勒。",[24,25,81,7,352,260,106,1488,7230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d769ae7b7b551c0025fdbbf404fa68d.jpg","34×30cm",[],{"id":63405,"slug":63406,"title":15779,"dynasty":76,"author":997,"museum":20,"description":15780,"tags":63407,"thumbUrl":63408,"material":770,"size":15784,"collection":139,"collections":63409,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},233777,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233777",[24,25,81,173,7,178,177,29,106,35,34,1169,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa129f1fd9aee99203d27679dcaa08816.jpg",[],{"id":63411,"slug":63412,"title":15779,"dynasty":76,"author":997,"museum":20,"des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”，是一位能脱去脂粉习气的高手。",[24,25,226,7,106,353,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18b43ba26f5832a75b9acdab6de29e7b.jpg","纵35．9厘米横50厘米",[],{"id":63453,"slug":63454,"title":63455,"dynasty":76,"author":257,"museum":20,"description":63456,"tags":63457,"thumbUrl":63459,"material":770,"size":63460,"collection":139,"collections":63461,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},233043,"ping-ding-tai-wan-zhan-tu-ce-yi-ming-233043","平定台湾战图册","乾隆五十一年（1786），台湾天地会北路首领林爽文起事，并得到南路首领庄大田的响应，旋即占领全岛，林爽文自称盟主大元帅，建元顺天；庄大田自称洪号，辅国大元帅。《战图》所绘即清大学士福康安和侍卫大臣海兰等于乾隆五十三年率军剿灭林爽文起事的战况。图十二幅，图目为：福康安奏报诸罗解围图、福康安奏报攻克斗六门图、福康安奏报攻克大里杙图、福康安奏报进攻小半天图、集集埔之战图、大埔林之战、大武垄之战图、枋寮之战图、生擒林爽文图、生擒庄大田图、福康安奏报抵厦门图、赐宴凯旋诸将图。\n据清内务府造办处乾隆五十三年档案记载：先是福康安进呈《台湾战图》御览，乾隆帝看过后并不满意，下旨：“图内人物绘画尚未合式，将原图十六幅寄京交如意馆，着伊兰泰将从前画过战图尺寸查清再画一份。五十三年九月二十日：姚文瀚将起得渡海凯旋图稿呈览，奉旨准画，着杨大章、贾全、谢遂、庄豫德、黎明分画。”十月初五太监鄂勒里传旨：“姚文瀚等现画台湾战图着以册十二幅，如画得一两幅，陆续交如意馆照西域战图画法一样画十二幅，俟画得时交造办处刻铜板。”[《活计档》。第3554册，中国第一历史档案馆藏。]即这是第一部完全由中国人绘稿和雕刻铜版的《战图》。但这套战图刻印完成后，也许乾隆帝并不十分满意，或者是对《平定准部回部战图》的西洋画法更感兴趣，又于乾隆五十四八月十七太监鄂鲁里传旨：“台湾战图册页画稿俟刻铜板完成时，将原稿掣回，着西洋人贺清泰、潘廷璋照铜板画法一样成画一份。”据《清内府造办处舆房目录》记载：《平定台湾战图》六份，其中绘本一份，内有原签注：“贾全起稿，黎明画稿”等字样。据故宫博物院藏清宫档案记载：“台湾战图铜板一份计十二块，压过二百份，各处陈设一百十九份，赏用八十一份。”",[194,24,25,81,7,28,106,29,26046,3982,2439,114,34,686,63458,33599,52181],"丘陵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0be05ec6ab04eff3cb82e85ab4fc6c0.jpg","长55.6厘米，宽91.1厘米",[],{"id":63463,"slug":63464,"title":46952,"dynasty":18,"author":257,"museum":20,"description":27258,"tags":63465,"thumbUrl":63466,"material":40,"size":63467,"collection":139,"collections":63468,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},233022,"da-nuo-tu-zhou-yi-ming-233022",[24,25,226,7,28,106,195,63,16355],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F811f5eb801a8357cdf3c7a7af199fa5a.jpg","纵67.4厘米，横59.2厘米",[],{"id":63470,"slug":63471,"title":63472,"dynasty":54,"author":63473,"museum":20,"description":63474,"tags":63475,"thumbUrl":63476,"material":1123,"size":63477,"collection":139,"collections":63478,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},232981,"hua-liu-zun-zhe-xiang-ce-di-ba-ga-na-ga-ha-zhui-jin-zun-zhe-lu-leng-jia-232981","画六尊者像册-第八嘎纳嘎哈缀襟尊者","卢楞迦","本幅设色画罗汉像。该册画六开,每页均游丝描。款：“卢楞伽进”四字。每页有弘历对题，引首及跋纸第一页，均弘历题写。每页有朱笔梵文书尊者名，宋印及骑缝印均伪项元汴。印记总共176方，引首及对幅上共印22方。该册另有题签一开,字二开。《故一59》",[24,25,81,7,28,260,106,212,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07be9da045569add4298a9c0f650d8cb.jpg","纵30cm，横58cm",[],{"id":63480,"slug":63481,"title":63482,"dynasty":18,"author":257,"museum":316,"description":63483,"tags":63484,"thumbUrl":63485,"material":529,"size":63486,"collection":139,"collections":63487,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},232614,"guang-ming-si-tu-zhou-yi-ming-232614","光明寺图轴","此作用工细界笔勾勒层叠殿宇，朱红立柱搭配青灰飞檐，古雅色调晕染出绢本的岁月质感。楼阁随势错落排布，飞檐舒展翘拔，回廊辗转勾连，砖石地砖的格纹工整清晰，凭栏处点缀微小像影，衬以淡描林木，兼具古建考据价值与清雅画意。\n\n画师以界尺精准摹写斗拱榫卯的精妙结构，细致还原寺院庄严宏阔的形制，将中古佛寺的恢宏气度凝于绢素，带着严谨考据与雅致笔意，静静诉说着古寺往昔的肃穆风华，是古建界画中的难得佳作。",[23,24,194,226,104,7,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe066fd770eac49d2b7d51ac8e2a4f9ca.jpg","156.5×65.3厘米",[],{"id":63489,"slug":63490,"title":63491,"dynasty":18,"author":257,"museum":132,"description":63492,"tags":63493,"thumbUrl":63494,"material":67,"size":63495,"collection":139,"collections":63496,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},232601,"shi-jia-san-zun-xiang-li-zhou-yi-ming-232601","释迦三尊像立轴","画面中心释迦牟尼佛跏趺端坐于仰覆莲座上，头饰螺发，身着袈裟和僧裙，神态庄严慈祥；右手于胸前结说法印，左手结禅定印，为芸芸众生开示宇宙人生的真谛。身后有头光、身光，寓示佛陀智慧无边、法力无边。佛陀上方有两菩萨，下方有两罗汉，从其身色和肩帜来看，上方为普贤和文殊，下方为阿难和迦叶。释迦牟尼的莲座下承高大华美的金刚座。束腰处绘双子戏球，前方有诸珍宝供养，背景顶上饰宝伞华盖，空中飘浮五彩祥云。画面构图精当，布局传统，疏密有度，人物和景物勾勒精细，线条洗练简洁，造型质朴生动，设色古朴，和谐雅致，以暖色调为主，将画面烘托的圣洁与庄重，表现了极高的绘画水平。难能可贵的是品相完好，原装原裱，为不可多得的收藏与供奉佳品。",[23,24,25,913,226,260,28,7,106,1488,3661],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F663a9a713f6fc8d5fa5c6021a681e6d3.jpg","198×111.5cm",[],{"id":63498,"slug":63499,"title":63500,"dynasty":302,"author":257,"museum":191,"description":63501,"tags":63502,"thumbUrl":63503,"material":123,"size":63504,"collection":90,"collections":63505,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},232262,"xing-e-tu-yi-ming-232262","杏鹅图","描绘水滨双鹅，旁有两棵柳、杏，飞燕穿梭柳叶之间，柳阴下斜出几枝杏花。从绘画内容及布局看来，它像是明院体大幅花鸟画的构图，画柳干之皴纹，有仿吕纪之笔意，画鹅则似林良写禽之趣，应是结合林良、吕纪影响之作。",[24,25,194,226,7,173,28,177,7355,32631,34,263,11542],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55c57300cc263debb9b3f1259bef7939.jpg","142.8x81.4厘米",[90],{"id":63507,"slug":63508,"title":63509,"dynasty":302,"author":257,"museum":316,"description":63510,"tags":63511,"thumbUrl":63512,"material":139,"size":139,"collection":139,"collections":63513,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},231911,"luo-han-tu-di-shi-zun-zhe-ming-ban-tuo-jia-yi-ming-231911","罗汉图（第十尊者名半托迦）","注荼半托迦尊者者生性愚钝，常因背不下经而遭嘲笑， 但他却坚定不移地修持佛法，终成阿罗汉果。释迦牟尼将他说成是改变他人观念的比丘中最杰出的一位。注荼半托迦尊者双手作禅定印，结跏趺坐于山石卜，神情专注。座前是怀抱小狮戏耍雄狮的侍者。树间化现金刚手菩萨和阿底峡大师。",[24,25,226,260,7,106,2235,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d69a3c64c7094b1bbe1a0ccbe1a8826.jpg",[],{"id":63515,"slug":63516,"title":63517,"dynasty":256,"author":257,"museum":316,"description":63518,"tags":63519,"thumbUrl":63523,"material":139,"size":139,"collection":139,"collections":63524,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},231695,"jiang-hu-shi-qi-di-shi-wu-luo-han-tu-li-zhou-yi-ming-231695","江户时期 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地狱草纸","绘卷以图文交错铺陈，将地狱酷刑具象铺展。赤裸罪人身受火雨灼烧、沸血沉溺之苦，肢体扭曲仓皇，粗粝线条勾勒出受罚者的惊惧绝望。浓烈朱红晕染的火焰与枯旧纸色撞色对冲，将炼狱的灼热暴戾铺散开来，古朴稚拙的笔触裹带着厚重威慑力。一旁的墨书与画作彼此呼应，将罪与罚的因果悄然诉尽，带着中古时代的肃穆警示，把幽冥苦楚直抵观者眼前，让这份对业报的刻画沉郁又撼人。",[23,260,26,7,173,106,16831,25,352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F774e7a20f89a325f446a0e9a13a010a7.jpg",[],{"id":63534,"slug":63535,"title":63536,"dynasty":256,"author":257,"museum":316,"description":63537,"tags":63538,"thumbUrl":63541,"material":599,"size":600,"collection":139,"collections":63542,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},231677,"qing-feng-pu-bu-tu-yi-ming-231677","青楓瀑布図","整幅作品以飞瀑为骨，素白留白晕出水幕如银河垂落，撞向滩间黑石，激出层叠浪涛，笔绘水纹精细入微，将奔涌之势跃然纸上。\n\n斜出的青枫缀着翠色，柔化了瀑流的雄劲深峻，暗墨晕染的山壁衬得银练似的水瀑愈发通透。刚柔相衬间，将幽林飞泉的清寂禅意铺展开来，题字落款清雅融于画面，把山野间奔雷般的水势与枝桠垂立的安然相融，尽显东方山水写意的灵韵，藏着对山野幽居之趣的描摹。",[23,24,173,7,226,29,1426,63539,63540,230],"青枫","水流","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd353240fc86d9ff3f2e1d951b0fe099c.jpg",[],{"id":63544,"slug":63545,"title":63546,"dynasty":256,"author":63547,"museum":316,"description":63548,"tags":63549,"thumbUrl":63550,"material":599,"size":600,"collection":139,"collections":63551,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":801},231664,"shi-ting-shi-dai-qin-gao-qun-xian-tu-xue-cun-zhou-ji-231664","室町时代 琴高群仙图","雪村周继","雪村周继（日语：雪村 周継，1504年－1589年），日本室町时代后期的禅僧画家与艺术家，出生于今日本本州岛中部的茨城县。他充分学习中国绘画技巧，为16世纪前后日本著名的水墨画画家之一。",[23,24,25,226,352,173,7,106,227,230,1551,260],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F841033e7db0128542364452f7261ea9f.jpg",[],{"id":63553,"slug":63554,"title":63555,"dynasty":256,"author":257,"museum":1577,"description":63556,"tags":63557,"thumbUrl":63558,"material":638,"size":63559,"collection":139,"collections":63560,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},231579,"hua-yan-wu-shi-wu-suo-hua-juan-yi-ming-231579","华严五十五所画卷","此作描述了《华严经》中记录的善财童子遍参善知识的经历。故事讲述的是善财童子心地纯洁，如天空般明净，听从文殊菩萨的规劝，遍参了55位善知识（才德兼备而能指引他人的高人），终于修成正果的美丽故事。这个表现主题在大陆（即中国）、日本自古就被造型化，此绘卷继承日本的传统，于镰仓时代中期临摹了制作于平安时代至镰仓时代初期的东大寺本（分藏于东大寺及他处。东大寺所藏为国宝，其他处所藏为重要文物）中的5段。原本凭借其柔和流畅的线条及宁静的色彩，展现了极高的思想性，本临摹本虽无法媲美原本，但也可以说具有原本的余韵。各段上书有的文字，为各位善知识的位阶及姓名，以及以各段内容为主题的诗文画赞。画赞采用的是与北宋时期著名文人苏东坡等相交甚密的杨杰的作品。",[23,24,26,7,28,106,34,29,109,107,108,176,380,614,15168,21044,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbca48a1d5a23cbaab71ad1178b785161.jpg","31.7×196.6cm",[],{"id":63562,"slug":63563,"title":63564,"dynasty":76,"author":7596,"museum":1830,"description":28697,"tags":63565,"thumbUrl":63566,"material":638,"size":63567,"collection":139,"collections":63568,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},231512,"yi-jing-zhi-qiao-qu-tu-wang-hui-231512","一径至桥去图",[23,24,194,3559,173,7,177,808,981,1171,1981,35,174,986,31,22323],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04a3af540c2cbca82873377916100e60.jpg","43x95厘米",[],{"id":63570,"slug":63571,"title":63572,"dynasty":302,"author":257,"museum":316,"description":63573,"tags":63574,"thumbUrl":63575,"material":139,"size":139,"collection":139,"collections":63576,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":2504},231497,"han-gao-zu-liu-bang-yi-ming-231497","汉高祖刘邦","汉高祖刘邦，字季，号沛公，谥号高皇帝，庙号高祖。沛郡丰邑中阳里（现属江苏省徐州市丰县）人氏，妣吕雉。邦公国号西汉高祖，生于周赧王五十九年即公元前二五六年二月初八日。他在兄弟四人中排行第三。性情豁达大度，知人善任。公元前二一六年，时年三十一岁，为泗水亭长。公元前209年壬辰岁九月，参加由陈胜，吴广带领的起义，后加入楚国的阵营，趁另一位将军项羽，和秦的大军打拉锯战，没有秦国主力和他的军队对阵之余，第一个攻进秦国的首都咸阳，灭了秦朝，被楚霸王项羽封为汉王。并以蜀地为基地，和项羽展开了长达四年的楚汉之争。刘邦在文有张良，武有韩信，后方有萧何的辅助下，终于把项羽的军队包围在垓下设下十面埋伏，项羽突围不果，自杀于乌江边。刘邦消灭了项羽后，统一了中国。公元前206年乙未岁称帝于洛阳，建立汉王朝，自此中华帝国在地理上再次统一，为以后的强大建立了基础.后迁都于长安（今西安市）在位十二年，卒于公元前一九五年丙午岁四月二十五日（甲辰日）。享年六十一岁，葬于葬于陕西省西安咸阳县东，称长陵。妣吕雉，卒于公元前一七九年壬戌岁，葬于长安咸阳县东陵。生八子：长庶齐悼惠王肥，曹氏生。次子恵帝盈，吕雉生。三子和意，戚后生，封赵王，后被吕雉所杀。四子恢，梁王，后自杀。五子文帝恒，先封代王，后为文帝，薄姬生，薄姬卒于公元前一五五年丙戌岁，葬于霸陵。六子友，先为淮阳王，后为赵幽王，后自杀，生二子：遂（赵王）、卬（胶西王）。七子建，燕王，后被吕雉所杀。八子长，淮南王，后被文帝废王。为了和后来刘秀建都洛阳的“汉”区别，历史上称为“西汉”",[24,25,194,7610,226,106,7,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f26eab8a5aa6207dddae9b2d01cb95c.jpg",[],{"id":63578,"slug":63579,"title":63580,"dynasty":76,"author":3914,"museum":132,"description":63581,"tags":63582,"thumbUrl":63583,"material":638,"size":63584,"collection":139,"collections":63585,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},231489,"fang-huang-zi-jiu-qiu-shan-tu-wang-jian-231489","仿黄子久秋山图","王时敏和王鉴都直接受教于董其昌，属于“南宗”。董其昌是华亭（上海松江县）人。万历间进士，官至礼部尚书，是江南有名的大豪绅。史书上说他“性和易，通禅理，萧闲吐纳，终日无俗语，人拟之米芾、赵孟俯云”。在绘画方面，他主张以古人为师、以下天为师，以求达到“形、手相凑而相忘”的目的。他苦临苦摹，废寝忘食，以“血战宋元”的精神，教育子弟，启发后人。王时敏与王鉴在普遍学习董其昌“南宗”的基础上，各有侧重，王时敏主要着力于黄公望，他自己曾说：“元季四家，当推子久，得其神者，惟董宗伯，得其形者，余不敢让。”而王鉴主要是学习董源与巨然，风格面貌较王时敏多，笔墨变化也比王时敏丰富。所以当时的人们评论说他：“能运笔中锋，其合作处，堪与董华亭对垒”，甚至有的说：“吾谓画中龙，国朝（指清朝）四大家中惟廉州实能当之”。\n王鉴是明朝时刑部尚书、文坛复古运动倡导者王世贞的孙子。生于明万历二十六年戊戌（公元一五九八年），卒于清康熙十六年丁巳（公元一六七七年），享年七十九岁。明崇祯六年（公元一六三三年）中举，两年后，官廉州太守。明朝亡覆前夕罢官归里。因为家富收藏，又自小受名书家熏陶，养成了对书画的特殊爱好，更因为在明清易代、战乱频繁的时期，他虽然未能投身反抗清军的行列，但也不愿甘当清廷的贰臣，于是便“布衣懒自入侯门”，“向人欲仿赵王孙”，去做一名在野的文画家了。",[23,24,25,226,29,7,177,105,685,378,31,686,1785,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3743a1569f5a7068db31e49355667a3.jpg","98×52cm",[],{"id":63587,"slug":63588,"title":63589,"dynasty":302,"author":63590,"museum":191,"description":63591,"tags":63592,"thumbUrl":63593,"material":67,"size":63594,"collection":139,"collections":63595,"showCount":5,"zanCount":2368,"manualWeight":48,"mainColor":49},231402,"han-yuan-tu-li-rong-jin-231402","汉苑图","李容瑾","此图分为殿阁区和水面区两部分，景色各异，作者采用鸟瞰式的构图，将殿阁和水面貌一一展现。刻画得非常具体细致，画面的右侧为殿阁区，以直线、横线、斜线绘成了一组优美的宏伟的建筑群：用笔严谨，刻画精到细密，一丝不苟。\n画面上，宫苑殿阁依山傍水而建，描绘了三重天井。由左下角十字歇山顶的桥亭，沿山径进入画面第一重天井，左侧围以曲折的长廊，廊外水面上构筑一重檐歇山顶的凉亭。再向上进入画面第二重天井，左右两侧均以悬崖削壁为天然屏幛。第三重天井中建一高峻的台基，台面上矗立着一座巍峨的双层楼阁，上层为重檐十字歇山顶，下层檐的左、右、前方各出一歇山抱厦。\n汉代宫苑早于汉高祖、萧相国时，即有营建。当时之未央宫，因龙首山制前殿，建东阙、北阙、武库、太仓等，周围二十八里，台殿池苑无数，宫成后常为朝见之所。王莽末年毁于兵火。如班固的《西都赋》、张衡的《西京赋》中，有关于汉代宫苑盛况的详尽描述，此轴则以绘画的形式展现了汉苑的宏丽气象。\n全画取近乎长方形的构图，殿阁占去画面的三分之二，整个汉苑图，宫阙巍峨，连甍矗栋，雕栏回廊，殿阁缛丽重深，周围树木耸峙，掩映成趣。在这一建筑群的高处，遥望远处，为烟波浩渺的水面，碧波万顷，气象万千；直到很远的地方与起伏的小山相接。凉亭临水，江水泊岸，楼台掩映，楼台亭阁生辉；近处植有松柏，林木翁翳，花竹摇艳，移步换影，处处秀丽迷人的景色；遥望远处，山山水水，美不胜收。其殿阁楼台等建筑物，其严谨笔直的线条与苍松崖石的穿插姿态相映，更显出楼阁的气势非凡。精湛的笔墨则再现了汉苑特有的风釆。\n图中的建筑从群体的布局组合到单体的结构装饰，都不是道地的汉时规范，而是宋以后的形制，例如鸱尾和脊兽的处理就是明证。但画家将历史和现实、景和情、势和意，通过惨淡的经营、创造的意匠，实现了统一。\n此图界画工整，折算精确，游规矩准绳之内而不为所窘。此图景物恢弘，气魄博大。树石画法承北宋郭熙，多作双勾夹叶，用笔粗壮放达，与郭熙《窠石平远图》相一致。但与郭熙不同，《汉苑图》纯用夹叶树，满山遍冈，葳蕤郁茂，增添了画面豪华郁丽的氛围。近境坡石从卷云皴化出，圆润流畅，清空跌宕；遥山旷荡，杂树暝漾，神韵独绝。\n中国美术学院艺术人文学院教授毛建波：汉代国家统一，国力殷实，都城、宫殿、苑囿、礼制建筑和陵墓等，十分兴盛。汉代苑囿规模惊人，作为游乐之所，苑囿里的宫殿常于中轴对称之外有更多自由灵活的处理，这种情形在《汉苑图》中有很好的体现。\n北宋内府《宣和画谱·宫室叙论》：“画者取此（指宫室）而备之形容，岂徒为是台榭、户牖之壮观者哉？虽一点一笔，必求诸绳矩，比他画为难工。”",[24,25,226,104,28,7,107,968,29,34,114,176,115,23394],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbef6d6d9c9afdd18b07e1bff7f30e833.jpg","纵156.6厘米，横108.7厘米",[],{"id":63597,"slug":63598,"title":63599,"dynasty":18,"author":257,"museum":191,"description":63600,"tags":63601,"thumbUrl":63602,"material":638,"size":63603,"collection":139,"collections":63604,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},231342,"qian-shou-qian-yan-guan-shi-wu-pu-sa-yi-ming-231342","千手千眼观世吾菩萨","千手千眼观世音菩萨，又称千手观音，汉传佛教中常被供奉的观世音菩萨之一，是观世音菩萨的其中一个化现。为六观音之一，六观音即：慈航观音（救拔饿鬼道）、千手观音（救拔地狱道）、马头观音（救拔畜生道）、十一面观音（救拔修罗道）、准提观音（救拔人道）、如意轮观音（救拔天道）。有一千只手，每手心上各有一眼，故称。一般塑像或者绘画上，大都以四十手、三十六手、二十四手、十八手为代表。\n有说法称千手观音与青颈观音、不空羂索观音、消众毒观音等观音化身，同为正观音一时化现，有极密切的关系，相当于同体异名\n菩萨千手千眼形象之来源，于《大悲心陀罗尼经》中记载：“世尊！我念过去无量亿劫，有佛出世，名曰‘千光王静住如来’。彼佛世尊怜念我故，及为一切诸众生故，说此‘广大圆满无碍大悲心陀罗尼’。以金色手摩我顶上作如是言：‘善男子！汝当持此心咒，普为未来恶世一切众生，作大利乐。’我于是时，始住初地，一闻此咒故，超第八地。我时心欢喜故，即发誓言：‘若我当来，堪能利益、安乐一切众生者，令我即时，身生千手、千眼具足。’发是愿已，应时身上，千手千眼，悉皆具足。”[1]此经文可知，菩萨千手千眼之形象，系因菩萨发愿利乐有情之后而具足千手千眼。\n千手千眼观世音菩萨头上有二十八法相，代表二十八天护法，流通于禅宗与净土宗。\n除了《大悲心陀罗尼经》以外，亦有《千手千眼观世音菩萨姥陀罗尼身经》有千手千眼观世音菩萨的记载。",[24,25,226,260,28,7,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a3ef79ac213a6d1e3fd09057b0064f2.jpg","302x103.6",[],{"id":63606,"slug":63607,"title":63608,"dynasty":302,"author":1977,"museum":316,"description":63609,"tags":63610,"thumbUrl":63611,"material":139,"size":139,"collection":139,"collections":63612,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},231036,"xiang-ma-tu-ye-zhao-meng-fu-231036","相马图页","此作以人马为景，牵马老者袍服勾勒清劲挺括，敛眉垂目专注整饬缰绳，神态沉静内敛，尽显驯马时的安然肃穆。\n\n骏马躯干壮硕饱满，四肢劲挺修长，转首回望间灵动有神，鬃尾隐约带风，将神骏筋骨肌理晕染细腻逼真，笔墨兼工带写，设色古雅清淡，既追唐人鞍马的写实风骨，又融文人笔墨的雅致意趣。画面疏朗简约，以形写神，将人马间温婉呼应的微妙氛围尽显，古朴沉静间满溢古意，尽显鞍马题材画作的精妙意韵。",[23,194,24,25,81,7,28,106,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3be06c53803a7a23406d3c79fb26d98b.jpg",[],{"id":63614,"slug":63615,"title":48222,"dynasty":76,"author":17152,"museum":316,"description":63616,"tags":63617,"thumbUrl":63618,"material":599,"size":600,"collection":139,"collections":63619,"showCount":5,"zanCount":2368,"manualWeight":48,"mainColor":94},230923,"shan-shui-tu-shan-mian-shang-rui-230923","上睿（1634―？）清代康熙年间僧人。字静睿、浔微，一作浔浚、浔睿，号目存、蒲室子、童心和尚、童心道人、童心行者、卧云人。江苏吴县（今江苏苏州）人。博学多才，工诗文\n康熙十一年（1672）作《仿周臣山水人物图》轴，现藏辽宁省博物馆；三十二年（1693）作《桐阴书屋图》、三十八年作《绣谷送春图》藏故宫博物院；三十二年作《携琴访友图》卷藏旅顺博物馆；雍正二年（1724）作《溪山密雪图》藏日本大阪市立美术馆；《为友梅作行乐图册》藏苏州市博物馆。著有《习余吟》。1904年北京故宫博物院出版《清释目存仿宋元山水册》影印本。",[24,1260,173,7,29,34,175,106,265,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5310bef9780ef758a53339e81bc9fb1c.jpg",[],{"id":63621,"slug":63622,"title":63623,"dynasty":256,"author":257,"museum":316,"description":63624,"tags":63625,"thumbUrl":63626,"material":599,"size":600,"collection":139,"collections":63627,"showCount":5,"zanCount":2368,"manualWeight":48,"mainColor":94},230525,"fu-hua-zhen-yan-tu-xiang-man-tu-luo-juan-quan-tu-yi-ming-230525","佛画真言图像曼荼罗卷全图","此卷以素绢为地，朱红、石青、泥金敷色，满铺神佛诸天、护法印相与卷草云纹，经文题识错落点缀其间。构图绵密却秩序分明，将密宗曼荼罗的严整仪轨，融入唐绘绮丽笔致之中。神佛形象饱满灵动，衣袂线条柔婉劲细，设色调和古雅，神圣的宗教氛围与装饰美感相融。繁复造像排布不显拥塞，云气纹串联画面，既有密教仪轨的庄严规整，又不失中古绘画的秀逸古雅，尽显宗教绘画的精致法度与肃穆气韵。",[23,26,260,7,28,106,41419,7698,352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d244be1b25048fd6371229130cb0f5b.jpg",[],{"id":63629,"slug":63630,"title":63631,"dynasty":256,"author":257,"museum":316,"description":63632,"tags":63633,"thumbUrl":63634,"material":599,"size":600,"collection":139,"collections":63635,"showCount":5,"zanCount":2368,"manualWeight":48,"mainColor":94},230521,"fang-gu-shan-shui-ren-wu-fen-ben-shou-ye-jia-cang-tu-juan-yi-ming-230521","仿古山水人物粉本(狩野家藏图卷)","此作用笔清灵秀润，远景山峦以淡墨晕染烟岚，虚实相映，漾着空濛出尘的诗意。近岸急流翻涌，山石皴擦朴拙苍劲，野舟闲泊浅滩，衬出林野的幽寂清旷。\n\n崖畔山居窗内，二人对坐晤谈，为清冷山水晕开一抹人间暖意。作者以淡彩轻点秋树，将隐逸栖居的雅趣融于尺幅间。整卷动静相生，水墨为骨，淡彩辅之，把文人寄情林泉的理想缓缓铺展，笔简意长，尽显萧疏淡远的古典山水意韵。",[23,24,25,26,7,2428,212,29,106,109,34,37,176,175,1426],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a7a50f0e0e083ec39fc14796d667cb7.jpg",[],{"id":63637,"slug":63638,"title":63639,"dynasty":76,"author":257,"museum":316,"description":63640,"tags":63641,"thumbUrl":63644,"material":599,"size":600,"collection":139,"collections":63645,"showCount":5,"zanCount":2368,"manualWeight":48,"mainColor":94},229964,"yin-du-jin-qian-zhu-hua-die-er-wa-chai-yi-ming-229964","银镀金嵌珠花蝶耳挖钗","此钗取花蝶为韵，粉碧玺花瓣柔婉层叠，主珠莹润似晨露，碎珠如星子错落点缀。点翠鲜绿叶片舒展，衬得花团愈发生机灵动。银镀金底托将珠石托举，清透宝玉与鎏金光泽相映，华贵又不失清雅。\n\n它将装饰与实用相融，钗身兼具耳挖之用，是闺阁妆饰里藏着的巧思。整体清丽柔婉，尽显细作首饰的精巧工致，把闺中女子的雅致意趣凝于方寸之间，藏着旧时妆匣里的温柔心事。",[320,63642,63643,62,873,64,229,7],"银镀金","嵌珠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f692ed659154c939cd4f4c89764e314.jpg",[],{"id":63647,"slug":63648,"title":63649,"dynasty":76,"author":257,"museum":316,"description":27801,"tags":63650,"thumbUrl":63651,"material":599,"size":600,"collection":139,"collections":63652,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":2504},229140,"fen-cai-ying-xi-tu-ping-yi-ming-229140","粉彩婴戏图瓶",[320,12818,22953,7,106,8665,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35d1e15ff308541aee0294a62974c696.jpg",[],{"id":63654,"slug":63655,"title":63656,"dynasty":99,"author":1782,"museum":316,"description":63657,"tags":63658,"thumbUrl":63659,"material":139,"size":139,"collection":139,"collections":63660,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},228848,"tai-ping-le-shi-ce-ye-dai-jin-228848","太平乐事册页","这幅小品以淡设色晕开市井闲趣，将夏末庭院的松弛烟火揉进笔墨之中。\n老树枝叶扶苏，筛下细碎光影暖了砖地庭院。案上杯盏果点错落，宴饮二人神态各异，把酒嗅香者意趣盎然，醉眼惺忪者颓然可爱。稚童偎依酣睡，廊下妇人牵着幼童探看，满是家常温情。\n笔意简淡灵动，设色清雅柔和，无需繁复刻画，便将太平年月里松弛鲜活的烟火日常藏在每处细节里，恬淡治愈，尽显俗世安乐。",[24,25,81,7,28,106,34,4226,4227,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3def9883fb33303890ae95371969100e.jpg",[],{"id":63662,"slug":63663,"title":2949,"dynasty":99,"author":257,"museum":316,"description":63664,"tags":63665,"thumbUrl":63666,"material":139,"size":139,"collection":139,"collections":63667,"showCount":5,"zanCount":2368,"manualWeight":48,"mainColor":49},228783,"ru-bi-tu-yi-ming-228783","这卷长卷铺陈开帝王出巡的浩大阵仗，从郊野山林延伸至朱宫红墙。仪仗扈从前呼后拥、严整有序，各色人等衣冠鲜明、各司其职，禁军甲胄明辉，百官朝服鲜妍，沿途乡野屋舍皴染细致入微。\n\n画面叙事连贯，将宏大行进场面拆解为无数鲜活细节，疏密有致地铺展于绢本之上，尽显皇家仪典的肃穆庄重。工致细腻的笔力，精准拿捏了皇家銮驾的威仪气度，将皇权巡行的恢宏气象定格于绢素间，是描摹古代皇家礼制的经典之作。",[23,24,25,194,26,28,7,106,107,108,109,175,150,29,34,176,149,3982],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec87f2e8b6cac5ea3f2c8d328bc10eda.jpg",[],{"id":63669,"slug":63670,"title":54037,"dynasty":99,"author":1196,"museum":316,"description":63671,"tags":63672,"thumbUrl":63673,"material":139,"size":139,"collection":139,"collections":63674,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},228483,"wen-dao-tu-ye-tang-yin-228483","此作为绢本设色团扇小品，取边角式构图，右侧古木虬曲苍劲，疏枝带叶，晕染出清寂秋意。江岸石径之上，策鹿老翁宽袍缓行，神态悠然自得，侍童负杖紧随其后，主仆二人身影闲逸萧散。远景江波澹澹，远山隐现于烟霭间，留白烘托出悠远空寂的林下氛围。\n\n笔墨清简写意，人物线条简练传神，老者的安闲与灵鹿的轻跃相互映衬，将文人幽游林泉的隐逸雅趣，融于咫尺团扇之中，尽显萧散淡远的林下高致。",[23,24,25,81,7,106,29,378,2479,746,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63ec7fe90818314ddf0126d45643bc90.jpg",[],{"id":63676,"slug":63677,"title":63678,"dynasty":99,"author":792,"museum":316,"description":63679,"tags":63680,"thumbUrl":63681,"material":139,"size":139,"collection":139,"collections":63682,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},228428,"chu-shan-qiu-ji-tu-zhou-lan-ying-228428","楚山秋霁图轴","危峰穿破流云，干湿浓淡的墨色皴擦出岩体质感，云雾轻笼半山，将丘壑裁作数重，虚实相生间铺展出山林深邃意境。山腰隐现山居屋舍，斜松探入烟霭，丹黄枝叶点染浓浓秋意。\n\n山麓飞瀑漱石汇成浅溪，策杖行人于危桥上徐行，野趣悠然自生。整画兼得元人写意简淡与宋人丘壑之实，晕染清润，烘托出秋霁初晴的空濛澄澈。简淡笔墨里藏着朴茂苍劲，将楚山秋日的高旷明洁尽藏尺幅间，尽显浙派晚期山水苍劲秀润的独特风貌。",[23,24,25,226,7,173,177,29,378,1273,108,106,107,263,37,5218],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ee7d130be7372a1498bcb77806080ed.jpg",[],{"id":63684,"slug":63685,"title":63686,"dynasty":99,"author":6965,"museum":316,"description":63687,"tags":63688,"thumbUrl":63690,"material":139,"size":139,"collection":139,"collections":63691,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},228401,"yu-dong-qun-xian-tu-zhao-yong-228401","玉洞群仙图","青绿晕染出层叠仙山，苍松虬枝斜曳，桃林漫山绽花，幽谷间烟云轻漾。群仙散游林泉：或围坐松下清谈，或策杖寻幽揽胜，或凭崖临流遐观，情态自在萧散，尽得世外雅逸之趣。\n\n全卷气息清灵古雅，山水与人物相融无间，青绿妍丽厚重，人物笔致简逸传神，烘托出洞天幽寂出尘的氛围。卷后题咏呼应画境，诗画合璧，将文人梦寐中的栖隐仙乡藏于尺幅之间，尽显世外仙乡的出尘之致。",[23,24,25,26,860,7,28,29,106,63689,34,176,178],"群仙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85733ce0975ae279b032bedb227bdbd2.jpg",[],{"id":63693,"slug":63694,"title":63695,"dynasty":99,"author":6579,"museum":316,"description":63696,"tags":63697,"thumbUrl":63698,"material":139,"size":139,"collection":139,"collections":63699,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},228372,"dong-ting-qiu-yue-tu-ye-chen-huan-228372","洞庭秋月图页","此作用淡墨轻晕出洞庭秋夜，远景汀洲隐在烟霭中似有若无，湖面细碎波纹漾开，仿佛浸着满轮秋月的清辉。近岸茂林环着临水小榭，不见明月，却以空濛水光晕染出月色铺陈的幽寂氛围，以虚写实，将秋夜湖面上的清寒辽远尽数铺开。\n\n左侧题诗行书隽秀舒展，桂香月色融在诗句与淡岚间，诗画呼应，把洞庭秋夜的澄澈空灵晕成一片静谧逸境，寥寥笔墨间尽显文人雅致的幽远诗意，勾勒出江南月夜独有的清寂意趣。",[23,24,25,81,7,173,29,265,175,34,3519,178,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e9446575332c01a3b587a8e0d7377ac.jpg",[],{"id":63701,"slug":63702,"title":63703,"dynasty":99,"author":257,"museum":316,"description":63704,"tags":63705,"thumbUrl":63706,"material":139,"size":139,"collection":139,"collections":63707,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},228350,"chun-jiang-xing-zhou-tu-ye-yi-ming-228350","春江行舟图页","近景峭峰被苍林簇拥，山石皴染细腻，草木氤氲温润生机。江面烟波澹澹，远岸晕作朦胧黛色，留白晕出濛濛水汽，晕染出暮春江天的辽远空寂。几叶扁舟缓行江上，帆影悠悠，将水居行旅的松弛闲散揉入开阔江境。\n\n此作用色雅致淡逸，以小青绿晕染山峦，无浓艳堆砌，尽显清隽澹泊。尺幅之间藏千里之势，静山与动舟相映，把春江暮景的悠然意境铺展尽致，揽入江南水天的温柔清寂，观之如沐江上春风，得小品山水的澹远意趣。",[23,24,25,5300,7,29,10843,34,808,5903,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40ea2a72ac10508a352aa6f165a194fc.jpg",[],{"id":63709,"slug":63710,"title":63711,"dynasty":99,"author":4794,"museum":316,"description":63712,"tags":63713,"thumbUrl":63714,"material":599,"size":600,"collection":139,"collections":63715,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},228277,"da-mo-yi-wei-du-jiang-tu-chen-ji-ru-228277","达摩一苇渡江图","一苇渡江是达摩祖师的宗教故事。达摩传说渡过长江时，并不是坐船，而是在江岸折了一根芦苇，立在苇上过江的。",[23,24,25,226,260,7,106,178,212,109,2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身名门大族，家藏古器名画法书甚多，自幼知识渊博，好古善鉴，多识奇字，自夏商以来钟鼎尊彝皆能考订世次，辨别款识。长于诗文，行楷书有晋人风。与王安石、苏轼、米芾、黄庭坚为至交，系驸马王诜之座上客。熙宁三年（1070）中进士，为中书门下省删定官，后官至朝奉郎。元符三年（1100）病痹告老，居家乡桐城龙眠山，号龙眠居士。一生勤奋，作画无数，人物、史实、释道、士女、山水、鞍马、走兽、花鸟无所不能，无所不精。人物、道释深得吴道子旨趣，运笔如行云流水，造型正确，神态飞动；山水气韵清秀，得王维正传；着色山水追李思训心法；画马过韩干。能集诸家之长，得其大成，师法自然，大胆创新，自成一家，被后代敬为第一大手笔、百代宗师。",[23,194,24,25,26,352,7,106,86,178,212,6322,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75a8d47955d7901c90829f8ca4228c24.jpg",[],{"id":63780,"slug":63781,"title":63782,"dynasty":18,"author":257,"museum":316,"description":63783,"tags":63784,"thumbUrl":63785,"material":139,"size":139,"collection":139,"collections":63786,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},227385,"qun-yan-tu-ye-yi-ming-227385","群雁图页","在中国绘画艺术的发展长河中，占据一隅的佚名绘画对艺术发展的推动力不容忽视。宋代良好的文化环境对于绘画的推动，一方面体现在精英画家辈出，院体画风曲高和寡；另一方面民间绘事日渐活跃，绘画成为了市井百姓喜闻乐见的一种表现形式，绘画佚名在当时也成为一种普遍现象。",[23,194,24,25,81,28,7,245,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb62f4007ee81d835d13b3baa63b93e17.jpg",[],{"id":63788,"slug":63789,"title":63790,"dynasty":18,"author":257,"museum":316,"description":63791,"tags":63792,"thumbUrl":63793,"material":139,"size":139,"collection":139,"collections":63794,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},227351,"bin-du-luo-ba-luo-duo-du-zun-zhe-yi-ming-227351","宾度罗跋啰堕闍尊者","《宾度罗跋啰堕闍尊者》 宋 佚名 绢本 设色 86×44 厘米 此图绘第一宾度罗跋啰堕闍尊者，是十六罗汉中的第一位，,与自眷属一千阿罗汉多分住在西瞿陀尼洲。左侧题名还可看清：第一宾度罗跋啰堕闍尊，右侧常住寺名已漫漶不清，只留“...东山三...寺常住“几字，当是在中国的宋代时就已流传至日本。此图用笔尤是宋人法度，设色高妙而极其虔诚，一丝不苟。眼作碧色，很是少见。允为传世宋人罗汉精品，惜宋画全集未录。",[23,24,25,7,28,260,106,226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d8cb9355b5d38e4adf614ee79fabc37.jpg",[],{"id":63796,"slug":63797,"title":511,"dynasty":189,"author":257,"museum":316,"description":8010,"tags":63798,"thumbUrl":63799,"material":599,"size":600,"collection":139,"collections":63800,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},227273,"bi-hua-yi-ming-227273",[189,511,7,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c133070882d63bf1431ca90c73c89dc.jpg",[],{"id":63802,"slug":63803,"title":63804,"dynasty":54,"author":257,"museum":316,"description":63805,"tags":63806,"thumbUrl":63807,"material":139,"size":139,"collection":139,"collections":63808,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},227226,"jiang-mo-bian-yi-ming-227226","降魔变","【 唐 佚名 《降魔变文》 】卷，纸本设色，27.5×571.5cm，法国国家图书馆藏。此卷敦煌遗物在1908年被法国的希伯和所盗取。画面从笔墨和造型上看应当是真正的唐代人物宗教故事画，虽非名手所作，但也是珍贵的文物，为研究唐代人文宗教历史提供了第一手材料。\n画卷中的国王、外道和佛弟子的形象特征鲜明。描绘了外道如何向国王口出狂言，扬言自己本领高强，要取代佛弟子的地位。他们制造显现出离奇的景象、恐怖的物事、吓人的声音、惊惧的场面，企图威慑佛弟子；佛弟子则神态平静，在淡然默语之中，展现神通，一一予以粉碎、消除、化解、冲刷得干干净净。国王看到这一切，当然心悦诚服，欣喜异常。外道则黔驴技穷，一筹莫展，最终不得不遵从国王的旨意，归顺了佛弟子。",[23,24,25,26,260,7,28,352,106,746,406,245,34,176,1023,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23dd62430861a3914d1d4d7d6ab142ba.jpg",[],{"id":63810,"slug":63811,"title":63812,"dynasty":256,"author":257,"museum":1846,"description":18847,"tags":63813,"thumbUrl":63814,"material":599,"size":600,"collection":139,"collections":63815,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},226520,"jiu-mo-luo-shen-jin-gang-bo-re-bo-luo-mi-jing-shou-gao-yi-ming-226520","鸠摩罗什金刚般若波罗蜜经手稿",[260,86,22428,937,26,352,7,55035,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20afbc02f34d54a8b4b81f1b887565a2.jpg",[],{"id":63817,"slug":63818,"title":17656,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":63819,"thumbUrl":63820,"material":599,"size":600,"collection":139,"collections":63821,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},226497,"ku-zhu-shi-xi-bi-yi-ming-226497",[511,260,7,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66f08c2b981cdc840ef87dc5809b2323.jpg",[],{"id":63823,"slug":63824,"title":11620,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":63825,"thumbUrl":63826,"material":599,"size":600,"collection":139,"collections":63827,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},226454,"ku-zhu-shi-dong-bi-yi-ming-226454",[511,260,7,106,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5092b4b3bf17fbd490af0c32ec3add13.jpg",[],{"id":63829,"slug":63830,"title":11620,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":63831,"thumbUrl":63832,"material":599,"size":600,"collection":139,"collections":63833,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},226438,"ku-zhu-shi-dong-bi-yi-ming-226438",[511,260,7,106,352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc53c01ba18086b037cf9db8d656e46b4.jpg",[],{"id":63835,"slug":63836,"title":28521,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":63837,"thumbUrl":63839,"material":599,"size":600,"collection":139,"collections":63840,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},226339,"ku-zhu-shi-ren-zi-pi-xi-pi-yi-ming-226339",[511,7,260,22981,4027,84,41432,63838,5884],"竖条纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a0c31688ed40114d39948e5e215447a.jpg",[],{"id":63842,"slug":63843,"title":27976,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":63844,"thumbUrl":63845,"material":599,"size":600,"collection":139,"collections":63846,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},226293,"ku-yong-dao-bei-pi-yi-ming-226293",[511,260,7,106,5885,12896],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe71c2f6fa0c65d4a03ce1730977ee417.jpg",[],{"id":63848,"slug":63849,"title":24073,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":63850,"thumbUrl":63851,"material":599,"size":600,"collection":139,"collections":63852,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":2504},226217,"ku-zhu-shi-xi-pi-yi-ming-226217",[511,7230,7,260,106,28,11370,5884,7692,19634],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14d3afc8771fd6ddd38808ce51e0535d.jpg",[],{"id":63854,"slug":63855,"title":63856,"dynasty":256,"author":10036,"museum":316,"description":10037,"tags":63857,"thumbUrl":63859,"material":599,"size":600,"collection":3195,"collections":63860,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},226118,"the-skaters-at-giverny-1899-mo-nai-226118","The Skaters at Giverny, 1899",[10039,3187,7,106,795,3984,16440,18859,63858],"滑冰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd75af4a63c39ad27e6bfb80c7040bc77.jpg",[3195],{"id":63862,"slug":63863,"title":63864,"dynasty":256,"author":6236,"museum":316,"description":6237,"tags":63865,"thumbUrl":63866,"material":599,"size":600,"collection":3195,"collections":63867,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},225839,"the-zouave-fan-gao-225839","The Zouave",[3187,7,106,22341,55859,409,8170,20173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F68900784dfbe65075b8944b4e7ed9860.jpg",[3195],{"id":63869,"slug":63870,"title":63871,"dynasty":256,"author":3184,"museum":316,"description":6534,"tags":63872,"thumbUrl":63873,"material":599,"size":600,"collection":3195,"collections":63874,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":2504},225645,"rembrandt-harmensz-van-rijn-055-lun-bo-lang-225645","Rembrandt Harmensz.van Rijn - 055",[3187,106,11296,7,3193,22341,54218,22448,3189,35050],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cba2773a6ae4bb73cb4f4eb28de8fbd.jpg",[3195],{"id":63876,"slug":63877,"title":63878,"dynasty":256,"author":257,"museum":316,"description":63879,"tags":63880,"thumbUrl":63881,"material":139,"size":139,"collection":139,"collections":63882,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},225500,"fu-shi-hui-258-yi-ming-225500","浮世绘258","执菊轻嗅的仕女垂眸敛神，将一身温婉揉进朦胧秋光。高髻乌发晕染柔润，鬓边线条清隽，尽显雅致娴静。浅纹和服晕染虚实相宜，柔和笔触衬出身姿柔婉舒展。暖橘底色如薄暮霞色，明黄秋菊错落绽于身后，暖调氤氲间，清冷菊香仿佛漫溢开来。画面将女子闲憩的慵懒诗意晕开，用细腻柔和的笔触，把东方女性的静美与秋日氛围感相融，将日常闲情绘成隽永的古典意趣。",[12745,7,106,59,897],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf176046504b22c1ea4ec28cd1707d15.jpg",[],{"id":63884,"slug":63885,"title":63886,"dynasty":256,"author":257,"museum":316,"description":63887,"tags":63888,"thumbUrl":63889,"material":139,"size":139,"collection":139,"collections":63890,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},225385,"fu-shi-hui-142-yi-ming-225385","浮世绘142","这幅作品以游女为主题，佳人抬手理鬓，眉眼含柔，将江户艺伎的温婉风情尽数展露。\n\n衣装纹样尤为夺目，大面积云龙缠纹威严大气，卷草团花与夕颜藤曼柔婉舒展，浓黑、石青与暖金交织晕染，尽显锦绘技法的华贵质感，将浮世绘的装饰美学发挥到极致。背景夕颜藤蔓蜿蜒，与美人身姿呼应萦绕，落款题字点缀留白，让画面疏密得宜。整体复刻了江户市井的风月意趣，将仕女娇柔风骨与时代审美定格于纸面。",[12745,4006,7,106,59,84,553,334,63521,18132,30186],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99b6eb5e82d57d9a38562727fad3ec4d.jpg",[],{"id":63892,"slug":63893,"title":63894,"dynasty":256,"author":257,"museum":316,"description":63895,"tags":63896,"thumbUrl":63897,"material":139,"size":139,"collection":139,"collections":63898,"showCount":5,"zanCount":2368,"manualWeight":48,"mainColor":94},225351,"fu-shi-hui-105-yi-ming-225351","浮世绘105","浅湖蓝带颗粒感的底色晕开沉静氛围，暖黄色线瓣菊舒展绽放，细长花瓣从花心呈放射状铺陈，辅以淡色阴影勾勒蓬松花型，柔润中带着舒展的锐气。墨绿叶片棱角分明，与柔媚花型刚柔相济。\n\n画面疏密有致，上方留白透气，下方花簇饱满错落，朱红印章点缀右侧，平衡青黄色调，添了一抹醒目的暖意。整体风格清雅悠然，以简洁套色定格秋菊孤高的意趣，将秋日花草的闲静风骨藏在柔婉的笔色里。",[12745,4006,7,897,62,210,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F954596b9cdaa8458eeb612b2008726e6.jpg",[],{"id":63900,"slug":63901,"title":63902,"dynasty":256,"author":257,"museum":316,"description":63903,"tags":63904,"thumbUrl":63906,"material":139,"size":139,"collection":139,"collections":63907,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},225338,"fu-shi-hui-91-yi-ming-225338","浮世绘91","这幅作品以百尺飞瀑为视觉核心，垂直奔涌的水流如银练垂空，蓝白渐变晕染出碎玉崩溅的磅礴水汽，与四周苍翠绿意的层峦形成强烈视觉张力。\n\n前景处负笠赶路的旅人、水雾裹挟下的山居茅舍，将宏大山水与市井烟火相融。利落的线条勾勒出山岳纹理与行人动态，柔和敷色晕开湿润空濛的幽谷氛围，仿佛能听见瀑声轰鸣、水花扑簌。画作将自然的雄浑浩渺与人间日常的暖意交织，尽显雅致意境，把幽谷飞瀑的清旷生机定格于尺幅之间。",[12745,4006,7,29,1426,34,176,37,106,989,63905],"水花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c29268bc35bbb814405c3712ecfca34.jpg",[],{"id":63909,"slug":63910,"title":63911,"dynasty":256,"author":257,"museum":316,"description":38922,"tags":63912,"thumbUrl":63914,"material":599,"size":600,"collection":139,"collections":63915,"showCount":5,"zanCount":2368,"manualWeight":48,"mainColor":2504},225314,"fu-shi-hui-50-yi-ming-225314","浮世绘50",[12745,37774,63913,7,108,1241,447,265,16441],"螺钿镶嵌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6292ea9ec34ce7d2a4bc88eda894b420.jpg",[],{"id":63917,"slug":63918,"title":63919,"dynasty":76,"author":4285,"museum":316,"description":63920,"tags":63921,"thumbUrl":63922,"material":599,"size":600,"collection":139,"collections":63923,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},224425,"yun-feng-shu-se-tu-zhou-zhuang-biao-wang-shi-min-224425","云峰树色图轴（装裱）","王时敏（1592年－1680年），初名赞虞，字逊之，号烟客，晚号西庐老人，直隶太仓州（今江苏太仓市）人，明末清初重要画家。万历首辅王锡爵孙，翰林王衡独子。崇祯初年荫官为太常寺少卿，入清后不仕。\n王时敏擅画山水，少时学董其昌，并临摹家藏宋元名作，以黄公望为宗，笔墨含蓄，浑厚清逸，唯构图略少变化。王时敏开创了山水画的“娄东派”，对清代画坛影响很大。他与王鉴、王翚、王原祁并称“四王”，加上恽寿平和吴历，合称“清六家”。王翚、吴历皆出其门下，孙王原祁亦得其指授。",[23,24,25,226,7,27,177,29,105,685,2235,378,1133,379,109,114,38],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb013ea1a092bbe1e7b0683866b99698e.jpg",[],{"id":63925,"slug":63926,"title":63927,"dynasty":76,"author":4285,"museum":316,"description":63928,"tags":63929,"thumbUrl":63930,"material":139,"size":139,"collection":139,"collections":63931,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},224417,"shu-hua-shi-liu-kai-3-wang-shi-min-224417","书画十六开-3","此作以青绿设色晕染山峦，层峰叠嶂间烟云流荡，虚实相生将山林晕染得空灵缥缈，仿若世外幽境。苍松虬枝盘错、蓊郁葱茏，山隅水榭临波而建，一叶扁舟载着幽人泛于湖上，晕开山居雅趣。\n画作追仿赵千里笔意，师法北宋青绿山水的精工古雅，设色妍丽厚重却不俗艳，又糅合文人画的萧散淡远气韵，仿古而不泥古，在青绿华彩间铺陈出静穆悠远的山林意致，将江南丘壑的清润雅致与古典青绿的美学意蕴相融，尽显笔墨才情。",[23,24,25,81,27,7,177,29,34,3574,176,37,31,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6be366e0ee1a3e750582496bd677f229.jpg",[],{"id":63933,"slug":63934,"title":63935,"dynasty":76,"author":9598,"museum":316,"description":63936,"tags":63937,"thumbUrl":63938,"material":139,"size":139,"collection":139,"collections":63939,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},224359,"yi-ju-tu-juan-yu-zhi-ding-224359","移居图卷","《移居图》是清代画家 创作的一幅绢本设色画。\n此画现藏于 。\n本幅自题：“甲申初冬广陵禹之鼎写。\n”钤“禹之鼎”白文印，“慎斋”朱文印，右下角钤“逢佳”朱文印。\n甲申为清康熙四十三年（174年），禹之鼎时年58岁。\n禹氏5岁以后寓居京城，此时正是他画史上的盛年，其技法博采众家之长，融会贯通，予以己用。\n此幅像主待考。\n图中送行人临岸伫立，面目温和，含笑颔首；出行人当船而立，面容消瘦坚毅，神情惆怅。\n人物面部刻画精准细腻，用墨骨法勾勒出五官，使面部有凹凸感，再以赭色晕染，使之气血精神跃然纸上。\n僮仆们的面部均采用较传统的勾勒晕染的画法，立体感不强，水润有余，表现出朴实无华和稚嫩活泼的神情。\n人物衣纹线条的画法也因人而定，其中，船首仆人的衣纹完全为北宋马和之的“蚂蝗描”技法，流露出马氏“衣带松散，柔婉隽逸”的画风。\n树的画法宗北宋郭熙的“蟹爪”枝。\n牛马的画法有唐韵，牛之骨骼清晰，马圆臀，斑花用淡墨晕染，颇具光泽，活灵活现。\n冷瑟静谧的氛围烘托了离别送行的亲切和感伤。\n行船、马车上的美酒、书籍、酒葫芦、弓剑等被画家巧妙地安排在移居送行的场景里，赋予了画面鲜活的生活气息，同时表现出文人儒士们高逸洒脱的气质 。\n禹之鼎（1647—1716年），字尚吉，号慎斋，江都(今江苏扬州)人。\n清康熙二十年(1681年)官鸿胪寺序班，以画供奉入畅春园。\n善画人物、山水，尤精写真。\n初师蓝瑛，兼学宋元诸家。\n肖像画面貌多样，对白描法、墨骨法、江南法都有研究，所绘人物形神兼备，独具一格，一时名公小像多出其手，其肖像画在清代中期有“当代第一”之誉 。",[23,24,26,7,352,106,29,2234,151,154,353,1353,107,109,1049],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34ab4323da58d84b6f2b3bce05df9028.jpg",[],{"id":63941,"slug":63942,"title":63943,"dynasty":76,"author":1829,"museum":316,"description":63944,"tags":63945,"thumbUrl":63946,"material":139,"size":139,"collection":139,"collections":63947,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":94},224315,"hua-niao-ce-shi-kai-5-li-shan-224315","花鸟册十开5","紫英垂悬如瀑，花瓣以淡墨晕染，浓淡间分出初绽苞蕾与盛放娇花，枝叶以枯笔淡绿点染，随性舒展，野趣天成。翎羽以赭黄铺陈，丹喙亮眼，禽鸟振翅欲动，垂首窥花，灵动神态跃然纸上。\n\n行书题字纵逸跌宕，笔意与画意相融，诗画合璧更添清雅文韵。兼工带写间，把花鸟生机藏于笔墨，随性又不失精致，尽显文人写意的疏朗意趣，将江乡春日花鸟的鲜活景致，凝于尺幅之间。",[23,24,25,81,7,498,178,212,83,245,135,211,554],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e68e1bbf2be065a2dd861feabc0ade8.jpg",[],{"id":63949,"slug":63950,"title":63951,"dynasty":76,"author":563,"museum":316,"description":63952,"tags":63953,"thumbUrl":63954,"material":139,"size":139,"collection":139,"collections":63955,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},224180,"qiu-lin-guan-quan-tu-juan-hua-yan-224180","秋林观泉图卷","古木虬枝盘绕，繁叶如幄将溪岸轻笼，清寂秋意漫开。右侧石台之上，逸士围坐晤言，襟怀散朗，似伴淙淙泉声叙尽雅怀。\n\n浅墨勾出水波萦回，溪石错落排布，撞出幽远潺潺之意。山石以斧劈兼披麻皴写就，朴拙老辣，林木细笔点染、疏密相生，清雅古淡的设色晕开沉静古雅的氛围，将林泉清旷与文人情致相融，把秋日观泉的萧散林下之趣，藏进尺幅间的静穆诗意里。",[23,24,25,26,7,177,29,10677,809,686,106,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3fbf31cff307ebed96fcbb978417b13.jpg",[],{"id":63957,"slug":63958,"title":63959,"dynasty":18,"author":257,"museum":316,"description":63960,"tags":63961,"thumbUrl":63962,"material":139,"size":139,"collection":139,"collections":63963,"showCount":5,"zanCount":48,"manualWeight":48,"mainColor":49},223670,"xue-yu-tu-juan-yi-ming-223670","雪渔图卷","《历代名家绘画:雪渔图》由中国五代中国画作品集。\n由曹彦伟编著。\n中国画是精神绘画，外师造化，中得心源是最高境界。\n一笔一墨，一点构思，都会反映出画者的学问和修养，因此提高画家自身的素质和文化修养便是第一位的事情。\n此外，作品质量的高下，还在于它所承载的文化内涵，这其中就包括了历尽千年传承至今的传统笔墨技巧。\n现今，笔墨早已成为中国画艺术的文化符号。\n有人想舍弃它，另起炉灶，显然是不智的。\n因此，要不断学习、不断锤炼自已的基本功，包括造型、构图、构思，甚至营造中国式的意境也是可以反复练习的。\n《历代名家绘画:雪渔图》由 出版。\n作者:(宋)佚名 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尺寸：纵54cm，横26.4cm。\n本幅王肇基题：“爱镜者美人，爱剑者侠客，名士则爱砚，嗜好各成癖。\n先生放达人，耽此琴三尺，世俗竞淫哇，太古音谁识？庚辰孟夏月，梦楼宗台抚琴图。\n王肇基绘并题。\n”下钤“王肇基印”白文印、“镜香”朱文印。\n“庚辰”为清乾隆二十五年（176年），这一年，王肇基6岁，王文治（号梦楼）1岁。\n“孟夏月”则正值会考结束，殿试、御赐之前。\n王文治在这年的五月初十日得中进士第三人。\n图绘王文治在室内的画像。\n他手持折扇神情淡定地端坐在木椅上，身旁条案上摆有古琴和香炉，身后的花架上则置有盛开的兰花一盆。\n虽然点景物象不多，但是它们高低错落的陈设，丰富了画面的纵深空间，同时，也映衬出像主王文治幽兰般的君子心志和以琴瑟为伴的文化素养。",[24,25,226,7,106,195,4999,3673,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2463e961b794a748f0e3b21f09314859.jpg",[],{"id":65251,"slug":65252,"title":38694,"dynasty":76,"author":20608,"museum":316,"description":65253,"tags":65254,"thumbUrl":65255,"material":770,"size":139,"collection":139,"collections":65256,"showCount":558,"zanCount":48,"manualWeight":48,"mainColor":94},235037,"hua-ji-chan-yin-tu-ce-xiao-chen-235037","萧晨（生卒年不详），字灵曦，号中素，江苏扬州人。清初画家，李寅弟子，善画山水、人物，画雪景最为有名。虽以卖画为生，但时以诗人自居。",[320,24,25,81,7,173,106,353,230,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21b9ea68fd581d7e4f943cc27d68e501.jpg",[],{"id":65258,"slug":65259,"title":55347,"dynasty":76,"author":11483,"museum":20,"description":55348,"tags":65260,"thumbUrl":65261,"material":770,"size":55351,"collection":139,"collections":65262,"showCount":558,"zanCount":48,"manualWeight":48,"mainColor":94},235028,"bai-ying-lou-tu-ce-ye-sun-yi-235028",[24,25,81,7,29,177,175,108,109,174,378,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F056592b81dfa53b5a1a4c3aeedbef075.jpg",[],{"id":65264,"slug":65265,"title":10247,"dynasty":76,"author":997,"museum":20,"description":11041,"tags":65266,"thumbUrl":65267,"material":1123,"size":5618,"collection":139,"collections":65268,"showCount":558,"zanCount":48,"manualWeight":48,"mainColor":94},235007,"yuan-ji-shan-shui-tu-ce-shi-tao-235007",[24,173,7,177,86,212,29,176,34,1273,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f95e070eb30a633e86a181baaa50863.jpg",[],{"id":65270,"slug":65271,"title":65272,"dynasty":99,"author":257,"museum":316,"description":65273,"tags":65274,"thumbUrl":65275,"material":599,"size":600,"collection":139,"collections":65276,"showCount":558,"zanCount":48,"manualWeight":48,"mainColor":3510},234935,"zhao-shu-ban-shen-xiang-zhou-yi-ming-234935","赵曙半身像轴","此作以工整写实的笔触描摹帝王容仪，展脚幞头挺括规整，朱红朝服沉穆厚重，尽显九五之尊的威仪。画师精细晕染面部肌理，方正眉眼自带端凝神色，须髯丝丝分明，将帝王内敛持重的气度刻画入微。设色调和古雅，素净背景更衬出人物主体，笔笔恪守院体肖像的严谨法度，于细微处见功底，把帝王肃穆沉静的神态铺陈绢上，是古代帝王肖像中兼具写实性与传神度的工整佳构。",[194,24,25,226,7,106,28,860,63,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1b5e2459d74a974d5c7ae7b0dfee9a4.jpg",[],{"id":65278,"slug":65279,"title":65280,"dynasty":99,"author":257,"museum":316,"description":65281,"tags":65282,"thumbUrl":65283,"material":599,"size":600,"collection":139,"collections":65284,"showCount":558,"zanCount":2368,"manualWeight":48,"mainColor":49},234933,"yao-guang-xiao-xiang-zhou-yi-ming-234933","姚广孝像轴","此作写实工致，将人物沉静肃穆的高僧气度尽显无遗。画中之人面相圆和，神态内敛淡然，端坐于雕花宝座之上，手持拂尘，仪容端方。衣色以沉稳朱褐搭配雅致石青，衣身织锦纹样精细繁复，暗衬出尊崇身份。画师笔下细节入微，宝座纹饰、足下登履皆描摹细致，既恪守肖像画纪实本真，又以精谨笔触烘托出人物不凡的气场，尽显明代肖像画写实传神的精妙功底。",[24,226,106,260,7,28,63,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1b2d3e458a455e6a62e34502ba1510c.jpg",[],{"id":65286,"slug":65287,"title":65288,"dynasty":99,"author":10632,"museum":20,"description":27875,"tags":65289,"thumbUrl":65290,"material":770,"size":27878,"collection":139,"collections":65291,"showCount":558,"zanCount":48,"manualWeight":48,"mainColor":94},234808,"wu-men-zhu-jia-shou-yuan-fang-zhai-san-jue-ce-zhang-zhou-yuan-tu-ye-wen-jia-234808","吴门诸家寿袁方斋三绝册-长洲苑图页",[24,25,81,7,29,34,31,1169,9561,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89a520d1397b390fe6e861f5cfb2c669.jpg",[],{"id":65293,"slug":65294,"title":131,"dynasty":76,"author":45286,"museum":316,"description":45287,"tags":65295,"thumbUrl":65296,"material":139,"size":139,"collection":139,"collections":65297,"showCount":558,"zanCount":48,"manualWeight":48,"mainColor":94},234789,"hua-hui-ce-jin-li-ying-234789",[24,25,81,7,28,83,897],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac08f42306bb34287db8306bd84daff7.jpg",[],{"id":65299,"slug":65300,"title":65301,"dynasty":76,"author":65302,"museum":316,"description":65303,"tags":65304,"thumbUrl":65305,"material":139,"size":139,"collection":139,"collections":65306,"showCount":558,"zanCount":48,"manualWeight":48,"mainColor":94},234783,"mo-xie-bin-hua-fu-shan-xiang-zhou-wang-yin-zhai-234783","摹谢彬画傅山像轴","王荫斋","傅山（1607—1684年），字青竹，后改青主，一字仁仲，别署公之它（一作他），号朱衣道人等，阳曲（今山西太原）人。明亡后隐居不仕，以行医为生。清康熙十七年（1678年）举博学鸿词科，强征至京，以死拒，放归。能绘画，精医学。书法篆、隶、真、行、草无所不精，以草书最富特色，笔力雄奇恣肆，追求生拙真率的艺术境界，是清初书坛大家。有《霜红龛集》行世。《清史稿》列传二百八十八有传。",[24,25,226,7,106,378,176,989,8583,8419,105,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a7897ca39a968a036ec4605782e1aa5.jpg",[],{"id":65308,"slug":65309,"title":65310,"dynasty":99,"author":65311,"museum":316,"description":65312,"tags":65313,"thumbUrl":65314,"material":139,"size":139,"collection":139,"collections":65315,"showCount":558,"zanCount":48,"manualWeight":48,"mainColor":49},234678,"dou-jia-tang-lang-ce-ye-zhong-qin-li-234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字毓东，号静岩，又号知生、爱庐、默庄。承祖爵，任骁骑参领，官内务府总管，以画祗候内廷。唐岱山水画初从焦秉贞",[194,24,25,1260,173,7,29,176,34,35,1169,105,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ca811aeb6574f8f643210f11bbff932.jpg",[],{"id":65349,"slug":65350,"title":40313,"dynasty":99,"author":61284,"museum":316,"description":65351,"tags":65352,"thumbUrl":65353,"material":139,"size":139,"collection":139,"collections":65354,"showCount":558,"zanCount":48,"manualWeight":48,"mainColor":49},234564,"shan-shui-shan-wei-zhi-huang-234564","魏之璜（1568－1647）明代画家。字叔考，上元（今南京）人\n魏之璜。字叔考，上元（今南京）人。出身孤贫，天性孝友，养老亲，抚诸弟，胥取给於十指，不以干人。能书善画，以卖画为生。书师法《黄庭经》，结构严密，神采流丽。山水宗宋人，不袭粉本，岩壑树石多变化，别具风貌。生平画幅，绝无雷同。晚年用浓墨秃笔，苍老厚实，颇见功底。亦擅花卉及佛像，花卉淡墨写生，画佛施诸寺院。",[24,25,1260,173,7,29,176,34,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b5c9eb54dfc09b3d2f3f6285bea6d59.jpg",[],{"id":65356,"slug":65357,"title":65358,"dynasty":76,"author":257,"museum":316,"description":15366,"tags":65359,"thumbUrl":65360,"material":599,"size":600,"collection":139,"collections":65361,"showCount":558,"zanCount":48,"manualWeight":48,"mainColor":49},234461,"ha-li-ha-li-luo-shi-zi-zai-guan-shi-yin-pu-sa-tang-ka-yi-ming-234461","哈里哈里罗世自在观世音菩萨唐卡",[15368,260,6768,31768,3336,16781,7,6767,13680,6422,3661,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd214886f4dd3333450cfb9c3af23c559.jpg",[],{"id":65363,"slug":65364,"title":65365,"dynasty":76,"author":257,"museum":316,"description":15366,"tags":65366,"thumbUrl":65367,"material":599,"size":600,"collection":139,"collections":65368,"showCount":558,"zanCount":48,"manualWeight":48,"mainColor":49},234455,"hei-se-guan-shi-yin-pu-sa-tang-ka-yi-ming-234455","黑色观世音菩萨唐卡",[15368,31768,3336,260,7,106,84,18020,16831,3661],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56b1b3895d45de8b0afcda9a9591acda.jpg",[],{"id":65370,"slug":65371,"title":27334,"dynasty":76,"author":257,"museum":316,"description":16422,"tags":65372,"thumbUrl":65373,"material":599,"size":600,"collection":139,"collections":65374,"showCount":558,"zanCount":48,"manualWeight":48,"mainColor":94},234430,"qing-ren-wen-shu-pu-sa-xiang-zhou-yi-ming-234430",[24,25,226,260,28,7,106,746,107,29,3661,84,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34e4a966fa146ebf05ff32cf4051f1de.jpg",[],{"id":65376,"slug":65377,"title":65378,"dynasty":76,"author":257,"museum":316,"description":65379,"tags":65380,"thumbUrl":65381,"material":599,"size":600,"collection":139,"collections":65382,"showCount":558,"zanCount":48,"manualWeight":48,"mainColor":94},234419,"xiao-zhen-xian-huang-hou-xiang-zhou-yi-ming-234419","孝贞显皇后像轴","此作工笔细腻雅致，设色明丽沉静。画面题字呼应氛围，女主端坐于玲珑湖石之上，宝蓝色旗装织就规整团花，镶边纹饰精巧细致，尽显华贵体面，头饰簪花清雅温婉，将端庄柔静的仪态尽显无遗。衬景青竹挺秀清逸，暗喻品性高洁，牡丹姹紫嫣红烘托出雍容气度，朱栏细草点缀出雅致庭院氛围。整作将写实肖像与雅致园景相融，既如实还原宫廷贵妇人的容仪风貌，又借景传情，尽显清代宫廷工笔肖像画的精妙气韵。",[24,7,28,226,106,227,292,263,84,278,409],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc231832387681e17f5dec348824df6bf.jpg",[],{"id":65384,"slug":65385,"title":65386,"dynasty":76,"author":257,"museum":316,"description":65387,"tags":65388,"thumbUrl":65389,"material":599,"size":600,"collection":139,"collections":65390,"showCount":558,"zanCount":48,"manualWeight":48,"mainColor":94},234389,"hong-li-kui-jia-cheng-ma-tu-zhou-yi-ming-234389","弘历盔甲乘马图轴","此作为绢本设色鞍马肖像画，帝王身披宝相花缠纹鎏金札甲，甲叶錾刻细密精巧，华贵威仪扑面而来。胯下白马神骏挺拔，朱缨辔饰醒目亮眼，尽显不凡气度。帝王按缰徐行，面容沉稳坚毅，背负箭囊劲矢，将其兼具文治武功的气魄尽显无遗。\n画作融合中西技法，以西洋写实精准勾勒出人物面容肌理与甲胄金属质感，又以传统工笔晕染烘托氛围，赭色绢底衬得主体愈发鲜明肃穆，将帝王出猎时的雍容气场渲染得淋漓尽致，是清代鞍马肖像画中的精品。",[320,226,28,7,106,150,36446,8474,2439,7724],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe93dfce54e5a3e66ca723e48efc818ce.jpg",[],{"id":65392,"slug":65393,"title":30123,"dynasty":76,"author":1207,"museum":316,"description":30124,"tags":65394,"thumbUrl":65395,"material":770,"size":139,"collection":139,"collections":65396,"showCount":558,"zanCount":48,"manualWeight":48,"mainColor":94},234282,"hua-guo-ce-wang-yun-234282",[24,25,81,7,28,83,62,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F312d93e1c96a34a8af1e9144398b63ad.jpg",[],{"id":65398,"slug":65399,"title":7545,"dynasty":99,"author":756,"museum":20,"description":65400,"tags":65401,"thumbUrl":65402,"material":20236,"size":15736,"collection":139,"collections":65403,"showCount":558,"zanCount":48,"manualWeight":48,"mainColor":94},234098,"lan-ting-xiu-xie-tu-wen-zheng-ming-234098","此图表现的是广为流传的文坛佳话“兰亭修褉”。文徵明的这幅画反映了东晋王羲之《兰亭序》中的景象。图绘崇山峻岭，溪流蜿蜒，溪畔众多文士或坐或卧，观赏着山光水色间淙淙溪水送来的酒觞，潜心构思。水榭上相对而坐的王羲之等3人正在评点已写毕的诗文。林木荫翳，丛竹泛翠，春色浓得醉人。\n《兰亭修褉图》为文徵明73岁时用青绿山水技法所绘。画面中山石树木先勾后染，工致严谨，笔笔精到。人物之衣纹、眉目简略，数根线条便勾勒出文人雅士潇洒的身形。全图设色明丽丰富，画面以青绿为主，淡施赭色渲染山脚坡石，浓而不失典雅，艳而别具秀润。",[24,25,26,7,28,178,29,175,106,109,108,34,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F046d4095b1dc977863b6313fbbd424f8.jpg",[],{"id":65405,"slug":65406,"title":65407,"dynasty":302,"author":7751,"museum":20,"description":65408,"tags":65409,"thumbUrl":65410,"material":40,"size":7755,"collection":139,"collections":65411,"showCount":558,"zanCount":48,"manualWeight":48,"mainColor":94},234034,"long-gong-shui-fu-tu-ye-zhu-yu-234034","龙宫水府图页","此图取材于唐人小说《柳毅传》中“柳毅传书”的情节，描述洞庭龙王之女饱受丈夫虐待，在泾河岸边牧羊，秀才柳毅偶遇龙女，仗义为之传书，终使龙女得救的故事。作者选取柳毅下马揖见、龙王率众侍从出门迎请的一瞬，大不盈尺的画面充满了情节性和戏剧性。龙王宫阙上下翻腾起伏的海浪交代出与凡间迥异的环境，柳毅的平静与龙王的恭谨成功地刻画出人物的性格和心态，而画面上端的一片空白，迷濛苍茫，似云似雾，延展了画意，营造了意境。宫阙的描绘虽然用直尺界笔，但造型简括准确，线条粗放有力，异于元代流行的工谨精细的白描建筑画之风。",[7,28,106,406,150,109,107,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63a0f25b8472cb41c8abd15d643a6135.jpg",[],{"id":65413,"slug":65414,"title":54205,"dynasty":18,"author":257,"museum":20,"description":65415,"tags":65416,"thumbUrl":65417,"material":529,"size":65418,"collection":139,"collections":65419,"showCount":558,"zanCount":48,"manualWeight":48,"mainColor":49},234000,"shan-po-lun-dao-tu-ye-yi-ming-234000","这幅画描绘了山中一块平坦的地方，有几根竹枝。 左侧形似桃花，隐隐现出屋脊； 一个僧人和一个人坐在石头上，坐着说话，画的右边，一个男孩站着，拿着棍子听着，身后岩石上的树枝细细弯曲。 这幅画的风格与夏圭相似。",[24,25,81,173,7,106,29,227,353,212,177,54208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f4197b57f0834d525f742c53aa0b38e.jpg","20X20cm",[],{"id":65421,"slug":65422,"title":65423,"dynasty":18,"author":17938,"museum":20,"description":65424,"tags":65425,"thumbUrl":65426,"material":529,"size":65427,"collection":139,"collections":65428,"showCount":558,"zanCount":48,"manualWeight":48,"mainColor":49},233998,"hua-zhao-gou-shu-tang-feng-ce-ma-he-zhi-233998","画赵构书唐风册","马和之，中国南宋画家 。生卒年不详，活跃于高宗时期（公元12世纪）。钱塘 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Nibbāna；梵语：निर्वाण Nirvāṇa），佛教术语，合文作𢌽，又译为泥洹、涅槃那、涅盘那、泥盘那、昵缚男，意译为熄灭、灭、灭度、寂灭、无为、解脱、自在、安乐、不生不灭等，新译作般涅槃（巴利语：pari-nibbāna，梵语：pari-nirvāṇa），又译为般泥洹、波利昵缚男、入灭、入灭度、圆寂。佛教教义认为涅槃是将世间所有一切法的自体性都灭尽的状态，所以涅槃中永远没有生命中的种种烦恼、痛苦，上座部佛教的见解是从此不再受后有，也就是不再有下一世的六道轮回。这个术语最早源自于古印度婆罗门教，当时众说纷纭。佛教认为外道无法实证何谓涅槃，在无佛教的时代只有佛和辟支佛可以亲证涅槃。释迦牟尼菩萨降生后，出家成佛转法轮，教导弟子佛法，才开始有声闻圣弟子四果阿罗汉实证涅槃。佛陀和阿罗汉舍寿后，会取证无余涅槃界，进入不生不灭状态，也称为涅槃，一般更常用般涅槃（意思是“进入涅槃灭度”，即“入灭”）表达，意思是肉身死亡后，进入不生不灭的涅槃状态。时至今日，当有佛教上师、沙门、比丘、比丘尼等修行者过世时，许多人会尊称他们涅槃了。大乘见地是佛菩萨能在涅槃中同时度众生，佛菩萨的涅槃叫“无住涅槃”",[23,24,194,260,7,28,106,746],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36001c315841694e4c562c3be81f2ce2.jpg","216x179.4厘米",[],{"id":65585,"slug":65586,"title":65587,"dynasty":256,"author":65588,"museum":316,"description":65589,"tags":65590,"thumbUrl":65592,"material":599,"size":600,"collection":139,"collections":65593,"showCount":558,"zanCount":48,"manualWeight":48,"mainColor":50158},232194,"dancers-at-the-barre-circa-british-museum-england-oil-on-canvas-de-jia-232194","Dancers at the Barre - circa - British Museum (England) - oil on canvas","德加","埃德加·德加（Edgar Degas，1834年7月19日—1917年9月27日），印象派重要画家。他出身于金融资本家的家庭，他的祖父是个画家，因此他从小就生长在一个非常关心艺术的家庭中。\n中学毕业后，德加报考了美术学校，他在意大利学习意大利的艺术，特别是文艺复兴时期的艺术。与此同时，他又在让-奥古斯特·多米尼克·安格尔（Jean-Suguste Dominique Ingres，1780-1867）的一位得意门生路易·拉莫特（Louis Lamott）的画室里学画。\n1917年9月27日，埃德加·德加逝世于巴黎，享年83岁。",[3187,7,106,59,65591],"舞者","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa677a309eba161f4b8d3d696a082890.jpg",[],{"id":65595,"slug":65596,"title":65597,"dynasty":256,"author":257,"museum":316,"description":65598,"tags":65599,"thumbUrl":65600,"material":599,"size":600,"collection":139,"collections":65601,"showCount":558,"zanCount":48,"manualWeight":48,"mainColor":94},231791,"ming-qing-ri-ben-gu-hua-hua-niao-shan-shui-ren-wu-fen-ben-ren-wu-juan-yi-ming-231791","明清日本古画花鸟山水人物粉本-人物卷","此卷以白描淡彩铺陈，笔致简逸稚拙。起首持杖人物寥寥数笔便形神尽显，随后跃马挽弓的武士气宇轩昂，线条勾勒出战马奔腾的飒爽气势，将武人豪烈之风晕染纸面。继而转绘惊马失控的骑者，笔意诙谐生动，添入俗世趣意。垂首疾行的仕人姿态恭谨，自带沉静闲雅之感。终了圆光中丰润女像，设色柔淡，神情恬和静穆。整卷将武人豪壮与世俗闲趣并置，古雅张力与谐趣意韵相融，朴拙天真间尽显别致意趣。",[23,26,352,7,106,150,26405,59,615,86,212,63,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff33e0f2c578b5c3f6b12100a60dfe51d.jpg",[],{"id":65603,"slug":65604,"title":65605,"dynasty":256,"author":257,"museum":316,"description":65606,"tags":65607,"thumbUrl":65608,"material":599,"size":600,"collection":139,"collections":65609,"showCount":558,"zanCount":48,"manualWeight":48,"mainColor":49},231655,"shi-ting-shi-qi-ren-wu-tu-zhou-yi-ming-231655","室町时期 人物图轴","此作笔下仕女娇憨温婉，发髻挽起垂发贴颊，柔韵尽显。朱红外袍暗纹隐现，墨绿下裳饰回旋几何纹样，素白裙脚衬出雅致格调，配色沉雅和谐。她持绘花团扇，垂目凝视扇面，身姿微倾，将娴静内敛的神态描摹入微，东方闺秀的柔婉气质呼之欲出。\n泥金底色带着岁月晕染的斑驳苍润，与人物的明丽设色相映，古雅沉静。线条匀净流畅，造型写实传神，揉合和风与唐韵的审美意趣，尽显古典雅致的东方气韵。",[23,24,25,226,7,28,106,59,409,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F650f5f86df882ec6d6e4afe228442ca1.jpg",[],{"id":65611,"slug":65612,"title":65613,"dynasty":256,"author":65614,"museum":316,"description":65615,"tags":65616,"thumbUrl":65617,"material":139,"size":139,"collection":139,"collections":65618,"showCount":558,"zanCount":48,"manualWeight":48,"mainColor":94},231595,"xiang-jiang-ba-jing-tu-ce-gu-wen-chao-231595","湘江八景图册","谷文晁","潇湘八景，相传为满湘一带的湘江流域八处住胜。为宋沈括《梦溪笔谈·书画》中所描述。历代皆有才子追和。\n潇湘夜雨——永州城东\n湘水在永州境内与潇水汇合以后，称为潇湘。雨落潇湘的夜景，是旧时文人藉以寄情的著名景观。“涔涔湘江树，荒荒楚天路。稳系渡头船，莫教流下去。”（元揭奚斯）凄凉而无助的心境，就像夜雨本自一样哀婉缠绵，千百年来，人们所钟情的不知是山河的夜雨还是心灵的夜雨？\n平沙落雁——衡阳市回雁峰\n潇湘自永州下泻数百公里，到达南岳七十二峰之首的回雁峰。 　“山到衡阳尽，峰回雁影稀。应怜归路远，不忍更南飞。由干古人地理思维的局限性，误以为雁到衡阳不再南飞。当北方天气转冷，雁阵南行，南方则秋风送爽艳阳高照。旷野平沙，芦苇丛丛，常常引采雁阵栖宿。好一幅秋雁戏沙图。\n烟寺晚钟——衡山县城北清凉寺\n湘江又北行北公里，经过佛教胜地南岳衡山。晚来风急，万物入眠，唯寺内报时的古钟，不时敲出悠扬宏亮的声音。江舟中的旅者在这种钟声中系舟或者远行。\n山市晴岚——湘潭与长沙接壤处的昭山\n湘江由衡山北行150余公里到达昭山。紫气缭绕，岚烟袭人，云蒸霞蔚。一峰独立江边，秀美如刚出浴的仙子。\n江天暮雪——橘子洲\n橘子自古为长沙名胜，东望长沙，西瞻岳麓。当大雪纷飞，白雪江天浑然一色，世间万物寂寂无声，江中商船落帆泊岸，雪光上的暮色烟雾一样漂浮不定，人的心情也就格外地清冷，思想随着雪花飘舞，那种清凉的悠闲也许是最接近冬雪本质的悠闲。\n远浦归帆——湘阴县城江边\n从橘子沿江北去，约远70公里，便到湘阴。每当黄昏，远山含黛，岸柳似烟，归帆点点，渔歌阵阵，等待归船的渔妇和企盼宿客的青楼女子站在晚风斜阳中，衬托出一片温馨怅望的繁忙景象。\n洞庭秋月——洞庭湖\n由湘阴北去，便是一望无际的洞庭湖。秋天的夜晚，月色如银，天空不杂任何痕迹，八百里湖面，碧水如镜，风息浪静。天空和湖面相互映照，月光和湖光相互交融，泛舟湖上，则别有一番情趣，登上君山或者岳阳楼，想必又是另一种情怀。\n渔村夕照——西洞庭桃源武陵溪\n陶渊明在《桃花源记》中说“武陵人捕鱼为业”。武陵人因为捕鱼，而发现了桃花源，世人所居住的渔村也就成了文人墨客所憧憬的地方。白天，渔人撒网洞庭；傍晚，收拾渔网，提着肥美的鲜鱼，在夕阳的晚唱中踏着渔歌回家。",[23,24,25,81,173,7,177,29,106,107,174,109,176,34,1169,5702,111],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5636fb7e82aaf37ee5a6e14482d51e7.jpg",[],{"id":65620,"slug":65621,"title":65622,"dynasty":256,"author":65623,"museum":316,"description":65624,"tags":65625,"thumbUrl":65626,"material":599,"size":600,"collection":139,"collections":65627,"showCount":558,"zanCount":48,"manualWeight":48,"mainColor":49},231586,"shi-ting-shi-dai-han-jiang-du-diao-shan-shui-tu-shou-ye-zheng-xin-231586","室町时代 寒江独钓山水图","狩野正信","狩野正信（1434～1530）是足利幕府御用画家，狩野派的始祖。这一派的“大和化”中国画风曾统治日本画坛三百余年。他曾受画僧天章、周文（日本水墨画画风的代表）的影响，但其水墨山水不是以笔墨表现禅意，而是轮廓清晰，这正是发挥了日本艺术固有的纤细风格。",[23,24,7,29,174,6582,796,226,177,3712],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ac31b21b8cc2a0b86321841e63b6c93.jpg",[],{"id":65629,"slug":65630,"title":65631,"dynasty":256,"author":65632,"museum":316,"description":65633,"tags":65634,"thumbUrl":65635,"material":599,"size":600,"collection":139,"collections":65636,"showCount":558,"zanCount":48,"manualWeight":48,"mainColor":94},230986,"wen-quan-tu-hua-ge-chuan-guo-zhen-230986","温泉の図.画","歌川国貞","这幅浮世绘以雅致对称构图定格汤屋门头，暖黄木构搭配朱红瓦顶，晕开江户市井的融融暖意。靛蓝暖帘舒展留白，大笔题字苍劲醒目，缠枝白花柔化了文字的刚硬，素净间漾开治愈的烟火气。云纹雕饰的木栏雅致柔婉，垂挂的灯笼静立檐下，没有缭乱的笔墨，只用克制配色勾勒出汤屋松弛治愈的氛围，将旧时代里泡汤休憩的闲适日常凝于纸面，把日式旅宿的温柔雅致定格为永恒的风物剪影。",[12745,4006,7,107,662,14200,114,16439],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5115d9d942024d18752df21625dc31e6.jpg",[],{"id":65638,"slug":65639,"title":65640,"dynasty":99,"author":4128,"museum":316,"description":65641,"tags":65642,"thumbUrl":65643,"material":139,"size":139,"collection":139,"collections":65644,"showCount":558,"zanCount":48,"manualWeight":48,"mainColor":49},230937,"tai-ping-chun-se-tu-qian-gong-230937","太平春色图","整作以全景铺展春日闲趣，内室围炉宴坐，亲友言笑晏晏，暖炉烘出一室融融温情。墙外稚童嬉闹，野趣横生，下方溪桥之上，白衣文士凭栏观水，童子侍立，尽得林泉悠然。\n\n画家以淡墨写出寒枝虬曲，暗透春芽将萌的生机，设色浅雅柔润，将家宅的俗世温情与郊野的清逸春景相融，笔意秀润温婉，把太平年岁里的日常烟火晕染成诗意图景，将春日里松弛安宁的人间盛景娓娓铺陈，尽显安宁祥和的春日意趣。",[24,25,226,28,7,106,107,108,353,176,2385,115,57915,229,29,3712],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F728d5ea1461c81e8a8a5e563662d2e9a.jpg",[],{"id":65646,"slug":65647,"title":65648,"dynasty":76,"author":48238,"museum":316,"description":65649,"tags":65650,"thumbUrl":65651,"material":139,"size":139,"collection":139,"collections":65652,"showCount":558,"zanCount":2368,"manualWeight":48,"mainColor":49},230918,"bi-hu-zhu-shu-tu-shang-guan-zhou-230918","闭户著书图","此作用高远之法铺展画面，主峰奇崛危耸，皴笔苍劲老辣，勾勒出山岩瘦硬嶙峋的风骨，烟云轻笼山间，衬出幽谷空寂。下方山居隐于松竹之间，堂内文人凭窗凝思，沉心著述，周遭流泉、奇石环合，将幽居雅静之境铺陈开来。\n\n右上角题诗呼应幽隐主题，笔意苍秀兼具，把山林雄浑气象与闭门潜修的文人意趣相融，尽显出世忘俗的林下风流，是文人寄情林泉、醉心笔墨的心境写照。",[23,24,25,226,7,177,29,1273,176,1426,109,107,3176,106,34,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F687ba4930841677cb3b5816f725bdc2f.jpg",[],{"id":65654,"slug":65655,"title":65656,"dynasty":256,"author":42289,"museum":316,"description":42290,"tags":65657,"thumbUrl":65658,"material":67,"size":600,"collection":139,"collections":65659,"showCount":558,"zanCount":48,"manualWeight":48,"mainColor":49},230563,"jia-nuo-jia-ba-li-duo-du-zun-zhe-ping-an-shi-dai-shi-liu-luo-han-xiang-230563","迦诺迦跋厘堕阇尊者",[23,24,25,226,260,7,106,107,229,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce254a0478f0c929033488e812f8ba0a.jpg",[],{"id":65661,"slug":65662,"title":65663,"dynasty":256,"author":33007,"museum":316,"description":33008,"tags":65664,"thumbUrl":65665,"material":599,"size":600,"collection":139,"collections":65666,"showCount":558,"zanCount":48,"manualWeight":48,"mainColor":49},230503,"shi-ting-shi-dai-si-ji-shan-shui-tu-qiu-xue-zhou-230503","室町时代 四季山水图（秋）",[23,194,24,226,7,29,107,34,5218,4706],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bc400973487eafe8b6a86e5eafe93c0.jpg",[],{"id":65668,"slug":65669,"title":65670,"dynasty":256,"author":257,"museum":316,"description":38922,"tags":65671,"thumbUrl":65675,"material":599,"size":600,"collection":139,"collections":65676,"showCount":558,"zanCount":48,"manualWeight":48,"mainColor":94},230488,"fu-shi-hui-125-yi-ming-230488","浮世绘125",[12745,4006,7,1426,34,176,109,106,114,3518,3884,65672,264,13873,15196,45738,3129,65673,11624,65674],"浴场场景","彩色版画","色彩渲染","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadb8451450e532362118b932c616a263.jpg",[],{"id":65678,"slug":65679,"title":65680,"dynasty":256,"author":18986,"museum":316,"description":65681,"tags":65682,"thumbUrl":65683,"material":139,"size":139,"collection":139,"collections":65684,"showCount":558,"zanCount":48,"manualWeight":48,"mainColor":49},230487,"tai-gong-wang-wen-wang-tu-shou-ye-yuan-xin-230487","太公望文王图","此作用大片留白铺展空茫水色，寥寥柳丝牵起河畔清寂早春意趣。枯木旁细竹点景，极简笔触勾勒老叟踞石垂纶，身形松弛淡然，将静候的怅惘化入澹泊闲情。\n\n水墨晕染浅淡写意，舍去繁丽描摹，只以劲简线条刻绘人物风神，把隐逸襟怀与入世期许藏在空茫留白间，以东方水墨独有的留白哲思，将悠长等待的时光，铺陈在这无言空阔的画幅之中，尽显淡远幽寂的禅味。",[23,24,25,226,7,177,106,230,227,353,796,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2576cf375d2475dcb407cb2fc50632af.jpg",[],{"id":65686,"slug":65687,"title":32766,"dynasty":76,"author":65688,"museum":316,"description":65689,"tags":65690,"thumbUrl":65691,"material":139,"size":139,"collection":139,"collections":65692,"showCount":558,"zanCount":48,"manualWeight":48,"mainColor":94},230296,"shan-shui-ce-ye-du-xiang-230296","杜湘","此作以幽寂山居为意趣，虚实掩映间铺陈出尘之境。苍松虬干以赭石晕染，石绿点簇松针，苍劲中带着清润生机；山石以淡墨勾勒皴擦，浓墨醒苔，厚重又不失空灵意韵。蜿蜒石径隐于谷底，将视线引向林间茅舍，屋中幽人凭窗静憩，愈发衬出林谷阒寂清冷。整幅画笔致秀雅沉静，疏密错落间尽显山林幽居的超然闲逸，把文人寄情林泉的隐逸襟怀藏在简淡笔墨之中，尽显传统山水画的写意风骨。",[24,25,81,7,29,176,1273,175,3389,212,177,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1c24bd19e45d360dbc671486ec53196.jpg",[],{"id":65694,"slug":65695,"title":65696,"dynasty":76,"author":257,"museum":316,"description":27801,"tags":65697,"thumbUrl":65701,"material":599,"size":600,"collection":139,"collections":65702,"showCount":558,"zanCount":48,"manualWeight":48,"mainColor":49},229202,"qian-long-cha-ye-mo-liu-lian-ping-yi-ming-229202","乾隆 茶叶末六联瓶",[12818,65698,7,229,320,65699,65700],"茶叶末釉","联瓶","釉饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7066cbc6978fc20c999b34612786e0db.jpg",[],{"id":65704,"slug":65705,"title":65706,"dynasty":76,"author":7596,"museum":316,"description":65707,"tags":65708,"thumbUrl":65709,"material":139,"size":139,"collection":139,"collections":65710,"showCount":558,"zanCount":48,"manualWeight":48,"mainColor":49},229013,"lin-dong-bei-yuan-xia-jing-shan-kou-dai-du-tu-wang-hui-229013","临董北苑夏景山口待渡图","此作用平远之法铺陈江南水泽盛景，平缓山峦层层延展，以淡墨披麻皴晕染，满缀苔点，尽显苍润温厚之态。河港萦回，洲渚错落，汀岸间茂林修竹扶苏成林，茅舍隐于林麓，野趣自生。渔舟泛于空蒙烟波，水鸟掠波而过，处处皆是夏日江南的安闲日常。\n\n整幅画作追摹南宗山水的平淡天真，以柔婉的笔调晕开湿润氤氲的夏山氛围，没有奇崛造势，只将江南水乡的沉静清和与田园诗意，融在烟水林峦之间，尽显秀雅浑融的古淡意境。",[23,24,25,26,105,29,34,174,245,796,177,7,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52b35e298b8584b4bb63527842380557.jpg",[],{"id":65712,"slug":65713,"title":65714,"dynasty":76,"author":21218,"museum":316,"description":65715,"tags":65716,"thumbUrl":65717,"material":139,"size":139,"collection":139,"collections":65718,"showCount":558,"zanCount":48,"manualWeight":48,"mainColor":94},228969,"shi-jun-quan-tu-ce-shi-kai-ai-qi-meng-228969","十骏犬图册十开","《十骏犬图》是清代画家 创作的纸本设色画册，共1开，现藏于 。\n册页左边为以诗经体和辞赋体所作的题赞，其中六则出自梁诗正，四则出自汪由敦；右边一律先画犬，再加配河景山水。\n每开背景中虽皆可见遒劲的林木（松木、墨竹、柳树、梅花和灌木等）、怪石、溪涧或幽静的水岸，但形态皆不相同。\n所绘之犬姿态迥然，或低头饮水、或伫立沉思、或回首遥望。\n该册共十对开，顺序依次为：第一睒星狼、第二霜花鹞、第三墨玉螭、第四蓦空鹊、第五苍水虬、第六斑锦彪、第七雪爪卢、第八金翅猃、第九漆点狻、第十茹黄豹。\n款署：“臣艾启蒙恭绘。\n”钤“臣艾启蒙”白文印、“恭画”朱文印。\n每图对开页有嵇璜书写的乾隆朝大学士汪由敦和梁诗正撰写的题赞。\n图上钤有“乾隆鉴赏”、“三希堂精鉴玺”、“石渠宝笈”等印。\n据文献记载，当初朝廷为了供皇帝行猎围场之需要，宫廷特设“鹰狗处”。\n《啸亭续录》云：“鹰狗处，向在东华门内长街，设总统二人，以侍卫兼之，蒙饲御前鹰狗以备搜弥之用，其牧人皆以世家子弟充之，许其蟒袍纬帽，为执事人中之品最高者。\n壬戌今上以其非急务，命迁于东安广内长房。\n”从这段记载中可知，艾启蒙笔下所画的猎犬，多是“鹰狗处”豢养的猎犬，可谓是皇帝的宠物。\n艾启蒙仅仅是画有猎犬，而这些猎犬所处的环境，这些背景并非出自艾启蒙之手，而是为中国宫廷画家所作。\n这套画册虽只署艾启蒙一人，实际上是有中国画家的参与其事的。\n作者以西方的素描技法，运用解剖学，以短细的笔触一丝不苟地刻画出猎犬健美的体态和皮毛的质感，具有很强的写实性。\n如犬的身体，用多次烘染，分出受光和背光面：尤其注重皮毛质感的表现，注意猎犬的解剖结构，更突出了犬的真实感。\n这些都显示了欧洲绘画的特点，但从每幅画面上看，背景中所绘树石、坡陀等，从造型到技法，仍是典型的中国画。\n画家经多年来的观察和周密的研究，根据每一名犬的不同特性，将十条名犬分别安排于不同季节的自然环境中，十名犬的神情不一，曲尽其态、有正面、有侧面、有站立的、有卧伏的、有散步的、有蹲着的、有抬脚搔首的，也有跃跃欲扑的等。\n在毛皮色彩和斑纹上也各不相同，有红色的、白色的、黑色的、黄色的、棕色的，还有杂色的。\n正是这些不同的姿态和诸多的色彩，给绘画带来了活跃的气氛，引人注目。\n但总体来说所有的猎犬其共同之处都是腿长身细，腹部收缩，劲瘦有力，劲健灵动，擅长奔跑，肌肉肋骨，描绘逼真。\n每幅图的对开上均标明犬名，对宫廷御用犬的研究具有很高的史料价值。\n此图旧藏紫禁城内的乐寿堂。\n《石渠宝笈》著录。\n现藏于北京故宫博物院。\n艾启蒙（178—178年），字醒庵，原名Igntius Sickltart，波西米亚（今属捷克）人，天主教耶酥会传教士。\n乾隆十年（1745年）来华供奉内廷。\n他在清宫师从郎世宁，专擅绘人物、走兽和翎毛，力图在技法上达到中西合璧，在宫中产生了一定的影响。",[24,25,81,28,7,746,29,353,227,686,86,212,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19f257f9a3674de63db64c41e1f3e40f.jpg",[],{"id":65720,"slug":65721,"title":65722,"dynasty":76,"author":65723,"museum":316,"description":65724,"tags":65725,"thumbUrl":65728,"material":139,"size":139,"collection":139,"collections":65729,"showCount":558,"zanCount":48,"manualWeight":48,"mainColor":49},228936,"jin-jian-shan-shui-si-ping-lu-yuan-228936","金笺山水四屏","陆远","平远构图层层铺陈，淡墨晕染的远山衔着隐约山居，渐次拉近，中景茅舍里士人对坐晤谈，小童负物行于林畔，野居意趣悠然尽显。近岸怪石嶙峋，古木虬曲苍劲，红叶枝桠点染出清秋意韵，秋水蜿蜒迂回，澄澈空明。\n笔墨利落，山石以小斧劈皴写就，苍劲硬朗；林木点染兼工带写，意态生动。金笺底色衬得画面古雅温润，整体意境萧疏淡远，将文人寄情林泉、安享幽居的雅怀尽数铺展。",[23,24,25,65726,65727,29,7,177,176,34,35,109],"金笺","四屏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee574fd14a42eb307f4d37ff819902cb.jpg",[],{"id":65731,"slug":65732,"title":65733,"dynasty":99,"author":18784,"museum":316,"description":65734,"tags":65735,"thumbUrl":65736,"material":139,"size":139,"collection":139,"collections":65737,"showCount":558,"zanCount":48,"manualWeight":48,"mainColor":94},228910,"tian-dou-xiao-ri-tu-ding-yun-peng-228910","天都晓日图","此作全景铺展山岳胜境，远景群峰刺破晓雾，朝日晕染出暖红云色，嶙峋峰峦间银瀑垂落，汇入翻涌云海。中下部以苍劲笔法绘虬松怪石，古松盘曲交错，松针层叠蓊郁，谷中流云如浪，晕出缥缈仙气。溪涧蜿蜒穿林，文士临流闲坐，幽意悠然。\n\n画作工写兼备，设色清雅沉稳，山石勾勒皴擦尽显苍朴质感，云霞以卷云法绘就柔润灵动，既撷取黄山奇崛之态，又融入文人隐逸山居的雅趣，是明代山水画里实景写生与抒情写意相融的精妙之作。",[23,24,226,29,7,28,177,685,1426,2235,1273,809,106,34,37,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10a01ea600daad7995372d79e13f6114.jpg",[],{"id":65739,"slug":65740,"title":48222,"dynasty":99,"author":7823,"museum":316,"description":17392,"tags":65741,"thumbUrl":65742,"material":599,"size":600,"collection":139,"collections":65743,"showCount":558,"zanCount":48,"manualWeight":48,"mainColor":49},228899,"shan-shui-tu-shan-mian-qian-gu-228899",[194,24,25,1260,173,7,177,29,34,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8fe0f246adff8469cb479bfc8b1f0cf.jpg",[],{"id":65745,"slug":65746,"title":42376,"dynasty":99,"author":756,"museum":316,"description":65747,"tags":65748,"thumbUrl":65749,"material":139,"size":139,"collection":139,"collections":65750,"showCount":558,"zanCount":48,"manualWeight":48,"mainColor":94},228876,"shan-shui-shi-hua-ce-wen-zheng-ming-228876","此作为行书题跋，笔墨温润秀劲，法度谨严却意态灵动，既得赵孟頫的娟秀雅致，又暗含晋唐书法的古朴意韵。行笔舒展从容，点画精到凝练，笔势连贯自然，将帖学的文雅之气尽显无余。\n\n题文评点衡山诗书，字里行间尽显题者不俗的赏鉴功底，自带冲淡平和的书卷意趣，与山水诗画的意境融为一体，尽显文人闲适雅致的赏玩心境，是一件兼具书法美感与品鉴意趣的文人题跋佳作。",[23,81,178,86,29,177,7,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe11878f87a44f54aae2ee00d3191a9b.jpg",[],{"id":65752,"slug":65753,"title":65754,"dynasty":99,"author":257,"museum":316,"description":65755,"tags":65756,"thumbUrl":65757,"material":139,"size":139,"collection":139,"collections":65758,"showCount":558,"zanCount":2368,"manualWeight":48,"mainColor":2504},228819,"yin-shi-han-shan-yi-ming-228819","隐士寒山","古柳垂荫覆着幽寂山野，佝身疾行的高士衣袂被山风掀动翻飞。铁线描劲挺勾绘衣纹，将布帛褶皱随身形舒展的柔软晕化自然，素袍以青蓝镶边提色，暗合隐者疏淡心性。\n\n高士怀中文卷紧拥，神情专注唯恐山风惊扰卷中丘壑，将隐者嗜书如命的意趣藏在细微情态中。淡墨晕染的林麓荒苔沉暗朦胧，烘托出空山幽寂，把避世高贤耽于诗书、寄情林泉的林下风流，定格在这一瞬山野行旅之间。",[23,24,28,7,226,106,353,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedb68fa2bff19d21da694b1aa4c489e9.jpg",[],{"id":65760,"slug":65761,"title":65762,"dynasty":99,"author":257,"museum":316,"description":65763,"tags":65764,"thumbUrl":65765,"material":139,"size":139,"collection":139,"collections":65766,"showCount":558,"zanCount":48,"manualWeight":48,"mainColor":49},228797,"song-xia-fu-qin-tu-ye-yi-ming-228797","松下抚琴图页","松荫之下，皓首老翁席地而坐，凝神抚琴，垂眉静气间似将襟怀尽寄弦上。侧旁童子煨炉候立，青烟袅袅晕开夜色，与林间半露残月相映成趣。清辉漫过苔色坡岸，将山野的空阔静穆晕染得愈发幽寂。\n\n全幅设色清雅古淡，线条简逸空灵，以极简笔墨铺陈出林下雅集的幽旷意趣，将文人寄情山水、以琴明心的林下襟怀尽显无余，暗合尚简尚淡、追慕古意的审美意趣，悠悠古韵漫溢纸面，引人沉醉。",[23,24,194,25,81,7,28,106,353,265,195,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37fc3b17d6c207455e34cbf09781ad9e.jpg",[],{"id":65768,"slug":65769,"title":65770,"dynasty":99,"author":257,"museum":316,"description":65771,"tags":65772,"thumbUrl":65773,"material":599,"size":600,"collection":139,"collections":65774,"showCount":558,"zanCount":2368,"manualWeight":48,"mainColor":94},228794,"ming-xiao-kang-zhang-huang-hou-lu-zhi-die-yi-ming-228794","明孝康张皇后箓职牒","此《张皇后箓牒图卷》（孝康张皇后授箓图），全卷大致分为三个部分：第一部分为「三洞赤文總真仙簡」（云篆）、第二部分是五十二张神仙画像、第三部分是整张《箓牒》的正文，即文字部分，内容记录明孝康张皇后参加授箓，成为道教上仙玄君",[23,24,25,26,7,28,86,260,106,2136,63,1070,937],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f967df2d9b493d13ce84a7a8fbe491e.jpg",[],{"id":65776,"slug":65777,"title":53175,"dynasty":99,"author":257,"museum":316,"description":65778,"tags":65779,"thumbUrl":65780,"material":139,"size":139,"collection":139,"collections":65781,"showCount":558,"zanCount":48,"manualWeight":48,"mainColor":49},228782,"fang-dong-yuan-xia-shan-tu-yi-ming-228782","此作以长卷铺展全景江南夏山，烟波平湖与层叠丘壑相映，尽显董源山水平淡天真之致。山峦以披麻皴缓笔写就，层层晕染，尽显丘壑深秀。洲渚间林木扶苏，村舍错落于山麓水滨，渔舟静泊浅滩，处处流露江南水乡的悠然野趣。\n\n用墨温润苍厚，设色古雅沉静，复刻出原作浑厚华滋的质感，将盛夏山林的蓊郁葱茏、水色天光的澹澹交融尽皆铺陈，整体意境清和悠远，带着宋初山水的平和生机，虽为摹古之作，却得江南山水的闲逸真味，尽显文人山水的雅淡风神。",[23,24,25,26,29,105,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出版的图书，作者是台北故宫博物院。\n宋 惠崇 秋浦双鸳 马麟 暮雪寒禽 李安忠 竹鸠 林椿 杏花春鸟 宋人 乳鸭 桑枝黄鸟 画子母鸡图 画秋塘双雁 竹石鸠子图 梅竹聚禽图 元 王渊 鹰逐画眉 边文进 梅花幽鸟 明 陆治 双奚图 林良 秋鹰 吕纪 雪景翎毛 吕纪 杏花孔雀 孙龙 柔桑戴胜 清 朗世宁 樱桃桑 清人 画蓝靛颏 黑白图版 明 沈周 画鸭 沈周 画鸽 明 沈周 鸠 吕纪 寒雪山奚图 参考图版 图版说明 附英文总说明与目录",[24,25,81,28,7,83,662,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c355535bc70bc33372e8610ce16f087.jpg",[],{"id":65815,"slug":65816,"title":65817,"dynasty":99,"author":257,"museum":316,"description":65818,"tags":65819,"thumbUrl":65822,"material":139,"size":139,"collection":139,"collections":65823,"showCount":558,"zanCount":48,"manualWeight":48,"mainColor":49},228381,"ming-xuan-zong-ma-shang-xiang-zhou-yi-ming-228381","明宣宗马上像轴","画面中帝王骑乘骏马缓行，明黄官袍衣袂微曳，神态从容悠然，尽显松弛闲适的帝王气度。骏马昂首扬蹄，身姿矫健灵动，将驰行动感完美呈现。\n\n背景浅沙平滩之上，芦荻随风轻摆，水鸟掠沙振翅，烘托出郊野清旷疏朗的意趣。整作设色柔和古朴，工细雅致，人物鞍马刻画写实精准，兼具肖像纪实性与山水画的淡远意境，将宫廷驰游的闲逸图景晕染恰到好处，是明代鞍马人物画的精妙之作。",[194,24,25,226,7,28,106,150,245,65820,5217,4312,8377,65821],"芦荻","鞍马人物画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F845b19d053221e30bd84e4eca72a4d5f.jpg",[],{"id":65825,"slug":65826,"title":65827,"dynasty":99,"author":206,"museum":316,"description":65828,"tags":65829,"thumbUrl":65830,"material":139,"size":139,"collection":139,"collections":65831,"showCount":558,"zanCount":48,"manualWeight":48,"mainColor":49},228361,"da-mo-du-jiang-tu-sun-ke-hong-228361","达摩渡江图","少林七十二绝技之一，又名一线穿、一苇渡江、又名水上飞行术，俗名踩软绳，即说部中所谓蹬萍渡水、踏雪无痕之功夫也。\n乃轻身功夫之一种，为 内壮 。\n为 的一种,能凭借柔软之物在水上等场所前进。\n相传达摩在南方传道已毕，返回时路遇一江无船可渡，折江边芦苇，抛入江中，踏苇过江。\n故后以此命名此功。\n少林七十二绝技之一,又名一线穿,一苇渡江、又名水上 ，俗名踩软绳，即说部中 所谓蹬萍渡水、踏雪无痕之功夫也。\n乃轻身功夫之一种，为软功内壮 。\n为轻功的一种,能凭借柔软之物在水上等场所前进。\n之一，又名 、 、又名水上飞行术，俗名踩软绳，即说部中所谓蹬萍渡水、 之功夫也。\n乃轻身功夫之一种，为软功内壮 。\n为轻功的一种,能凭借柔软之物在水上等场所前进。\n相传 在南方 已毕，返回时 一江无船可渡，折江边芦苇，抛入江中，踏苇过江。\n故后以此命名此功。\n凭借此功可借竹苇等在水面横行自如，属上乘轻功，非十年苦功不可得。\n其练法殊 非易易，然苟能坚心意志练习，不难成功。\n其法分数步， 入手之初，与飞行功、轻身术相同。\n即先带铅砂，在平地上练习飞驰 ，然后在山路上练习跳跃，更放石块于簸箩中，在其边上行走，逐渐 取去石块，至能在空簸箩边上行走后，即走沙道。\n以上各法，已详见 飞行功、轻身术练法中。\n惟两腿所束之铅砂，亦须按前法以猪血浸炼 ，使成死铅，始可应用。\n带铅以每腿四两起，至五斤为度，平时宜以 药水洗腿，以防损害。\n沙道走过之后，则走棉纸，用厚约三四寸之棉 纸，铺于沙道之中，人行其上，至足印不下陷时，此第一步功夫成。\n然后更以细长之木，系其两端，悬空际，约高二三尺，人即于木上往 来飞行。\n初时木心因承重之故，宕动不已，直要练得人行其上，丝毫 不动为上，至此更易木为巨绳，其法竖竹架，以巨绳横扣于架之两端 ，人于绳上行走，即如现在江湖卖解场中，即俗所谓跑马戏者，所常 见之走绳索是也。\n绳质较软，一着足必向下陷，尤易左右摇摆，不如 木之来往荡动，故练此步功夫亦较为难，直练至人行绳上，绳能不荡 不摇，则第二步功夫成。\n从此将逐渐减细，至粗不盈指之绳，亦能任 意往来于绳上，亦不荡不摇，则第三步功夫成。\n然后以最细之连绳行 之，亦能行走自如者；再将其绳两端系于河之两岸，将绳横拦于河之 水面上，仍按前法行之，能行走自如，则全功成矣。\n功成之后，可在 水面飞行，所谓水面飞行者，亦须略有假借，须用一质地轻浮之物， 如竹片木杆芦苇等物，掷于水面，人即可身立其上，推之前进也。\n余 如浮萍薄草密集之处，菱角荷叶丛生之所，亦可在上行走。\n昔日达摩老祖，传道已毕，只身西去，即以一苇渡江，即系此种功夫。\n然习此种功夫，非十余年苦功，则无以成，且须静心虚气以习之。\n洗腿药水，即以地骨皮、食盐各等量入，煎水乘汤热洗之，则血气融和，皮肤舒畅，上下交感体气究实矣。\n达摩－中国禅宗初祖。\n南天竺婆罗门人，原名菩提多罗，是南天竺香玉王的第三子，禅宗二十七至祖般若多罗到该国传法，菩提多罗从他学法，很得般若多罗的赏识，就给他改名为达摩，意译为道法，是达摩已通达到法的意思。\n梁武帝普通年到达广州，梁武帝闻其名，迎入金陵，但观念不相契合，达摩悄然北上。\n途经北江，没有渡江的工具，遂将一束苇草置于江面，踏蹑而渡。\n「达摩一苇渡江，栾巴噀酒灭火。\n」后至北魏，所到之处，以禅法教人。\n达摩的事迹，随着禅宗的发展，渐趋神异，并成为中国画家、瓷艺家所爱的题材。\n“一苇渡江”明清德化窑达摩瓷塑上常常以此为题材。\n此图为明 的“达摩渡江图”，现藏宁波“天一阁”。\n这件“达摩渡江图”正是道释人物，画的很细腻，宗梁楷“细笔”一类画风。\n人物回首顾盼，两目突出，神采毕现。\n衣纹线条虽简，但非常概括，转折有力。\n此画虽是细写，却有意笔效果。\n孙克弘（15－1611）一作克宏，字允执，号雪居， 人。\n父为进士承恩。\n孙克弘以父荫入仕，官至汉阳太守。\n孙克弘生性巧慧，声音洪亮，状貌疏野，在居处四壁上画苍松老柏。\n善书法，画上常题隶书。\n绘画擅花鸟、人物，有资料说写道释人物则学梁楷。",[23,24,25,226,260,28,7,106,212,63,408],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc49e44cbbf6c2d7b966e9e401cadc7c7.jpg",[],{"id":65833,"slug":65834,"title":65835,"dynasty":18,"author":65836,"museum":316,"description":65837,"tags":65838,"thumbUrl":65839,"material":139,"size":139,"collection":139,"collections":65840,"showCount":558,"zanCount":48,"manualWeight":48,"mainColor":49},227957,"tian-tai-shi-qiao-luo-han-tu-zhou-chang-ji-lin-ting-gui-227957","天台石桥－罗汉图","周常季、林庭珪","此作画境清寂出尘，飞瀑垂泻于危崖之间，古木横生为桥，连通绝险山径。下方三罗汉神态各殊，或抬首凝神远望云端仙侣，或侧身静听，衣纹以铁线描勾勒，敷色调和古雅，将僧者的肃穆憨态刻画入微。\n\n远景云气翻涌，琼楼半隐烟岚，虚实相映衬出凡尘寻仙的幽远意境。画作将禅意融于山水丘壑，人物点缀林泉之间，罗汉的沉静好奇与云山缥缈相融，尽显清逸禅韵，把世外寻仙的悠远意趣藏于笔墨之中，雅致空灵，余味悠长。",[23,24,194,25,7,28,260,106,29,176,1426,21346,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdd599052eea77d54ae9e6e164b8670b7.jpg",[],{"id":65842,"slug":65843,"title":65844,"dynasty":18,"author":257,"museum":316,"description":65845,"tags":65846,"thumbUrl":65847,"material":139,"size":139,"collection":139,"collections":65848,"showCount":558,"zanCount":48,"manualWeight":48,"mainColor":49},227907,"qiu-ting-shui-qin-tu-yi-ming-227907","秋汀水禽图","此作以淡寂秋意为骨，绘汀洲水畔之景。枯槎斜出，疏枝带寒，间有柔柯缀着残叶，与岸侧泛红的小花相映，暗显秋深的枯荣之态。水面空濛留白，漾着浅淡水纹，两只水禽正悠游啄饮，翎羽蓬松宛然，意态闲适。天际一羽孤鹤掠空，枝头还宿着小禽，动静之间，将秋日水汀的清寂悄然铺展。\n\n笔触兼用工写，禽鸟刻画精细入微，草木枝梢写意见韵，以小尺幅晕染出辽远空阔的江天秋意，把幽境雅趣藏于方寸之间，淡而有味，余韵悠长。",[23,194,24,7,28,834,33438,34,3519,230,245,5218],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb35baab3884004df1c48bee2955d8c10.jpg",[],{"id":65850,"slug":65851,"title":65852,"dynasty":18,"author":257,"museum":316,"description":65853,"tags":65854,"thumbUrl":65855,"material":139,"size":139,"collection":139,"collections":65856,"showCount":558,"zanCount":48,"manualWeight":48,"mainColor":49},227894,"hu-ting-you-lan-tu-yi-ming-227894","湖亭游览图","这幅小品以圆框取景，铺展出一片幽寂湖山。澄澈湖面托着水畔亭台，飞檐翘角掩映在葱郁林木间，隐约可见亭边悠游的人影，将游园的闲散意趣藏在细节里。\n\n远山以淡墨晕染，轻笼在如烟暮色中，与近景亭台的精工刻画形成虚实对照，层层晕开江南湖山的清旷含蓄。整体色调古雅沉静，笔意简淡秀润，没有繁复皴擦，却将水色空濛、林影幽深的氛围感烘托尽致，仿佛能窥见千年前的临水凭栏，偷得浮生半日闲的悠然意境，尽显以小见大的雅致情致。",[23,194,24,25,1260,104,28,7,29,175,34,106,107,3519],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dde8b70cacf16880e6a0c9d4be81a8c.jpg",[],{"id":65858,"slug":65859,"title":65860,"dynasty":18,"author":257,"museum":316,"description":65861,"tags":65862,"thumbUrl":65864,"material":139,"size":139,"collection":139,"collections":65865,"showCount":558,"zanCount":48,"manualWeight":48,"mainColor":49},227892,"qing-xi-feng-fan-tu-ye-yi-ming-227892","清溪风帆图页","此作用平远之法铺陈烟水湖山，近岸苍松劲拔，带着清森之气破开画角。淡墨晕染出层叠远岫，像被晨雾揉碎的黛色剪影，晕在空濛天际间。洲渚上林木成簇，在水面投下浅淡的墨色倒影。\n\n扬帆的扁舟缓行于清溪之上，船舷破开如镜的水面，为这片岑寂的山水漾开灵动涟漪。全作以水墨轻施淡染，设色清浅雅致，笔法简净秀润，将江南水乡暮霭初升时的清旷萧远尽数铺展。静穆山色与行舟动势相映，于简淡留白中晕开含蓄悠远的意韵，把烟水空蒙的湖山诗意凝在尺幅之间，引人坠入这片安谧清和的烟岚水色中。",[23,24,25,6083,173,7,29,174,65863,34,809,1169,212],"风帆","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6a87e6aea99e632e951e926931693c8.jpg",[],{"id":65867,"slug":65868,"title":65869,"dynasty":18,"author":257,"museum":316,"description":65870,"tags":65871,"thumbUrl":65873,"material":139,"size":139,"collection":139,"collections":65874,"showCount":558,"zanCount":48,"manualWeight":48,"mainColor":49},227862,"zao-qiu-ye-po-tu-yi-ming-227862","早秋夜泊图","此作用细腻铁线描勾勒两艘泊船，舱室回廊、高耸桅杆皆刻画入微，淡赭轻敷点缀舱间细节，古拙雅致。远景水榭楼台隐在朦胧夜色间，烟水空濛晕染开早秋清寒。\n画面以小景写幽情，将旅人行舟暂歇的安然揉进静谧江色里，写实中带着诗意澹远，尽显宋人体察日常的雅致笔力，把初秋江上夜泊的清寂况味铺陈开来，淡而不寡，静中藏着羁旅安然的意趣。",[23,24,25,104,7,28,149,107,262,29,65872],"早秋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9709ec5d8d3f68db6c128de0f7e73a9.jpg",[],{"id":65876,"slug":65877,"title":65878,"dynasty":18,"author":257,"museum":316,"description":65879,"tags":65880,"thumbUrl":65881,"material":139,"size":139,"collection":139,"collections":65882,"showCount":558,"zanCount":48,"manualWeight":48,"mainColor":49},227851,"shan-ju-dui-yi-tu-yi-ming-227851","山居对奕图","此作以边角取景，尽显空灵淡远的韵致。右侧山居隐于苍松荫翳之下，屋舍素朴雅致，藏着林泉高隐的闲趣。古松虬曲苍劲，墨色苍润勾勒出老干新枝的清劲姿态，左侧松枝斜出，与右侧景致遥相呼应。\n\n大片留白晕染出烟岚空濛的远山，虚渺朦胧如幻似真。设色淡雅清润，水墨晕染出江南山霭的柔婉，尺幅之间铺陈出世外幽居的恬然意境，将林泉高致藏于简淡取景之中，于方寸间见天地悠远，尽显山水小品以小见大的隽永之美。",[23,194,24,25,1260,7,177,29,378,175,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe44c22249e2b9611ed2dc25841e8fab.jpg",[],{"id":65884,"slug":65885,"title":54876,"dynasty":18,"author":1474,"museum":316,"description":65886,"tags":65887,"thumbUrl":65888,"material":139,"size":139,"collection":139,"collections":65889,"showCount":558,"zanCount":48,"manualWeight":48,"mainColor":49},227738,"shen-pin-tu-li-song-227738","李嵩（1166—1243），中国南宋画家，钱塘（今浙江杭州）人。少年时曾为木工，后成为画院画家李从训的养子，绘画上得其亲授，擅长人物、道释，尤精于界画，为光宗、宁宗、理宗（1190一1264）时期画院待诏。\n\n李嵩画过许多表现下层社会生活的风俗画，及表现农民劳动生活的《春溪渡牛图》、《春社图》和组画《服田图》等。传至今日的《货郎图》是李嵩传世的重要作品。他以货郎为题材，创作过多幅货郎图。除故宫博物院藏的一幅横卷外，余皆为小幅，分别藏于台北故宫博物院、美国堪萨斯州阿肯博物馆的尼尔逊美术馆及美国纽约大都会美术馆。\n\n李嵩具有多方面才能，尤其善于通过绘画，表达自己对生活的感受和态度，他的《夜湖图》《水殿招凉图》《观潮图》《西湖图》《仙山瑶涛图》《骷髅幻戏图》《观灯图》《柳塘聚禽图》《花篮图》等，都显示出他卓越的绘画技巧。其中《骷髅幻戏图》则以其不易被人理解的深刻的寓意，为美术史留下了一个画谜。",[23,24,194,25,1260,104,7,28,29,107,106,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf4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几只野灵飘散散落，河岸上的两只野鸭在秋荷塘畔，悠闲地享受着秋日的阳光。",[24,25,1260,28,7,83,2125,228,262,379,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d2ab1fd7d2ce25074ac44af4540be96.jpg",[],{"id":65912,"slug":65913,"title":65914,"dynasty":18,"author":257,"museum":316,"description":61728,"tags":65915,"thumbUrl":65916,"material":139,"size":139,"collection":139,"collections":65917,"showCount":558,"zanCount":48,"manualWeight":48,"mainColor":49},227359,"liu-xi-yuan-yang-tu-ye-yi-ming-227359","柳溪鸳鸯图页",[23,194,24,1260,7,28,2532,16684,2014,245,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa830ca8abe60aea47e38b08368f2e9c6.jpg",[],{"id":65919,"slug":65920,"title":65921,"dynasty":189,"author":257,"museum":316,"description":8010,"tags":65922,"thumbUrl":65923,"material":599,"size":600,"collection":139,"collections":65924,"showCount":558,"zanCount":48,"manualWeight":48,"mainColor":94},227274,"bi-hua-wu-dai-bei-song-yi-ming-227274","壁画 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【作者】佚名 盘车图—— 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水边一枝红蓼，小花盛开。水鸟发现波中青虾，悄然飞落红蓼枝头，引喙而啄。红蓼被水鸟的体重与蹬力压弯，梢头、叶尖浸入水中。而青虾在水中灵活地悠游，对面临的危险浑然不觉。自然界中这惊险的一霎被巧妙地摄入绢素，极为生动传神。水禽和红蓼设色鲜丽，工笔细写。小鸟纤细的毛羽清晰可数，连蓼花粟米大的花冠也用紫红、粉白晕染得一丝不苟，层次分明。而水中的青虾和荇藻则采用模糊的手法表现，唯以淡墨绿一色染成，类似写意画法。因而虽不画水，却水旱两界分明。",[194,24,25,81,28,7,83,209,27210,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bd0e66811feaeb67ea3c69d5e352504.jpg","25.2x26.8cm",[],{"id":67878,"slug":67879,"title":67880,"dynasty":302,"author":257,"museum":316,"description":67881,"tags":67882,"thumbUrl":67883,"material":67,"size":67884,"collection":139,"collections":67885,"showCount":787,"zanCount":48,"manualWeight":48,"mainColor":49},233953,"xi-shan-ting-xie-tu-ye-yi-ming-233953","溪山亭榭图页","本幅园形设色画，无款印，有收藏印二方不辩。",[24,25,1260,29,7,177,212,175,34,176,809],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F572cdae27ebe7b757d316c7e73b40b0e.jpg","纵27.5cm横26.2cm",[],{"id":67887,"slug":67888,"title":67889,"dynasty":76,"author":7209,"museum":20,"description":67890,"tags":67891,"thumbUrl":67892,"material":40,"size":40807,"collection":139,"collections":67893,"showCount":787,"zanCount":2368,"manualWeight":48,"mainColor":49},233876,"zi-hua-xiang-zhou-gao-feng-han-233876","自画像轴","《自画像》作于清雍正五年（1727年），时年作者45岁。画面上，高凤翰身着白衫，头戴斗笠，侧身倚石坐于断壁悬崖之上，崖上松柏怪生，崖下波涛澎湃，陡峭的巨石冲出水面，长空中，一只孤鹤飞翔而来，画家俯览水面，似引起无限思绪。当时正值高凤翰仕途转折时期，是年，他赴济南省试，应选，次年赴京应试，考列一等，分发安徽试用。他并不热衷仕途，对当时的社会状况也很不满，应试做官可能是生活所迫，作品即是他当时心境的写照。图中，画家将自己置于陡峭的绝壁之间，险峻的山石，汹涌的江水，奇生的古木，使人感受到的不是士大夫寄托林泉之志的山水，而是预示着人生的艰险，仕途的艰辛。\n此图构图新颖，以仰视的角度截取山崖一角，江水自远而近布满画面，气势强大，使景物具有高远和深远之势，以烘托主题。高凤翰的自画像非常写实，据载，高凤翰长眉广额，身体伟岸，又有美髯，曾自署“髯高”。他曾画过一幅《披褐图》，其人物面貌与此幅相似。",[24,226,7,106,29,230,177,212,86,34,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd09da7066bb42a50428c8157ac8ed8fd.jpg",[],{"id":67895,"slug":67896,"title":15779,"dynasty":76,"author":997,"museum":20,"description":15780,"tags":67897,"thumbUrl":67898,"material":770,"size":15784,"collection":139,"collections":67899,"showCount":787,"zanCount":48,"manualWeight":48,"mainColor":94},233778,"yuan-ji-tao-yuan-ming-shi-yi-ce-shi-tao-233778",[194,24,25,81,173,7,29,106,108,109,34,176,37,35,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27c18c2805cdb7dbe845a2784a765741.jpg",[],{"id":67901,"slug":67902,"title":67903,"dynasty":99,"author":18784,"museum":20,"description":67904,"tags":67905,"thumbUrl":67906,"material":770,"size":67907,"collection":139,"collections":67908,"showCount":787,"zanCount":48,"manualWeight":48,"mainColor":49},233744,"san-jiao-tu-zhou-ding-yun-peng-233744","三教图轴","此图画孔子、老子、红衣罗汉坐于树下共同探究玄理的情景。画中三位智慧长者面目严肃，神情专注，孔子儒雅敦厚，循循善诱，正发表言论；老子道貌岸然，谨慎而善辩，他注视着对方，似乎准备随时发问；红衣罗汉双目低垂，安详而平静，从他紧锁的眉头可以看出他已沉于思索之中。明代，随着儒、道、释三教的融合，宗教题材的绘画也随之有了世俗化的倾向，此画中的宗教人物与作为供养的神仙不同，脱离了程式化的因素，有着鲜明的个性特征和情绪化色彩，同时融入了文人的审美情趣。其人物造型古拙、气质端庄文雅，体现了明后期文人画注重表现个性的风尚。画法上，运用“高古游丝描”，细劲而“笔力伟然”，既有古朴之感，又具有时代气息。设色古妍冷隽，尤其是人物服饰的红色、兰色与赭色，赋色沉稳和谐。山石树木勾勒添色，取法文徵明，小青绿设色，文静典雅，营造了一种静谧清淡的意境，引人入胜。",[24,226,7,106,260,28,34,176,18787,212,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a31bf07bdede9ea0b3bd2d2ca86d3e2.jpg","纵115.6厘米，横55.7厘米",[],{"id":67910,"slug":67911,"title":3868,"dynasty":76,"author":45651,"museum":20,"description":61339,"tags":67912,"thumbUrl":67913,"material":770,"size":61342,"collection":139,"collections":67914,"showCount":787,"zanCount":48,"manualWeight":48,"mainColor":94},233440,"huang-shan-tu-ce-mei-qing-233440",[24,25,81,173,7,29,1426,1273,106,176,177,178,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc236d28b17519fc86d6c9864560c9254.jpg",[],{"id":67916,"slug":67917,"title":67918,"dynasty":99,"author":67919,"museum":316,"description":67920,"tags":67921,"thumbUrl":67922,"material":139,"size":139,"collection":139,"collections":67923,"showCount":787,"zanCount":48,"manualWeight":48,"mainColor":94},233367,"shi-zhu-zhai-pu-ce-hu-ri-cong-233367","十竹斋谱册","胡日从","《十竹斋书画谱》，融诗、书、画、印艺术为一体，是木版水印史上的巨制鸿构，有“画苑之白眉，绘林之赤帜”之誉。凡书画、竹、墨华、石、翎毛、梅、兰、果八谱，每谱两册，全帙共十六册，蝴蝶装。\n一为书画册。花卉竹石、翎毛蔬果二十幅，均有对题。谱前有醒天居士《题十竹斋画册小引》和芒砀山人王三德《胡曰从书画谱引》。\n二为竹谱。卷首有《梨云馆竹谱》，分“写竹要语”，“写竹括”和“写竹法”。前半为一画一题，凡竹图二十幅，分作“廻风”、“喜霁”、“带雨”、“凝露”、“贮云”、“笼烟”、“快雪”、“印月”、“怡老”、“启新”、“飞白”、“聚翠”、“紫蓧”、“朱帔”、“崖影”、“石床”、“飨松”、“访菊”、“友梅”、“佩兰”等。后半则为画竹“起手式”。\n三为墨华册。谱中图呈圆光型，对题有绿色“十竹斋琅干笺”竹纹边框。画、题各有二十幅，画面着色细润，气韵生动。谱前有语水乘槎子《十竹斋墨花题辞》。\n四为石谱。画、题各二十幅，谱前有序两篇，一为王三德《阅石谱题言》，一为米芾后人米万钟《石谱题辞》。谱中二十幅画皆为高阳所作。高阳，字秋甫，善花鸟，为万历间写生名手。高阳画奇石尤精，石谱中作品是临摹上版，王三德观后评价极高，以为“天划神缕之巧，嵌空玲珑之致，半幅冰茧，宛具层岩叠嶂、峰峦洞穴，真可以对杨次公矣。”图有墨石、彩石，但均以套版为之，每画都有对应的题赞。\n五为翎毛谱。画、题各二十幅，有杨文骢于“天启丁卯立秋日”所题《翎毛谱小序》，非常精彩地评介了胡氏所施饾版之法：“胡曰从氏巧心妙手，超越前代，以铁笔作颖生，以梨枣代绢素，而其中皴法、染法、点法，及着色之轻重、浅深、远近、离合无不呈妍曲致，穷巧极工。即当行作手观之，定以为写生妙品，不敢作刻画观。”此翎毛谱二十图，画上无名款，从印鉴来看，应全为凌云翰一人所作。凌云翰，字五云，万历、崇祯时人。《明画录》说他善画山水，其实上凌氏花鸟亦善，尤工画石，为胡正言所推许。\n六为梅谱。由玉山进士董继周作序。此册胡正言以“芳信先传”、“飘飘欲仙”、“冰壶掩映”、“暖谷回阳”、“君子之交”、“铁干支春”、“暗香浮动”、“拾翠为钿”、“黄惹蜂腰”、“额上玄功”、“东邻窥宋”、“盟坚寒素”、“香梦沉酣”、“水妃写照”、“玉骨同妍”、“疏影横斜”、“幽人赠佩”、“调脂梅粉”、“宫锦清班”、“寿阳点妆”等二十画题，分别写早梅、风梅、雪梅、枯梅、竹梅、老梅、月梅、松梅、蜡梅、墨梅、过墙梅、倚石梅、烟梅、临水梅、水仙梅、疏梅、兰花梅、茶花梅、杏花梅和落梅，或水墨，或设色，意境、造型与章法，则穷尽变化之能事。每幅画都有对应的题赞。\n七为兰谱。前有涂日昌“兰谱序”和画兰“起手执笔式”，此谱图解兰花，并附小注，颇为详尽，但无题赞。多为墨印，间有彩版，此谱可为之初学之范本。图二十幅，多是临摹赵孟頫等名家之作。\n八为果谱。画、题各二十幅，有西京韩文镜作序。其中“三元”、“朱橘”等图，雕版设计巧妙，可谓匠心独运。\n《十竹斋书画谱》自万历己未（1619年）第一谱《书画册》起，至崇祯癸酉（1633年）第八谱《果谱》止，梓印时间长达十五年之久。每谱有序言，除《竹谱》附写竹诀，《兰谱》附起手式，其余各谱均四十幅，一图一文，以书配画，交相辉映。\n胡正言辑印《十竹斋书画谱》，广交名人时贤，亦自作书画付梓。全谱序、画、诗作者或书法题写者，多达一百五十余人。谱中所辑作品大多是由当时名家如吴彬、倪瑛、魏之克、米万钟、吴士冠、文震亨、高阳、高友等创作的，也有二十多幅画稿是临摹自赵孟頫、唐寅、沈周、文征明、陆治、陈道复等著名书画家的；胡正言自己也曾为谱画稿、题诗，画有“白莲”、“墨梅”、“芝草”三图，诗有“题梅花”、“题兰竹”两首。画谱中所题诗句，笔调清新，咏物抒情，不同程度地反映了诗人们喜爱画谱的心情。题诗大部分都是书写者自己所作，也有借用前人诗句题咏的，如胡正言用唐释无可的咏兰诗题《兰竹图》，西湖仙郎何伟然用徐渭咏榴诗题《石榴图》，竹冠道人应麟用刘禹锡题开元寺枸杞诗书《枸杞诗图》等等。全谱书法篆、隶、行、楷诸体皆备，最多的还是晚明文人流行的行草。这些书迹，大都兼有晋、唐、宋书家的风韵，亦可为后人临池所借鉴。\n醒天居士的《题十竹斋画册小引》把胡正言的爱好、特长及画谱刊印的初衷和艺术水平都进行了叙述：\n“王宰十日一山，五日一石，岂肖形之难哉？山有情，石有态，磅礴得之为难耳。近代画手，千临百摹，如里媪捧心，不揜儿寝，而目食者争售之，大轴小图，祗为壁疥。新安胡曰从氏，清姿博学，既精六书，尤擅众巧。所制隃糜硾茧与所镌法语名言，皆出新裁，赏鉴家多宝爱之。乃竹斋多暇，复创画册。所选皆花果竹石，有关于幽人韵士之癖好者。而写形既妙，设色尤工，至于翠瓣丹柎，葩分蕊折，花之情，竹之姿，与禽虫飞懦之态，奇石云烟之气，展册淋漓，宛然在目。盖淡淡浓浓，篇篇神采；疏疏密密，幅幅乱真，诚画苑之白眉，绘林之赤帜也。然王宰之画妙出毫锥，胡君之画妙出梨枣，是磅礴之心，较王宰更难；而成功之捷，较王宰更简更易，岂不尤奇哉！余故喜而叙之，愿与好事者同赏，仍俟具眼者定价焉。时癸酉年中秋前二日，醒天居士书于十竹斋。”\n《十竹斋书画谱》“绘刻精而奇，谱则巧而该”，在画谱刊行后不久就引起广泛的注意，开始有人仿刻了，以至胡氏声明道“原板珍藏，素遐真赏，近有效颦，恐混鱼目，善价沽者，勿虚藻鉴。”历代重印、翻刻者达二十余种。清代李渔等人辑印的《芥子园画传》也是在它的启发下产生的。",[24,25,81,173,7,83,227,820,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39a41d4cbf78fa88028ba568d41be64c.jpg",[],{"id":67925,"slug":67926,"title":67927,"dynasty":99,"author":170,"museum":20,"description":59422,"tags":67928,"thumbUrl":67929,"material":1123,"size":59425,"collection":139,"collections":67930,"showCount":787,"zanCount":48,"manualWeight":48,"mainColor":94},233136,"ming-ren-xi-shan-sheng-jing-he-bi-ce-cha-mo-yu-tu-ye-shen-zhou-233136","明人西山胜景合壁册-茶磨屿图页",[24,25,81,173,7,29,177,34,176,32,4048,1273,3712],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed5e89c71c28c71d0d4496c16cab2c35.jpg",[],{"id":67932,"slug":67933,"title":67934,"dynasty":302,"author":257,"museum":316,"description":55463,"tags":67935,"thumbUrl":67936,"material":139,"size":139,"collection":139,"collections":67937,"showCount":787,"zanCount":48,"manualWeight":48,"mainColor":801},233031,"wu-zong-huang-di-hou-xiang-yi-ming-233031","武宗皇帝后像",[24,25,28,7,106,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3877d0590e706000546909cc3af31fd.jpg",[],{"id":67939,"slug":67940,"title":67941,"dynasty":18,"author":257,"museum":20,"description":67942,"tags":67943,"thumbUrl":67944,"material":581,"size":67945,"collection":139,"collections":67946,"showCount":787,"zanCount":48,"manualWeight":48,"mainColor":49},233019,"song-yin-ce-zhang-tu-ye-yi-ming-233019","松阴策杖图页","艺术史学家高居翰(James Cahill)在《图说中国绘画史》一书中赞叹宋画之美：“在他们的作品中，自然与艺术取得了完美的平衡。他们使用奇异的技巧，以达到恰当的绘画效果，但 是他们从不纯以奇技感人；一种古典的自制力掌握了整个表现，不容流于滥情。艺术家好像生平第一次接触到了自然，以惊叹而敬畏的心情来回应自然。他们视界之 清新，了解之深厚，是后世无可比拟的。”",[24,194,7,28,29,106,1133,378,261,1169,912,40932],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5575f00a384fb24df04d011160151d6.jpg","28x28.6厘米",[],{"id":67948,"slug":67949,"title":48263,"dynasty":18,"author":257,"museum":20,"description":67950,"tags":67951,"thumbUrl":67952,"material":529,"size":67953,"collection":139,"collections":67954,"showCount":787,"zanCount":48,"manualWeight":48,"mainColor":94},232995,"bai-zi-xi-chun-tu-ye-yi-ming-232995","此图以极细腻的笔法刻画百子嬉戏游乐的场面。亭台之下的儿童动态十足，他们或舞狮追逐，或斗草争鞠，或玩木偶，或上树，或泛舟；而亭台之上的儿童则较收敛成熟，或品评诗画，或对弈下棋，或抚弄琴弦，或围坐议享，画面人物杂而不乱，繁而不冗。设色和谐明丽。“狮子舞”是人们熟识喜爱的传统民间舞蹈，有关狮子舞的最早记载见于三国魏人孟康的《汉书·礼乐志》注，注中有“象人，若今戏鱼虾狮子者也”。迄今所见最早的狮子舞形象是新疆吐鲁番阿斯塔那墓出土的两人扮成的狮子。此图原载《四朝选藻册》（见《石渠宝笈续编》）。签题苏汉臣作。按《图绘宝鉴》：“苏汉臣，开封人。宣和画院待诏。师刘宗古，工画道释，人物臻妙，尤善婴儿。绍兴间（1131-1162）复官。孝宗隆兴初（1163），画佛像称旨，补承信郎。”世人凡见婴戏图，便题苏汉臣作。此图亦题汉臣作，不知何据。是陈宗训以来的作风，有动作而无表情。名手之笔，不当如是。故改题无名氏作。",[24,28,7,81,106,107,115,2385,26354],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7127b27e089c572a605b01e9b762712a.jpg","纵26.6cm，横27.7cm",[],{"id":67956,"slug":67957,"title":67958,"dynasty":76,"author":39432,"museum":316,"description":67959,"tags":67960,"thumbUrl":67961,"material":139,"size":139,"collection":139,"collections":67962,"showCount":787,"zanCount":48,"manualWeight":48,"mainColor":94},232697,"shan-shui-xi-shu-dong-cun-tu-ye-fang-cong-232697","山水西墅东村图页","方琮，字黄山，字友璜，号石颠，山水宗黄公望。浙江人。善山水画，从学于张宗苍（1686-1755）深得其传，供奉内廷。\n曾仿画王希孟《江山千里图卷》。",[23,24,25,194,6083,7,177,212,29,108,109,34,35,176,1169,809,3561],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff67d5a6da73eb27662a8d531c4296f62.jpg",[],{"id":67964,"slug":67965,"title":67966,"dynasty":256,"author":257,"museum":316,"description":67967,"tags":67968,"thumbUrl":67969,"material":139,"size":139,"collection":139,"collections":67970,"showCount":787,"zanCount":48,"manualWeight":48,"mainColor":94},231823,"ming-qing-ri-ben-gu-hua-fen-ben-ren-wu-li-zhou-wo-lu-zang-yi-ming-231823","明清日本古画粉本人物立轴 蜗卢蔵","此作以淡墨晕染水月观音，观音安坐岩巅，衣袂舒展空灵，面容娴静慈悲，璎珞细节柔和细腻，尽显神性清寂温婉。下方云水翻涌，神龙隐现于烟波之间，墨色层次丰富，将水之灵动与云之空濛相融，烘托出幽渺出尘的禅境。\n左上题字清雅隽秀，与画面禅意呼应，笔墨简淡却神采具足，尽显汲取汉地佛画养分后的独特意趣，以极简笔触勾勒出观音的沉静与海天的悠远，将禅家空寂之味蕴藏在淡墨清晕之中，是佛画与文人意趣相融的雅致佳作。",[23,11932,24,25,226,59549,173,7,106,260,176,37,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc09fe3fc01c2b8210207ee58fd3db282.jpg",[],{"id":67972,"slug":67973,"title":67974,"dynasty":256,"author":59546,"museum":316,"description":59547,"tags":67975,"thumbUrl":67976,"material":599,"size":600,"collection":139,"collections":67977,"showCount":787,"zanCount":48,"manualWeight":48,"mainColor":94},231804,"ming-qing-ri-ben-gu-hua-fen-ben-ren-wu-juan-he-guo-xiao-zhai-231804","明清日本古画粉本- 人物卷",[23,26,352,173,7,106,105,8419,2439,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F977772ee9845f5249c7c8fc7091771f5.jpg",[],{"id":67979,"slug":67980,"title":67981,"dynasty":256,"author":257,"museum":316,"description":67982,"tags":67983,"thumbUrl":67985,"material":599,"size":600,"collection":139,"collections":67986,"showCount":787,"zanCount":48,"manualWeight":48,"mainColor":94},231792,"ming-qing-ri-ben-gu-hua-hua-niao-shan-shui-ren-wu-fen-ben-hua-hui-juan-yi-ming-231792","明清日本古画花鸟山水人物粉本-花卉卷","此卷以三段铺展草木清趣：左幅淡墨晕染勾勒，花卉枝叶似笼轻烟，朦胧雅致，尽显晕染之妙；中段设色清妍，蓝花团簇搭配朱红穗草，墨色深浅铺陈绿叶，鲜活自然，将杂卉相生的野趣娓娓道来；右枝蓝花挺秀舒展，线条隽秀利落，把花枝舒展的姿态勾勒尽致。\n\n整体气息静谧清和，笔致简淡却饱含生机，画师以细腻体察捕捉花木的雅致姿态，将写生意趣融于其中，古雅温婉，尽显东方草木美学的隽永意境。",[23,11932,24,25,26,7,352,84,264,838,67984,1090,212],"蓝色小花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F556544f3ce8c1f43d39f21b466f94812.jpg",[],{"id":67988,"slug":67989,"title":67990,"dynasty":256,"author":67991,"museum":316,"description":67992,"tags":67993,"thumbUrl":67994,"material":599,"size":600,"collection":139,"collections":67995,"showCount":787,"zanCount":48,"manualWeight":48,"mainColor":94},231787,"wen-yong-he-mao-ji-tu-juan-shuang-zhi-1-zhi-shou-jing-231787","文永贺茂祭图卷 双纸-1","直寿敬","本作为日式风俗绘卷，以平涂设色刻画贺茂祭出行队列。画面排布井然有序，自左向右文武扈从依次行进，骑乘主官位列核心。绘者以质朴柔和的线条勾勒人物，服饰配色沉静典雅，白、朱红、靛蓝层次分明，忠实还原祭典仪制衣冠规制。\n\n人物抬足行进的动态简练鲜活，仪仗器物细节清晰，将祭典的庄严肃穆与行进的生动感相融，笔触稚拙却精准传递出古祭出行的威仪氛围，兼具民俗史料价值与古拙的绘画美感。",[23,24,25,26,7,106,150,63,2439],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2c95d941cfb0fd5e3729f76c4dbcd38.jpg",[],{"id":67997,"slug":67998,"title":67999,"dynasty":256,"author":68000,"museum":316,"description":68001,"tags":68002,"thumbUrl":68003,"material":599,"size":600,"collection":139,"collections":68004,"showCount":787,"zanCount":48,"manualWeight":48,"mainColor":94},231730,"da-zheng-nian-chao-zhi-juan-jin-cun-zi-hong-231730","大正年 朝之卷","今村紫红","今村四光（Shiko Imamura，1880年（明治13年）12月16日－1916年12月16日（大正5年）2月28日）是横滨神奈川县人，出生于日本画家。他的真名是十三郎。他虽然享年35岁（按年算37岁），但他大胆而原创的作品给画家带来了新鲜的刺激，对后辈画家也产生了很大的影响。主要作品如“近江八景”系列（1912年，东京国立博物馆，重要文化财产），“笃之卷”（1914年，东京国立博物馆，重要文化财产）。",[23,24,25,26,7,28,29,33370,408,10383,19943,37298,174,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90e5f661c7377d7282ed7dd3a7183f6c.jpg",[],{"id":68006,"slug":68007,"title":68008,"dynasty":256,"author":257,"museum":316,"description":68009,"tags":68010,"thumbUrl":68014,"material":139,"size":139,"collection":139,"collections":68015,"showCount":787,"zanCount":48,"manualWeight":48,"mainColor":94},231694,"jiang-hu-shi-qi-ying-yi-die-shi-er-yue-tu-juan-yi-ming-231694","江户时期 英一蝶十二月图卷","这幅长卷铺陈出鲜活的市井浮生，水岸舟楫往来摇荡，市肆街巷串联起岁时日常。茶寮酒幌招展，宾客围坐言笑晏晏；贩夫走卒穿行长街，挑担叫卖的身影生动鲜活。亭台掩映在松柳浓荫，屋舍错落间见邻里闲话的松弛意趣。\n\n淡墨轻敷晕染出水色天光，线条细腻灵动勾勒众生百态，将岁时里的烟火温热与雅致闲情尽数揉入长卷，把日常俗事绘成温柔的时代剪影，让百年前的俗世风物宛在眼前。",[23,24,26,7,173,106,118,3742,68011,28015,68012,3176,986,34,17649,43272,68013],"市肆","茶寮","闲情雅致","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F169b830ee82cd17c77c2038154101eb1.jpg",[],{"id":68017,"slug":68018,"title":68019,"dynasty":256,"author":68020,"museum":316,"description":68021,"tags":68022,"thumbUrl":68023,"material":599,"size":600,"collection":139,"collections":68024,"showCount":787,"zanCount":48,"manualWeight":48,"mainColor":94},231663,"shan-shui-shi-yi-tu-juan-ge-chuan-guang-zhong-231663","山水诗意图卷","歌川広重","远景富士山隐在烟霭之中，淡墨晕开水天，浅赭岸渚衔着空蒙烟波，扁舟孤悬，漾开幽远空寂。近湾村落黛瓦层叠，苍松与秋红林木错落相偎，暖调砂岸揉入冷色烟水，将乡居温软与湖山清旷相融。\n\n整体用色清润柔和，以淡彩晕开暮烟朦胧氛围，简淡线条精准勾勒山水层次，把幽玄意趣藏在平远构图中。将秋郊湖村的安闲与远山清寂揉为一处，将寻常乡野晕作一阙淡远秋歌，静穆里漫着松弛悠然的秋意。",[23,194,12745,26,7,3559,29,1273,35,1981,3884,1169,10383,34,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69334a00861007071920e53a54ebe83a.jpg",[],{"id":68026,"slug":68027,"title":68028,"dynasty":256,"author":68029,"museum":316,"description":68030,"tags":68031,"thumbUrl":68032,"material":599,"size":600,"collection":139,"collections":68033,"showCount":787,"zanCount":48,"manualWeight":48,"mainColor":94},231629,"shi-ting-shi-dai-qing-shui-si-yuan-qi-hua-juan-xia-tu-zuo-guang-xin-231629","室町时代 清水寺缘起画卷(下)","土佐光信","室町时代（1338~1573）的著名大和绘（注1）画师土佐光信（1434~1525）向来被尊为妖怪画的开山宗师。室町时代，虽然中国宋元时期的宫廷水墨画（区别于“唐绘”，被称之为“汉画”）受到幕府的推崇，但以土佐光信为代表的正统大和绘画师也借鉴中国画的技巧，为势渐衰退的大和绘注入了新的活力。室町时代的大和绘取材已具有明显的世俗化特征，也更加注重装饰效果（这在一定程度上成为其后“浮世绘”诞生的先导），土佐光信的《百鬼夜行绘卷》正是充分体现了这两个特点的作品。",[24,25,26,7,28,104,260,86,937,178,106,107,108,109,150,746,29,175,245,34,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58f10bbfc70d13b3adf7dcbe26b3fe0f.jpg",[],{"id":68035,"slug":68036,"title":68037,"dynasty":99,"author":257,"museum":191,"description":68038,"tags":68039,"thumbUrl":68040,"material":581,"size":68041,"collection":139,"collections":68042,"showCount":787,"zanCount":48,"manualWeight":48,"mainColor":49},231534,"gong-xiang-tu-yi-ming-231534","贡象图","据媒体报道，6月2日21时55分，来自西双版纳的野象群继续向北迁移，已进入昆明市晋宁区。大象要是进入城市怎么办？这成为一个让人无比担心的问题。毕竟历史上，曾发生过大象进城的事。\n南朝梁天监六年（507年）三月，有3头大象进入了建邺（今南京）。当时，梁朝与北魏之间正在钟离（今安徽凤阳）这个地方厮杀得热闹。当此紧要关头，为何会有大象入城？这3头大象又是从何而来？\n南北朝时期，那时的气候比现在还要温暖，加之长江下游地区江河湖泊较多，水草肥美，江南之地非常适合野象的栖息。进城的野象，自然是来自于城池和聚落之外，广袤的原野。\n而再往前数300年，江南还发生过一件被写入史书并流传至今的故事：202年左右，官渡之战刚刚发生不久，曹操打败了人生大敌袁绍，曹操的儿子曹冲方五六岁，这时，孙权向曹操赠送了一头巨象。\n孙权是在211年建石头城的，而202年左右，他已接替孙策的位置，此时正驻守吴郡。赠送曹操大象，恰是就地取材之举，这则历史记录也说明位于江南的太湖流域是野象栖息之地。\n而至于曹操，当时应在许都。东汉建安元年（公元196年），曹操挟天子以令诸侯，以“洛阳残破”为由迁都于许昌（位于河南省中部），即称许都。曹操得到孙权赠送的大象后，兴致高昂，“欲知其斤重”，还要称大象的重量。于是就有了曹冲称象的故事。\n学者们从这件事推断，此时河南已很少甚至没有大象了。要知道，在更古早的时候，这里曾是野象的聚集地。甚至河南的简称“豫”这个字中便保留了大象的踪迹。河南自古为“豫州”，古文字学家徐中舒认为，“豫”，为“象邑”二字的合文，“豫当时以产象得名，与秦时之象郡以产象得名者相同”。\n而在上世纪30年代，河南安阳殷墟，曾发现大象遗骨。当时学者都认为那是从东南亚输入进来的，但随着更多文献资料和考古遗址的发掘，中原有野象的论调成为主流。在商代，有“商人服象，为虐于东夷”的记载；周武王灭商，入主中原后，“驱虎豹犀象而远之”。这也说明当时的中原之地，是不缺乏大象的。\n而据历史地理学家考证，在远古时代，大象的活动范围甚至到达北京附近。只是后来随着人类活动的频繁，以及气候的变化，畏寒的大象活动边界逐渐从北向南退却，到了晋代，在长江下游地区，野象的主要栖息地最北已退至江淮流域了。南朝梁承圣元年（552年），也就是侯景之乱结束的这一年，有数百野象流窜于淮南之地，规模巨大。在这一时期，南京城有野象进入，也就不奇怪了。除了507年3头大象进入南京城之外，在稍早的492年、493年，还有“象至广陵”的记载。广陵，即现在的扬州。学者们认为，这都说明当时野象数量较多。\n但是，长江下游毕竟是一个以平原为主的地区，北面与黄淮平原相连，没有大山阻挡北来的寒流，加之由于长江下游开发较早，人类活动较多，大概从17世纪30年代起，长江下游地区便没有野象的踪迹了，野象所达到的最北之地，已退到了浙江钱塘江以南。\n在长江下游之外，因为地形或人口稀少等原因，野象的退却要稍慢一些。四川盆地更为特殊，它在群山环绕之中，气候温暖，河流丰沛，历史上那里的野象就非常之多。位于成都东北广汉市的三星堆遗址，每一次发掘都能发现大量象牙，即为明证。\n1986年，三星堆两大祭祀器物坑相继出土。其中，一号祭祀坑出土了13件象牙，二号祭祀坑出土了67件象牙。随着发掘工作的继续，在其他坑陆续也有象牙出土。2021年3月，三号祭祀坑又出土了127件象牙，在四号祭祀坑也发现了疑似被烧过、呈现出炭灰色的象牙。加之5月28日出土的10件象牙，三星堆共出土了200余件象牙。\n2001年的春天，在与三星堆文化一脉相承的金沙遗址中，考古人员发现了数量惊人的象牙。它们朝向一个方向，层层叠叠累在一起，沉默无声地震惊了世界。从断面可以看到，这些堆积的象牙多达8层。经过估计，其重量可达两三吨。保存完好、数量如此众多的象牙有规律地堆积，这不仅在中国，在世界上也是首次。\n按照我们今天的认知，亚洲象生活在热带地区，常见于南亚和东南亚。而在我国，亚洲象仅分布于云南省南部。但古籍上的记载却与我们现在的认知不同。\n《山海经·海内南经》中有“巴蛇食象”一说，文字记载：“巴蛇食象，三岁而出其骨，君子服之，无心腹之疾。”此处的“巴蛇”就是指《山海经·海内经》中“西南巴国之蛇”。《山海经·海内经》中记载：“西南有巴国，又有朱卷之国，有黑蛇，青首，食象。”郭璞在此注：“即巴蛇也。”\n由此可见，巴蛇即是生活在西南的青首黑身的蛇。传说巴蛇能够吞食大象，三年才吐出大象的骨头来。而人服食了巴蛇的肉，能够治疗心腹部的疾病。按照《山海经》的记载，古蜀不仅有巨蛇，还有大象。\n若说《山海经》带有神话传说的色彩，不那么让人信服，那么在《国语·楚语》中也有大象相关的记载：“巴浦之犀、牦、兕、象，其可尽乎。”可见在当时，古蜀地区不仅有大量的象，还有犀牛、牦牛、兕（形状似水牛，通身青黑色，长着一只角的动物）。",[24,28,7,226,106,746,280],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95a8bfad94371db1175d4efedbedba86.jpg","123x51厘米",[],{"id":68044,"slug":68045,"title":68046,"dynasty":302,"author":257,"museum":316,"description":68047,"tags":68048,"thumbUrl":68049,"material":139,"size":139,"collection":139,"collections":68050,"showCount":787,"zanCount":48,"manualWeight":48,"mainColor":49},231494,"you-xing-shi-nv-tu-you-ti-ba-yi-ming-231494","游行仕女图（有题跋）","笔致苍朴古雅，行书线条凝练舒展，藏锋裹毫间带着元人尚意的闲散意趣。题文追慕唐人仕女风神，暗合画中仕女迤逦游行之态：佳丽施徐缓步，罗衣轻扬，鬓畔簪花掩映姣容，团扇半遮更添幽婉。\n\n题跋与画作相映成趣，旧绢泛黄晕开浅淡包浆，朱印斑驳带着岁月摩挲的质感，字里行间铺展出闺阁柔婉情致，糅合元人审美意趣，静静诉说古画藏住的缱绻旧事。",[23,24,25,106,59,28,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fede83ee94cce6d1a2e984a3f42c8bc6b.jpg",[],{"id":68052,"slug":68053,"title":68054,"dynasty":76,"author":45286,"museum":419,"description":68055,"tags":68056,"thumbUrl":68057,"material":500,"size":68058,"collection":139,"collections":68059,"showCount":787,"zanCount":48,"manualWeight":48,"mainColor":94},231351,"han-shan-zhao-yin-tu-jin-li-ying-231351","寒山招隐图","金礼嬴（1772年—1807年）清朝女画家。一作礼瀛，字云门，号五云，东桥、云门女史、会稽内史、自号昭明阁女史，一称昭明阁内史，她幼时小字唤作纤纤，解以“蹴罢秋千，起来慵整纤纤手”固得其娇憨，山阴（今浙江绍兴）人，晚居钱塘（今浙江杭州）。吴门自明尔来便是画家云集之所，金礼嬴定居以后遂始与当地画人往来，礼嬴性喜佳山水，金礼嬴的诗作和她的画作、女红、文论、箫艺类同，均出入天然，不见机心欲望，得林下风。吴越幽胜之区，探索殆尽。故其画得游览之助为多。佣笔自给，求者踵至而画益工。凡人物、仕女、界画楼室、山水、花卉，悉能匠心独运，妙夺古人，尤精画佛，庄严妙丽。得者宝之。画梅亦妙。书法晋、唐，兼工汉隶，诗多清灵凄婉之致，著有《秋红丈室遗诗》。卒年三十六。清 金礼嬴-寒山招隐图现藏于旅顺博物馆。",[23,24,7,177,29,175,176,795,106,107,353,1171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5847093c00e64619ff7d721d21094f33.jpg","178cmx57cm",[],{"id":68061,"slug":68062,"title":68063,"dynasty":76,"author":24117,"museum":419,"description":68064,"tags":68065,"thumbUrl":68066,"material":1342,"size":68067,"collection":139,"collections":68068,"showCount":787,"zanCount":48,"manualWeight":48,"mainColor":94},231348,"fang-wu-zhong-gui-shan-shui-tu-pu-hua-231348","仿吴仲圭山水图","峡江峻岭，山林葱茂，渔人垂钓，一派水国风光。用笔粗犷，气势豪放。自识“霜落蒹葭水国寒，浪花云影上渔竿。画成未拟将人去，茶熟香温且自看。写仲圭诗意，蒲华”。",[23,24,25,173,7,177,105,29,174,227,378,176,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28b812ad538091df8d2f313f8cd5e494.jpg","167cmx92cm",[],{"id":68070,"slug":68071,"title":68072,"dynasty":256,"author":68073,"museum":316,"description":68074,"tags":68075,"thumbUrl":68077,"material":599,"size":600,"collection":139,"collections":68078,"showCount":787,"zanCount":48,"manualWeight":48,"mainColor":94},231156,"su-miao-410-xi-fang-231156","素描410","西方","使用单一色彩表现明度变化的绘画。绘画工具而在画面载体上按照一定的绘制原则而有意塑造物体形态的美术活动。速写是素描的一种变式。素描水平是反映绘画者空间造型能力的重要指标之一。\n素描是绘画的基础，绘画的骨骼；也是最节制、最需要理智来协助的艺术。初学绘画的人一定要先学素描，素描画得好的人，油画自然画得好。素描的起源，普遍都是以文艺复兴开始，事实上希腊的瓶绘、雕塑都有良好的素描基础。初期的素描是视为绘画的底稿，例如作壁画先要有构想的草稿，然后有素描的底稿，同时也要有手、脸部分精密素描图。作壁画习惯上是不看模特儿写生的，完全要靠事先准备的习作素描和画家的记忆。近代素描，已脱离了原来的底稿和习作的地位，可以成为艺术品来欣赏。画素描的态度不只培养描写力，同时也培养造型的能力，最后仅仅是素描也可视为作品来欣赏。相反的单看油画作品就可知道作者在素描上的造诣如何。因此，素描是绘画的基础，也是绘画的骨骼，是初学画的人无论如何要先认真学素描。素描在严格的解释上，只有单色的黑与白，但如加上淡彩或颜色，仍可认作素描。素描的表现方法分成：一、以描画材料来看可分成木炭素描、铅笔素描、炭精素描、钢笔素描、银笔素描、毛笔素描等。二、以所画的题材可分成石膏像素描，风景素描，静物素描、人体素描、幻想素描。三、依素描的目的又可分成作为构想的素描、用作画稿的素描、速写、作品、习作。\n由木炭，铅笔，钢笔等，以线条来画出物象明暗的单色画，称作素描。单色水彩和单色油画也可以算作素描；中国传统的白描和水墨画也可以称之为素描。通常讲的素描多元化指铅笔画和炭笔画。素描是一切绘画的基础，这是研究绘画艺术所必须经过的一个阶段。　素描通常采用可于平面留下痕迹的方法：如，炭笔，钢笔，画笔，墨水，及纸张等。轮廓和线条是素描的一般称谓。素描具备了自然律动感。不同的笔触营造出不同的线条及横切关系和节奏、主动与被动的周围环境、平面、体积、色调、及质感。\n素描是一种正式的艺术创作，以单色线条来表现直观世界中的事物，亦可以表达思想、概念、态度、感情、幻想、象征甚至抽象形式。它不像带色彩的绘画那样重视总体和彩色，而是着重结构和形式。",[68076,7,106,59,65],"素描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5675e5f5e14a8ebb5c561a334df66068.jpg",[],{"id":68080,"slug":68081,"title":68082,"dynasty":18,"author":257,"museum":316,"description":68083,"tags":68084,"thumbUrl":68085,"material":139,"size":139,"collection":139,"collections":68086,"showCount":787,"zanCount":48,"manualWeight":48,"mainColor":49},230989,"bian-zhuang-ci-hu-yi-ming-230989","卞庄刺虎","绢色沉雅古旧，笔意柔婉细腻。两只幼虎滚作一团，扭打嬉闹，憨态尽显。虎身斑纹晕染匀净，鬃毛细笔轻勾，蓬松柔润感呼之欲出，全然不见山君凶猛戾气，唯有稚拙亲昵的鲜活意态。浅草以淡墨轻勾，疏密错落间衬出幼虎娇憨身形，将林间顽童般的嬉闹瞬间凝于绢素之上，以温柔笔触消解了虎的威肃，把宋人的雅致意趣揉入这方小景，平淡里漫溢出鲜活生机，旧时光的温润意蕴随绢色缓缓晕开。",[24,7,28,5443,746,226,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5b3dea2b70d90c1b3344cbb5f13a467.jpg",[],{"id":68088,"slug":68089,"title":68090,"dynasty":256,"author":42289,"museum":316,"description":42290,"tags":68091,"thumbUrl":68094,"material":67,"size":600,"collection":139,"collections":68095,"showCount":787,"zanCount":48,"manualWeight":48,"mainColor":49},230562,"shi-liu-luo-han-xiang-02-jia-nuo-jia-fa-cuo-zun-zhe-ping-an-shi-dai-shi-liu-luo-han-xiang-230562","十六罗汉像02迦诺迦伐磋尊者",[23,24,25,226,260,7,28,106,228,2340,1463,176,68092,41524,19429,68093,2168],"供桌","信徒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff739efe7b9fa05345c1d6d721ac69f85.jpg",[],{"id":68097,"slug":68098,"title":68099,"dynasty":76,"author":257,"museum":316,"description":68100,"tags":68101,"thumbUrl":68106,"material":139,"size":139,"collection":139,"collections":68107,"showCount":787,"zanCount":48,"manualWeight":48,"mainColor":94},230328,"wu-yi-shan-shi-ba-jing-tu-yi-ming-230328","武夷山十八景图","此作用淡墨浅绛绘就，清润雅致。山石以披麻皴写就，勾勒皴擦间尽显武夷丹霞奇秀之姿。\n左上巉岩叠嶂，山居隐于林麓水湄；右上平畴村舍错落，江帆远渡，晕开烟火野趣。左下危峰兀立，碧水蜿蜒，渔舟泛波，尽显山水灵动；右下云岚轻笼丘壑，村居散缀林间，愈见幽寂淡远。\n四段连幅铺展武夷胜景，将山川雄奇与村居闲逸融为一体，笔致松秀空灵，意境萧散简远，把武夷兼具的灵秀清旷与烟火意趣娓娓铺陈，尽显淡和天真的山水逸致。",[23,24,25,3559,173,7,1733,176,109,174,45453,17535,985,68102,28604,68103,68104,68105],"云岚","灵秀","幽寂","萧散简远","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F185ab886df08516e1561df96b6282fe9.jpg",[],{"id":68109,"slug":68110,"title":68111,"dynasty":76,"author":39432,"museum":316,"description":68112,"tags":68113,"thumbUrl":68114,"material":139,"size":139,"collection":139,"collections":68115,"showCount":787,"zanCount":48,"manualWeight":48,"mainColor":94},230266,"shan-shui-shi-kai-fang-cong-230266","山水十开","此作用笔苍秀浑朴，以平远章法铺展春日村居意趣。板桥驮着晚归牧歌，柳丝轻笼烟岚，粉桃点破溪山春色，村庐隐在林麓间，尽得幽闲野致。平湖如镜，映出两岸茂林远岫，峰峦以干笔皴擦、墨色晕染出苍润质感，氤氲空濛春气。题诗衬合画中逸趣，将田家闲乐融在烟峦水木间，既有元人山水的萧散简远，又不失院体画的精整秀雅，笔底尽是静穆安闲的山居诗意。",[23,24,25,81,173,7,29,108,109,34,35,176,177,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6404cfc1abce5ce15f489d74346d7ea2.jpg",[],{"id":68117,"slug":68118,"title":68119,"dynasty":76,"author":658,"museum":316,"description":68120,"tags":68121,"thumbUrl":68122,"material":139,"size":139,"collection":139,"collections":68123,"showCount":787,"zanCount":48,"manualWeight":48,"mainColor":94},230249,"jiu-ru-xian-shou-dong-gao-230249","九如献寿","此作用笔秀雅温润，以淡赭晕染丘坂，浓墨攒簇松针，苍松虬劲盘曲，荫蔽山溪幽径。策杖二人徐行林下，溪石隐现、浅谷逶迤，尽现清秋林壑疏旷之致。\n诗画合璧，借古松岁寒长青喻福寿绵长，将林下雅游闲情与祝寿深意相融。画面无繁饰堆砌，以简淡笔墨铺陈出静穆恬和的意境，在清润的林泉景致里，藏着清和雅致的颂祝之心，是兼具文人情致与吉祥意涵的山水小品。",[24,25,81,7,29,34,106,108,109,176,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe96977665cdd169873e9aa287d401457.jpg",[],{"id":68125,"slug":68126,"title":68127,"dynasty":76,"author":4285,"museum":316,"description":68128,"tags":68129,"thumbUrl":68131,"material":139,"size":139,"collection":139,"collections":68132,"showCount":787,"zanCount":48,"manualWeight":48,"mainColor":49},230175,"shu-hua-shi-liu-kai-wang-shi-min-230175","书画十六开","此作用笔追法黄公望，山峦以披麻皴层层写就，浑厚苍润，尽显元人山水的沉古意趣。画面铺陈开阔，层峦叠嶂间飞泉直下，板桥连缀幽境，水畔村舍错落排布，山居人家隐于林木蓊郁的山坳里。\n\n淡施青绿晕染山石，糅合秀润与苍劲，整体意境静谧悠然。笔墨松秀温润，于摹古之中自出风神，将林泉雅逸的林下之趣藏于错落景致间，铺展出一派安闲淡远的世外山居图景。",[24,194,81,3559,27,7,1733,808,59583,108,109,35100,981,4706,68130,105],"静谧悠然","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e4b15bc29a9bde98e7a633ac4b782f6.jpg",[],{"id":68134,"slug":68135,"title":68136,"dynasty":76,"author":68137,"museum":316,"description":68138,"tags":68139,"thumbUrl":68140,"material":139,"size":139,"collection":139,"collections":68141,"showCount":787,"zanCount":48,"manualWeight":48,"mainColor":94},230149,"jiu-ri-xing-an-wen-yan-tu-ye-fang-lin-230149","九日行庵文宴图","叶芳林","这幅雅集图里，茂林修竹、丹木青柯错落铺展，园林雅致悠然。文士或围坐展卷品评，或挥毫泼墨，松下石边二三知己清谈对坐，侍童随侧研墨奉茶，众人情态各别、意态从容。\n\n设色清润秀雅，淡晕花青赭石晕染花木，衣纹线条简净流畅，将文人士大夫秋日宴聚、诗酒流连的闲逸高情细腻铺陈，把文宴间的闲散风雅尽数描摹，尽显旧时文人雅集的悠然意趣。",[23,24,25,194,26,7,28,106,34,3712,379,19392,20345,2307,615],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0249e53ec64a91f819c2127887290d53.jpg",[],{"id":68143,"slug":68144,"title":68145,"dynasty":76,"author":257,"museum":316,"description":68146,"tags":68147,"thumbUrl":68148,"material":599,"size":600,"collection":139,"collections":68149,"showCount":787,"zanCount":2368,"manualWeight":48,"mainColor":94},229210,"qian-long-jing-tai-lan-xiang-cha-yi-ming-229210","乾隆景泰蓝香插","此器以天蓝色珐琅为地，澄澈明净如晴空。鎏金口沿与中心香座提亮气韵，华贵不失清雅。\n盘面掐丝婉转如织，缠枝莲纹舒卷蔓延，团龙纹矫健灵动，宝相花、折枝菊错落点缀，红似凝脂、黄如鎏金、白若莹雪，各色珐琅填色饱满匀净，撞色和谐明快。中心香座作莲台托举造型，暗合清供雅趣。\n整体工致精巧，将宫廷重工的华贵与文房焚香的闲雅相融，尽显旧时珐琅工艺的细腻匠心，静穆间晕染出雍容古雅的东方意韵。",[320,12819,14755,30687,406,84,229,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3701ba21386b16306258eeb9ec99860.jpg",[],{"id":68151,"slug":68152,"title":68153,"dynasty":76,"author":17997,"museum":316,"description":68154,"tags":68155,"thumbUrl":68156,"material":139,"size":139,"collection":139,"collections":68157,"showCount":787,"zanCount":48,"manualWeight":48,"mainColor":94},229027,"fang-yun-lin-she-se-shan-shui-tu-wang-yuan-qi-229027","仿云林设色山水图","此作用两段平远取景，铺陈出清寂萧疏的幽淡之境。近岸枯木清劲错落，疏朗有致，茅庐隐于林麓之间，野意悠然。远山以干笔淡墨反复皴擦，将倪云林的冷逸淡远，糅合进苍厚绵密的自家笔意，浅赭轻敷，晕染出古雅柔和的色调。画面留白开阔，引观者目光悠然游弋，尽显空寂淡远的文人意趣。题跋与画面相得益彰，文气雅致，师法元人又自出机杼，是兼具摹古与新意的山水佳构。",[23,194,24,25,226,7,177,29,34,176,35,3884,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb43d7ec43e94f35dfae7914f109d2a6.jpg",[],{"id":68159,"slug":68160,"title":68161,"dynasty":99,"author":257,"museum":316,"description":68162,"tags":68163,"thumbUrl":68164,"material":139,"size":139,"collection":139,"collections":68165,"showCount":787,"zanCount":48,"manualWeight":48,"mainColor":2504},228820,"ju-shou-yi-ji-gu-hua-ce-yi-ming-228820","鞠寿簃集古画册","此作以工笔绘就水上演武图景，主体楼船层台重垒，舰首狞猛兽形威仪赫赫，旌旗猎猎舒展。甲板之上，士卒或执械列队，或奔走值守，各司其职，将水师校阅的整肃之气尽显。水面间三两快船穿梭，舟上健儿动作利落矫健，细碎晕染的水纹晕开行舟的动感。古雅沉郁的色调晕染出旧时光晕，精细的线条勾勒出楼船的精巧形制与人物神态，纪实之中带着古典工笔的雅致意趣，静中见动，将水军演武的鲜活场面凝于绢素之上，尽显水师的整肃气势。",[23,24,28,7,104,81,106,150,149,107,262,3982],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d335e817b2ea77b1411cd30bdeff314.jpg",[],{"id":68167,"slug":68168,"title":68169,"dynasty":99,"author":257,"museum":316,"description":68170,"tags":68171,"thumbUrl":68172,"material":599,"size":600,"collection":139,"collections":68173,"showCount":787,"zanCount":48,"manualWeight":48,"mainColor":49},228808,"lu-ya-tu-zhou-yi-ming-228808","芦鸭图轴","淡赭晕开汀洲暮色，细劲墨线勾勒芦苇，叶梢随晚风欹斜错落，疏密间漫开清寂秋意。\n\n两只芦鸭静栖岩矶，抬首者绒羽蓬松，翎羽层次分明，墨色浓淡过渡柔和，似在聆听水泽秋声；蜷卧者敛息安闲，将野禽的恬然之态晕染入微。画面设色清雅柔和，无繁复铺陈，以极简笔意勾勒出郊野水畔的悠然生机，将荒寒秋意与栖禽的闲澹相融，尽显江南泽国的静谧闲雅，把秋日水泽的幽寂和生灵的野逸平衡得恰到好处，淡远空濛之余，余韵悠长。",[23,194,24,25,226,7,28,83,1980,2125,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8344bd58fa2be0ddc84d2f4c79e5c0ff.jpg",[],{"id":68175,"slug":68176,"title":68177,"dynasty":99,"author":257,"museum":316,"description":68178,"tags":68179,"thumbUrl":68180,"material":139,"size":139,"collection":139,"collections":68181,"showCount":787,"zanCount":48,"manualWeight":48,"mainColor":94},228802,"ke-si-hua-hui-ce-yi-ming-228802","缂丝花卉册","此作取景幽寂雅致，湖石古拙苍润，皴理宛然，自带沉静古意。兰叶舒卷萦回，柔条拂动似含清风，幽兰吐蕊暗香暗生。旁侧灵芝莹润清雅，粉蝶振翅翩跹，似循着花香而来，为静谧小景添了灵动生机。\n\n缂丝工艺尽显精妙，以色丝晕染铺陈，色调柔淡和谐，线条兼具挺括与柔婉。将文人幽居雅趣凝于尺幅，不见浓丽，只凭浅淡诸色勾勒出幽庭小景，尽得林下清隽之风，把中式美学里的疏淡恬然诠释得恰到好处，尽显雅致出尘的文人意趣。",[23,1329,7,230,84,484,4267],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35c4c1280b97c6823afc5ce59e168796.jpg",[],{"id":68183,"slug":68184,"title":68185,"dynasty":99,"author":257,"museum":316,"description":27801,"tags":68186,"thumbUrl":68188,"material":599,"size":600,"collection":139,"collections":68189,"showCount":787,"zanCount":48,"manualWeight":48,"mainColor":49},228521,"wan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称为“韩媛绣”。",[81,8969,7,106,150,378,447,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1776922f8ad1efebd11dc493d1b54d3d.jpg",[],{"id":68233,"slug":68234,"title":68235,"dynasty":302,"author":257,"museum":316,"description":68236,"tags":68237,"thumbUrl":68238,"material":139,"size":139,"collection":139,"collections":68239,"showCount":787,"zanCount":48,"manualWeight":48,"mainColor":49},228202,"xia-chi-shuang-e-tu-ye-yi-ming-228202","夏池双鹅图页","此作用色清简枯淡，以水墨晕染出夏池幽寂之境。画面双鹅为意趣核心，一鹅昂首振翅，白羽晕染层次细腻，绒羽蓬松宛然在目，翅根淡墨晕开融于池水，似将破水而起，满是灵动野逸。另一鹅垂颈敛翼，姿态闲静安适，一动一静，相映成趣。\n\n背景以淡墨点汀渚小藻，枝梢偃仰朦胧，暗合夏日溽热将散的慵懒松弛。全画不做繁复勾勒，以晕染写就形神，将幽塘里的片刻生趣轻然定格，带着萧散空寂的元画意韵，淡而有味，余韵悠长。",[23,24,194,25,81,7,28,83,7355,1530,32858,21705,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a479a5c9e58f04cbb797b9a5f3f521c.jpg",[],{"id":68241,"slug":68242,"title":26617,"dynasty":302,"author":831,"museum":316,"description":68243,"tags":68244,"thumbUrl":68245,"material":139,"size":139,"collection":139,"collections":68246,"showCount":787,"zanCount":48,"manualWeight":48,"mainColor":49},228172,"er-ma-tu-juan-ren-ren-fa-228172","此作以两马对照，道尽世相。肥马油光水滑，络首垂缰，姿态轩昂，全然是养尊处优之态；瘦马骨瘦嶙峋，绳索缠身，垂首缓步，尽显潦倒疲顿。\n\n作者以马喻世，将朝堂贪腐官吏与廉能寒官的境遇暗藏其中，辛辣讽刺吏治不公。后附题跋笔墨苍劲，点明画作托物言志的深意，工笔写实兼带写意讽喻，设色雅致克制，将状物抒情融为一体，是借物针砭时弊的经典笔墨。",[23,194,24,25,26,28,7,150,178,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf8000c097545c3f6282e70f9b5caa8d.jpg",[],{"id":68248,"slug":68249,"title":68250,"dynasty":18,"author":257,"museum":316,"description":68251,"tags":68252,"thumbUrl":68253,"material":139,"size":139,"collection":139,"collections":68254,"showCount":787,"zanCount":48,"manualWeight":48,"mainColor":49},227937,"gao-shi-mi-lu-tu-yi-ming-227937","高士麋鹿图","此作用边角式构图铺展幽境，苍松斜曳出枝，笔墨老辣苍劲，松针细密尽显写生功底。暮色如墨晕染，空濛氤氲间，林下高士凭石闲坐，身侧童子垂手侍立，石上炉烟轻扬，似正煮茶清谈。浅水之畔麋鹿垂首徐行，动静相映。整幅以水墨晕出夜色沉凝，将幽居林泉、物我两忘的雅意融于尺幅。简淡空灵间禅意暗生，尽显宋代文人寄情丘壑、追慕清远的林下风流，是南宋小品山水以景抒怀的精妙之作。",[23,24,25,28,7,106,746,1133,379,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06cd72897f04ff40824e6b0698e83573.jpg",[],{"id":68256,"slug":68257,"title":68258,"dynasty":18,"author":1350,"museum":316,"description":68259,"tags":68260,"thumbUrl":68264,"material":139,"size":139,"collection":139,"collections":68265,"showCount":787,"zanCount":48,"manualWeight":48,"mainColor":94},227828,"shi-jing-bin-feng-tu-juan-ma-yuan-227828","诗经豳风图卷","此卷以清雅小楷书就诗篇，笔力清劲秀逸，结体舒展端雅，墨色匀净温润，尽显宋人书法的雅致意趣。原作诗画合璧，将《豳风》里的时序农桑、岁时日常铺陈于卷上，把周人春耕秋收、寒来暑往的稼穑生涯融于笔底。\n诗与画交相辉映，笔墨间既有文人书卷的清雅气韵，又带着乡野农耕的朴拙意致，将古老诗篇中的田园图景鲜活呈现，让千载之前的风土日常跃然绢素，尽显宋代文人的审美意涵，是诗书画合一的经典佳构。",[23,24,25,26,178,212,86,173,7,106,244,689,8379,2852,352,29,68261,2168,68262,68263,67,28,498],"农事场景","古文字","墨书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F932ea9b37676bb120402ac80c3f96d65.jpg",[],{"id":68267,"slug":68268,"title":68269,"dynasty":18,"author":17938,"museum":316,"description":68270,"tags":68271,"thumbUrl":68272,"material":139,"size":139,"collection":139,"collections":68273,"showCount":787,"zanCount":48,"manualWeight":48,"mainColor":49},227812,"tang-feng-ce-tu-ma-he-zhi-227812","唐风册图","此作用笔轻秀灵动，线条舒展如行云流水，淡敷浅彩，尽显清雅格调。画面四人情态各异：对谈二人神色恳切，似倾心论道，尽显古贤交游的从容雍雅；左侧侍者持器恭立，身形敛缩恭谨，暗含主仆分寸；右侧之人徐行远去，背影萧散。留白铺陈开阔，将沉静澹泊的氛围感拉满，以极简场景烘托出林下雅集余韵，淡墨轻痕间，含蓄铺展古风士人澹泊悠远的文人情致，于简淡里藏着悠长的古典意趣。",[23,194,24,25,81,352,106,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ad8f913c7b7840dd8c7d44438b641bd.jpg",[],{"id":68275,"slug":68276,"title":40513,"dynasty":18,"author":1599,"museum":316,"description":40514,"tags":68277,"thumbUrl":68278,"material":139,"size":139,"collection":139,"collections":68279,"showCount":787,"zanCount":48,"manualWeight":48,"mainColor":49},227777,"xie-ke-fang-you-tu-ye-liu-song-nian-227777",[23,24,194,28,7,6083,106,175,227,34,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2feaea833fd999eef73aef07b04fbe0.jpg",[],{"id":68281,"slug":68282,"title":68283,"dynasty":18,"author":257,"museum":316,"description":44527,"tags":68284,"thumbUrl":68285,"material":139,"size":139,"collection":139,"collections":68286,"showCount":787,"zanCount":48,"manualWeight":48,"mainColor":94},227383,"ke-si-shan-niao-tu-yi-ming-227383","缂丝山鸟图",[23,194,24,25,2003,1329,83,16257,292,210,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd62f06e57ad93bff8812144cad58fa7e.jpg",[],{"id":68288,"slug":68289,"title":68290,"dynasty":18,"author":257,"museum":316,"description":68291,"tags":68292,"thumbUrl":68293,"material":139,"size":139,"collection":139,"collections":68294,"showCount":787,"zanCount":48,"manualWeight":48,"mainColor":49},227379,"qiu-lin-mu-gui-tu-yi-ming-227379","秋林牧归图","就素材而论,其实所画的不过是历代都有人愿画的生产工具、人们爱好的动物——牛。可是,能够这样确切地活生生地把特殊的状况之下的牛的神态描写出来,构成特殊的境界,在一般画牛的作品中还不是容易碰见的。负荷着牧童的母牛,涉过了浅水,吃力地要爬上岸去,却又似乎要回头照顾那还没有跟上来的小牛。小牛,这一稚气的、生活经验还不丰富的幼小者,伸着脖子站在对岸,望着它的母亲,要前进又不曾前进。它在号叫,似乎是要求援助。这样来描写牛,不是一般的牛的描写。观赏者可以把它当成牛来观赏,又不只是单纯地观赏一般的牛。这种稚气的幼小者的神气和亲子关系的描写,能够唤起人的亲子关系的联想和对于幼小者的爱怜。由于画家对于他所要描写的对象着迷,深切地感到牛的可爱,当他塑造形象的时候,明确地以小牛观望的神态为重点,从而避免了肤浅的物象罗列的画法,生动地表现这一特殊状态之下的牛的神态和情感。正因为这样,这一好像我们从来没有见过又好像曾经在什么地方见过的情景,十分迷人。",[23,24,7,28,353,151,29,10677,177],"h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of Armand Roulin 1888",[3187,106,22341,22448,34374,68344,6241,7,11296,68345,68346,68347],"领结","笔触明显","绿色背景","色彩对比","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63107deb13d4ce109aa041ca2997bea5.jpg",[3195],{"id":68351,"slug":68352,"title":68353,"dynasty":256,"author":6236,"museum":316,"description":6237,"tags":68354,"thumbUrl":68362,"material":599,"size":600,"collection":3195,"collections":68363,"showCount":787,"zanCount":48,"manualWeight":48,"mainColor":49},225753,"gauguin-s-chair-december-fan-gao-225753","Gauguin's chair (December - 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藏品编号;:724 文物类型:书法、绘画 实际数量:1 质量范围:.1-1 kg 文物级别:一般 文物来源:接受捐赠 完残程度:基本完整 入藏时间:1977-2 具体尺寸(cm):46×29.9",[23,24,25,226,173,7,177,29,685,34,109,175,37,28216],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43674fdebc1c117057ada1897856da4b.jpg",[],{"id":68405,"slug":68406,"title":68407,"dynasty":76,"author":7596,"museum":316,"description":68408,"tags":68409,"thumbUrl":68410,"material":139,"size":139,"collection":139,"collections":68411,"showCount":787,"zanCount":48,"manualWeight":48,"mainColor":94},224450,"xia-wu-yin-mei-wang-hui-224450","夏五吟梅","《王翚夏五吟梅图轴》是清代王翚创作的一幅画。\n此图画成时王翚已是8岁高龄，然而画面丝毫看不出有衰老的迹象，线条细若游丝，劲如屈铁，笔力老练纯熟，画风细润明快，融合了众家笔法之长。\n构图布景显示出画家胸有成竹，景物的配置自然写实，气度不凡。",[23,24,194,25,226,7,29,177,108,109,175,245,378,176,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F794bca20f35e023f5002c7199254ad74.jpg",[],{"id":68413,"slug":68414,"title":68415,"dynasty":76,"author":17997,"museum":316,"description":68416,"tags":68417,"thumbUrl":68425,"material":139,"size":139,"collection":139,"collections":68426,"showCount":787,"zanCount":48,"manualWeight":48,"mainColor":94},224395,"cong-lin-lan-re-wang-yuan-qi-224395","丛林兰若","此作用笔苍润老辣，以干笔积墨皴擦山峦，层岩叠嶂浑厚苍劲。溪涧蜿蜒穿流于蓊郁林木间，山径隐现幽林深处，铺展出清寂悠然的林下胜境。画面氤氲静谧古雅的禅意，将山野林泉的幽旷之美尽数铺陈。\n\n左侧题诗与画作相映成趣，诗画合璧，把山居雅逸的意趣烘托得淋漓尽致，仿若将观者引入这世外林泉，于山光水色里涤荡尘俗之心，尽显文人山水的悠然意境与沉静风骨。",[23,24,25,29,7,177,86,212,34,176,109,808,175,9289,809,68418,68419,68420,68421,68422,68423,68424,1558],"山峦叠嶂","干笔皴擦","浅绛设色","山石勾勒","树木丛植","溪流蜿蜒","建筑掩映","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f5a2de7daf042bb44ee28e52239a0d9.jpg",[],{"id":68428,"slug":68429,"title":24264,"dynasty":76,"author":17997,"museum":316,"description":68430,"tags":68431,"thumbUrl":68435,"material":139,"size":139,"collection":139,"collections":68436,"showCount":787,"zanCount":48,"manualWeight":48,"mainColor":94},224385,"fang-da-chi-shan-shui-tu-wang-yuan-qi-224385","此作取法大痴意趣，层峦从侧峰铺陈而下，逶迤溪水穿谷绕石，将山居屋舍、飞泉板桥藏于林壑之间，把江南山林的幽寂野趣铺展纸上。\n以干笔积墨反复皴擦，披麻皴写就山石肌理，墨色干湿浓淡交叠，苍厚生拙间带着萧散淡远的韵致。左上题跋朱印错落排布，文气晕染山水，让笔墨意境与文人意趣相融，整体清旷雅致，尽显山居林泉的静美逸致，师古而不泥古，于笔墨间氤氲出幽远的文人山水情致。",[23,24,194,25,3559,173,7,176,109,108,3176,59583,34,68432,177,1733,68433,3560,68104,68434,212,1558],"林壑","干笔积墨","清旷雅致","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbbf015ee390ff81a46e533be58fbb6c.jpg",[],{"id":68438,"slug":68439,"title":68440,"dynasty":76,"author":1829,"museum":316,"description":68441,"tags":68442,"thumbUrl":68443,"material":139,"size":139,"collection":139,"collections":68444,"showCount":787,"zanCount":48,"manualWeight":48,"mainColor":94},224321,"hua-niao-shi-er-kai-10-li-shan-224321","花鸟十二开10","画面书画合璧，意韵悠长。以没骨法写就江南佳果，青蜜桃圆润饱满，淡青敷色晕出带紫的熟韵，叶片舒卷含露，鲜活如生；枇杷圆实浅赭，尽显甜熟质感；杨梅黑紫莹润，衬以青灰长叶，野趣盎然。\n\n题跋行书清雅隽秀，叙南北果品风味，笔墨与风物相融，淡墨轻彩间，将文人闲赏风物的恬然心境藏于尺幅之中，设色柔和雅致，晕染细腻自然，把佳果鲜嫩鲜活的情态刻画入微，尽显小品写意的清雅意致。",[23,24,25,81,7,498,86,212,83,567,1036,2223,554,569],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febb1d64a5729b47a3279498396e83838.jpg",[],{"id":68446,"slug":68447,"title":68448,"dynasty":76,"author":1829,"museum":316,"description":68449,"tags":68450,"thumbUrl":68451,"material":139,"size":139,"collection":139,"collections":68452,"showCount":787,"zanCount":1003,"manualWeight":48,"mainColor":94},224317,"hua-niao-ce-shi-kai-7-li-shan-224317","花鸟册十开7","此帧绘牵牛绕竹，藤蔓蜷曲舒展，翠叶柔嫩鲜活，蓝紫花瓣晕染出通透光泽，将朝颜初绽的柔媚尽致展现。笔意兼具工致与写意，花叶灵动鲜活，如见晨露未晞的篱边实景。左侧书法笔力苍劲，诗书与绘事相映，文人雅趣尽显。以写生捕捉朝花之真，以笔墨挥洒写意之韵，将草木柔媚与文人意趣相融，雅致脱俗，尽显花间清逸之美。",[23,24,81,7,498,83,553,632,1090,211,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F365822b4c1cbcce04446c2d41651ab33.jpg",[],{"id":68454,"slug":68455,"title":68456,"dynasty":76,"author":1829,"museum":316,"description":68457,"tags":68458,"thumbUrl":68459,"material":139,"size":139,"collection":139,"collections":68460,"showCount":787,"zanCount":48,"manualWeight":48,"mainColor":94},224314,"hua-niao-ce-shi-kai-4-li-shan-224314","花鸟册十开4","画面以写意之笔绘石竹与湖石，粉红花瓣晕染柔润自然，间缀淡紫俏花提亮层次，挺劲绿叶以浓淡墨色写出，尽显花草鲜活姿态。一旁湖石枯笔皴擦，朴拙古雅，与娇柔花枝形成刚柔对照。\n\n左侧题诗笔墨纵逸洒脱，诗书画印相得益彰，将文人闲居消夏的悠然心境寄寓花间。整幅画随性疏朗，鲜活灵动，笔情墨趣间尽显放达雅致的文人意韵，尽显画者率真疏放的创作风骨。",[23,24,25,81,7,83,230,84,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0550b3f94de6a3de549f2089b7718f7e.jpg",[],{"id":68462,"slug":68463,"title":68464,"dynasty":76,"author":49312,"museum":316,"description":59645,"tags":68465,"thumbUrl":68466,"material":599,"size":600,"collection":139,"collections":68467,"showCount":787,"zanCount":48,"manualWeight":48,"mainColor":94},224252,"yu-zhuang-wan-ji-zhou-kun-224252","渔庄晚霁",[23,24,25,81,7,29,796,109,174,245,3466,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafd1a0468a1001ba98444776ec3e12d7.jpg",[],{"id":68469,"slug":68470,"title":68471,"dynasty":76,"author":10978,"museum":316,"description":68472,"tags":68473,"thumbUrl":68474,"material":139,"size":139,"collection":139,"collections":68475,"showCount":787,"zanCount":48,"manualWeight":48,"mainColor":94},224126,"ke-si-xian-shan-lou-ge-tu-qian-long-224126","缂丝仙山楼阁图","《缂丝仙山楼阁图》是清乾隆时期的一幅画。\n此图在本色地上缂织仙山楼阁。\n殿宇亭台之间树木葱郁，小桥流水，彼岸远方有群山及山中楼阁。\n画面布局繁密，境界幽静旷远。\n此作品将缂丝与绘画有机地融合为一体，先缂织后添色。\n缂工主要用平缂织物象的轮廓，间用搭缂、长短戗手法，其上再用各种颜色绘出形象。\n画中的楼阁建筑以界尺画出，山石皴法使用了墨、石绿、赭石色，极似仇英的楼阁界画之风格。\n此缂丝画中楼阁工细，山青树茂，敷色古雅。",[23,24,25,1329,7,104,29,107,108,34,1157,176,175,109,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53b8e0b7007bdd3d7e820ad8283e1056.jpg",[],{"id":68477,"slug":68478,"title":68479,"dynasty":76,"author":257,"museum":316,"description":68480,"tags":68481,"thumbUrl":68483,"material":599,"size":600,"collection":139,"collections":68484,"showCount":787,"zanCount":48,"manualWeight":48,"mainColor":94},223977,"kang-xi-fa-lang-cai-ci-fen-hong-di-kai-guang-si-ji-hua-hui-wan-yi-ming-223977","康熙 珐瑯彩瓷粉红地开光四季花卉碗","瓷器是由瓷石、高岭土、石英石、莫来石等烧制而成，外表施有玻璃质釉或彩绘的物器。瓷器的成形要通过在窑内经过高温（约1280℃～1400℃）烧制，瓷器表面的釉色会因为温度的不同从而发生各种化学变化，是中华文明展示的瑰宝。\n中国是瓷器的故乡，瓷器是古代劳动人民的一个重要的创造。谢肇淛在《五杂俎》记载：“今俗语窑器谓之磁器者，盖磁州窑最多，故相延名之，如银称米提，墨称腴糜之类也。”当时出现的以“磁器”代窑器是由磁州窑产量最多所致。这是迄今发现最早使用瓷器称谓的史料。",[12818,12819,48027,41344,7,84,292,68482,229],"四季花卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F334d53fa3d1660f8e68cbb4c1b820b28.jpg",[],{"id":68486,"slug":68487,"title":68488,"dynasty":54,"author":257,"museum":316,"description":68489,"tags":68490,"thumbUrl":68491,"material":599,"size":600,"collection":139,"collections":68492,"showCount":787,"zanCount":48,"manualWeight":48,"mainColor":49},223851,"shen-ren-jing-zhi-fu-jian-yi-ming-223851","神人镜之附件","唐代是中国古代铜镜制造的鼎盛时期，唐镜不仅继承了汉魏的文化传统，而且吸收了边疆民族的艺术成就，同时对外来（主要是波斯、印度）文化中的优秀部分也兼收并蓄，融汇一体，构图更加精细，使铜镜艺术达到了一个新的高峰。铸镜业是唐代最精细的工艺，每逢八月五日（唐玄宗生日）人们都将铜镜作为礼品送人，祝福长寿，这一天被定名为“千秋金鉴节”（金鉴指铜镜）。",[7230,24,28,7,104,106,107,34,278,115,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73b13b4465dc4ad89229bc9e9bb264a4.jpg",[],{"id":68494,"slug":68495,"title":68496,"dynasty":18,"author":257,"museum":316,"description":68497,"tags":68498,"thumbUrl":68499,"material":139,"size":139,"collection":139,"collections":68500,"showCount":787,"zanCount":48,"manualWeight":48,"mainColor":94},223687,"gao-ge-ling-kong-tu-yi-ming-223687","高阁凌空图","这幅小品以截取之笔，将凌空高阁悄然铺展。只取楼阁西南一隅，陡斜飞梯衔接重楼飞檐，勾勒出层叠舒展的宋式营造之美，斗拱瓦当皆细致入微，暗合宋人营造的极致工巧。\n\n楼中隐见几缕人影凭栏伫立，为冷峻的木构楼宇晕开一抹暖融融的烟火气，让凌霄高阁脱离孤冷，多了人间意趣。左下角苍松虬枝斜探，古拙松针掩映楼角，为画面添了山野清寂。大片虚淡的暗褐色背景，将建筑与古松托举而出，烘托出楼阁凌云的空寂高旷，尽显宋画小品以小见大、静中生境的雅致意趣。",[23,24,25,104,28,7,107,106,378,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4344c1c96fa89fc78daa9c322978feb4.jpg",[],{"id":68502,"slug":68503,"title":68504,"dynasty":302,"author":257,"museum":316,"description":68505,"tags":68506,"thumbUrl":68507,"material":139,"size":139,"collection":139,"collections":68508,"showCount":787,"zanCount":48,"manualWeight":48,"mainColor":49},223610,"zhu-ta-qi-shui-tu-ce-ye-yi-ming-223610","竹榻憩睡图册页","此作笔墨简净雅致，将文人闲憩小景写尽意趣。老者宽袍素衣，斜卧竹榻，兽皮为垫，袒须露额，神态松弛恬然，正酣眠小憩，尽显松弛自在。屋墙以细笔勾绘水波纹理，衬出室内幽寂安闲。榻下双履静静摆放，写实入微，暗合主人暂歇未远之态。\n画作工写相融，设色清淡，以极简的构图传递出文人幽居林下、安闲自适的隐逸情怀，于日常小景间，藏着古人安放身心的雅逸意趣。",[23,24,25,81,173,7,28,106,227,229,19394],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd7627f2437ba2105a35af0ea077527f.jpg",[],{"id":68510,"slug":68511,"title":68512,"dynasty":18,"author":257,"museum":56,"description":68513,"tags":68514,"thumbUrl":68515,"material":67,"size":68516,"collection":139,"collections":68517,"showCount":787,"zanCount":48,"manualWeight":48,"mainColor":94},223573,"ran-deng-fu-shou-ji-shi-jia-wen-tu-juan-yi-ming-223573","燃灯佛授记释迦文图卷","燃灯佛授记释迦文图描绘的是燃灯佛授记释迦文的故事。燃灯佛身披红色袈裟居画幅中央，目视前面一着红裤、祼上身、长发拖地虔诚的跃然拜者。众菩萨、金刚、罗汉、送子观音及供养人计二十八人簇拥其周围，神情贯注。此图人物依主次设计大小，造型准确生动。线描婉转自如，极富节奏感，并施石绿朱砂等重彩，格调肃穆古朴",[23,24,25,26,260,106,28,7,212,86,22428,937],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe96bfee1f0b0b6bf616743eeab01ae44.jpg","26.2x38.2",[],{"id":68519,"slug":68520,"title":68521,"dynasty":18,"author":257,"museum":20,"description":68522,"tags":68523,"thumbUrl":68524,"material":529,"size":68525,"collection":139,"collections":68526,"showCount":787,"zanCount":48,"manualWeight":48,"mainColor":94},223572,"xi-lu-ye-ya-tu-yi-ming-223572","溪芦野鸭图","图绘溪边芦苇、茨菰丛生，枝繁叶茂，生机勃勃。雄鸭在岸边单足站立小憩；雌鸭于水中回首梳羽，姿态闲适，气度雍容。此图意在表现一种祥和安定的气氛，应是南宋画院点缀升平之作。构图成熟简练，画面左中部为芦苇所荫蔽，给人安全之感；右上方则留出一片水面，启人遐思，以免闭塞。敷色精细写实，雄鸭毛羽的表现尤见功力。今色彩虽已暗旧，尚可想见当年斑斓生辉之状。",[23,24,28,7,83,3740,1980,319,262],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06a845e7b9c4e3e32739c5b931a4db59.jpg","26.4x27",[],{"id":68528,"slug":68529,"title":68530,"dynasty":76,"author":257,"museum":316,"description":50958,"tags":68531,"thumbUrl":68532,"material":139,"size":139,"collection":139,"collections":68533,"showCount":787,"zanCount":48,"manualWeight":48,"mainColor":94},223529,"wu-yi-shan-shi-ba-jing-tu-4-yi-ming-223529","武夷山十八景图4",[23,24,25,173,7,177,81,29,176,34,174,31,114,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79a72c1f010c0336116e7055b3e0ee3f.jpg",[],{"id":68535,"slug":68536,"title":68537,"dynasty":76,"author":257,"museum":316,"description":50958,"tags":68538,"thumbUrl":68539,"material":139,"size":139,"collection":139,"collections":68540,"showCount":787,"zanCount":48,"manualWeight":48,"mainColor":94},223528,"wu-yi-shan-shi-ba-jing-tu-3-yi-ming-223528","武夷山十八景图3",[23,24,25,81,173,7,177,29,35270,809,174,34,24838,1169,4073,35,109,108,3561,687,27540,1981],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d03a27efeadb367d3380d727ec41cc7.jpg",[],{"id":68542,"slug":68543,"title":66384,"dynasty":302,"author":257,"museum":457,"description":68544,"tags":68545,"thumbUrl":68546,"material":770,"size":68547,"collection":139,"collections":68548,"showCount":787,"zanCount":48,"manualWeight":48,"mainColor":94},223511,"liu-yin-gui-mu-tu-yi-ming-223511","绘牧童放牛晚归的情景。临溪草坡上，一牧童牵牛前行，一牧童伏于牛背上小憩，天真自在，一小牛紧跟中间牛一侧。四周杨柳依依，境界静谧雅逸。此画旧传为南宋张符所绘。",[23,24,25,173,7,106,151,2532,378,212,177],"https:\u002F\u002Foss.chuangqi.store\u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Leys）的画室学习。",[3187,7,8377,70318,106,59,70319,542,6322,5513,70320,65,1364,8432],"古典风格","大理石","浮雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d69d0fe4c253f427ebc397002a8f949.jpg",[],{"id":70324,"slug":70325,"title":70326,"dynasty":256,"author":70315,"museum":316,"description":70316,"tags":70327,"thumbUrl":70339,"material":599,"size":600,"collection":139,"collections":70340,"showCount":343,"zanCount":48,"manualWeight":48,"mainColor":49},232286,"a-er-ma-13-lao-lun-si-a-er-ma-ta-de-ma-232286","阿尔玛13",[194,3187,7,70318,8377,106,23716,2385,29068,70319,27024,5058,195,70328,70329,70330,70331,53800,70332,70333,70334,70335,70336,16440,1169,70337,70338],"海景","柱式建筑","石凳","地面瓷砖","豹纹装饰","凉鞋","古式服饰","竖琴","手鼓","石质栏杆","兽头装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48071b240f143c3b94cbda6a7eb5ce20.jpg",[],{"id":70342,"slug":70343,"title":70344,"dynasty":256,"author":53795,"museum":316,"description":53796,"tags":70345,"thumbUrl":70352,"material":599,"size":600,"collection":139,"collections":70353,"showCount":343,"zanCount":48,"manualWeight":48,"mainColor":94},232277,"wei-lian-a-dao-fu-bu-ge-luo-3-wei-lian-a-dao-fu-bu-ge-luo-232277","威廉·阿道夫·布格罗3",[3187,70346,7,10853,70347,106,2385,70348,70349,70350,70351],"古典写实","柔和色调","白色上衣","黑色发带","皮肤质感表现","衣物褶皱描绘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F973c72b0e8a116429717241affff16ca.jpg",[],{"id":70355,"slug":70356,"title":23482,"dynasty":302,"author":257,"museum":316,"description":70357,"tags":70358,"thumbUrl":70359,"material":529,"size":139,"collection":139,"collections":70360,"showCount":343,"zanCount":48,"manualWeight":48,"mainColor":49},231909,"san-ma-tu-yi-ming-231909","画面笼罩在沉朴古雅的暖褐烟霭之中，天地边界晕化成一片朦胧浑茫，将郊野的清寂荒旷铺陈开来。三匹骏马垂首啮草，姿态安闲松弛，身形以简练线条勾勒，筋骨宛然可见，墨色晕染区分出皮毛深浅，将马匹温顺静穆的神态尽数铺展。\n\n全幅无过多布景，以大片留白状似烟岚，以简驭繁，把秋日郊原的闲散一刻凝于绢素。带着散淡萧疏的意趣，不追工细却神韵自足，将悠远沉静的闲逸氛围晕染得淋漓尽致，淡远悠长的余韵弥于尺幅之间。",[24,25,7,150,746],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9478b80b54d33f60247b5d2dbce96d01.jpg",[],{"id":70362,"slug":70363,"title":70364,"dynasty":256,"author":257,"museum":316,"description":70365,"tags":70366,"thumbUrl":70367,"material":599,"size":600,"collection":139,"collections":70368,"showCount":343,"zanCount":48,"manualWeight":48,"mainColor":94},231771,"wang-gu-feng-su-hua-hui-juan-er-yi-ming-231771","往古风俗画绘卷二","这幅界画工致清雅，以全景铺陈开古旧坊巷。屋舍排布错落严整，飞甍黛瓦、朱栏庭阶皆勾勒细致，尽显传统营造之美。街巷间人物往来熙攘，或市井贸迁，或闲庭信步，百态日常跃然绢素，将往昔烟火气揉进细腻笔触中。\n\n庭园里点缀枯荣花木，四时意趣藏于巷陌深处，设色柔淡雅致，晕开平和温润的古意，引观者踏入旧时光景，触摸千年前鲜活的人间烟火，静赏古早世风的悠然质感。",[23,24,26,7,28,104,1567,106,107,115,35,34,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1967de1077b0f92bda1d523e3423430.jpg",[],{"id":70370,"slug":70371,"title":70372,"dynasty":256,"author":70373,"museum":316,"description":70374,"tags":70375,"thumbUrl":70377,"material":139,"size":139,"collection":139,"collections":70378,"showCount":343,"zanCount":48,"manualWeight":48,"mainColor":94},231759,"huang-jing-tu-shou-gao-li-zhou-yi-teng-gui-jie-231759","黄精图手稿立轴","伊藤圭介","此作用色清浅柔润，淡绿晕染黄精修长茎干与舒展叶片，将草木舒展的天然意态细腻铺陈，叶片虽未细勾脉络却生机自显。右侧以淡墨轻描黄精素花，雅致恬淡。\n\n画面配搭题跋书法，笔意清隽，书画相映，兼具本草写生的严谨与文人雅趣，笔墨克制简净，带着温婉静穆的格调，将寻常本草绘出雅致意韵，文画相衬间尽显冲淡平和的写生之美。",[23,24,25,226,7,28,352,70376,212,86],"黄精","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd54c43f2fd846dd0981ff954e5ce586.jpg",[],{"id":70380,"slug":70381,"title":70382,"dynasty":256,"author":57437,"museum":316,"description":57438,"tags":70383,"thumbUrl":70384,"material":599,"size":600,"collection":139,"collections":70385,"showCount":343,"zanCount":48,"manualWeight":48,"mainColor":94},231755,"ruo-fa-shi-tu-ping-di-2-ping-xia-cun-guan-shan-231755","弱法师图屏 第2屏",[23,24,28,7,106,820,9591],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cf5720eb89db9c8280e686504a7f874.jpg",[],{"id":70387,"slug":70388,"title":70389,"dynasty":256,"author":70390,"museum":316,"description":70391,"tags":70392,"thumbUrl":70394,"material":599,"size":600,"collection":139,"collections":70395,"showCount":343,"zanCount":48,"manualWeight":48,"mainColor":49},231754,"ming-zhi-nian-chun-mu-you-hua-dong-jing-qian-jing-zhong-231754","明治年春亩油画(东京)","浅井忠","浅井忠，日本画家，1856年6月21日出生于江户（今东京），1907年12月16日卒于京都。",[3187,8377,7,106,13428,13427,34,8882,912,32881,70393],"春天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2a866db631edd06bd11d398a0ab2ed2.jpg",[],{"id":70397,"slug":70398,"title":70399,"dynasty":256,"author":70400,"museum":316,"description":70401,"tags":70402,"thumbUrl":70403,"material":599,"size":600,"collection":139,"collections":70404,"showCount":343,"zanCount":48,"manualWeight":48,"mainColor":49},231720,"ri-ben-lian-cang-shi-dai-di-qi-juan-juan-ben-fa-yan-yuan-yi-231720","日本镰仓时代 第七卷绢本","法眼圆伊","这幅绘卷诗画合璧，河川乡野铺展为鲜活舞台，左侧楼阁雅集、河滨行旅络绎，右侧町外农舍间，田垄劳作、涉水救难的日常图景一一铺陈，尽显俗世百态。\n\n古雅沉郁的绢本底色上，朴拙生动的线条勾勒出鲜活的世相烟火气，中段的和歌文书串联起浮生情爱与幽微思绪，将市井悲欢、乡野闲情与文学意趣交织，让画面叙事与文字共情融为一体，带着旧物的岁月温度，静静诉说着中古日常的细腻况味。",[23,67,26,7,28,106,29,31,36,114,150,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F726c0e520b1bd318e1fa83179658cdaf.jpg",[],{"id":70406,"slug":70407,"title":70408,"dynasty":256,"author":18986,"museum":316,"description":70409,"tags":70410,"thumbUrl":70412,"material":599,"size":600,"collection":139,"collections":70413,"showCount":343,"zanCount":48,"manualWeight":48,"mainColor":49},231625,"shi-ting-shi-dai-shan-yue-song-lin-tu-shou-ye-yuan-xin-231625","室町时代 山岳松林图","狩野元信（1477～1559）同父亲正信一样，是足利幕府的御用画师，也为细川高国、大内义隆等幕府权贵所用，经常出入宫廷、幕府官邸画障屏画。他承袭了足利家所喜好的中国水墨画风格，但同时他又是提倡“大和画”的土佐派始祖土佐光信的义子。",[23,24,25,173,7,177,29,685,1273,70411,13707],"山岳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6cae223afb7683f359816c689e347ba.jpg",[],{"id":70415,"slug":70416,"title":70417,"dynasty":99,"author":792,"museum":316,"description":70418,"tags":70419,"thumbUrl":70420,"material":9042,"size":70421,"collection":139,"collections":70422,"showCount":343,"zanCount":48,"manualWeight":48,"mainColor":94},231592,"qing-lan-cui-nuan-tu-lan-ying-231592","晴岚翠暖图","蓝瑛（1585-1664），字田叔，号蜨叟，又号东郭老农，晚号石头陀、山公、万篆阿主者、西湖研民，钱塘（今浙江杭州）人，所居榜额曰：“城曲茅堂”。工书擅画，长于山水、花鸟、梅竹，尤以山水著名。其山水初从黄公望入门，遍摹元代诸家笔法，后上窥晋、唐、两宋，俱得古人精蕴。中年自立门庭，涉猎既多，眼界宏远，故落笔纵横奇古。晚年渐趋苍劲疏宕，气象崚嶒，虽力追古法，但能融会贯通，自成风范。其绘画对明末清初绘画影响甚远，被后人称为“武林派”，画史亦称之为“后浙派”。\n此图为蓝瑛先生摹黄公望《晴岚暖翠》所作，上绘峰峦迭翠，银链飞瀑，峭石嵯峨，云雾弥漫。中绘水榭楼台，依山傍水，苍浑郁茂，清泉蜿流，临窗对语，悠然其间。下绘湖水空明，临渚茅亭，古木苍郁，清趣秀逸。纵观此幅，构图奇伟，落笔纵横，顿挫有致。其境高雅飘逸，其意苍劲疏秀。宋元文人之风，悠然可见其中。亦见其运笔得大痴神韵，勾勒浅绛，又参自法，清简秀润，乃为田叔之佳构也。\n一峰老人即元代画家黄公望。黄公望（1269-1354），元代画家。本姓陆，名坚，江浙行省常熟县人。后过继永嘉府（今浙江温州市）平阳县（今划归苍南县）黄氏为子，居虞山（今宜山）小山，因改姓黄，名公望，字子久，号一峰、大痴道人。中年当过中台察院椽吏，后皈依全真教，在江浙一带卖卜。擅画山水，师法董源、巨然，兼修李成法，得赵孟頫指授。所作水墨画笔力老到，简淡深厚。又于水墨之上略施淡赭，世称“浅绛山水”。晚年以草籀笔意入画，气韵雄秀苍茫，与吴镇、倪瓒、王蒙合称“元四家”。擅书能诗，撰有《写山水诀》，为山水画创作经验之谈。存世作品有《富春山居图》、《九峰雪霁图》、《丹崖玉树图》《天池石壁图》等。",[23,24,25,26,29,7,177,28,30,176,34,37,10384,1133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51301e878118487eeaa8028a0ad77ec5.jpg","161×42.9cm",[],{"id":70424,"slug":70425,"title":70426,"dynasty":99,"author":257,"museum":223,"description":70427,"tags":70428,"thumbUrl":70429,"material":67,"size":70430,"collection":139,"collections":70431,"showCount":343,"zanCount":48,"manualWeight":48,"mainColor":49},231543,"han-yi-ke-xiang-yi-ming-231543","韩宜可像","洪武元年（1368），荐授山阴教谕，旋升为监察御史。耿直敢言，弹劾不避权贵。时丞相胡惟庸、御史大夫陈宁、中丞涂节得宠于太祖朱元璋。一日，三人正与太祖从容燕语，宜可直入出示劾稿，弹劾三人险恶奸佞，恃功怙宠，专权树党，擅作威福等罪状，奏请斩此三人。太祖大怒说：“快口御史，竟敢排陷大臣！”命锦衣卫逮捕下狱。旋即释放。洪武九年（1376年），出为陕西按察司佥事。当时官吏有罪，凡处笞刑以上者皆谪屯凤阳，韩宜可上疏抗争，认为官吏有罪，当按情节轻重分别治罪，不宜一概谪屯凤阳。太祖从之。后入朝京都，太祖将罪人没官男女赐予诸司，韩宜可独不受，极言“有罪不应牵连家属，为古来定制。家属连坐，乃滥施刑罚。罪人家属无罪，不当以罪人家口分给各官”。\n曾奉命撰写祭祀钟山、大江文，谕日本、征乌蛮诏，皆合旨意，特授山西右布政使。后因事被谪云南。建文帝即位，起用为云南参政，入拜左副都御史，卒于官。",[23,24,7,28,106,63,226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48cd3ccfa03c0eb32543d33b262f1351.jpg","142.9x82.1厘米",[],{"id":70433,"slug":70434,"title":70435,"dynasty":18,"author":17571,"museum":191,"description":70436,"tags":70437,"thumbUrl":70438,"material":67,"size":70439,"collection":139,"collections":70440,"showCount":343,"zanCount":48,"manualWeight":48,"mainColor":2504},231415,"san-xian-shou-jian-tu-yan-wen-gui-231415","三仙授简图","此图原藏清内府钟粹宫，原图无款印，签题“燕文贵二仙授简图”：图描绘世外洞府一处，洞前为一片宽阔的田野，临近洞处为坡岸，碎石横卧，草木和幽篁相间杂牛-在洞前的左侧有几棵古松，树干粗大，向左倾斜生长，枝干曲直向上，树千长有疤节，茂密的枝叶形成浓荫，将其洞府笼罩，洞府前二仙相对而坐，均为道家装束，正面一位年长者以披叶衣，赤足支膝，绾双丫髻，双日凝神，目光视着前方；正面左侧一位头披长发于背部，赤胸支着右腿，右手放置膝部，正在专心聆听对面一位仙者论经说道；正面右侧一位右腿盘坐、左腿支撑，身披道衣绾双髻，手持简册，上体前倾，右手指划，似在论经说道，神情专注，十分投入。\n燕义贵的绘画题材较为广泛，山水最为突出：他画山水不专师法，自成一家，景致多坐，使人有身临其境的感觉，他是一个来自民间的画家，他熟悉并喜爱乡间生活，即使在布局宏大的11．真水画上，也安排各种富于生活情趣的细节：刘道醇《圣朝名画评》说他“初师河东郝惠”，之后“不师于古人，自成一家，而景物万变……，燕家景致无能及者”：燕文贵除擅长山水外，还精于人物画和界画：此《三仙授简图》是他人物画的代表作。\n此图以幽深静寂的洞府为布景，画家用抑朴的线条显示道衣厚实的质感和盘旋褶皱的衣纹，线描笔法劲练，古松数株，也画得坚劲有力：图中人物面部表情，有声有色，特别是前面左边赤胸者，被对面一位手持简册仙人的话语所吸引，聚精会神地凝听着：画家驾驭人物性格，再现特定情境的功力在这一作品中得到充分的表现，树石皆湿笔，松身之鳞，略圈数笔，即以墨水晕染浅深，上缠古藤，其条下垂，用笔极细，若断若续，总之，全图着色淡雅，勾线坚凝而多折，二位仙人姿态各不相同，并在变化错落中达到和谐统一。",[194,24,25,7,28,177,106,29,34,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdde1e2940ee2ffd9f620cc4bb8d71b99.jpg","46.3×41.3公分",[],{"id":70442,"slug":70443,"title":70444,"dynasty":76,"author":7596,"museum":191,"description":70445,"tags":70446,"thumbUrl":70447,"material":1307,"size":70448,"collection":139,"collections":70449,"showCount":343,"zanCount":48,"manualWeight":48,"mainColor":49},231371,"lin-fan-kuan-xue-shan-tu-wang-hui-231371","临范宽雪山图","从构图上看，中景占大部分画面，主峰和侧峰是由许多山体组成，且几乎没有平远。是清初「四王」的风格。\n山体线条勾勒笔墨纤细秀丽。皴法虽用点皴， 但点子纤细呈短条状。树木出现直且呈排列状的姿态。是王翚的笔墨特点。\n王翚的笔墨特点：构图学习宋人， 运笔学习元人。由于师承古人学习各类画家笔墨技巧多样化，用笔极灵活。\n早年时期工整俊秀，尖笔，细笔较多。因为学习黄公望，构图上较沉闷。中年以后，在王时敏处遍临古画，技艺集各家技法突飞猛进。将李成，吴镇等的树法，王蒙，黄公望等的皴法交替使用，变化多且运用恰当。繁密精致，峭拔挺秀，渲染皴笔配合恰当。也可以说他是集大成。\n同为「四王」中的王原祁曾评论王翚技巧过熟。因为笔法变化太多，画面缺少统一感。构图繁复，墨色也会缺少变化。",[194,24,25,105,177,173,7,29,2724,176,34,114,2562,795,808],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa36251e62e43c9c5c89e57fc3abcc825.jpg","187.7x115.5厘米",[],{"id":70451,"slug":70452,"title":70453,"dynasty":18,"author":257,"museum":191,"description":70454,"tags":70455,"thumbUrl":70456,"material":1319,"size":70457,"collection":139,"collections":70458,"showCount":343,"zanCount":48,"manualWeight":48,"mainColor":49},231082,"hua-ying-tu-yi-ming-231082","画鹰图","此作以苍鹰为魂，猛禽踞于古松蟠枝之上，身姿挺拔傲岸，目光锐利如炬，铁爪紧扣虬结老干，将猛禽的悍戾威严尽显无遗。翎毛晕染精细，蓬松质感逼真入微，分毫毕现猛禽风神。\n\n淡墨晕染出空寂背景，衬出古松的苍劲荒疏，整幅画面工致写实，兼具文人意趣，将猛禽英武与古木苍浑相融，尽显精妙造诣，题跋环衬，书画相映，更添古雅厚重的沉静气韵。",[24,25,28,7,3300,795,836,245,11932,194],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e583ed5386de66a99ee8f7592775a71.jpg","131.8x65.3",[],{"id":70460,"slug":70461,"title":70462,"dynasty":76,"author":8060,"museum":316,"description":70463,"tags":70464,"thumbUrl":70465,"material":139,"size":139,"collection":139,"collections":70466,"showCount":343,"zanCount":48,"manualWeight":48,"mainColor":94},230962,"jie-jiao-tu-dong-bang-da-230962","解角图","此作以长卷铺展平远寒林之境，左处危崖飞泉，枯木虬曲苍劲，麋鹿或俯饮或闲游，野意悠然。中段洲渚错落，寒林与苍松交错排布，留白晕染烟波浩渺，空濛清寂。\n\n全作用色浅淡秀润，山石皴法简净雅致，林木勾勒细致入微，既得元人山水萧散简远之致，又暗含庙堂文雅气韵。将冬日郊野的清旷萧寒，与鹿群自在恬和之态相融，静穆淡远的林下雅趣跃然绢素，是兼具院体工稳与文人意韵的佳构。",[23,24,25,26,7,177,28,29,795,1273,2479,176,31,11396,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d17b32f4f9101d80e94726c757afe45.jpg",[],{"id":70468,"slug":70469,"title":70470,"dynasty":54,"author":257,"museum":316,"description":4025,"tags":70471,"thumbUrl":70472,"material":599,"size":600,"collection":139,"collections":70473,"showCount":343,"zanCount":48,"manualWeight":48,"mainColor":49},230945,"yu-lin-ku-025-ku-yong-dao-ding-bu-yi-ming-230945","榆林窟025窟甬道顶部",[511,1846,7230,260,7,106,8170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a8a49faa924b9c957ab99c96c8e8dc3.jpg",[],{"id":70475,"slug":70476,"title":70477,"dynasty":256,"author":257,"museum":316,"description":70478,"tags":70479,"thumbUrl":70480,"material":599,"size":600,"collection":139,"collections":70481,"showCount":343,"zanCount":2368,"manualWeight":48,"mainColor":49},230837,"cai-hui-san-jie-jiu-di-zhi-tu-yi-ming-230837","彩绘三界九地之图","以层叠佛塔为骨，将抽象的佛教宇宙观具象铺展。朱墨敷色标注界域，图文互证解读诸天与地界奥义。上部天界楼宇错落，标注诸天境域，演绎空寂梵天；中层佛塔层层递进，楼宇渐次铺陈，诠释世间修行的阶位；下部以虬龙缠绕阎浮提，水波晕染出幽冥地宫，勾勒出地下冥府的幽渺。\n\n古拙线条晕开岁月痕迹，质朴设色带着民间绘卷的厚重质感，将虚无的宗教寰宇，转化为可观可感的视觉长卷，藏着千年前对天地、修行与幽冥的终极遐想。",[23,260,104,7,6767,107,114,55035,226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae48eafbef300dc3e20709d2afdb6183.jpg",[],{"id":70483,"slug":70484,"title":23316,"dynasty":256,"author":257,"museum":316,"description":70485,"tags":70486,"thumbUrl":70487,"material":599,"size":600,"collection":139,"collections":70488,"showCount":343,"zanCount":48,"manualWeight":48,"mainColor":49},230791,"cai-hui-wu-dai-juan-hua-gong-yang-tu-yi-ming-230791","上方诸佛安坐云间，衣袂舒展、法相端和，卷云纹晕染出缥缈佛境。下方供养人长跪奉器，乌纱广袖，神色恭谨沉肃。\n设色古艳依旧，朱砂石青历经岁月仍见鲜亮，铁线描勾勒衣纹与云气，凝练舒展。残损绢面载着时光痕迹，将信仰的庄严与世俗的虔敬相融，古拙肃穆的氛围里，尽显彼时宗教仪轨与审美意趣的交织。",[23,6767,7,106,260,65,229,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee8e12d3de65e3d6507e98b744814fa8.jpg",[],{"id":70490,"slug":70491,"title":70492,"dynasty":256,"author":257,"museum":316,"description":70493,"tags":70494,"thumbUrl":70495,"material":599,"size":600,"collection":139,"collections":70496,"showCount":343,"zanCount":48,"manualWeight":48,"mainColor":94},230550,"ming-qing-gu-hua-dong-wu-shan-shui-fen-ben-tu-juan-2-yi-ming-230550","明清古画动物山水粉本图卷-2","以淡设色铺陈林泉雅境，枯梅虬枝缀着寒花，古拙清癯。坡石间流泉蜿蜒，晕染出空山幽寂的氛围。两位高士策杖缓行，衣袂轻扬，神态悠然，似正寻幽揽胜。\n笔墨清劲秀逸，山石以淡墨皴擦，晕出空濛温润的山林气韵，草木敷色清雅，粉白梅花点活了冬末春初的清灵意趣。将林下高致融于山水小景，淡而有味，简中见雅，尽显文人寄情林泉、避世寻幽的隐逸意趣。",[23,24,26,7,173,28,177,29,106,662,176,34,227,809],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51c4df883e88673fe6cdff89b7a09a8c.jpg",[],{"id":70498,"slug":70499,"title":70500,"dynasty":256,"author":33007,"museum":316,"description":33008,"tags":70501,"thumbUrl":70502,"material":599,"size":600,"collection":139,"collections":70503,"showCount":343,"zanCount":48,"manualWeight":48,"mainColor":49},230502,"shi-ting-shi-dai-si-ji-shan-shui-tu-chun-xue-zhou-230502","室町时代 四季山水图（春）",[23,24,25,194,226,177,173,7,29,685,378,686,114,1169,7320,1171,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d2e56b5d98f493acc8eca2d65f97ffa.jpg",[],{"id":70505,"slug":70506,"title":70507,"dynasty":256,"author":18986,"museum":316,"description":70508,"tags":70509,"thumbUrl":70510,"material":139,"size":139,"collection":139,"collections":70511,"showCount":343,"zanCount":48,"manualWeight":48,"mainColor":49},230486,"zu-shi-tu-shou-ye-yuan-xin-230486","祖师图","画面以飞瀑奇峰开篇，峭壁间白练倾泻而下，撞破山岩的沉凝厚重。古松虬枝横斜，苍劲盘曲，将山野荒古之气铺展开来。雾霭轻笼林谷，柔化了山石棱角，让刚硬的笔墨晕出幽柔的空濛。\n\n拄杖祖师衣袂飘然，独立山巅凝神静望，身影与林泉相融，禅意随云气漫溢。山石以利落斧劈皴勾勒，苍劲老辣，云雾则以淡墨晕染，柔润朦胧。刚柔相生间，将隐者遁入林泉的静穆空灵尽数铺陈，幽寂清远的禅意扑面而来，恍若能听松涛瀑鸣，沉陷这山野禅境之中。",[23,24,25,7,177,29,106,1426,34,176,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdad9555eacda81006abbe5bbe1fcec16.jpg",[],{"id":70513,"slug":70514,"title":70515,"dynasty":76,"author":257,"museum":316,"description":70516,"tags":70517,"thumbUrl":70518,"material":139,"size":139,"collection":139,"collections":70519,"showCount":343,"zanCount":48,"manualWeight":48,"mainColor":49},230312,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-qian-long-huang-hou-yi-ming-230312","历代帝王贵妃大臣朝服像(乾隆皇后)","此作工笔细腻，以沉郁赭色铺底，烘托出静穆庄重的氛围。皇后吉服袍以石青为地，通身盘金绣五爪祥龙，辅以五彩祥云、江崖海水纹样，绣线光泽莹润，龙姿矫健灵动，尽显织造工艺之精绝。暖红小朝冠鲜亮沉稳，与深色素袍相映。面容刻画写实温婉，神色端凝肃穆，静坐宝椅间，衣褶晕染细腻柔和，纹样排布规整华丽，既彰显出皇家礼制的森严庄重，又将后妃雍容端方的气度尽数展现，细节间满溢着肃穆华贵的宫廷气韵。",[23,320,28,7,106,334,333,226,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70480099c0540bd5bc13da78477bfe11.jpg",[],{"id":70521,"slug":70522,"title":70523,"dynasty":76,"author":257,"museum":316,"description":48958,"tags":70524,"thumbUrl":70525,"material":599,"size":600,"collection":139,"collections":70526,"showCount":343,"zanCount":48,"manualWeight":48,"mainColor":94},229104,"fen-cai-hu-lv-di-hua-niao-wen-gai-he-yi-ming-229104","粉彩湖绿地花鸟纹盖盒",[12818,22953,7,83,292,553,209,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd35b0b783d37e651a59d75c6c9e78aff.jpg",[],{"id":70528,"slug":70529,"title":1793,"dynasty":76,"author":7596,"museum":316,"description":70530,"tags":70531,"thumbUrl":70532,"material":139,"size":139,"collection":139,"collections":70533,"showCount":343,"zanCount":48,"manualWeight":48,"mainColor":94},229019,"hua-hui-shan-shui-he-ce-wang-hui-229019","此作绘三株牡丹，朱砂色热烈似燃，莹白如凝脂映光，紫花晕染柔婉绰约。叶片勾勒舒展，脉纹细致，衬得花姿愈发秾艳华贵，笔底尽显牡丹摇曳生姿的娇态。左侧题诗行书隽秀，笔墨与花色相映成趣，晕染间揉合精工与写意，既有野逸生动之态，又具没骨设色的妍丽雅致，将天香国色的雍容尽数铺展，藏着雅致文心与鲜活意趣，尽显花间富贵风雅。",[24,25,28,7,84,292,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb13d9c12b5cebfe97f710421564a29a6.jpg",[],{"id":70535,"slug":70536,"title":70537,"dynasty":99,"author":70538,"museum":316,"description":70539,"tags":70540,"thumbUrl":70542,"material":599,"size":600,"collection":139,"collections":70543,"showCount":343,"zanCount":48,"manualWeight":48,"mainColor":49},228904,"zhong-li-quan-du-hai-tu-zhao-qi-228904","钟离权渡海图","赵淇","此图绘八仙之一的汉钟离渡海故事。钟离权复姓钟离，汉代大将军，后得道成仙。故称“汉钟离”。此作人物的设色用笔与海水水纹的描绘俱与藏于中国美术馆的明代刘俊绘刘海渡海图相近。但克利夫兰美术馆馆方定其是赵淇所画，或有所据。",[23,24,25,226,7,28,106,260,409,1819,2136,44429,70541],"赤足","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dead76f2e44619e34dd4602aa949ed4.jpg",[],{"id":70545,"slug":70546,"title":70547,"dynasty":99,"author":257,"museum":316,"description":70548,"tags":70549,"thumbUrl":70550,"material":599,"size":600,"collection":139,"collections":70551,"showCount":343,"zanCount":48,"manualWeight":48,"mainColor":49},228804,"luo-han-zhu-shou-tu-yi-ming-228804","罗汉祝寿图","画面上下错落铺陈，上方罗汉群像各呈神采，或清癯蔼然，或虬髯肃穆，侍童恭谨随侍，衣纹华彩层叠，晕染细腻，尽显出尘庄严。下方水府神祇率众赴贺，灵怪蛟龙环伺，云涛与浪涛交织翻涌，天际红日悬垂，铺就祥瑞恢宏的祝寿氛围。\n\n整作设色沉厚古雅，矿物颜料晕开浓郁古韵，线条刚柔相济，既绘就罗汉的超然神态，亦勾勒出水族神祇的灵动狞厉，佛道交融的贺寿主题融于尺幅之间，将仙界嘉会的雍容祥瑞尽数铺展，尽显明代宗教人物画的精工意趣。",[23,24,25,860,28,7,260,106,19429,18020,3661,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F08a9dea4989bd43ec9d2423529c0f803.jpg",[],{"id":70553,"slug":70554,"title":70555,"dynasty":99,"author":257,"museum":316,"description":70556,"tags":70557,"thumbUrl":70558,"material":139,"size":139,"collection":139,"collections":70559,"showCount":343,"zanCount":48,"manualWeight":48,"mainColor":49},228796,"li-cong-xun-kuan-hua-zhao-zi-ang-shu-le-zhi-lun-juan-yi-ming-228796","李从训（款）画赵子昂书乐志论卷","此作用笔细劲工致，青绿设色调古雅沉静，以长卷铺展山居雅境。左幅松石苍古、塘生芙蕖，二雅士林泉晤谈，幽寂清远；中段院宇轩窗洞开，宾主围坐宴饮清谈，仆从侧立侍奉，人物情态鲜活灵动，尽显园居雅集意趣；右幅竹柳垂丝、回廊逶迤，衬出深宅清寂安闲。画面疏密得宜，移步换景，将文人寄兴丘园、乐志林泉的隐逸襟怀，融在花木亭台与日常闲趣之中，恬淡安和，尽显古典园居的雅致韵致。",[23,24,26,7,28,104,106,107,34,1241,176,115,245,109,108],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F729837735001f587a250ddbc621c9924.jpg",[],{"id":70561,"slug":70562,"title":70563,"dynasty":99,"author":257,"museum":316,"description":70564,"tags":70565,"thumbUrl":70566,"material":139,"size":139,"collection":139,"collections":70567,"showCount":343,"zanCount":48,"manualWeight":48,"mainColor":49},228777,"yun-shan-lou-ge-tu-yi-ming-228777","云山楼阁图","淡墨晕开烟霭，留白晕出覆雪层峦，远山如冰棱浮于昏褐天际，将冬日萧寒缓缓铺展。近岸楼台层叠飞檐，斗拱栏楯勾勒精工，丹红暖调破开冷寂，与素裹林木相映成趣。水面空蒙如镜，将天地昏茫融于一色，远近虚实相生，把江楼清旷藏进朦胧烟岚。笔触简淡却意韵悠长，工写兼济，将冷峭冬意与楼阁的沉稳雅致相融，尽显萧寒之中的静谧古雅，恍若让人踏入了一阕清寂悠远的冬日江楼旧梦。",[23,24,25,1260,7,104,2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。\n本幅无款。\n鉴藏印钤“交翠轩印”、“神品”、“子京父印”、“项元汴印”、“项墨林鉴赏章”、“张则之”6方。\n画页左侧题诗：“秋风融日满东篱，万叠轻红簇翠枝。\n若使芳姿同众色，无人知是小春时。\n”此为即景诗，描写瓶中之花轻红淡雅，叠簇于翠枝。\n对幅有清乾隆御题诗一首：“花似菊而红，叶则迥然异。\n自题属冬篱，殊难解用意。\n徒以设色工，选藻许其厕。\n辛亥清和御题。\n”钤 “ ”、“自强不息”、“ ”。\n图中瓶架上置一蓝釉长颈瓶，内插 。\n花朵施以勾勒填色法，花叶用没骨法出之，刻画自然细腻，渲染柔和润泽。\n秋菊艳丽而不失于秀雅，此图为南宋写生画中的优秀作品。",[23,194,24,25,81,28,7,83,897,229,86,178,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e46b6b7ac1daeee9117bf4d5b176246.jpg",[],{"id":70651,"slug":70652,"title":70653,"dynasty":18,"author":257,"museum":191,"description":70654,"tags":70655,"thumbUrl":70656,"material":1307,"size":139,"collection":139,"collections":70657,"showCount":343,"zanCount":48,"manualWeight":48,"mainColor":49},227915,"jing-bian-tu-yi-ming-227915","经变图","经变画是用画像来解释某部佛经的思想内容。经变画，即经变，亦称变或变相，佛画种类之一，广言之，凡依据佛经绘制之画，皆可称为“变”。敦煌经变画则通常指将某一部甚至某几部有关佛经之主要内容组织成首尾完整、主次分明的大画。敦煌经变内容丰富，形式多样，除了佛经内容外，大量的社会生活内容在经变画中得到生动的体现。许多经变画技巧高超，堪称艺术珍品。\n经变在南朝时即已出现，据唐张彦远《历代名画记》，南朝宋袁倩画有“维摩诘变”，梁时儒童画有“宝积经变”。莫高窟有经变三十三种，持续时间长的有西方净土变、东方药师变、弥勒经变、法华经变、维摩诘经变，数量最多的是东方药师变",[23,24,25,26,260,104,7,106,107,108,245,406,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7eabb8213f047d2339b24ab44d915d50.jpg",[],{"id":70659,"slug":70660,"title":70661,"dynasty":18,"author":257,"museum":316,"description":70662,"tags":70663,"thumbUrl":70664,"material":139,"size":139,"collection":139,"collections":70665,"showCount":343,"zanCount":48,"manualWeight":48,"mainColor":94},227914,"na-liang-guan-pu-tu-yi-ming-227914","纳凉观瀑图","《宋扇面画纳凉观瀑图》是宋代佚名画家创作的扇面画。\n作品描绘的是清溪一湾，水阁内一人身着白衣袒胸斜坐，乘凉观瀑的场景。\n《宋扇面画纳凉观瀑图》的画面无款印，对幅清朝乾隆皇帝题 一首。\n钤乾隆内府诸收藏印。\n画面钤有石渠宝笈、宝笈重编等印四方，对开钤有 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grove (November - December )",[194,3187,16431,6241,20173,7,70784,8381,16440,3129],"橄榄树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a83fedc068f8104f2b5670e4d5889a2.jpg",[3195],{"id":70788,"slug":70789,"title":70790,"dynasty":256,"author":3184,"museum":316,"description":6534,"tags":70791,"thumbUrl":70794,"material":599,"size":600,"collection":3195,"collections":70795,"showCount":343,"zanCount":48,"manualWeight":48,"mainColor":2504},225662,"rembrandt-harmensz-van-rijn-072-lun-bo-lang-225662","Rembrandt Harmensz.van Rijn - 072",[3187,106,7,3193,63,70792,70793],"老年女性","缝纫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9afbed7b9197d4f7ca026ab1c73de115.jpg",[3195],{"id":70797,"slug":70798,"title":70799,"dynasty":256,"author":257,"museum":316,"description":38922,"tags":70800,"thumbUrl":70801,"material":599,"size":600,"collection":139,"collections":70802,"showCount":343,"zanCount":48,"manualWeight":48,"mainColor":94},225457,"fu-shi-hui-215-yi-ming-225457","浮世绘215",[12745,4006,7,106,59,21241,16831,14087,280,21242,409],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cc9dd2b995d6a76a2e0bf7855daaa5e.jpg",[],{"id":70804,"slug":70805,"title":70806,"dynasty":256,"author":257,"museum":316,"description":70807,"tags":70808,"thumbUrl":70810,"material":139,"size":139,"collection":139,"collections":70811,"showCount":343,"zanCount":48,"manualWeight":48,"mainColor":94},225387,"fu-shi-hui-144-yi-ming-225387","浮世绘144","这幅浮世绘以柔婉笔触定格乡野劳作日常。女子低眉垂目，发间软帽衬出憨朴神态，暗褐和服配柔粉纹袖，团花、龟甲纹样层叠交错，雅致又带着市井鲜活气。她持杵俯身，将日常劳作晕染出娴静温柔。背景红枫斜枝疏淡，浅草溪石晕开秋郊清寂，把烟火日常揉入诗意秋景。清劲流畅的线稿，柔和雅致的淡彩晕染，将江户平民的闲逸日常定格，褪去刻意雕琢，以细腻笔触勾勒出和风市井里的温婉意趣，尽显浮世绘独有的世俗美学韵味。",[12745,4006,7,59,4952,70809,838],"木桶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc89d62b4e87d44fd15a8ad705a556a30.jpg",[],{"id":70813,"slug":70814,"title":70815,"dynasty":256,"author":257,"museum":316,"description":70816,"tags":70817,"thumbUrl":70818,"material":139,"size":139,"collection":139,"collections":70819,"showCount":343,"zanCount":48,"manualWeight":48,"mainColor":94},225348,"fu-shi-hui-102-yi-ming-225348","浮世绘102","此作用色清和雅致，以柔缓的墨线勾勒桔梗花舒展的情态，叶片浓绿与花瓣的米金色晕染相映，层次温婉柔和。振翅将停的蜻蜓静栖留白处，纤毫毕现的翅脉与花茎柔润肌理形成动静对照，把夏日郊野闲静生机悄然铺展。\n\n画师以极简套色技法晕染出花瓣的薄透质感，叶片错落排布填补画面空隙，疏朗留白衬出悠然意境，将和风侘寂闲趣藏于花叶虫翼间，淡而不寡，静而生动，把草木虫鸣的幽然意趣定格于纸面，尽显日式风物的雅致情致。",[12745,7,83,4006,84,635],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8c11d4907b2ee8afc920bec51811368.jpg",[],{"id":70821,"slug":70822,"title":70823,"dynasty":76,"author":70824,"museum":191,"description":70825,"tags":70826,"thumbUrl":70827,"material":67,"size":70828,"collection":139,"collections":70829,"showCount":343,"zanCount":48,"manualWeight":48,"mainColor":94},224599,"bai-hai-qing-he-qing-tai-224599","白海青","贺清泰","乾隆四十八年(西元1783)。达拉罕亲王。汪扎尔多尔济进白海青一架。架上白鹰，铁喙钩爪，羽毛洁白，神情威猛，深得写生之妙，此幅当是与郎士宁同时同地写生而成。两位画家从不同角度观察白鹰，并以逼真手法写生下来。\n中西结合的宫廷绘画 清代没有画院的设置，只在内务府造办处中有画画处和如意馆，负责组织画家为宫廷服务。画家地位低下，或称“南匠”，因画家多系南方人之故，或称“画画人”。画家来源或为原在宫中服务的画家子弟，或大臣推荐，或画家毛遂自荐，均经考核再录用。其中也有大臣如王原祁、蒋廷锡等，虽也创作绘画为宫廷所用，则不在此中。 顺治初见于记载的宫廷画家只有黄应谌一人。康熙时有唐岱、焦秉贞、冷枚等。唐岱山水得王原祁指授，画风亦相近。焦秉贞善山水人物，用透视法，受西方的影响，冷枚为焦秉贞的学生，以人物仕女见长。其后至乾隆时期，画家有丁观鹏、姚文瀚、金廷标、余省、张宗苍、徐扬、陈枚等。他们的作品艺术成就远不及宋代和明代。最具有清代宫廷绘画特色并创造出了艺术成就的是宫廷中的一批来自西方的传教士画家，他们中有意大利人郎世宁、安德义、潘廷章，法国人贺清泰、王致诚，波希米亚人艾启蒙等。他们根据官廷的需要与爱好，用中国的作画工具，综中、西不同的观察和表现方法，如人物用西法，背景则为中法，或背景用中国画家来画；面部塑造采用正面光，减轻明暗对比度，以适合中国传统欣赏习惯等等，因而创造出一种新的风格。",[23,24,25,226,28,7,83,3300,292,279,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81de27f18ee00b00b65c920a57e2c0fb.jpg","110x60cm",[],{"id":70831,"slug":70832,"title":70833,"dynasty":76,"author":20608,"museum":316,"description":70834,"tags":70835,"thumbUrl":70836,"material":139,"size":139,"collection":139,"collections":70837,"showCount":343,"zanCount":48,"manualWeight":48,"mainColor":94},224568,"yang-liu-mu-gui-tu-xiao-chen-224568","杨柳暮归图","淡墨晕染开朦胧远山，烟霭裹挟着晚春暖意漫过江岸。近岸老柳虬枝舒展，嫩叶青翠点染其间，苍柔兼具，生机暗蕴。板桥之上，耕牛驮着暮色缓步而归，村舍隐在烟树间，晕出恬然的乡野烟火气。\n画师以秀雅笔触勾勒物态，淡彩轻敷晕出水墨交融的空濛氛围，将暮归的悠然诗意藏在烟霭晕染里，题跋与画作相映，更添文人意趣。整幅画定格江南春暮的松弛恬静，铺展出中式文人眷恋的田园闲澹之美，将晚归的温柔烟火揉进湿润暮色里，叫人沉醉在这份乡野安宁中。",[23,24,25,26,7,29,353,108,151,86,212,28,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbda02a8cf79f03f01ab82707564b4930.jpg",[],{"id":70839,"slug":70840,"title":29,"dynasty":76,"author":65206,"museum":316,"description":70841,"tags":70842,"thumbUrl":70843,"material":139,"size":139,"collection":139,"collections":70844,"showCount":343,"zanCount":48,"manualWeight":48,"mainColor":94},224435,"shan-shui-wang-yu-224435","此作用高远、平远章法铺展秋山胜景，左畔危崖陡立，以苍劲皴法写山石肌理，丹枫村居隐于崖麓，添几分暖意生机。近岸古松盘虬，坡石隐现于浅草间，流泉脉脉。江波浩渺，远山含黛晕染出空濛暮色。\n\n画面笔墨承袭娄东一脉，干笔淡墨皴擦，浅设色晕染清雅柔和。题诗与画境相映，糅合元人萧散意趣，铺就出幽寂闲淡的江秋林下之境，将文人山水的隐逸悠然藏于尺幅之间。",[23,24,25,29,226,7,173,177,176,34,35,1169,11043,1273,1981,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c3a78721187e680a816bc2f19330f5a.jpg",[],{"id":70846,"slug":70847,"title":70848,"dynasty":76,"author":28397,"museum":316,"description":69291,"tags":70849,"thumbUrl":70850,"material":599,"size":600,"collection":139,"collections":70851,"showCount":343,"zanCount":48,"manualWeight":48,"mainColor":94},224346,"yan-liu-fu-qing-yun-xi-224346","烟柳浮青",[23,24,25,7,29,2532,35,108,109,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e304ac9be4b8cdba4fd199f703a2578.jpg",[],{"id":70853,"slug":70854,"title":70855,"dynasty":76,"author":1829,"museum":316,"description":70856,"tags":70857,"thumbUrl":70858,"material":139,"size":139,"collection":139,"collections":70859,"showCount":343,"zanCount":48,"manualWeight":48,"mainColor":94},224328,"hua-niao-shi-er-kai-6-li-shan-224328","花鸟十二开6","此作用笔兼工带写，左侧草茎以淡赭晕染，细劲清瘦，停驻一只螽斯。虫身刻画入微，翅脉纹理纤毫毕现，似将振翅齐鸣，鲜活灵动感跃然纸面。\n右侧题诗行书纵逸苍劲，笔墨朴拙老辣，与草虫的工致细密形成强烈反差，却又和谐相融。整幅留白疏朗，寥寥数笔便将秋野清寂意趣勾勒尽致，文人雅思托于草虫小景，淡逸间暗藏生趣，把秋日郊野幽谧鲜活的一隅定格，尽显清逸雅致的文人情致。",[23,24,194,25,81,7,178,212,86,83,568,838],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba01201d5abd9179244671a03940dd41.jpg",[],{"id":70861,"slug":70862,"title":70863,"dynasty":76,"author":1829,"museum":316,"description":70864,"tags":70865,"thumbUrl":70866,"material":139,"size":139,"collection":139,"collections":70867,"showCount":343,"zanCount":48,"manualWeight":48,"mainColor":94},224326,"hua-niao-shi-er-kai-4-li-shan-224326","花鸟十二开4","此作以紫藤栖禽入画，错落布置藤蔓花枝，枯藤蜿蜒承托禽鸟，疏密相生。禽鸟以淡赭晕染翎羽，笔触松灵，将茸毛蓬松质感尽显，朱喙圆目，神采机敏生动。紫藤花色清雅柔淡，紫花白蕊垂悬，墨色枝蔓苍劲写意，尽显花木舒展之姿。画面右侧题诗相伴，诗画相融，尽显文人写意的萧散野趣。笔意简逸却神完气足，将花鸟天然野逸之态生动勾勒，淡冶疏朗间尽显写意花鸟的韵致悠长。",[23,24,25,81,498,7,173,83,245,135,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98fe5b0a0d5e0edbe0f54985d9a40440.jpg",[],{"id":70869,"slug":70870,"title":70871,"dynasty":76,"author":1829,"museum":316,"description":70872,"tags":70873,"thumbUrl":70874,"material":139,"size":139,"collection":139,"collections":70875,"showCount":343,"zanCount":48,"manualWeight":48,"mainColor":94},224316,"hua-niao-ce-shi-kai-6-li-shan-224316","花鸟册十开6","此作以水墨淡彩写就，右侧顽石以大写意挥就，焦墨点苔，苍劲朴拙，似藏山野沉浑之气。左侧花枝鲜活灵动，叶片以青绿分染，深浅层叠尽显舒展之姿，粉花柔婉点缀枝梢，轻丽动人。\n\n画面左上题以行书，笔意潇洒跌宕，书画相映成趣。笔致兼具放逸与秀雅，不拘成法，将花木清隽生机与顽石沉静古拙相互映衬，诗书画印浑然一体，把寻常小景绘出悠然林下之致，淡彩晕染衬出雅致格调，墨色干湿浓淡尽显写意意趣，尽显疏朗脱俗的文人审美意韵。",[23,24,25,81,498,7,178,212,230,83,837],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0972e453f468c17ec7ec34647dfa52a.jpg",[],{"id":70877,"slug":70878,"title":70879,"dynasty":76,"author":70880,"museum":316,"description":70881,"tags":70882,"thumbUrl":70883,"material":139,"size":139,"collection":139,"collections":70884,"showCount":343,"zanCount":2368,"manualWeight":48,"mainColor":94},224271,"shan-shui-hua-hui-ce-qi-fu-shan-224271","山水花卉冊(七)","傅山","此作用浅赭素绢为底，淡墨晕染山峦，留白如晴雪覆峰，清寂淡远。近景虬松盘曲遒劲，丹红点染秋林，暖意破开空山萧寒。山坳飞檐小楼隐于林岫之间，尽显幽居雅意。\n笔墨简淡松灵，不事雕饰，以简驭繁，将山林秋意里的静穆萧散融于尺幅中，把出世幽居的雅怀寄寓在淡墨轻彩内，平淡天真余韵悠长，尽显文人画简远清逸的意趣。",[23,24,25,81,7,29,107,353,176,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ac89da8453aafa9c7af4b69dd3c241b.jpg",[],{"id":70886,"slug":70887,"title":1383,"dynasty":76,"author":19521,"museum":316,"description":70888,"tags":70889,"thumbUrl":70890,"material":139,"size":139,"collection":139,"collections":70891,"showCount":343,"zanCount":48,"manualWeight":48,"mainColor":94},224263,"shan-shui-tu-zhang-zong-cang-224263","此作用笔苍劲老辣，山石以干笔皴擦，缀以浓墨点苔，尽显崖壁厚重雄浑。右侧危峰拔地而起，隐见飞瀑垂落，左侧林麓苍郁，杂木间晕染赭红花青，暗合秋意。\n\n溪泉蜿蜒穿谷，山居藏于幽林，水面扁舟轻泛，远景水天一色，构图兼取高远、平远，层次悠长。搭配题诗与朱印，诗书画印浑然一体，将秋山的清疏旷远与林下幽居的雅趣相融，兼具雄奇气象与秀润诗意，意境澹宕空灵。",[23,24,25,226,7,173,29,109,174,34,176,212,178,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ab82f87f0726486e943e9a0edd8c887.jpg",[],{"id":70893,"slug":70894,"title":70895,"dynasty":99,"author":257,"museum":316,"description":70896,"tags":70897,"thumbUrl":70899,"material":139,"size":139,"collection":139,"collections":70900,"showCount":343,"zanCount":48,"manualWeight":48,"mainColor":49},223609,"zhu-lin-bu-chu-tu-ce-yi-ming-223609","竹林哺雏图册","此作用笔细腻工致，苍劲竹枝缀着翠色，竹叶舒展尽显清灵生机。雀巢静栖竹间，数只幼雏探首啾啾，振翅归旋的亲鸟神情急切，将归哺的温情凝于绢面之间。\n\n设色古雅沉静，晕染柔和自然，写实笔意带着院体花鸟的温婉余韵，将林间育雏的日常小景勾勒得脉脉动人。古旧绢色晕开岁月质感，把幽竹清寂与生命温情相融，尽现小品花鸟的雅致意趣，平淡间藏着触动人心的自然诗意。",[23,24,25,81,7,28,83,227,245,35963,70898],"鸟巢","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc731490b38e5c321d0a8e1945ea3b64b.jpg",[],{"id":70902,"slug":70903,"title":70904,"dynasty":18,"author":257,"museum":316,"description":70905,"tags":70906,"thumbUrl":70907,"material":139,"size":139,"collection":139,"collections":70908,"showCount":343,"zanCount":48,"manualWeight":48,"mainColor":49},223598,"sui-yang-wu-lao-tu-wang-huan-xiang-yi-ming-223598","睢阳五老图 王涣像","老者头戴乌纱，一袭宽袖深青素袍以朱红束腰提点，色调清雅克制。他双手敛于袖中，身形微佝，面上沟壑纵横，尽显九十高龄的苍迈迟暮。\n此作线条凝练精准，淡墨晕染出松弛的皮肤纹理，写实勾勒出耄耋老人的神态气韵，将致仕老臣内敛端肃的沉静气度尽显无遗。古旧绢底衬出肖像的静穆质感，带着宋画特有的平和雅致，以极简笔墨写尽老者为官半生后的安然沉稳，尽显宋代肖像画的写实功力。",[23,194,24,25,226,7,28,106,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb2a20c3a9cd593416177c1bd5c5372b.jpg",[],{"id":70910,"slug":70911,"title":56653,"dynasty":18,"author":257,"museum":20,"description":70912,"tags":70913,"thumbUrl":70914,"material":40,"size":70915,"collection":139,"collections":70916,"showCount":343,"zanCount":48,"manualWeight":48,"mainColor":94},223487,"wu-hua-guo-tu-yi-ming-223487","图中无花果已然成熟，撑开绿萼露出了果实。此图以中锋行笔，淡墨勾勒，线条细劲流畅，显现出画家以线塑形的娴熟功底。叶片色彩的渲染则是先在叶尾部着以墨绿，再用清水将绿色向叶尖晕开，不仅呈现出浓淡有致的色泽变化，且枝叶的鲜活姿态也得以表现。含苞者敷以石绿色，绽开者用白粉染出，清浅的绿色构成画面的主调，体现出宋人花鸟画淡雅清逸的美学品格。\n对幅有清乾隆皇帝御题五言诗一首：“果结必资花，却有无花者。别名木馒头，或因形弗雅。缀子于叶间，累累复若若。七利名徒传，几团见实寡。钱塘特写斯，应寓别意也。庶子与家丞，个中两弗假。”钤印“用笔在心”。",[23,194,24,25,1260,28,7,86,212,56656,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcecf14fa0588646d6b234f3cb52b18fc.jpg","纵24.8厘米，横25.3厘米",[],{"id":70918,"slug":70919,"title":70920,"dynasty":76,"author":257,"museum":191,"description":70921,"tags":70922,"thumbUrl":70923,"material":770,"size":70924,"collection":139,"collections":70925,"showCount":343,"zanCount":2368,"manualWeight":48,"mainColor":49},223450,"shou-yan-tu-ping-12-yi-ming-223450","寿宴图屏12","太监们都身着官帽，衣冠楚楚。 所以，英皇是寿宴。 官在12屏，候车总人数，百亭，小亭，流水，台桥。 画面上特画松鹤鹤，寓意松鹤延年。",[23,28,7,104,106,107,175,108,109,176,34,150,63,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbef188fc0c7bc94e225ee1b53cbedfdc.jpg","42x108厘米",[],{"id":70927,"slug":70928,"title":70929,"dynasty":302,"author":257,"museum":191,"description":70930,"tags":70931,"thumbUrl":70932,"material":123,"size":70933,"collection":44,"collections":70934,"showCount":343,"zanCount":48,"manualWeight":48,"mainColor":49},223440,"xuan-fan-yu-hua-tu-zhou-yi-ming-223440","宣梵雨花图轴","此幅画一位蓄须僧人端坐在石上，正在诵读梵文经卷。他的皮肤黝黑，高鼻深目，耳有穿环，从轮廓特征看来应该不是汉人。佛教本是由外地传入的宗教，传世因而也有诸多近于中亚人种造型的胡僧形象，他所阅读的也正是未经中文化的梵文。\n僧人的衣饰精致华美，但表情却虔敬素穆。看他专注的眼神与微张的双唇，似乎对经义心领神会，已有所悟。这时天空中飘下满天花雨，陪侍的白猴也忍不住伸手接取。这样的神迹配合僧人头后的圆光，使得画中更添神异的色彩。\n画中并无绘者的题款。画家描绘人物衣纹的线条圆转，但劲健有力，对僧服上的装饰、飘扬的花朵、以及白猴身上的密毛，不同质感的刻划却十分细腻。山水烟云的背景纯以水墨画成，和衣饰与花雨的鲜艳色彩形成对比。线条粗细兼具、配色明暗协调，在画家的妙笔下，呈现出端凝又神秘的宗教气氛。",[23,24,25,226,260,7,28,106,62,6322,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd0f95eadeb3e05a9a8b4a1c9c7942a8.jpg","该幅 175.3x98.2公分；全幅 100.4公分",[44],{"id":70936,"slug":70937,"title":70938,"dynasty":76,"author":6776,"museum":191,"description":70939,"tags":70940,"thumbUrl":70941,"material":7,"size":52567,"collection":139,"collections":70942,"showCount":343,"zanCount":48,"manualWeight":48,"mainColor":94},223324,"zhang-xing-shen-ding-guan-peng-223324","张星神","丁观鹏(？-1771后)清代画家，艺术活动于康熙末期至乾隆中期，北京人。胡敬《国朝院画录》谓：“观鹏克传家学。”工道释、人物、山水，亦能作肖像，尤擅仙佛、神像，以宋人为法，不尚奇诡，画风工整细致，受到欧洲绘画的影响， [1] 学明代的丁云鹏笔法，有出蓝之誉。雍正四年(1726)进入宫廷为画院处行走，是雍正、乾隆朝画院高手，与唐岱、郎世宁、张宗苍、金廷标齐名。造诣深湛，得乾隆帝赏识，曾为《圣制诗》初集、二集、三集之多幅画卷题诗。在宫廷画院五十年左右，作品近二百件。传世作品有完成于乾隆三十二年(1767)《法界源流图》卷，纵33厘米，横1635厘米，该卷场面宏大，人物众多，描金设色，精细绚丽，为中国佛教艺术瑰宝、世界佛教艺术明珠，现藏吉林省博物馆；乾隆十三年(1748)作《乞巧图》卷藏上海博物馆；二十六年(1761)作《无量寿佛图》轴、《宝相观音图》轴藏故宫博物院；三十五年(1770)八月作《说法图》轴藏西柏林民俗博物馆。弟丁观鹤，亦供奉内廷，工人物。\n丁观鹏擅长画道释人物，也善画山水。曾与弟弟观鹤同供奉于南熏殿。他的画作清宫收藏很多。与陈枚等六家合作《庆丰图》卷，《太平春市图》卷，与陈枚、孙硝合作《丹台春晓图》卷等，均辑入《石渠宝笈》。传世作品有：《摹宋人雪渔图》和《仿韩 七子过关图》，均辑入《中国历代名画集》。",[23,24,25,26,28,7,260,106,746,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33462f506791dea193935fc09761881f.jpg",[],{"id":70944,"slug":70945,"title":70946,"dynasty":76,"author":6776,"museum":18883,"description":59995,"tags":70947,"thumbUrl":70948,"material":770,"size":59998,"collection":139,"collections":70949,"showCount":343,"zanCount":48,"manualWeight":48,"mainColor":94},223318,"fa-jie-yuan-liu-tu-jing-pian-1-ding-guan-peng-223318","法界源流图镜片-1",[23,24,260,28,7,352,106,746,3661,409,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2206b1370f2abc417507fe6904e131fd.jpg",[],{"id":70951,"slug":70952,"title":70953,"dynasty":76,"author":6776,"museum":18883,"description":18884,"tags":70954,"thumbUrl":70956,"material":770,"size":18889,"collection":139,"collections":70957,"showCount":343,"zanCount":48,"manualWeight":48,"mainColor":94},223307,"fa-jie-yuan-liu-tu-juan-12-ding-guan-peng-223307","法界源流图卷-12",[23,24,26,7,28,260,106,3661,212,86,7690,70955,63,2136],"宝幢","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa83a4c1cdf24d4bae36e8d4954c5d790.jpg",[],{"id":70959,"slug":70960,"title":15607,"dynasty":76,"author":9921,"museum":20,"description":40623,"tags":70961,"thumbUrl":70962,"material":139,"size":15612,"collection":139,"collections":70963,"showCount":343,"zanCount":48,"manualWeight":48,"mainColor":94},223211,"geng-zhi-tu-ce-jiao-bing-zhen-223211",[194,24,25,81,320,28,7,104,8377,106,107,34,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F684498733431a8860e2686600a0025ac.jpg",[],{"id":70965,"slug":70966,"title":70967,"dynasty":76,"author":11085,"museum":20,"description":23382,"tags":70968,"thumbUrl":70969,"material":23385,"size":23386,"collection":139,"collections":70970,"showCount":343,"zanCount":48,"manualWeight":48,"mainColor":49},223140,"shi-wan-tu-ce-4-ren-xiong-223140","十万图册4",[23,24,25,81,7,28,177,29,109,176,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdafbb1382f759faa9a0bd0fff6c51b3b.jpg",[],{"id":70972,"slug":70973,"title":6786,"dynasty":76,"author":6787,"museum":316,"description":6788,"tags":70974,"thumbUrl":70975,"material":139,"size":139,"collection":139,"collections":70976,"showCount":343,"zanCount":48,"manualWeight":48,"mainColor":94},223083,"shui-hu-ren-wu-ren-xun-223083",[23,24,25,320,7,28,352,106,63,196,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffedfad1d6c0414a7a5c9db13e717bc39.jpg",[],{"id":70978,"slug":70979,"title":70980,"dynasty":76,"author":2162,"museum":419,"description":2163,"tags":70981,"thumbUrl":70982,"material":67,"size":2173,"collection":139,"collections":70983,"showCount":343,"zanCount":48,"manualWeight":48,"mainColor":94},222917,"hong-lou-meng-42-sun-wen-222917","红楼梦42",[23,320,24,28,7,106,107,611,176,84,37171,34,2235],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1046085ff2b6d5f0b337935821daf21c.jpg",[],{"id":70985,"slug":70986,"title":70987,"dynasty":76,"author":70988,"museum":316,"description":70989,"tags":70990,"thumbUrl":70991,"material":139,"size":139,"collection":139,"collections":70992,"showCount":343,"zanCount":48,"manualWeight":48,"mainColor":94},222827,"san-xing-tu-xu-gang-222827","三星图","徐冈","徐冈，生卒年不详，字九成，号缾山（瓶山），浙江杭州人。家贫以鬻画养母，至老不娶。山水、花鸟、人物，无所不工。一以华岩为师，而尤擅花鸟。",[23,194,24,25,226,7,28,106,1133,227,795,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53588f1a09245fd285ade392b1603262.jpg",[],{"id":70994,"slug":70995,"title":70996,"dynasty":76,"author":20677,"museum":20,"description":70997,"tags":70998,"thumbUrl":70999,"material":160,"size":71000,"collection":139,"collections":71001,"showCount":343,"zanCount":48,"manualWeight":48,"mainColor":94},222645,"shuang-jun-tu-gao-qi-pei-222645","双骏图","《清高其佩双骏图轴》是清代画家高其佩创作的一幅国画，系其临终之作。该画描绘画、两匹无拘无束的骏马在尽性滚尘、蹭痒，构图自然且得体。\n《清高其佩双骏图轴》是高其佩的指画精品，系其临终之作。画两匹无拘无束的骏马在尽性滚尘、蹭痒，极为生动。其手法粗放豪爽，画风朴拙野悍。构图自然且得体，似不经意却胜过苦心经营。",[23,24,36043,7,173,150,378,912,746],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdab957a64b2087ef2638cc880ff75039.jpg","纵185cm，横131.5cm",[],{"id":71003,"slug":71004,"title":1383,"dynasty":99,"author":71005,"museum":20,"description":71006,"tags":71007,"thumbUrl":71008,"material":638,"size":71009,"collection":139,"collections":71010,"showCount":343,"zanCount":48,"manualWeight":48,"mainColor":94},222573,"shan-shui-tu-wu-chang-222573","吴昌","明（无声诗史作昌之，图绘宝鉴续纂作字振之，误）。振子。善山水，能世父业。康熙十六年（一六七七）尝作山水扇，见故宫周刊。传世作品有崇祯十四年（1641）作《山水图》扇页，著录于《中国书画家印鉴款识》；康熙十六年（1677）作《山水图》扇页，款署：“丁巳秋仲写，吴昌。”现藏故宫博物院。生平事迹未见详细记载，《无声诗史》《明画录》《图绘宝鉴续篡》等均将其名附于吴振后云：“子昌，字昌伯，能世其业。”从艺活动约于明崇祯至清康熙年间。",[23,24,25,194,1260,7,177,29,176,34,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5d6a79dc397d65dfbd2e7d49cf122b2.jpg","35x65",[],{"id":71012,"slug":71013,"title":4264,"dynasty":99,"author":2189,"museum":240,"description":4265,"tags":71014,"thumbUrl":71015,"material":500,"size":4269,"collection":139,"collections":71016,"showCount":343,"zanCount":48,"manualWeight":48,"mainColor":94},222562,"hua-hui-tu-ce-chen-chun-222562",[23,24,25,81,173,4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，字渔仙，号桃溪居士，后号墨井道人，江苏常熟人。曾笃信天主教，并往澳门逗留。工诗、善画山水，师事王时敏 (1592-1680)与王鉴 (1598-1677) ，连同王翚 (1632-1717)、王原祁 (1642-1715)和恽寿平 (1633-1690) 合称「四王吴恽」或称「清初六家」，为清代正统派绘画代表。\n\n该画为吴历应友人侯大年（约1641-约1710）之命所作，并以友人之号「凤阿」命名，绘于康熙十六年（1677）之后，为吴氏中晚年之作。画面山峦起伏，高树竹丛、屋舍数间，屋前小桥流水，一人策杖过桥。整幅作品尺幅虽不大，却构图繁密，墨色苍润，流露对笔墨的追求与讲究，是吴历的精品。事实上，吴历与侯大年交谊深厚，曾应命绘制多幅《凤阿山房图》，以表达侯氏「述祖德，守先业」并归隐的志向，然而凤阿山房终未建成。据记载，侯大年在吴历绘制完立轴后，另请他绘制小册并请诸友题咏，正是此册。全册共分上、下两册，引首朱彝尊　(1629-1709) 书「凤阿山房」，后有吴历、朱彝尊、姜宸英、梁佩兰、宋骏业、王撰、陆遵、梅庚、钱大昕等六十六家诗题，其中陆遵、梅庚补图并题诗。吴历此作无疑是全册点睛之笔，见证了他与侯大年的交谊。",[23,24,25,194,29,173,7,81,34,176,35,37,177,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5814fa3e46d38ecce71bf3ffe0d290d3.jpg","水墨,设色,纸本,册页","18×34.5厘米",[],{"id":71074,"slug":71075,"title":71076,"dynasty":18,"author":64234,"museum":132,"description":71077,"tags":71078,"thumbUrl":71079,"material":123,"size":71080,"collection":181,"collections":71081,"showCount":343,"zanCount":48,"manualWeight":48,"mainColor":94},220085,"feng-nian-kao-mu-tu-ma-kui-220085","丰年考牧图","平野铺陈，林木错落间，百畜悠然信步，牧童嬉游往来，村舍田畴点缀远近，将乡野的恬然生机缓缓铺展。\n笔墨工致细腻，设色古雅柔和，群畜姿态神韵各异，或卧或驰、或饮或嬉，尽写真淳野趣，村人日常悠然自洽，宛若一卷鲜活的乡居牧歌长卷。\n它以全景构图承载古朴田家意趣，尽显雅致格调，带着千年前的烟火暖意，将丰年里的太平牧歌，永远定格在绢素之上。",[23,194,24,25,26,7,28,106,151,150,746,34,8583,109,245,35,18477,15610],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79e2dd3e38e9ba50937357bec0d35a38.jpg","24×160",[181],{"id":71083,"slug":71084,"title":71085,"dynasty":76,"author":315,"museum":78,"description":19143,"tags":71086,"thumbUrl":71087,"material":123,"size":19146,"collection":139,"collections":71088,"showCount":343,"zanCount":48,"manualWeight":48,"mainColor":94},219839,"shan-shui-tu-ce-8-xie-sun-219839","山水图册-8",[194,24,25,81,7,173,29,353,35,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffea8e5adeb26c6d2ff1eaa3be50f1696.jpg",[],{"id":71090,"slug":71091,"title":71092,"dynasty":76,"author":11085,"museum":78,"description":24247,"tags":71093,"thumbUrl":71094,"material":638,"size":24250,"collection":139,"collections":71095,"showCount":343,"zanCount":48,"manualWeight":48,"mainColor":94},219834,"ren-wu-ce-ye-1-ren-xiong-219834","人物册页-1",[24,25,81,28,7,106,63,2439,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F845e69a6b71e5bbcc4e79d60badb4152.jpg",[],{"id":71097,"slug":71098,"title":29480,"dynasty":99,"author":33181,"museum":78,"description":71099,"tags":71100,"thumbUrl":71101,"material":2365,"size":71102,"collection":139,"collections":71103,"showCount":343,"zanCount":48,"manualWeight":48,"mainColor":94},219788,"za-hua-ce-2-guo-xu-219788","郭诩（1456—1532），字仁弘，号清狂道人，江西泰和人。工书画，善山水，尝遍历名山，曰“岂必谱也，画在是矣。”同时江夏吴伟、北海杜堇、姑苏沈周俱以画名，莫不延颈原交，天下竟传清狂画，风之百金。有贵人欲多得诩画，诩瞠目数屋梁不对。固索，辄跮跖狂趋，叫奡跳号去。弘治（一四八八至一五零五）中徵天中善画者，应诏京师。宸濠召与语，辄辞谢之。往依王守仁献画题诗所见志。又善杂画，信手作人物，辄有奇趣。七十三岁尚作磨镜图。他的作品传世不多，八开《杂画册》现藏上海博物馆，《琵琶行》图轴藏北京故宫博物院。",[24,25,6083,7,173,498,83,7539,484,264],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F31a9678b7cd4af80b4e4f68a303b7cde.jpg","纵28.5 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－1381年6月20日 ），初名寿，字景濂，号潜溪，别号龙门子、玄真遁叟等，汉族。祖籍金华潜溪（今浙江义乌），后迁居金华浦江（今浙江浦江）。元末明初著名政治家、文学家、史学家、思想家，与高启、刘基并称为“明初诗文三大家”，又与章溢、刘基、叶琛并称为“浙东四先生”。被明太祖朱元璋誉为“开国文臣之首”，学者称其为太史公、宋龙门。\n宋濂自幼多病，且家境贫寒，但他聪敏好学，号称“神童”。曾受业于闻人梦吉、吴莱、柳贯、黄溍等人。元末辞朝廷征命，修道著书。明初时受朱元璋礼聘，被尊为“五经”师，为太子朱标讲经。洪武二年（1369年），奉命主修《元史》。累官至翰林学士承旨、知制诰，时朝廷礼仪多为其制定。洪武十年（1377年）以年老辞官还乡，后因长孙宋慎牵连胡惟庸案而被流放茂州，途中于夔州病逝，年七十二。明武宗时追谥“文宪”，故称“宋文宪”。\n宋濂与刘基均以散文创作闻名，并称为“一代之宗”。其散文质朴简洁，或雍容典雅，各有特色。他推崇台阁文学，文风淳厚飘逸 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），字伟人，号惺国，陕西韩城人。清朝状元、名臣，有清一代陕西第一名臣。初在南书房当值，后经多次升迁，官至内阁学士。乾隆三十九年（1774）任刑部侍郎后又转调吏部，擢升右都御史，乾隆五十一年（1786）出任军机大臣，上书房总师傅，第二年又出任东阁大学士，总理礼部。嘉庆帝即位，仍为首辅。\n王杰在朝四十余年，忠清劲直，老成端谨，不结党营私，不趋炎附势。嘉庆十年（1805年），王杰去世，享年八十一岁，追赠为太子太师，谥号文端，祀于北京贤良祠。",[320,24,25,1260,28,7,83,662,227,209,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4d42141a5b528539861dcd38dc4c9d3.jpg",[],{"id":72667,"slug":72668,"title":63081,"dynasty":76,"author":37996,"museum":78,"description":63082,"tags":72669,"thumbUrl":72670,"material":31462,"size":63085,"collection":139,"collections":72671,"showCount":414,"zanCount":48,"manualWeight":48,"mainColor":94},238072,"mei-hua-tu-ce-wang-shi-shen-238072",[194,24,25,81,173,7,820,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e2d33c96d89834efbc8bc6bee4aa29d.jpg",[],{"id":72673,"slug":72674,"title":72675,"dynasty":76,"author":28030,"museum":316,"description":72676,"tags":72677,"thumbUrl":72678,"material":599,"size":600,"collection":139,"collections":72679,"showCount":414,"zanCount":48,"manualWeight":48,"mainColor":94},238039,"tong-yin-ren-wu-shan-ye-fei-yi-geng-238039","桐荫人物扇页","费以耕（ ？—1870 ）清代画家。字馀伯，乌程（今浙江吴兴）人。费丹旭长子。画承家学，仕女幽静，兼工花鸟。同治九年（1870）为张鸣珂画锺进士像，侧耳作听琴状，傍坐一女郎，膝置一琴，拔铉抚弄，秀媚天成。与张熊交往甚密",[24,25,1260,28,7,106,11716],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff387618c61f8edf2ffbee13f840c466c.jpg",[],{"id":72681,"slug":72682,"title":72683,"dynasty":76,"author":72684,"museum":316,"description":72685,"tags":72686,"thumbUrl":72687,"material":599,"size":600,"collection":139,"collections":72688,"showCount":414,"zanCount":48,"manualWeight":48,"mainColor":94},237961,"qiu-jing-shan-shui-ye-zhang-ke-237961","秋景山水页","张柯","此作以秋山平湖为景，近岸崖石皴法朴厚，丹红、苍蓝林木错落，点染出深秋斑斓意趣，层岩间垂落的山泉更添灵动。空阔湖面间，几艘帆船静泊浅滩，汀洲村舍隐在烟霭之中，远景峰峦晕染如黛，淡远朦胧。左下角溪桥上的行旅缓步徐行，为清寂秋山增添了烟火暖意。\n\n画作以浅绛设色糅合水墨皴擦，色调清雅温润，笔墨简淡却意境悠长，将秋日山湖的清旷淡远铺陈开来，尽显文人山水的闲澹野逸之美，藏着秋日山林的幽寂萧散况味。",[24,7,29,81,177,176,34,3884,33,35,150,106,1169,12015,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2f7609a10352d1d52dc64546c286f4b.jpg",[],{"id":72690,"slug":72691,"title":72692,"dynasty":76,"author":658,"museum":316,"description":8264,"tags":72693,"thumbUrl":72694,"material":599,"size":600,"collection":139,"collections":72695,"showCount":414,"zanCount":48,"manualWeight":48,"mainColor":94},237851,"dong-gao-chun-shan-qing-cui-tu-shan-dong-gao-237851","董诰春山晴翠图扇",[194,24,25,1260,7,27,177,29,378,176,1169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd10d3255fc8e605f6f0016b789033f8c.jpg",[],{"id":72697,"slug":72698,"title":72699,"dynasty":99,"author":51492,"museum":316,"description":51493,"tags":72700,"thumbUrl":72701,"material":599,"size":600,"collection":139,"collections":72702,"showCount":414,"zanCount":48,"manualWeight":48,"mainColor":49},237825,"jian-xing-shan-ye-zhang-cheng-long-237825","饯行扇页",[1260,24,106,29,7,105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4c0901f4f6229f5acb23404c2c93572.jpg",[],{"id":72704,"slug":72705,"title":72706,"dynasty":99,"author":257,"museum":316,"description":72707,"tags":72708,"thumbUrl":72709,"material":599,"size":600,"collection":139,"collections":72710,"showCount":414,"zanCount":48,"manualWeight":48,"mainColor":49},237810,"gao-yang-hua-hui-zhu-shi-shan-ye-yi-ming-237810","高阳花卉竹石扇页","金笺之上，水墨设色铺就幽然小景。顽石错落，勾勒简劲苍厚，皴擦间尽显嶙峋古拙。修竹劲挺清逸，枝叶舒展灵动，墨色浓淡层叠，区分阴阳向背，尽显君子之姿。柔蔓花枝穿插掩映，淡晕粉白点染花萼，轻敷浅绿晕染叶片，和挺竹顽石刚柔相济。\n\n落款题字笔意潇洒写意，与绘事相映成趣。整幅疏密有致、虚实相生，将林下幽趣收揽在尺幅扇面之间，笔底带着悠然闲适的雅致意趣，尽显传统小品画的隽秀生机。",[1260,7,173,227,379,84,860,498,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c3b6ea6dacc07c9cd180087a3d2e780.jpg",[],{"id":72712,"slug":72713,"title":50293,"dynasty":76,"author":50294,"museum":316,"description":50295,"tags":72714,"thumbUrl":72715,"material":599,"size":600,"collection":139,"collections":72716,"showCount":414,"zanCount":48,"manualWeight":48,"mainColor":94},237715,"qiu-sui-hua-niao-ce-qiu-sui-237715",[24,25,81,7,28,83,820,86,178,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54b8c63f0ffe368df20bd421834352df.jpg",[],{"id":72718,"slug":72719,"title":72720,"dynasty":76,"author":257,"museum":316,"description":72721,"tags":72722,"thumbUrl":72724,"material":599,"size":600,"collection":139,"collections":72725,"showCount":414,"zanCount":48,"manualWeight":48,"mainColor":49},237498,"qing-ren-xi-ju-ren-wu-cheng-shan-yi-ming-237498","清人戏剧人物成扇","工笔重彩铺就戏曲朝会盛景，祥云萦回烘托出庄严肃穆的朝堂氛围。銮驾之上帝王威仪俨然，阶下文臣武将依序排布，旌旗列立、甲胄鲜明，朝服纹饰精工细绘，衣纹线条挺括流畅，敷色浓妍沉稳，层次分明。\n\n人物脸谱勾勒精妙，忠奸情态呼之欲出，武将的悍勇、文臣的端方各有风神，将传统戏曲的程式化仪制凝于盈尺扇面。衬景山水简淡雅致，虚实相映间让画面疏密得当，把戏曲写意之美与工笔写实技法相融，尽显民间画工的娴熟造诣，是戏曲题材成扇的上乘之作。",[76,1260,7,28,106,29,72723],"戏剧人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c38faa717daae8e5a2bacb560f1f51d.jpg",[],{"id":72727,"slug":72728,"title":72729,"dynasty":76,"author":7596,"museum":191,"description":72730,"tags":72731,"thumbUrl":72732,"material":638,"size":139,"collection":139,"collections":72733,"showCount":414,"zanCount":48,"manualWeight":48,"mainColor":801},237385,"jiu-jia-shan-shui-ce-shen-cang-ping-lin-tu-ye-wang-hui-237385","九家山水册-沈苍平林图页","王翚（1632年4月10日─1717年11月15日），字石谷，号耕烟散人、剑门樵客、乌目山人、清晖老人等。江南省苏州府常熟人(今江苏常熟)。清代著名画家。其绘画以山水为主，山水融会南北诸家之长，创立了所谓“南宗笔墨、北宗丘壑”的新面貌，被称为“清初画圣”。与王时敏、王鉴、王原祁合称山水画家“四王”，又与吴历、恽寿平并称“清六家”。同时他还是虞山派鼻祖。\n王翚自幼嗜画，继承家学，又随学黄公望画法的同乡张珂学画，很早便表现出非凡的绘画才能。王翚师从王时敏、王鉴。但他所画山水不拘于一家，广采博揽，集唐宋以来诸家之大成，熔南北画派为一炉。王翚在王时敏、王鉴发展南宗画派的基础上，借鉴北宗的某些技法，比较全面地对山水画传统进行整理，形成具有综合概括性质的法则。王翚将黄公望、王蒙的书法性用笔与巨然、范宽的构图完美地结合起来，创造出一种华滋浑厚、气势勃发的山水画风格。因而他所画的江南小景往往生趣盎然，清幽灵动。王翚作画喜好干笔、湿笔并用，而且多以细笔皴擦，画面效果比较繁密。曾说“以元人笔墨，运宋人丘壑，而泽以唐人气韵，乃为大成”。他早期画风清丽工秀，晚期则倾向苍茫浑厚。章法富于变化，水墨与浅绛渲染得法。也有评者指出王翚用笔过于圆熟，某些画则显得刻露，墨法少有变化，构图略感壅塞。",[24,25,81,7,173,177,29,34,3574,176,31,1171,989],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0f98556e4a5d46c511b0791eec412b2.jpg",[],{"id":72735,"slug":72736,"title":72737,"dynasty":99,"author":72738,"museum":316,"description":72739,"tags":72740,"thumbUrl":72741,"material":599,"size":600,"collection":139,"collections":72742,"showCount":414,"zanCount":48,"manualWeight":48,"mainColor":94},237378,"mo-chou-hu-shan-zhang-han-237378","莫愁湖扇","张瀚","张瀚（1510—1593），字子文，号元洲 ，谥恭懿。明朝仁和（今浙江杭州）人。嘉靖十四年（1535）进士，授南京工部主事，历任庐州、大名知府、陕西左布政使、右副都御史、大理寺卿、刑部右侍郎、兵部侍郎、南京右都御史、工部尚书、吏部尚书。\n因与张居正朝议多不合，辞归故里，把平生所见所闻著录成《松窗梦语》，记载了明代经济、社会、文化、民情风俗等方面资料，对研究明代社会经济、商业贸易有重要参考价值。",[24,25,1260,7,173,177,108,109,35,34,1241,4774,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc84246136b7c834be2cf97455cb8398f.jpg",[],{"id":72744,"slug":72745,"title":1751,"dynasty":76,"author":37845,"museum":316,"description":41163,"tags":72746,"thumbUrl":72747,"material":638,"size":139,"collection":44,"collections":72748,"showCount":414,"zanCount":48,"manualWeight":48,"mainColor":94},237277,"za-hua-ce-chen-zi-237277",[24,25,81,7,106,245,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc7b6149fcaef8e559a90570cdce2358.jpg",[44],{"id":72750,"slug":72751,"title":37038,"dynasty":76,"author":37039,"museum":316,"description":37040,"tags":72752,"thumbUrl":72753,"material":139,"size":139,"collection":139,"collections":72754,"showCount":414,"zanCount":48,"manualWeight":48,"mainColor":94},237171,"tang-ren-shi-yi-shan-shui-ce-xiang-mu-zhi-237171",[24,25,81,7,177,29,106,245,378,136,109,230,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F739b27baa7d852c5ae0f2b5a8fe4270d.jpg",[],{"id":72756,"slug":72757,"title":37038,"dynasty":76,"author":37039,"museum":316,"description":37040,"tags":72758,"thumbUrl":72759,"material":139,"size":139,"collection":139,"collections":72760,"showCount":414,"zanCount":48,"manualWeight":48,"mainColor":94},237169,"tang-ren-shi-yi-shan-shui-ce-xiang-mu-zhi-237169",[24,7,81,177,29,106,34,176,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60af99b5dd7bf17c5aea8d0dd5c0a47b.jpg",[],{"id":72762,"slug":72763,"title":37038,"dynasty":76,"author":37039,"museum":316,"description":37040,"tags":72764,"thumbUrl":72765,"material":139,"size":139,"collection":139,"collections":72766,"showCount":414,"zanCount":48,"manualWeight":48,"mainColor":94},237167,"tang-ren-shi-yi-shan-shui-ce-xiang-mu-zhi-237167",[24,7,81,29,106,107,378,245,212,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6156fef0397be844eee69f0c60eefc3a.jpg",[],{"id":72768,"slug":72769,"title":26073,"dynasty":76,"author":26074,"museum":316,"description":26075,"tags":72770,"thumbUrl":72771,"material":139,"size":139,"collection":139,"collections":72772,"showCount":414,"zanCount":48,"manualWeight":48,"mainColor":94},237088,"jiang-feng-shi-nv-ce-jiang-feng-237088",[24,25,81,7,28,106,59,378,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1031ea9ed5ff2c9dcba9ecf9ba839d7b.jpg",[],{"id":72774,"slug":72775,"title":26073,"dynasty":76,"author":26074,"museum":316,"description":26075,"tags":72776,"thumbUrl":72777,"material":139,"size":139,"collection":139,"collections":72778,"showCount":414,"zanCount":48,"manualWeight":48,"mainColor":94},237086,"jiang-feng-shi-nv-ce-jiang-feng-237086",[24,25,81,7,106,59,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee2abbba31797ba803d1d2fa94979742.jpg",[],{"id":72780,"slug":72781,"title":26073,"dynasty":76,"author":26074,"museum":316,"description":26075,"tags":72782,"thumbUrl":72783,"material":139,"size":139,"collection":139,"collections":72784,"showCount":414,"zanCount":48,"manualWeight":48,"mainColor":94},237085,"jiang-feng-shi-nv-ce-jiang-feng-237085",[24,25,81,7,106,59,230,265,28,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22de377271e24ad5411d88be3c4f6c16.jpg",[],{"id":72786,"slug":72787,"title":34223,"dynasty":76,"author":34224,"museum":316,"description":72788,"tags":72789,"thumbUrl":72790,"material":638,"size":139,"collection":139,"collections":72791,"showCount":414,"zanCount":48,"manualWeight":48,"mainColor":94},237067,"bu-jing-gu-chen-song-mei-guan-he-tu-xiang-bing-fu-shan-shui-ce-xu-zuo-237067","此作是诗画合璧的文人小品。右侧绘就山居秋景，浅赭轻青晕出山峦，云气空濛漫于峰头，苍松挺拔、杂木错落，清溪隐石，茅庐藏于林泉深处，笔墨简淡秀雅，晕染出幽寂清远的林下意趣。\n左侧行书题诗，笔致清脱俊逸，诗境呼应画中林泉高致，将文人心底幽怀与眼前山景相融。整体淡远萧疏，恬和安宁，尽显旧时文人士大夫寄情山水、醉心丘壑的清雅襟怀。",[24,25,81,173,7,178,177,29,1133,176,34,1169,2235,1171,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ac8eb1b21b8fbbe8a918bde273bfbc2.jpg",[],{"id":72793,"slug":72794,"title":6834,"dynasty":99,"author":20061,"museum":20,"description":37837,"tags":72795,"thumbUrl":72796,"material":1123,"size":37840,"collection":139,"collections":72797,"showCount":414,"zanCount":48,"manualWeight":48,"mainColor":94},236908,"shan-shui-ce-song-xu-236908",[24,25,81,173,7,177,29,1426,108,109,34,176,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2f50c72816fffe8cbf23304031d9beb.jpg",[],{"id":72799,"slug":72800,"title":47775,"dynasty":76,"author":72801,"museum":316,"description":72802,"tags":72803,"thumbUrl":72804,"material":599,"size":600,"collection":139,"collections":72805,"showCount":414,"zanCount":2368,"manualWeight":48,"mainColor":94},236874,"shan-shui-shan-ye-wan-shang-lin-236874","万上遴","字殿卿，号辋冈，江西分宜（分宜城郊辋冈人）拔贡生。清朝画家，曾任清宫画院待诏，专事书画。上遴年少失父，家境清寒。从小聪颖好学，酷爱王维诗画，终日练习作画，画一幅画，就写一首诗。“诗、画、行、草”，均“细筋入骨”。",[24,1260,173,7,177,29,378,1273,176,212],"https:\u002F\u002Foss.chuang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[1] 供奉内廷十余年。与董其昌、詹景凤诸人交游，故流传作品多有董其昌、陈继儒等人的题赞。董其昌赠以印章，曰毫生馆。其得意之作，尝一用之。万历八年（1580）作江南春扇，天启元年（1621）作伙溪渔隐图。\n其画以人物、佛道最负盛名,论者谓,在明末人物画家中，丁云鹏与陈洪绶、崔子忠成鼎足之势。早年人物画工整秀雅，晚期趋于沉着古朴，前后变化可从存世的《媛挡熊图》及《三教图》（均藏故宫博物院）中窥知一斑。山水画也有一定造诣，在师法宋元基础上,自具风格。早期隽秀,晚期古拙，以平整为法。亦能作兰草，有《楚泽流芳图》（故宫博物院）存世。后世流传他的作品，有不少是伪作。而台北故宫博物院所藏钱选《卢同烹茶图》实为丁云鹏手笔。丁云鹏生活于雕板、制墨业发达的徽州，还为书刊画了不少插画，对于新安木刻画的发展起到了一定作用。",[24,25,226,173,7,29,34,176,108,109,106,212,177,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25ec58e07d94572dafafeadfb20222cb.jpg",[181,163],{"id":72852,"slug":72853,"title":72854,"dynasty":99,"author":857,"museum":316,"description":5856,"tags":72855,"thumbUrl":72856,"material":599,"size":600,"collection":139,"collections":72857,"showCount":414,"zanCount":48,"manualWeight":48,"mainColor":94},236190,"hua-zhu-mei-hong-li-shu-shi-cheng-shan-chen-hong-shou-236190","画竹梅弘历书诗成扇",[24,25,1260,227,820,86,173,7,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21843d8b6020ed0e211a8a2725c828be.jpg",[],{"id":72859,"slug":72860,"title":72861,"dynasty":99,"author":45373,"museum":20,"description":72862,"tags":72863,"thumbUrl":72864,"material":139,"size":139,"collection":181,"collections":72865,"showCount":414,"zanCount":48,"manualWeight":48,"mainColor":49},236183,"shan-shui-ren-wu-shan-ye-zhou-han-236183","山水人物扇页","周翰，是清代画家，即周沈禄，字子章，号南山，工山水、人物。生卒年月不详，约活动于明弘治至嘉靖年间。\n著作：南屏烟雨图，珍藏于北京故宫绘画馆，嘉靖三十四年（一五五五）所画，绢本，此图绘群山如蘑菇般突起，山中乔松老树葱茏茂密，山下白雪滃起，似有[山雨欲来风满楼]之势。数座楼观殿阁和梵宇，或隐于绿阴云雾之中，或屹立于山巅之上。数条小路或盘山绕涧通入峰顶，或隐没于深山幽谷之中。图中山峦以浓淡色皴染出远近层次和凹凸，富有立体的质感。苍松、杂树用笔扎实，而飘浮不定的烟云用留白烘染法。故此图是考查周翰生平、艺绩的重要史料，难能可贵。",[1260,24,29,106,34,212,352,7,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae35662cfd206b419ab2d7864093d15a.jpg",[181],{"id":72867,"slug":72868,"title":14269,"dynasty":76,"author":14270,"museum":20,"description":14271,"tags":72869,"thumbUrl":72870,"material":529,"size":14275,"collection":139,"collections":72871,"showCount":414,"zanCount":48,"manualWeight":48,"mainColor":94},236152,"leng-mei-yang-zheng-tu-shu-he-ce-zhang-ruo-ai-236152",[24,7,28,106,115,34,278,22116,114,1557,37391,26666],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f1662325f2499cb91f3f1ed492f26c7.jpg",[],{"id":72873,"slug":72874,"title":30812,"dynasty":76,"author":3071,"museum":20,"description":30813,"tags":72875,"thumbUrl":72876,"material":40,"size":30816,"collection":139,"collections":72877,"showCount":414,"zanCount":48,"manualWeight":48,"mainColor":94},236123,"shan-shui-lou-ge-ce-chen-mei-236123",[24,25,81,7,29,107,176,34,109,104,178,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02cd7b8431d0b02358a7a258104d3b57.jpg",[],{"id":72879,"slug":72880,"title":6834,"dynasty":76,"author":72881,"museum":316,"description":72882,"tags":72883,"thumbUrl":72884,"material":139,"size":139,"collection":139,"collections":72885,"showCount":414,"zanCount":48,"manualWeight":48,"mainColor":94},236081,"shan-shui-ce-shen-zong-jing-236081","沈宗敬","此作以虚实相生之法铺陈景致，右侧危崖壁立，苍劲皴笔尽显山石肌理，崖下林木错落，浅红点染枝头晕开萧疏秋意，临水茅舍静立，暗合山居幽趣。左侧留白尽写湖光浩渺，远山澹澹浮沉于烟波间，汀渚佳木错落点缀。\n\n笔致松秀简淡，墨色清润层次分明，以淡赭轻敷秋意，将江畔山居的安寂静穆铺展眼前，尽显文人山水空远幽寂的意趣，藏着寄情林泉、超然物外的隐逸襟怀。",[24,25,194,81,7,173,177,29,176,34,35,1169,11043],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09a1ec9339eb075e97e0895732289911.jpg",[],{"id":72887,"slug":72888,"title":6834,"dynasty":76,"author":72881,"museum":316,"description":72889,"tags":72890,"thumbUrl":72891,"material":139,"size":139,"collection":139,"collections":72892,"showCount":414,"zanCount":48,"manualWeight":48,"mainColor":94},236079,"shan-shui-ce-shen-zong-jing-236079","此作用笔苍秀温润，近景虬松挺峙，松针层叠如翠盖，坡岸缀苔点石，野意横生。山溪潺湲，板桥轻架，勾连起幽谧的山居意趣。中密林掩映茅庐数间，隐于深翠，暗合幽栖避世之雅。远景危峰峭拔，以干笔皴擦、淡墨晕染山石，将山峦浑朴苍厚的质感晕染开来。\n\n整体设色清和，淡赭铺底衬出山林温润气色。构图疏密相宜，近景幽致与远景浑融相映，铺展出林泉间静穆清寂的氛围，尽显寄情丘壑的文人雅趣，将林下幽居的闲淡意致娓娓道来。",[24,25,194,81,173,7,177,29,685,378,108,109,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6ae9af8aa5ff3b0f6caa53597504d00.jpg",[],{"id":72894,"slug":72895,"title":72896,"dynasty":99,"author":257,"museum":316,"description":72897,"tags":72898,"thumbUrl":72899,"material":139,"size":139,"collection":139,"collections":72900,"showCount":414,"zanCount":48,"manualWeight":48,"mainColor":801},236073,"zhu-jian-shen-yi-tuan-he-qi-tu-zhou-yi-ming-236073","朱见深一团和气图轴","乍看是笑颜可掬的布袋僧人安坐，细观才觉藏着精妙机趣——儒释道三人环抱成圆融一团。左侧文人儒巾飘逸，右侧僧侣袈裟清雅，后方道者冠带隐现，三人面容相互勾连，难分你我。\n\n衣纹圆转柔和，似随呼吸舒展流动，以极简笔墨勾勒出三家神韵，暗合三教合一的文化思潮。把同气相求、共生共荣的东方哲思，藏进这诙谐的视觉巧思里，将世间融洽无间的美好祈愿，凝在这一方圆相之中，浅淡笔墨下满是悠长意蕴。",[24,25,226,7,106,352,212,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe84e87759243c2e7a6cef849167a26e0.jpg",[],{"id":72902,"slug":72903,"title":72904,"dynasty":76,"author":6776,"museum":316,"description":34971,"tags":72905,"thumbUrl":72906,"material":599,"size":600,"collection":139,"collections":72907,"showCount":414,"zanCount":48,"manualWeight":48,"mainColor":94},236039,"di-ba-ga-na-wei-ha-wei-la-zhui-za-zun-zhe-ding-guan-peng-236039","第八嘎纳囗哈囗喇缀杂尊者",[24,25,260,7,28,106,212,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5a76c950e19d613c9c9b1e76e6b51a5.jpg",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京有关。史称的金陵八家，亦有大半为外地来南京寓居者，因此使画家们相互间的学习、切磋和激励也有了许多机会。例如，龚贤自少年时便师董其昌，与石谿、石涛和程正揆等画家都有交往，也与金陵画家共同作画。据记载，1679年，龚贤便与邹喆、吴宏、樊圻、高岑、高遇、王概、柳堉、谢荪一起为伴翁作《山水花卉册》（故宫博物院藏）。画家程邃也在一个手卷的题跋中记述其与吴宏、戴本孝、龚贤、柳堉等常常饮酒论画的友情。\n南京得以凝聚画家的原因，首先与南京作为东南大都会所具有的吸引力和悠久的文化传统有关，并且在明亡后，南京又作为明代故都和故国之象征，从心理上和精神上凝聚了一代遗民艺术家；其次，从艺术的发展来看，因其为大都会，得以广纳百川、融会诸家，较少门户之见，虽然也许不易产生如小城镇所易形成的因血缘和师徒关系为主的派别，但却利于艺术家自由追求和发展其个性和风格；此外，南京为贵戚、富商、高官汇聚之地，有相当的收藏书画的潜力，例如当时著名的官僚、文人和收藏家周亮工，身为朝廷命官，但心喜书画，他不遗余力地收藏品评作品，奖掖提拔画家，也像一块重要的磁铁，将画家们纷纷吸引前来。龚贤在1669年为周亮工题其所集《名人画册》中曾有记述：“诗人周栎园先生有画癖，来官兹土（指南京）结读画楼。楼头万轴千箱，集古勿论，凡寓内以画鸣者，闻先生之风，星流电激，唯恐后至。而况先生以书召，以币迎乎？”周与许多书画家来往密切，他在南京秦淮河畔的居处便成为众好友的活动中心。为史所称的“金陵八家”都与周亮工有密切的联系，龚贤便为其府上的常客，周氏汗牛充栋的藏书藏画使他大饱眼福。龚贤与周亮工有将近20年的友谊，诗画唱酬，造访论道，不绝于时。1672年，周亮工卒，龚贤悲痛地作有《哭栎下先生》七律四首，有句云“哭公独我头全白，在世人谁眼更青”。其他如樊圻在丁酉年（1657）为周亮工而作《江浦风帆图卷》（辽宁省博物馆藏），叶欣在丁亥年（1647）为周亮工而作《山水册》（故宫博物院藏），高岑作《金陵四十景图》，由周亮工题跋，邹喆亦与周亮工诗画 往来。\n凭着对南京画家的了解，周亮工对南京画风的演变和发展曾提出一些观点：“秣陵画，先知惟魏考叔兄弟，翰之出，而秣陵之画一变，士夫衲子无不宗之。”继被视为金陵画派先驱人物的魏之璜（字考叔）、魏之克兄弟和朱翰之后，又由周亮工率先提出“金陵八家”一说，他所列名的八位画家为：陈卓、吴宏、樊圻、邹喆、高岑、武丹、蔡泽、李又李。然而认同者仅有乾隆年间成书的《上元县志》，稍后活动于雍乾时期的张庚，在《国朝画徵录》中合称龚贤、樊圻、高岑、邹喆、吴宏、叶欣、胡慥、谢荪为“金陵八家”，得到较多人的认可。清末秦祖永的《桐荫论画》、李浚之的《清画家诗史》等均主其说，虽然这八家并不一定代表当时知名度最高的画家，且因其师承不同，风格迥异，也难以简单地以“画派”一词来归纳，但这一个松散的画家群体，都有着相近的生活经历和思想感情，在动荡的明清之际，有亡国之痛，有忠君之义，不事新朝，遁迹山林，以诗画寄兴，虽然个性各异，但都安贫乐道，洁身自好，在当地享有“高士”之名，彼此间亦有诗文书画往来，并有共同的朋友圈子相交往。他们之间也有较多共同的创作思想，如借绘画抒写真情，不拘于派系之争，不论浙派吴派，善法必学，故能自辟蹊径，标树己风。在笔墨技法上也有相似之处，如常用硬直之笔，作整饬的线条，画面结构清晰，注重笔墨的整体感，讲究墨色的对比和映衬等，在作画题材上多以南京近郊山水为粉本，均表现出一种简朴平实的绘画风格，由此形成17世纪金陵山水画的独特 面貌。\n\n二、17世纪金陵山水画的文化特征\n金陵画家所创的山水画，具有比较鲜明的地方特色。首先是表现了南京及附近的山水特点。南京虽然为青山环绕，但基本上是以小山头为主的丘陵地带，钟山最高峰也不过海拔442米，然而山色秀美苍润。时人顾起元曾赞叹道：“金陵之山，形家言为南龙尽处，精华之气发露无馀，故其山多妍媚，而郁纡烟容岚气，遝翠霏青，望之如古佛顶上之螺，美人眉间之黛，而特未有奇峰削壁拔地刺天，如瑶篸玉剑突起于云霄之上者。江水一泻千里，沙腾浪涌，天日为昏，最为怪伟。至静夜无风，江声隐起，余尝夜卧洪济燕矶听之，汹汹如欲崩四壁也。后湖泓渟坦沲，堤杨洲菼，绰约媚人，山色四围，如靓妆窥镜。湖山之美，何减虎林。所少者独瀑布与寒泉耳。”金陵画家创作的山水便多以此山景水色为蓝本，起伏的丘陵，苍秀的林木，而北方的那种雄浑伟岸的大山大势则比较少见。第二是南京连接江南水乡，河湖港汊较多，行船泊舟，最是司空见惯，故画家笔下江汀舟楫之景多见，岸矶草亭也成了常见的景色。第三，江南的空气湿润，云雾时起于山林，烟霭常生于河湖，尤其南京冬天昼夜温差有异，水面易生烟气，夏天炎热闷湿，暑气常多漫漫，又似薄雾轻烟，与天相接。在诗人画家的笔下，这氤氲的云烟是别饶情趣的。唐代诗人杜牧在《夜泊秦淮》中歌咏道“烟笼寒水月笼沙”，罗隐在《金陵夜泊》中歌咏“冷烟轻淡傍衰丛”，明代诗人顾梦游则有诗句道“落日淡生烟”，龚贤有诗道“老柳迷夕阳，烟波涨南浦”。画家笔下的金陵山水因此亦多云烟缭绕之状，几乎每个画家都有描绘，其表现或柔和或飘逸或湿润或轻扬，因景因情，因画家的感受不同而富于变化。第四，金陵山水中表现当地特色的景物较多见，例如：钟山的松树。据记载，钟山自东晋时便人工植松，宋代也曾种植，明代在钟山建造明代开国皇帝太祖朱元璋的孝陵，更是植松十万株。钟山青松便成为此一时期常见的山水画题材。第五，金陵山水画中有许多表现了当时文人生活时尚和爱好的内容，如山居、书屋、旅行、品茗、赏妓等，因南京为一著名的山林城市，这些反映时尚的画面也大多安置在秀丽的自然景观中。\n金陵山水画中也映现出浓重的怀旧情结。南京以名胜古迹、文化遗风和风流时尚著称，其处处可成为触景生情的诗、落笔成文的画。在诗人墨客的笔下，金陵怀古是一个永恒的题材，尤其是六朝的名胜典故，更是一个千古难解的情结，令一代又一代的文人陶醉。自唐代以来，诗人李白、杜甫、李商隐、刘禹锡都有著名的诗句传世，此后历代的诗人都不乏佳句。明末清初的文人诗作中或金陵山水画中若题有诗歌的，常常都会流露出这种对以往历史的追怀，六朝的名胜典故总像幽灵一样地在文人的诗画中徘徊。龚贤曾作《金陵怀古》二诗道：“短笛唤愁生，江船夜复清。月明争战地，潮打受降城。残柳欲无影，哀鸿只一声。石矶飞不去，凄绝古今情。”以西晋克吴、孙皓受降的六朝典故，抒发自己亡国的哀痛情怀。又有诗道：“江南六代风流地，白下多年翰墨场。古物已无王逸少，名人独剩顾长康。量宽嗜酒难逢醉，才大论诗莫禁枉。急办青钱买山隐，坐听深树候莺簧。”诗中综述六朝的文化和影响，表现出对王羲之、顾恺之等名人和六朝饮酒论诗等风流时尚的倾慕追往。\n即使那些暂居或游访过南京的画家，对南京也是难以忘怀。17世纪的著名画家石涛曾有册页名《秦淮忆旧》，为应友人之邀而作，回忆昔日与友人同在南京秦淮赏梅聚会的往事，亦引用六朝典故，其中一幅题画诗道：“沿溪四十九回折，搜尽秦淮六代奇。雪霁东山谁著屐，风高西壑自成诗。应怜孤瑟长年伴，具剩槎矛只几枝。满地落花春未了，酸心如豆耐人思。”六朝的文化，就像是一种范式，在明末清初的文人心中反复地出现和被吟咏，足见这种历史怀旧情结的坚韧。\n其三，金陵山水画反映出强烈的热爱故乡的情怀。17世纪，以地方景色为题的山水画比较流行，例如南京博物院收藏有明代宋懋晋的《江南十八景图册》、吴县一带的画家以虎丘山为题的绘画等，是文人画走向社会的表现，也是市民文化发达的结果，而以金陵风景名胜为题的山水画尤其突出。南京人爱恋故乡的强烈和真挚的程度是其他古都历史上所少见的。早在六朝之初的孙吴时期（甘露元年，265年），当吴末帝孙皓由建邺（今南京）迁都湖北武昌，百姓便有童谣道：“宁饮建邺水，不食武昌鱼。宁还建邺死，不止武昌居。”这种不计生死的眷恋，只得让吴帝于次年还都建邺，这在中国历史上恐怕也是绝无仅有的。另一个著名的例子是南唐后主李煜在被宋人俘获北上后，所作诗词中透露对故国山河的深深怀念，令人愁绝痛绝，“恰似一江春水向东流”，是超越时空界限的永远的伤怀。明清之际，金陵八家中，除樊圻和胡慥为本地人外，其余都为外地或郊县寓居南京的画家，但都表现出对南京的情有独钟，书画署名喜用“石城”“金陵”等南京的古称，将自己称作南京人。金陵八家之首的龚贤虽然自昆山移居南京，但对南京的感情很深，视南京为家，在外的奔波使他愁苦伤怀，“身老愁为客，迢迢返旧京”，亟盼着早些回到南京，并把南京选作自己最终的生活地点。明亡后，当他与友人费密同游金陵胜景，登上石头城，遥望长江，触景生情，激起了满腔难平的民族意识，遂发出“橐驼尔何物，驱入汉家营”的悲愤呼号。这种热爱故乡，热爱南京的情感，在艺术家们的笔下便诞生了金陵山水的另一种表现形式—“金陵四十八景”，将金陵的历史典故，风景名胜以山水画的形式和诗歌的吟诵来表现，并借着雕版印刷的简便，而得到雅俗的共赏。\n《金陵四十八景》的形成约在清代初年，其他则先后有零星的以金陵景色为题的书画，较为人知者如《金陵八景》《金陵十景》《金陵十八景》《金陵二十四景》《金陵四十景》等。《金陵八景》据画末题跋可知，作于万历庚子年（1600）春月，为江宁人郭存仁所绘，“八景”为“钟阜祥云、石城瑞雪、凤台秋月、龙江夜雨、白鹭晴波、乌衣晚照、秦淮渔唱、天印樵歌”，一图一咏，多基于六朝以来的历史典故和著名诗作。《金陵十景》，据《石渠宝笈续编》记载，是吴派画家之首的文徵明，在游览了金陵山水名胜后所作。《金陵十八景》为文徵明的侄子文伯仁（1502-1575）所绘，他号称摄山老农（摄山即今栖霞山），曾居住在南京，为金陵美丽的风光所感动而绘此图册。《金陵二十四景》，据1956年在湖南省长沙市发现的文物，是由文学家吴敬梓（1701-1754）所写《金陵景物图咏》，每篇诗末都注明所仿的碑帖，诗句工整，对南京的历史了如指掌。《金陵四十景》为太史朱之蕃所作。朱之蕃，江宁人，字元竹，号兰嵎，万历二十三年（1595）进士第一，工山水画，注意收集家乡江宁的山水名胜资料，“共得四十景，属陆生寿柏策蹇浮舫，躬历其境，图写逼真，撮举其概，各为小引，系以俚句”。图咏成后，朱之蕃命名为《金陵四十景图考诗咏》，并与当时的另一位太史杜士全常在金陵雅游，相互凭图咏唱。清初，金陵八家之一的高岑，字蔚生，虽老家在杭州，客居南京，但也倾心相爱这个城市，常署名“石城高岑”，平时也注意收集南京的历史资料，遍游南京的风景名胜，并在前人研究金陵胜景的基础上，精心绘制了《金陵四十景图》。清户部右侍郎、著名文人周亮工（1612-1672）为该图册写了题跋，这些图以后被刊入康熙年间的《江宁府志》。清代初年，又发展成为“金陵四十八景”。\n金陵画家包括八家的山水画中，亦有许多以金陵胜景为题的作品，甚至几代画家都钟情于此，父子者如邹典、邹喆，便都介入这一题材的创作。美国学者高居翰的景元斋收藏的《晚明人山水册》，共有10页，为不同的画家所绘，但都以南京的景色为题，如魏节“燕子矶”、黄益“献花岩”、龚达“龙江关”、谢成“幕府台”、龚贤“清凉台”、黄益“鸡笼山”、盛于斯“天阙山”、陆瑞征“玄武湖”、邹典“灵谷”、张翀“报恩塔”。又如，龚贤有《摄山栖霞图》《清凉环翠图》（故宫博物院藏），其他的金陵画家：樊圻有《江浦风帆图》、高岑有《天印樵歌图》（天津艺术博物馆藏），描绘南京附近天印山的景观，邹喆有《石城霁雪图》（上海博物馆藏），描绘南京的雪景，叶欣作《锺山图》（故宫博物院藏），描绘南京这一名山的景色。樊圻的《金陵寻胜图》，按照画后的题跋来看，应当还有吴宏的“燕矶”“莫愁”，龚贤的“清凉”“摄山”，陈卓的“天坛”“冶城”，柳堉的“天印”等画，皆是依金陵名胜的各景点而作的命题画。\n更难能可贵的是，柳堉在樊圻所绘的《金陵寻胜图卷》的题跋中还记载了当时南京人收藏金陵山水画，并以邀得名家作此命题画为荣的风尚，被视为金陵胜事，并引用一句“唯有家山不厌看”的古诗来解释这种特殊的现象。虽然这些地方山水画的繁荣或许与商业有一定的关系，但这种来自社会的热情要求和支持，足见南京人对自己故乡的热爱，这确实也是促使17世纪金陵山水画发达的原因之一。\n总之，以金陵八家为首的金陵画家，虽然各有师承，面目不一，但都能深入生活，以金陵近郊的山山水水为其粉本，融六法之精髓，入天然之丘壑，将热爱故国故乡的一腔真情和满腹怀恋都倾注于山岚变幻、草木蔚然的山水画中，故使金陵山水画独树一帜，在17世纪的画史上留下了辉煌的一页。古人道：诗为心声，画为心印，书为心画。明末清初的17世纪，金陵画家们所具有的独特艺术面貌，正是由特定的历史文化环境所造成的，从画家们无限的伤心和满怀勃郁的精神气质升华而来。那种强烈的民族意识和爱国情结，正是金陵画派山水作品内涵的共鸣、精神的统一和灵魂的所在。一位西方学者曾指出，南京是中国古都中最引人注目的城市，因为她曾经是并将永远是中国最令人怀旧和动情的城市。确实，那千古的金陵历史，千古的诗泉画源，千古的文人之魂，正是17世纪南京文化艺术繁荣的历史基因，也正是她的永恒魅力所在。",[194,24,173,7,81,29,109,795,176,35,245,212,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24c5190e81e68a4b580c0740a4267030.jpg",[],{"id":73234,"slug":73235,"title":73236,"dynasty":18,"author":257,"museum":20,"description":73237,"tags":73238,"thumbUrl":73239,"material":638,"size":73240,"collection":139,"collections":73241,"showCount":414,"zanCount":48,"manualWeight":48,"mainColor":49},233210,"song-jian-shan-qin-tu-ye-yi-ming-233210","松涧山禽图页","此图绘参天的古松下，山溪蜿蜒奔流，水花飞溅，四对山鹊姿态各异，或飞呜，或回旋，或啄食与山涧和树石之上，形象生动。图中用浓墨画松斡和松鳞，松针用墨线勾描后用石青渲染。竹叶用严谨的双钩填色法。山石则用墨线勾勒轮廓，进而用淡青色破染，使画面富有立体感。此图用笔苍劲，静中有劲，为南宋小幅花乌画中精秀之作。这幅作品曾经明黔宁王沐琳和项元汴收藏。",[24,194,25,81,28,7,83,29,1273,109,245,10744,230,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff97df25750b2d414d498c6d636769ceb.jpg","25.3*25.3厘米",[],{"id":73243,"slug":73244,"title":63751,"dynasty":18,"author":257,"museum":20,"description":50841,"tags":73245,"thumbUrl":73246,"material":67,"size":73247,"collection":139,"collections":73248,"showCount":414,"zanCount":48,"manualWeight":48,"mainColor":49},233209,"shui-cun-lou-ge-tu-ye-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上海书画出版社; 第1版 (24年5月1日) 丛书名: 国宝在线 平装: 44页 开本: 8开 ISBN: 7867285 条形码: 97878672855 尺寸: 29.6 22.4 .6 cm 重量: 299 g 欣赏和学习中国画，离不开对画史上经典名作的了解。\n中国画的历史源远流长，由于种种原因，古代流传至今的绘画名作非但数量十分稀少，而且散佚于世界各地。\n缘于此，上海书画出版社编辑了这套《国宝在线》丛书，按绘画题材、风格技法等要素重新进行分类，将中国画史上的国宝级名作聚于一堂，精心印制，并尽量放大至原寸，为学画者提供了下真迹一等的范本。\n此外，我们还对书中收入的每一幅名画进行了详尽的介绍与分析，叙述这些流传千年的国宝背后的故事，并插入与之相关的其他名画的照片与材料，为广大喜爱中国艺术的读者提供了丰富的欣赏素材和参考资料。\n书评 大慨因传说中佛祖和比丘僧为恶牛说法，使之死后转世到仞利天宫，得须陀还果，从此牛以其温厚忠良的形象出现在人们面前。\n除了任劳任怨、辛勤耕作之外，牛似乎还具有着一种人格的隐喻和象征。\n连圣人之师老子也选择骑青牛西去函谷关，在关内太初宫留下了五千言的《道德经》；南朝陶弘景也曾以画牛自喻婉拒梁武帝诏其出山，留下了『山中宰相』的美名。\n古往今来，牛的形象被喜爱它的人们再三图绘表现，不论是嘉峪关的砖画还是敦煌壁画，我们都可以看到许多无名氏的画牛作品。\n即以大家比较熟悉的卷轴画来说，至迟在晚唐五代时期，画家就对这个题材投入了相当的热情和精力，唐代的名家如韩湿和戴嵩，都擅长画牛。\n这些作品，既体现了唐人的努力生产，也反映出唐代那种以现实题材入画的风尚和社会生活的情调。\n当时戴嵩画水牛尤为著名，《唐朝名画录》谓其得『野性筋骨之妙』。\n不过，起初戴嵩画牛还闹过笑话。\n据说，他有次画了一幅斗牛图，观者大加称赞，可是偏偏有位牧童看了之后却拊掌大笑。\n戴嵩觉得奇怪，问其原因。\n牧童解释说：两牛角斗时，尾巴是夹在两股之间的，你怎么把它画成摇着尾巴呢?牧童的善意批评，对戴嵩启发很大，自那以后，他就深入乡间，与牧童交友，以造化为师，画艺自然精进不已，由此可见唐人作画对写生的重视。\n而韩混的《五牛图》，除了准确自然地表现了牛的生活形态外，更是充满了人格化的魅力，甚至可以从中看出每头牛的个性与年龄来，难怪有些研究者认为其中可能含有某种寓意。\n到了北宋，以描绘畜兽包括牛为内容的绘画被归于特殊的门类，如郭若虚撰写《图画见闻志》，就把畜兽、鱼龙、屋木等题材的作品皆归为『杂画』，与山水、人物、花鸟并列，在一定程度上反映了画牛队伍的逐渐壮大。\n从目前存世的作品看，宋代是牧放题材创作的鼎盛时期。\n不论是作品数量还是艺术水准，都是其他时代准以比似的。\n之昕以如此，笔者以为有几方面原因。\n首先，宋代皇家画院在招贤选才方面，可谓后世之楷模。\n由于采取考试制度，使得一大批有才华的民间画家得以进入社会上层，从而有机会更好地施展他们的艺术特长。\n这些原本长期生活在民间的画家把他们熟悉的富于乡土气息的绘画题材带入禁中，以身边熟悉的人和物为描绘对象，表现其自然朴素的情趣。\n因此，在两宋时期，画院里出现不少牧放题材的作品，直观地反映了宋代的农村生活。\n其次，宋代城市工商业的繁荣乃是以农村经济为基础的，画院画家通过描绘农村劳动生活的甘苦，来贯彻统治者劝喻农桑的意图。\n同时，城市工商经济的繁荣又反过来带动了农村经济的发展，从而使得丰年乐业的广大农民，对于自己的生活取得了新的认识，提出了新的要求。\n作为这种新认识、新要求的形象描绘，牧放题材与其说是农村田园生活的真实再现，毋宁说是对通过劳动生活而使人与自然达到本真契合的淳朴情性进行歌颂，与此同时，这其中又在很大程度上掺入了文人士大夫返璞归真的理想，从而使作品获得了更深刻的寓意。\n从画家个体来说，之所以创作出这么多高水准的艺术作品还在于他们能够正确处理观察生活和运用艺术表现语言之间的关系。\n在对生活的体验和观察方面，后世极少有像宋代画家那样精谨细致、具体人微的。\n所以，这类作品不管是高轴长卷，还是案头小品，它们所具有的生活情趣，无论是丰富性还是真实性，都令后人殊难超越。\n从宋人的画牛作品看，画家的用笔，是从对象出发，以对象的形态为旨归，将朴素的情感蕴藏在精妙的笔法中，这与后来文人画家所追求的『单纯化』表现，所谓『逸笔草草，不求形似』相比照，其问的差异是不喻自明的。\n中国传统绘画讲究诗情画意，这些牧题材的作品同样有着诗意盎然、妙趣横生的意境，这是此一题材自身所具有的魅力。\n在喧嚣的尘世中，面对这些笔佳墨妙的作品，想见烟云清雨，牛羊在野，湖岸风来，轻裾致爽，应该也算偷得浮生半日闲了吧。\n唐韩滉五牛图 唐韩滉五牛图之一 唐韩滉五牛图之二 唐韩滉五牛图之三 唐韩滉五牛图（局部） 唐韩滉五牛图（局部） 宋李唐乳牛图 宋李唐彩薇图 宋阎次平四季牧牛图 宋阎次平四季牧牛图之一 宋阎次平四季牧牛图之二 宋阎次平四季牧牛图之三 宋阎次平四季牧牛图之四 宋阎次平四季牧牛图之四（局部） 宋李迪风雨归物图 宋李迪风雨归物图（局部） 宋李迪风雨归物图（局部） 宋佚名平畴呼犊图 宋佚名平畴呼犊图（局部） 宋佚名牧牛图 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韵悠悠。",[23,24,194,1260,28,173,7,795,245,834,11396,230,33438,7428,2562],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F878f36345b633ba5b5cac846f19743b3.jpg",[],{"id":73576,"slug":73577,"title":73578,"dynasty":18,"author":257,"museum":316,"description":73579,"tags":73580,"thumbUrl":73582,"material":139,"size":139,"collection":139,"collections":73583,"showCount":414,"zanCount":48,"manualWeight":48,"mainColor":94},227909,"zhu-lin-bo-ruan-tu-ye-yi-ming-227909","竹林拨阮图页","《古代佚名画鉴赏大系·人物篇》是2年西苑出版社出版的图书，作者是杨宪金。\n佚名画与署名的作品，从绘画艺术上讲，是没有两样的。\n但在传世过程中，却有着不同的遭遇，历代收藏家与画史主要关注有名的作品，尤其是大家的作品，而对佚名画往往不屑一顾。\n因此，在这种境遇下，大量的古代佚名画在流传过程中消失了。\n这种情况一直延续到了明代，才逐渐引起收藏家们的注意，大收藏家项子京就对佚名画的著录、流传做了很大的贡献…… 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攀援栖止于树枝上。\n其中两猿正品果嬉戏，另一猿右臂抓树，左臂摘取红果，形象生动可爱。\n作者运用极为工细的笔法，描绘猿猴茸茸的细毛、灵巧的动态以及老树的虬枝和枯叶，显示出深厚功力。\n图中坡石用小斧劈皴，枝叶用双钩填色，笔法精工巧丽。\n深秋季节只猿猴攀援于树枝上嬉戏摘果的情景。\n猿猴和景物都集中在画的右半边，为典型的南宋画构图方式。\n猿猴神情毕肖，尤其是茸毛的绘制极为细致严谨。\n树叶用勾勒填色法，色彩并未完全填满，显得自然随意。\n黑白色对比使画面更具动感，红色的小果实在整幅画面中十分醒目。\n深山野林中，黑白二色的三只猿猴攀援栖止于树枝上。\n其中两猿相互逗趣，另一猿右臂抓着树枝，左臂摘取红果，其贪婪、欣喜之态刻画得形神兼僃。\n点景中枯黄的树页、红色的果实，以及丛生的小草和细竹，不仅打破了山石的呆板，而且渲染了秋天萧瑟的气氛，从而增添画面的自然之趣。\n画面钤有「黔宁王子子孙孙永保之」、「都尉耿信公书画之章」、「信公珍藏」、「安国珍玩」等印多方。\n对幅有清代著名收藏家耿昭忠题记，此图曾经沐璘、耿昭忠、安岐收藏。\n《石渠宝笈》著录。",[194,24,25,1260,7,746,17563,378,210,569,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a544e331d094ac541c1cff0a7db7c25.jpg",[],{"id":73656,"slug":73657,"title":73658,"dynasty":18,"author":257,"museum":316,"description":73659,"tags":73660,"thumbUrl":73661,"material":139,"size":139,"collection":139,"collections":73662,"showCount":414,"zanCount":48,"manualWeight":48,"mainColor":801},227375,"mu-dan-hua-ke-si-gua-tan-yi-ming-227375","牡丹花-缂丝挂毯","“缂”之由来\n\n缂丝在宋代被称为“刻丝”“剋丝”“克丝”，明代仍延用“克丝”，而现在的“缂丝”之名是因为清代汪汲在《事务原会》中对“缂”进行的考证。他根据南朝梁顾野王的《玉篇》中“缂”的名词解释：“缂，紩也”，及后面的补文“织纬也”，理解“缂”是局部织纬的一种织造工艺。汪汲认为清代最符合织纬而成的一种特定织物就是缂丝，因为缂丝是以小梭织纬，织成之后不露经线的一种丝织品。由此汪汲用“缂丝”来补正“刻丝”“剋丝”“克丝”，并认为“缂”更恰当。",[18,1329,83,292,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2024851cc6dae53bb8fcb93e00dd82b.jpg",[],{"id":73664,"slug":73665,"title":73666,"dynasty":18,"author":257,"museum":316,"description":73667,"tags":73668,"thumbUrl":73669,"material":139,"size":139,"collection":139,"collections":73670,"showCount":414,"zanCount":48,"manualWeight":48,"mainColor":49},227357,"chun-guang-xian-dao-tu-yi-ming-227357","春光先到图","中国种植水仙始于唐末五代，\n\n《北户录》中记有花间派词人孙光宪\n\n寄居江陵（湖北荆州）期间，\n\n曾有波斯人送他数本水仙。\n\n孙光宪大概就是中国种植水仙第一人。\n\n此后，\n\n江南一带广泛种植，文人骚客甚爱之。",[194,24,25,1260,28,7,83,898],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c0a447bc7811861b5899d7267215dd3.jpg",[],{"id":73672,"slug":73673,"title":73674,"dynasty":54,"author":257,"museum":316,"description":73675,"tags":73676,"thumbUrl":73677,"material":139,"size":139,"collection":139,"collections":73678,"showCount":414,"zanCount":48,"manualWeight":48,"mainColor":801},227215,"shu-xia-ren-wu-tu-juan-yi-ming-227215","树下人物图卷","《树下人物图》是唐代佚名创作的纸本设色画，新疆吐鲁番阿斯塔那古墓出土。现藏日本东京国立博物馆。\n\n此幅人物画保存完整，绘制在一块长方形的绢上。画面的背景是郊外的草地，有一棵枝繁叶茂的树，树叶是绿色，树干是土黄色。树下可见两身妇女立姿形象。左侧之人，面向右方，左手衣袖被身旁之人握持，其右手曲臂上举正揪住罩在头上的黑色头衣。此人身穿土红色长袍，腰系带，脚穿黑靴。画面右侧之人，面向右方，两手握住左侧之人的左袖。她身着蓝色长袍，腰系带，脚穿黑靴。从画面看，此二人似为主仆关系。",[23,194,24,25,26,28,7,106,378],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F160f39ddeaeb222d5d6049efe9969bd0.jpg",[],{"id":73680,"slug":73681,"title":73682,"dynasty":18,"author":257,"museum":316,"description":27801,"tags":73683,"thumbUrl":73684,"material":599,"size":600,"collection":139,"collections":73685,"showCount":414,"zanCount":48,"manualWeight":48,"mainColor":94},226654,"ren-ou-shi-wu-yi-ming-226654","人偶饰物",[913,12818,19467,106,7,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47367bb36c116f131c223cbaa0f7da0f.jpg",[],{"id":73687,"slug":73688,"title":23349,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":73689,"thumbUrl":73691,"material":599,"size":600,"collection":139,"collections":73692,"showCount":414,"zanCount":48,"manualWeight":48,"mainColor":49},226491,"ku-zhu-shi-dong-pi-yi-ming-226491",[511,260,7,104,106,107,11370,28,114,73690],"佛教元素","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F193b1af253d8eeca13ddbd8bfe5ebff0.jpg",[],{"id":73694,"slug":73695,"title":17656,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":73696,"thumbUrl":73698,"material":599,"size":600,"collection":139,"collections":73699,"showCount":414,"zanCount":48,"manualWeight":48,"mainColor":49},226479,"ku-zhu-shi-xi-bi-yi-ming-226479",[511,260,7,106,5513,4027,73697,11625,5883,18656],"塑像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F222cbcb3e7d0705ffbe14e097faa93da.jpg",[],{"id":73701,"slug":73702,"title":17656,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":73703,"thumbUrl":73704,"material":599,"size":600,"collection":139,"collections":73705,"showCount":414,"zanCount":48,"manualWeight":48,"mainColor":2504},226445,"ku-zhu-shi-xi-bi-yi-ming-226445",[511,260,7,106,7230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F30fd93705b943312956b7e5d52dc874d.jpg",[],{"id":73707,"slug":73708,"title":23704,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":73709,"thumbUrl":73715,"material":599,"size":600,"collection":139,"collections":73716,"showCount":414,"zanCount":48,"manualWeight":48,"mainColor":49},226400,"ku-zhu-shi-nan-bi-yi-ming-226400",[511,260,7,106,352,22981,11370,73710,5883,11625,18656,6767,11623,6170,73711,73712,11933,73713,73714],"传统壁画技法","壁画艺术","设色壁画","线描技法","唐代壁画风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F504e28daa20a77fcb3630a3df744a492.jpg",[],{"id":73718,"slug":73719,"title":28512,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":73720,"thumbUrl":73721,"material":599,"size":600,"collection":139,"collections":73722,"showCount":414,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July 1887",[194,3187,16431,73775,34,29663,20176,7],"风景画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe0f4af7f0690cef4a292b9a180bc526.jpg",[3195],{"id":73779,"slug":73780,"title":73781,"dynasty":256,"author":6236,"museum":316,"description":6237,"tags":73782,"thumbUrl":73783,"material":599,"size":600,"collection":3195,"collections":73784,"showCount":414,"zanCount":48,"manualWeight":48,"mainColor":94},225849,"the-raising-of-lazarus-after-rembrandt-may-fan-gao-225849","The raising of Lazarus (after Rembrandt) (May - )",[3187,105,260,106,7,4364,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7515efc8d962339eba3e61f4d476f0a.jpg",[3195],{"id":73786,"slug":73787,"title":73788,"dynasty":256,"author":3184,"museum":316,"description":6534,"tags":73789,"thumbUrl":73790,"material":599,"size":600,"collection":3195,"collections":73791,"showCount":414,"zanCount":48,"manualWeight":48,"mainColor":2504},225681,"rembrandt-harmensz-van-rijn-091-lun-bo-lang-225681","Rembrandt Harmensz.van Rijn - 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高奇峰的代表作品有《海鹰》《白马》《雄狮》《怒狮》《虎啸》《孤猿啼雪》《山高水长》等。出版有《高奇峰先生遗画集》。",[23,24,226,7,173,54081,381,230,83],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f7e20c9e5f8aa0ebe10551bebacd861.jpg",[],{"id":74798,"slug":74799,"title":74800,"dynasty":302,"author":1977,"museum":316,"description":14000,"tags":74801,"thumbUrl":74802,"material":599,"size":600,"collection":139,"collections":74803,"showCount":774,"zanCount":48,"manualWeight":48,"mainColor":94},290414,"lin-huang-ting-jing-fu-hui-wang-xi-zhi-xiang-juan-wei-zhao-meng-fu-290414","临黄庭经附绘王羲之像卷（伪）",[23,26,25,86,937,105,22699,106,24407,212,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe617929bc8a67971bbaddc937e73fd1c.jpg",[],{"id":74805,"slug":74806,"title":1383,"dynasty":18,"author":3173,"museum":316,"description":7406,"tags":74807,"thumbUrl":74808,"material":599,"size":600,"collection":139,"collections":74809,"showCount":774,"zanCount":48,"manualWeight":48,"mainColor":49},290296,"shan-shui-tu-guo-zhong-shu-290296",[24,194,3559,7,177,29,174,795,35,245,109,808,108],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F992854c151e737f5a0d86f76e823f47d.jpg",[],{"id":74811,"slug":74812,"title":74813,"dynasty":76,"author":257,"museum":316,"description":74814,"tags":74815,"thumbUrl":74817,"material":599,"size":600,"collection":139,"collections":74818,"showCount":774,"zanCount":48,"manualWeight":48,"mainColor":49},290198,"san-sheng-da-shi-zhu-li-zhou-yi-ming-290198","三圣大势主立轴","大势至菩萨,又称大精进菩萨,与观音并列阿弥陀佛的左右胁侍,合称“西方三圣”。我们知道,阿弥陀佛是极乐净土的佛主,观音菩萨则是他的“法王子”,也就是继承人,成佛只是时间问题。",[23,24,226,260,7,28,106,74816,1488,3661],"大势至菩萨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2690eb1bc7f7860afd5247dd2030e15c.jpg",[],{"id":74820,"slug":74821,"title":74822,"dynasty":76,"author":257,"museum":316,"description":74823,"tags":74824,"thumbUrl":74828,"material":599,"size":600,"collection":139,"collections":74829,"showCount":774,"zanCount":48,"manualWeight":48,"mainColor":94},290189,"sheng-ping-shu-lian-pu-ce-yuan-ban-yi-ming-290189","升平署脸谱册原版","这幅作品将白虎神将的狞厉神武尽数铺陈。脸谱以黑白为底，纹路如篆如刃，眉眼翻卷、唇獠牙张，把星宿的凶煞气度凝于方寸间，极具视觉冲击力。\n\n人物扮相华贵端严，盔帽饰宝顶绒球，长髯如雪垂落，戏服织满精致祥云与游龙纹样，青绿主调间点缀赤金朱红，配色浓烈却不失雅致，针线细节尽显考究工细。\n\n整幅工笔设色细腻入微，既恪守戏曲脸谱的程式章法，又以写实技法还原戏扮威仪，尽显晚清戏曲写真的精湛水准，让观者仿若能窥见旧日戏台之上的神将风采。",[23,24,81,7,28,28466,74825,74826,6422,2439,74827],"脸谱","白虎","戏服","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8f77862016e8926d822d36e777bff085.jpg",[],{"id":74831,"slug":74832,"title":74833,"dynasty":76,"author":17997,"museum":316,"description":60799,"tags":74834,"thumbUrl":74835,"material":599,"size":600,"collection":139,"collections":74836,"showCount":774,"zanCount":48,"manualWeight":48,"mainColor":94},290005,"fang-gu-shan-shui-li-zhou-wang-yuan-qi-290005","仿古山水立轴",[23,24,226,29,7,177,108,109,107,34,176,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0ab5828a222f6a297f0a57b0816d1a1.jpg",[],{"id":74838,"slug":74839,"title":74840,"dynasty":18,"author":3173,"museum":316,"description":7406,"tags":74841,"thumbUrl":74842,"material":599,"size":600,"collection":139,"collections":74843,"showCount":774,"zanCount":48,"manualWeight":48,"mainColor":49},289772,"jin-men-ying-zhao-tu-guo-zhong-shu-289772","金门应诏图",[23,24,194,104,7,28,106,107,115,227,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ebca11fae1e95c1c2ec4eb192d75fc8.jpg",[],{"id":74845,"slug":74846,"title":74847,"dynasty":18,"author":257,"museum":316,"description":74848,"tags":74849,"thumbUrl":74850,"material":599,"size":600,"collection":139,"collections":74851,"showCount":774,"zanCount":48,"manualWeight":48,"mainColor":49},289227,"he-tang-yu-fu-tu-yi-ming-289227","荷塘浴凫图","此作以简淡笔墨铺就幽寂水泽之境，大片绢色晕作烟霭漾漾的湖面，似有无尽秋水漫延开去。近岸以浅青绿点染汀石，暗含水畔苍苔幽意，远渚仅以淡墨轻扫，隐在朦胧水雾间，虚虚实实晕出水天辽远。\n\n水面凫鸟两两相逐，翅羽轻掠波心，灵动姿态将寂寥秋水点活，野逸闲趣扑面而来。全作用笔含蓄克制，以虚写实，把江南水泽的清寂空阔尽数铺陈，带着独有的雅致禅意，观之如临其境，仿佛能听闻水禽振羽、水波轻响，将闲淡幽远的诗意藏在浅淡笔墨之中。",[23,24,194,28,7,83,228,3740,3519,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e832b15a5de9c66a6dced0233e6ec0f.jpg",[],{"id":74853,"slug":74854,"title":74855,"dynasty":76,"author":257,"museum":316,"description":74856,"tags":74857,"thumbUrl":74858,"material":599,"size":600,"collection":139,"collections":74859,"showCount":774,"zanCount":48,"manualWeight":48,"mainColor":49},288638,"ba-ge-deng-zhi-tu-ce-ye-yi-ming-288638","八哥登枝图册页","此作工致写实，墨色八哥羽色乌亮油润，顶羽轻扬如冠，黄喙劲利，侧目远眺，利爪稳踞枝桠，将野禽倨傲灵动的神采尽数拿捏。旁侧秋叶片片晕染，朱赭相间，脉络细劲分明，枯枝干皴苍朴古拙。\n绢本底色沉穆温润，衬得禽鸟花木愈见鲜活，动静相宜，把秋日林间的清寂生机凝于尺幅。笔致精细入微，设色妍雅和谐，尽显精妙绘事法度，将一隅秋意野趣定格成隽永的绢上风景。",[24,6083,28,7,83,39380,836,9475],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea9d31cbdbb9a72bf1001a1f3550f102.jpg",[],{"id":74861,"slug":74862,"title":3474,"dynasty":76,"author":74863,"museum":316,"description":74864,"tags":74865,"thumbUrl":74866,"material":599,"size":600,"collection":139,"collections":74867,"showCount":774,"zanCount":48,"manualWeight":48,"mainColor":94},288473,"shan-shui-tu-li-zhou-lin-san-zhi-288473","林散之","近岸林木枝桠苍劲，以浓淡墨色点染枝叶，野趣横生。渔舟缓行江面，水波澹澹漾开清寂意趣。中景峰峦列峙，皴擦间见山石嶙峋质感，溪桥卧波，村居错落枕水，将烟火意趣揉入山水丘壑。\n\n远景岫顶以淡青晕染，烟岚轻笼云山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画风中年秀润，晚年苍浑。与王时敏、王鉴、王翬合称“清初四王”。王原祁做为“四王”中最年轻的一位画家，秉承家学，追摹古法，在不懈创作的同时，以同样方法再授弟子，对山水画的发展及“娄东派”的形成起到重要作用。其对绘画的影响一直延续到清中、后期“小四王”（王昱、王愫、王宸、王玫）、“后四王”（王三锡、王廷之、王廷国、王鸣韶）。“四王”的绘画创作继承明末董其昌的绘画理论和实践，力图集古人之大成，被确立为正统画派。追随王原祁的画家众多，形成“娄东派”，几乎独占了当时的画坛。著有《雨窗漫笔》、《扫花庵题跋》等。",[24,25,81,173,7,29,177,178,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d083c0403d80c1d839958d6e81bb7c1.jpg","纵48.1cm，横32.4cm",[],{"id":75681,"slug":75682,"title":6834,"dynasty":76,"author":17997,"museum":316,"description":75675,"tags":75683,"thumbUrl":75684,"material":40411,"size":75678,"collection":139,"collections":75685,"showCount":774,"zanCount":48,"manualWeight":48,"mainColor":94},236863,"shan-shui-ce-wang-yuan-qi-236863",[24,25,81,7,177,86,212,29,176,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F847218658ea88b37f64bd682ae978f1f.jpg",[],{"id":75687,"slug":75688,"title":75689,"dynasty":76,"author":75690,"museum":316,"description":75691,"tags":75692,"thumbUrl":75693,"material":139,"size":139,"collection":139,"collections":75694,"showCount":774,"zanCount":48,"manualWeight":48,"mainColor":94},236748,"hua-huang-yi-xiang-shan-wu-jun-236748","画黄易像扇","吴俊","此作为淡彩肖像小品，人物仪态端方沉静，身着素色长衫，手持金石拓本，尽显金石学者温厚儒雅的风骨。衣纹勾勒简练清劲，设色浅淡明净，将人物沉静内敛的神态描摹入微。旁侧题字朴拙舒展，笔意苍雅，与画像相得益彰，既点明人物生平细节，更添书卷意韵。整体笔墨清润秀雅，以扇面为载体，将肖像纪实与文人雅趣融于一体，尽显雅致格调，是兼具纪念性与艺术性的小品佳作。",[24,25,1260,106,352,7,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ee3153e793bf0d5bea236a63796550b.jpg",[],{"id":75696,"slug":75697,"title":43079,"dynasty":99,"author":34630,"museum":316,"description":43080,"tags":75698,"thumbUrl":75699,"material":139,"size":139,"collection":139,"collections":75700,"showCount":774,"zanCount":48,"manualWeight":48,"mainColor":94},236637,"song-mao-jin-jiang-nan-ming-sheng-tu-ce-song-mao-jin-236637",[24,7,29,107,106,81,177,378],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd3ef5925789b216ecec6f7c1b71ab1b.jpg",[],{"id":75702,"slug":75703,"title":6834,"dynasty":99,"author":67590,"museum":316,"description":75704,"tags":75705,"thumbUrl":75706,"material":139,"size":20,"collection":181,"collections":75707,"showCount":774,"zanCount":48,"manualWeight":48,"mainColor":94},236602,"shan-shui-ce-ye-xiang-rong-236602","此作用笔清简秀逸，设色浅淡柔和。苍枯老木与青葱秀树错落生于坡岸，枯木骨力劲挺，皴擦间尽显风霜雕琢的苍古意态，秀木晕染温润，枝叶疏密有秩，将寒林萧寂又暗含生机的意趣娓娓道来。\n\n左侧大片留白以虚代实，暗喻空茫江天，以无胜有，烘托出林皋幽远清寂的氛围。整幅小品以简驭繁，淡而不寡，寥寥笔墨间晕染出文人淡逸闲静的襟怀，尽显小品山水的空灵悠长之美。",[194,24,25,7,29,378,176,3562,81,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03857f788d437618c0aa726193c3935c.jpg",[181,163],{"id":75709,"slug":75710,"title":205,"dynasty":99,"author":25304,"museum":316,"description":25305,"tags":75711,"thumbUrl":75712,"material":139,"size":139,"collection":139,"collections":75713,"showCount":774,"zanCount":48,"manualWeight":48,"mainColor":94},236548,"hua-niao-ce-tang-zhi-yin-236548",[24,25,81,7,28,83,245,836,62,365],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90210ee54de8ae8f5320ee5cffc6ddca.jpg",[],{"id":75715,"slug":75716,"title":205,"dynasty":99,"author":25304,"museum":316,"description":25305,"tags":75717,"thumbUrl":75718,"material":139,"size":139,"collection":139,"collections":75719,"showCount":774,"zanCount":48,"manualWeight":48,"mainColor":94},236546,"hua-niao-ce-tang-zhi-yin-236546",[24,194,25,81,28,7,83,209,210,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff013f63213cb6758b8675f488f6a4b07.jpg",[],{"id":75721,"slug":75722,"title":205,"dynasty":99,"author":25304,"museum":316,"description":25305,"tags":75723,"thumbUrl":75724,"material":139,"size":139,"collection":139,"collections":75725,"showCount":774,"zanCount":48,"manualWeight":48,"mainColor":94},236541,"hua-niao-ce-tang-zhi-yin-236541",[24,25,81,28,7,83,209,12097],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ade0924831100b435764081ac000d14.jpg",[],{"id":75727,"slug":75728,"title":205,"dynasty":99,"author":25304,"museum":316,"description":25305,"tags":75729,"thumbUrl":75730,"material":139,"size":139,"collection":139,"collections":75731,"showCount":774,"zanCount":48,"manualWeight":48,"mainColor":94},236540,"hua-niao-ce-tang-zhi-yin-236540",[194,24,25,81,7,28,83,820,209,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0cd4d57f0fd30796bc70b95b4118b9c.jpg",[],{"id":75733,"slug":75734,"title":75735,"dynasty":76,"author":8652,"museum":316,"description":75736,"tags":75737,"thumbUrl":75738,"material":599,"size":600,"collection":139,"collections":75739,"showCount":774,"zanCount":48,"manualWeight":48,"mainColor":94},236414,"hua-huang-hong-xian-cai-sang-tu-xiang-ce-yu-yuan-236414","画黄红先采桑图像册","虞沅（生卒年不详），字畹之，海虞画苑略作浣之，或作翰之， 江都（今江苏扬州）人，居常熟。善画，亲炙王翚，颇得趋向。山水著笔落墨不多，其浑沦劲挺之致，亦是专家。花卉翎毛钩染妍雅，赋色荷花得古人逸法。",[24,7,28,81,106,378,263,912,9412,17467],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5360a1d0283c9bf6d7f9dafd9816b6d.jpg",[],{"id":75741,"slug":75742,"title":75743,"dynasty":76,"author":24019,"museum":316,"description":36297,"tags":75744,"thumbUrl":75745,"material":599,"size":600,"collection":139,"collections":75746,"showCount":774,"zanCount":48,"manualWeight":48,"mainColor":94},236352,"hua-hui-shan-chen-heng-ke-236352","花卉扇",[24,25,1260,7,83,84,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb68aab12c3643edef35b28fbc2cf52e.jpg",[],{"id":75748,"slug":75749,"title":75750,"dynasty":76,"author":24019,"museum":316,"description":36297,"tags":75751,"thumbUrl":75752,"material":599,"size":600,"collection":139,"collections":75753,"showCount":774,"zanCount":48,"manualWeight":48,"mainColor":94},236347,"hua-shi-shan-chen-heng-ke-236347","花石扇",[24,25,1260,173,7,83,292,230,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F047729d5c3c7c01d47c56fd834e8846a.jpg",[],{"id":75755,"slug":75756,"title":131,"dynasty":76,"author":37996,"museum":20,"description":75757,"tags":75758,"thumbUrl":75759,"material":770,"size":75760,"collection":139,"collections":75761,"showCount":774,"zanCount":48,"manualWeight":48,"mainColor":94},236322,"hua-hui-ce-wang-shi-shen-236322","此图册十二页，分别画十二种花卉。\n汪士慎(1686-1759)清代著名画家。字近人，号巢林、溪东外史等。安徽休宁人，寓居扬州。汪士慎在诗、书、画、印诸方面皆有很高的成就。擅画花卉，随意勾点，清妙多姿。精画兰竹，尤擅长画梅，笔致疏落，超然出尘，笔意幽秀，气清而神腴，墨淡而趣足，其秀润恬静之致，令人争重。金农称他画梅之妙和高西唐(翔)异曲同工。西唐善画疏枝，巢林善画繁枝，都有空里疏香、风雪山林之趣。千花万蕊，颇富诗意。老年一目失明，尚能挥写自如，不失当年风韵。为“扬州八怪”之一。工诗，善写隶书，又长篆刻。在一目失明作画时，自刻一印云：“尚留一目看梅花”，后来，双目俱瞽，但仍挥写，署款“心观”二字。时金农赞他“盲于目，不盲于心”。阮元《广那个诗事》说他：“老而目瞽，然为人画梅，或作八分书，工妙胜于未瞽时。”其代表作有《苍松偃蹇图》、《潇湘灵芳图》、《绿萼梅开图》、《洒香梅影图》、《月珮风襟图》、《灵根出谷图》等。著有《巢林诗集》。",[24,25,81,7,83,292,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa556a672cd1ef8b4a5852075f896dea2.jpg","纵24厘米 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坡石村落，浅青轻笼远山层峦，空寂山居隐于松下，尽显悠远萧散的林下意趣。\n题跋自言取法前贤却自出机杼，笔墨脱略常格，将画理与文思相融，暗合晚明文人的审美意趣。整体以淡墨轻岚营造幽淡沉静的氛围，既有元人山水的简远疏朗，又藏着创作者幽隽沉静的文心，淡远空濛间，山居雅趣扑面而来。",[24,25,81,7,173,29,1133,4706,1981,1169,178,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24c929e9232e406ffa2b55e017c3ed19.jpg",[],{"id":75829,"slug":75830,"title":205,"dynasty":99,"author":5289,"museum":316,"description":75831,"tags":75832,"thumbUrl":75833,"material":139,"size":139,"collection":139,"collections":75834,"showCount":774,"zanCount":48,"manualWeight":48,"mainColor":94},235732,"hua-niao-ce-tan-zhi-yi-235732","这幅题跋以小楷书就，点画精劲秀雅，结体端稳匀整，通篇气息清和疏朗。笔墨兼具晋唐小楷的隽逸灵秀，又带着明代书法的规整法度却毫无板滞之意，笔势顾盼有情，章法排布齐整舒朗。\n\n题诗以清隽词句咏赞册中花鸟，将笔下生灵的幽姿逸态与画师的笔底才情相融，文辞雅致，笔墨隽秀，文与书相映成趣，尽显晚明文人雅致疏淡的审美意趣，是书画合璧里颇为点睛的题识佳作。",[24,25,81,83,28,7,178,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cad3f0e587b07051e7414a22cb5e948.jpg",[],{"id":75836,"slug":75837,"title":131,"dynasty":76,"author":36383,"museum":316,"description":36384,"tags":75838,"thumbUrl":75839,"material":599,"size":600,"collection":139,"collections":75840,"showCount":774,"zanCount":48,"manualWeight":48,"mainColor":94},235713,"hua-hui-ce-zou-xian-ji-235713",[24,25,81,7,28,83,897,212,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F185c3ffcf5065be74489fb3137db8d3f.jpg",[],{"id":75842,"slug":75843,"title":131,"dynasty":76,"author":36383,"museum":316,"description":36384,"tags":75844,"thumbUrl":75845,"material":599,"size":600,"collection":139,"collections":75846,"showCount":774,"zanCount":48,"manualWeight":48,"mainColor":94},235711,"hua-hui-ce-zou-xian-ji-235711",[24,25,81,7,83,84,178,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce4122229678ca5a64937b00ddf2c50b.jpg",[],{"id":75848,"slug":75849,"title":75850,"dynasty":76,"author":257,"museum":316,"description":75851,"tags":75852,"thumbUrl":75853,"material":139,"size":139,"collection":139,"collections":75854,"showCount":774,"zanCount":2368,"manualWeight":48,"mainColor":49},235709,"zou-zhe-shan-shui-tu-zhou-yi-ming-235709","邹喆山水图轴","此作取高远开合之景，左上危崖巉岩，笔墨挺劲勾勒出山峦硬朗骨相，古松虬曲扎根崖壁，枝叶舒展有凌云之姿。中景山居藏于林麓间，窗内人影对坐，为清冷山林晕开一缕烟火暖意。烟岚留白柔化层叠丘壑，将近溪、村居、远山林亭晕连成浑然整体，虚实相生。近滩乱石错落，清溪缓流，扁舟系于浅濑，野趣悠然。\n\n皴法融披麻与斧劈意趣，山石简练，林木点染疏密合宜，淡墨晕出山雾空濛，兼收北派雄健与南宗温润，将林泉幽居的隐逸清趣，藏于烟霞丘壑之中。",[24,226,7,177,29,176,34,35,109,107,795,1273,1169,4073,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9ca0839c65b0165554e6b938fbdc82b.jpg",[],{"id":75856,"slug":75857,"title":1451,"dynasty":99,"author":1057,"museum":316,"description":19877,"tags":75858,"thumbUrl":75859,"material":599,"size":600,"collection":139,"collections":75860,"showCount":774,"zanCount":48,"manualWeight":48,"mainColor":94},235688,"shan-shui-hua-hui-ce-xiang-sheng-mo-235688",[24,25,81,7,173,820],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd938393fe7e09a02188743924a97f25d.jpg",[],{"id":75862,"slug":75863,"title":1451,"dynasty":99,"author":1057,"museum":316,"description":19877,"tags":75864,"thumbUrl":75865,"material":599,"size":600,"collection":139,"collections":75866,"showCount":774,"zanCount":48,"manualWeight":48,"mainColor":94},235687,"shan-shui-hua-hui-ce-xiang-sheng-mo-235687",[24,25,81,173,7,83,820,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa94f032bccefdf78e3fe4a4eb98c285f.jpg",[],{"id":75868,"slug":75869,"title":75870,"dynasty":76,"author":20677,"museum":316,"description":36278,"tags":75871,"thumbUrl":75873,"material":599,"size":600,"collection":139,"collections":75874,"showCount":774,"zanCount":48,"manualWeight":48,"mainColor":94},235654,"xi-yi-tu-zhou-gao-qi-pei-235654","蜥蜴图轴",[24,25,226,36043,173,7,75872,230,264,320],"蜥蜴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F085c06c4b3005f9957fed7c11a6221a0.jpg",[],{"id":75876,"slug":75877,"title":19884,"dynasty":99,"author":257,"museum":316,"description":75878,"tags":75879,"thumbUrl":75880,"material":599,"size":600,"collection":139,"collections":75881,"showCount":774,"zanCount":48,"manualWeight":48,"mainColor":94},235589,"wen-chu-hua-hui-ce-yi-ming-235589","此作以写意之笔绘湖石，墨色干湿浓淡交织，皴擦勾勒间尽显嶙峋苍朴的古拙质感。石畔以青蓝晕染小花，柔茎嫩叶娉婷舒展，秀灵雅致的花木和浑朴顽石形成刚柔相映的绝佳意趣。\n\n洒金笺底自带温润古雅的氛围感，边角朱红印章点缀，更添幽古气韵。整幅小品以简驭繁，笔致清浅却意韵饱满，将闲逸雅致的文人意趣融于尺幅之间，尽显隽逸风神，悠悠古意扑面而来。",[24,25,81,173,7,83,230,212,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96247d1d727cbe12030bb5469f2f1d34.jpg",[],{"id":75883,"slug":75884,"title":19884,"dynasty":99,"author":257,"museum":316,"description":75885,"tags":75886,"thumbUrl":75887,"material":599,"size":600,"collection":139,"collections":75888,"showCount":774,"zanCount":48,"manualWeight":48,"mainColor":94},235588,"wen-chu-hua-hui-ce-yi-ming-235588","此作用笔兼工带写，水墨晕染的湖石嶙峋朴拙，浓墨点苔衬出苍古意趣。淡粉晕染鸢尾，柔线勾出花娇叶秀，清雅柔婉。坡间杂草、石畔细枝皆以简笔写出，野意自生。将花草娇柔与湖石沉凝相映，以小幅尺幅营造出幽谧静雅的小景，淡墨轻色间漫溢出悠然的文人闲趣，不见繁复铺陈，却于一花一石间尽显雅致恬淡的小品意致，清丽动人。",[24,25,81,173,7,28,177,83,230,84,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F972e4a78d3efd7d3a7b7efe7336a0b4d.jpg",[],{"id":75890,"slug":75891,"title":19884,"dynasty":99,"author":257,"museum":316,"description":75892,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的墨块。线条跳跃、挑剔，出锋尖锐、刻露，线条做出尖锐的转折，而唐寅的转角是和缓舒缓的，呈现优雅从容的圆弧状。这些特征使得王翚临仿唐寅风格的画作在一定程度上显得粗野与鲁莽，失去了文雅与含蓄。如创作于康熙十一年壬子（1672）的《云溪高逸图》卷（故宫博物院藏）、创作于康熙十七年戊午（1678）的《仿唐寅洞庭赊月图》卷（故宫博物院藏）、创作于康熙二十二年癸亥（1683）的《写唐解元诗意山水图》轴（南京博物院藏）等，画面中皴法草率，处处冗笔，纵然是结构复杂，但对于笔墨使用度的掌控不如唐寅，细节的处理、点景的勾绘，均显欠缺。这样造成的结果就是画面气息显得粗野不羁，含蓄不足、刻露有余。",[23,24,25,26,173,7,29,177,178,86,174,245,109,34,7389],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ad59a6d18ac6f35d204cade1a297a76.jpg","纵23.2厘米，横83.3厘米",[],{"id":76227,"slug":76228,"title":76229,"dynasty":99,"author":76230,"museum":20,"description":76231,"tags":76232,"thumbUrl":76233,"material":638,"size":139,"collection":139,"collections":76234,"showCount":774,"zanCount":48,"manualWeight":48,"mainColor":94},234127,"feng-shan-tang-ji-yong-juan-chen-yi-234127","封山堂集咏卷","陈沂","陈沂（一四六九-一五三八）[明]，字号：宗鲁、鲁南、石亭、小坡 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绘画上擅长山水、花鸟，尤以山水著称，有粗、细两种面貌。早年主宗王蒙，上追董、巨，以细笔为主；40岁以后博取诸家，着意于黄公望，风格逐渐变粗，形成粗笔风貌；60岁后汲取吴镇画法，笔墨疏简苍劲，格调雄健宏阔。其成熟时期的山水，笔墨上既吸收了宋院体和明浙派的硬度和力感，又保留了元人的含蓄笔致，于苍中带秀，刚中见柔。构图造境方面，无论繁复或简略，都强调山川宏阔之“势”，一改元人空寂之境，又着意于朴实的“质”，于拙中藏巧。他开创了“吴派”画风，与文徵明、唐寅、仇英并称“吴门四家”。",[24,1260,7,177,29,378,114,176,1169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a7cd2f464622e9175f7f283010efb0f.jpg",[],{"id":76330,"slug":76331,"title":76332,"dynasty":99,"author":100,"museum":20,"description":1661,"tags":76333,"thumbUrl":76334,"material":40,"size":22352,"collection":139,"collections":76335,"showCount":774,"zanCount":48,"manualWeight":48,"mainColor":94},233757,"ren-wu-gu-shi-ce-4-chou-ying-233757","人物故事册4",[24,25,81,28,7,106,107,29,245,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc10ae1dd795bfab5e5b033fd14bde2fd.jpg",[],{"id":76337,"slug":76338,"title":76339,"dynasty":99,"author":100,"museum":20,"description":1661,"tags":76340,"thumbUrl":76341,"material":40,"size":22352,"collection":139,"collections":76342,"showCount":774,"zanCount":48,"manualWeight":48,"mainColor":94},233755,"ren-wu-gu-shi-ce-2-chou-ying-233755","人物故事册2",[24,25,28,7,27,29,106,108,109,34,686,6083],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff01dd36c10a57f67835c6283078bfdad.jpg",[],{"id":76344,"slug":76345,"title":76346,"dynasty":99,"author":1196,"museum":20,"description":76347,"tags":76348,"thumbUrl":76349,"material":1342,"size":76350,"collection":139,"collections":76351,"showCount":774,"zanCount":48,"manualWeight":48,"mainColor":94},233708,"yi-an-tu-juan-tang-yin-233708","毅庵图卷","此以别号图为题材。图中描绘了松竹清幽、蕉石雅洁的庭院，茅屋中，一高士欹坐执麈，作遐观之状。笔墨苍润挺秀，设色清雅明丽。此高士乃文徵明三十年前砚友朱秉忠，别号毅庵，秉志高洁，为人清简，是一位优游林泉、笃爱诗书的隐士。",[24,25,26,173,7,178,86,177,29,106,34,3712,35,263,615],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7603e5376692e6fa453279e5f734de65.jpg","纵30.7厘米 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月次风俗图屏风","以分段全景铺陈世相，上段朱红鸟居攒动着祭典人潮，神舆穿行、阁上观礼，将神社祭典的喧嚷烟火揉进淡彩绢面。中段寒松下踏雪徐行，郊野雅趣悄然中和了祭典的喧闹。下段驰马挥械，甲胄扬尘间，武事竞技的张力扑面而来。\n\n朴拙的笔意晕开古旧质感，没有繁复勾描，却将祭仪、游冶、武事的时代风俗鲜活定格，让古昔年间的日常盛景跨越岁月，带着温热的市井气息浮现眼前。",[23,7,28,279,106,107,1133,29,4058,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20f37c42d1f22af23e54171be250b144.jpg",[],{"id":76508,"slug":76509,"title":76510,"dynasty":256,"author":257,"museum":316,"description":76511,"tags":76512,"thumbUrl":76513,"material":599,"size":600,"collection":139,"collections":76514,"showCount":774,"zanCount":48,"manualWeight":48,"mainColor":49},231684,"tao-shan-shi-dai-qian-niu-hua-tu-yi-ming-231684","桃山时代 牵牛花图","以满幅构图铺陈牵牛花野趣，藤蔓肆意缠绕交错，将攀附篱架的夏花盛景凝于绢上。虽经岁月晕染，底色蒙尘黯淡，花叶敷色仍存雅致余韵。叶片与花苞错落排布，带着蓬勃的山野生机，古旧色调晕开沉静侘寂的氛围，将盛放时鲜活肆意的姿态藏在朦胧斑驳里，仿若能窥见旧时院中风过藤摇的夏日元气，把转瞬即逝的花事定格成永恒，在残旧质感里晕开独属于旧时光的风雅意趣。",[23,194,24,25,7,28,83,84,632],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff242ada4ac76821dcf54b15945a7661a.jpg",[],{"id":76516,"slug":76517,"title":76518,"dynasty":256,"author":43218,"museum":316,"description":76519,"tags":76520,"thumbUrl":76521,"material":139,"size":139,"collection":139,"collections":76522,"showCount":774,"zanCount":48,"manualWeight":48,"mainColor":49},231667,"ming-he-chang-nian-xiang-zhang-gu-chuan-231667","名和长年像","画面以沉敛色调铺陈，主位武士光头蓄须，暗绿狩衣裹身，按刀执扇端坐，神色沉静不怒自威，尽显武家首领的厚重威仪。右侧侍童着彩纹小袖恭跪身侧，斜挎和弓悄然烘托主从礼法。下方马夫正竭力控住前蹄抬起的烈马，躁动的骏马与紧绷的牵马人，为肃穆的场景揉进鲜活生气。\n笔触凝练细致，衣袍暗纹、马具铜饰都被悉心勾勒，将武人出行前的片刻日常定格，在侘寂古雅的氛围里，藏着武家独有的刚硬气场，平淡叙事中晕开沉雄张力。",[23,24,226,7,28,106,150,2439,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1090e99f26ee671509871b36d3f2435.jpg",[],{"id":76524,"slug":76525,"title":76526,"dynasty":256,"author":257,"museum":316,"description":76527,"tags":76528,"thumbUrl":76529,"material":599,"size":600,"collection":139,"collections":76530,"showCount":774,"zanCount":48,"manualWeight":48,"mainColor":49},231654,"ping-an-shi-dai-hou-qi-fu-nie-pan-tu-yi-ming-231654","平安时代后期 佛涅槃图","画面虽经岁月磨洗，颜料斑驳剥落，却依旧能触摸到凝固的神圣瞬间。安卧的主尊神态恬然，将涅槃的圆融沉静铺展开来，周遭弟子眷属的身形依稀可见，悲戚的氛围透过残损的色块漫溢而出。\n\n依稀残存的线条带着古拙柔和的力道，晕染的痕迹藏着当年的细腻心思，肃穆的宗教感历经时光未曾消散。残损非但未减其韵，反倒添上一层跨越岁月的沧桑禅意，将入灭时的庄严超脱与俗世哀恸的张力，封存在绢本之上，引人于斑驳间遥想往昔，在褪色里感知这份不朽的绘事之美。",[23,260,7,106,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71a479ccc6d654cfff5c4c7ff4f0b040.jpg",[],{"id":76532,"slug":76533,"title":76534,"dynasty":256,"author":257,"museum":316,"description":76535,"tags":76536,"thumbUrl":76537,"material":139,"size":139,"collection":139,"collections":76538,"showCount":774,"zanCount":48,"manualWeight":48,"mainColor":94},231652,"yi-cai-xiao-xiang-hua-yi-ming-231652","易彩肖像画","肖像画因其侧重人物面貌的描写，古人又称之为“写真画”，或者是“传神”“写照”“传写”，它是中国画门类中最为古老的一个科目。中国肖像画的历史悠久，相比山水和花鸟而言，它的起源是最早的。在历经唐宋元的延续和嬗变之后，明清时期的肖像画更是达到了一个新的高度，形成了鲜明的特色和完整的体系，在中国绘画史上占据着非常重要的位置，生命力极其强大。\n明清肖像画在其时代的人物画发展的基础上，不仅对西方传于中国的写实性绘画技法予以了吸收借鉴，同时也充分融合了本民族绘画语言，包括正统的文人绘画和民间的写真术等，取得的巨大艺术成就，虽然不是绘画主流方向，但对其后人物画转向现实提供了尝试和可能，也为现代艺术家的创新提供了有益的基础,而其艺术特点和美学价值均是值得我们目前仍需深入展开和探究的内容。",[23,24,25,226,28,7,23715,86,6170,194],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae4ff80e723721427982e6421699c69c.jpg",[],{"id":76540,"slug":76541,"title":76542,"dynasty":256,"author":65623,"museum":316,"description":65624,"tags":76543,"thumbUrl":76544,"material":599,"size":600,"collection":139,"collections":76545,"showCount":774,"zanCount":48,"manualWeight":48,"mainColor":49},231585,"shi-ting-shi-dai-gao-shi-tan-mei-shan-shui-tu-shou-ye-zheng-xin-231585","室町时代 高士探梅山水图",[23,24,25,7,28,177,29,106,5412,820,1273,176,37,108,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ba5e9cd2a0636c0c03c1aa4dd653c9b.jpg",[],{"id":76547,"slug":76548,"title":76549,"dynasty":76,"author":9921,"museum":316,"description":76550,"tags":76551,"thumbUrl":76553,"material":599,"size":600,"collection":139,"collections":76554,"showCount":774,"zanCount":48,"manualWeight":48,"mainColor":94},231058,"sai-shang-ye-qu-tu-jiao-bing-zhen-231058","塞上野趣图","焦秉贞（生卒年不详），字尔正，山东济宁人，康熙时官钦天监五官正，供奉内廷。清代宫廷画家。擅画人物，吸收西洋画法，重明暗，楼台界画，刻划精工，绘有《仕女图》，《耕织图》等。",[23,24,25,1260,7,28,29,4716,245,76552,25937],"边塞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F708c9c2f236532c6f6469d779a3c6473.jpg",[],{"id":76556,"slug":76557,"title":76558,"dynasty":256,"author":257,"museum":316,"description":38922,"tags":76559,"thumbUrl":76562,"material":599,"size":600,"collection":139,"collections":76563,"showCount":774,"zanCount":48,"manualWeight":48,"mainColor":94},230985,"fu-shi-hui-109-yi-ming-230985","浮世绘109",[12745,4006,7,106,59,22341,76560,76561],"浴池","洗浴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d7f876d3cf871f066c86d1eabfb99b9.jpg",[],{"id":76565,"slug":76566,"title":76567,"dynasty":76,"author":76568,"museum":316,"description":76569,"tags":76570,"thumbUrl":76571,"material":599,"size":600,"collection":139,"collections":76572,"showCount":774,"zanCount":48,"manualWeight":48,"mainColor":94},230878,"zhong-jin-shi-song-mei-tu-shan-mian-sun-ji-rui-230878","钟进士送妹图扇面","孙基瑞","此作以浅淡设色铺陈场景，钟馗虬髯横剑，威严沉稳，妹妹安坐驴背，温婉静和，仆役肩挑酒食随行。淡墨晕染出郊野平坡枯木，清寂氛围感十足。线条简练挺劲，将人物神态刻画入微，刚柔反差鲜明，钟馗的凛然与小妹的柔媚相互映衬，细节生动鲜活。设色淡雅秀润，笔墨兼具写意与工致，将民间送妹传说，绘就出灵动古雅的意趣，是极具韵味的仕人小品，尽显传统人物画的雅致情致。",[1260,24,25,7,352,106,795,320,6170],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9eaa85281443b028d59b1239b5802ee2.jpg",[],{"id":76574,"slug":76575,"title":76576,"dynasty":76,"author":76577,"museum":316,"description":76578,"tags":76579,"thumbUrl":76580,"material":139,"size":139,"collection":139,"collections":76581,"showCount":774,"zanCount":48,"manualWeight":48,"mainColor":49},230871,"zhi-hua-chun-shan-dai-du-tu-zhu-lun-han-230871","指画春山待读图","朱伦瀚","《指头生活三百年:高其佩与指头画派(套装共2册)》内容简介：指头画，即以手代笔，蘸墨作画。\n中国传统绘画中的一种特殊的画法。\n即以画家的手指代替传统工具中的毛笔蘸墨作画，别有一种特殊趣味和技巧。\n历史上清代高其佩、近代潘天寿、洪世清所作指画作品其影响较大。\n辽宁与指头画有着深厚的渊源，指头画开派人物清代的高其佩祖籍是辽宁的铁岭。\n其弟子传派众多，至清末已达百余人，遂有“指头画派”之称，在清代绘画史中占有一席之地。\n国内著名的指墨家杨一墨就是辽宁开原人，现为铁岭中国手指画研究院院长。\n目前辽宁地区活跃着一批热爱和研究指画艺术、颇具影响力的画家。\n《指头生活三百年:高其佩与指头画派(套装共2册)》由辽宁美术出版社出版。\n《指头生活三百年·上卷》目录： 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《指头生活三百年·下卷》",[23,24,25,226,7,36043,106,29,353,176,177,498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F707cad4fc65c61dfbf21de15bf26ca76.jpg",[],{"id":76583,"slug":76584,"title":76585,"dynasty":256,"author":257,"museum":316,"description":76586,"tags":76587,"thumbUrl":76588,"material":599,"size":600,"collection":139,"collections":76589,"showCount":774,"zanCount":48,"manualWeight":48,"mainColor":94},230549,"ming-qing-gu-hua-dong-wu-shan-shui-fen-ben-tu-juan-1-yi-ming-230549","明清古画动物山水粉本图卷-1","此作以淡设色写就，竹枝蜿蜒横斜，两只绶带鸟栖于枝头，翎羽晕染细腻，尾羽舒展飘逸，姿态悠然自得。左侧浅绿晕染牡丹与湖石，花叶柔润秀雅，清润雅致。\n全作用笔清劲秀逸，线条勾勒简练精准，设色浅淡明净，无浓艳堆砌之意，尽显平和娴静的文人意趣。简淡笔墨间晕染出花木禽鸟的灵动生机，带着写生的鲜活意致，尽显传统花鸟的幽隽雅致之美。",[23,24,7,28,26,83,3712,292,209,210,84,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e497c2669ce7f84f921f5e8bdcf52d4.jpg",[],{"id":76591,"slug":76592,"title":76593,"dynasty":256,"author":257,"museum":316,"description":76594,"tags":76595,"thumbUrl":76597,"material":139,"size":139,"collection":139,"collections":76598,"showCount":774,"zanCount":48,"manualWeight":48,"mainColor":94},230532,"di-yu-hui-juan-tang-zhou-an-zheng-2-nian-yuan-hua-yi-ming-230532","地狱绘卷.棠洲安政2年原画","此卷仅存残幅，以精巧挂饰为视觉重心。细劲的墨线勾勒出构件棱角与垂绦柔态，淡彩晕染收敛克制，将金属的冷锐与织物的轻垂质感对照得恰到好处。朱红小印落于素净底色之上，留白处似隐去了幽冥叙事，只留这一件器物，静穆之中暗合独有的幽玄冷意，让观者自能揣度彼岸世界的森然氛围，极简画面承载着对幽冥意象的隐晦描摹，清冷雅致间暗藏着传统绘卷的肃穆底色。",[26,25,260,352,7,106,76596],"地狱场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40c8cdc42dba50db62002dbda806f404.jpg",[],{"id":76600,"slug":76601,"title":76602,"dynasty":256,"author":61458,"museum":316,"description":76603,"tags":76604,"thumbUrl":76605,"material":139,"size":139,"collection":139,"collections":76606,"showCount":774,"zanCount":48,"manualWeight":48,"mainColor":49},230482,"an-tu-tao-shan-shi-dai-hua-xia-you-le-tu-ping-feng-di-yi-ping-shou-ye-zhang-xin-230482","安土桃山时代 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:139,"collections":76757,"showCount":774,"zanCount":48,"manualWeight":48,"mainColor":49},227900,"tian-long-mu-niu-tu-yi-ming-227900","这幅小品以俯瞰视角铺展江南野趣，淡赭晕染出水天底色，澄澈河道切分绿野，田埂如柔织的细带，圈出片片新嫩秧田。右岸垂柳荫浓，水墨晕染出翠条拂水的柔态，树底茅舍隐现，晕淡朦胧，藏起村居日常的烟火气。田埂之上，牧者徐行，牛犊垂首啮草，意态安闲。\n\n全画笔致秀润清和，无繁缛刻画，只以极简构图晕染出初夏江南的恬谧，将耕牧闲散的乡居意趣藏于尺幅之间，把宋人浸在日常里的诗意悉数铺展，淡而有味，尽显小品画的雅致隽永。",[194,24,25,1260,7,177,29,46680,151,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e51707131104a62630a3a9f39e1b758.jpg",[],{"id":76759,"slug":76760,"title":76761,"dynasty":18,"author":257,"museum":316,"description":76762,"tags":76763,"thumbUrl":76764,"material":139,"size":139,"collection":139,"collections":76765,"showCount":774,"zanCount":48,"manualWeight":48,"mainColor":49},227874,"liu-tang-xun-ju-tu-yi-ming-227874","柳塘寻句图","画面以淡墨晕开江南水滨的烟霭，近处柳林浓荫偃伏，柔条垂覆浅汀，水面浮着点点菱荇，漾着清寂的闲意。远山以轻毫扫出轮廓，融在空蒙水雾之中，恍若化入淡远烟岚。汀渚一隅隐着渔舟，似有幽人独伫，将寻句的幽谧心境沉在湖光柳色里。\n\n全幅以留白造境，笔墨简淡却意蕴悠长，将林泉雅意收在尺幅之间，尽显小品以小见大的雅致，把文人耽于山水、寄情烟霞的襟怀藏在水墨晕染中，淡而愈真，简而弥远。",[23,24,25,194,7,173,28,29,1241,2340,228,1169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F744cd083c4a70642706010bdf7ba17b3.jpg",[],{"id":76767,"slug":76768,"title":76769,"dynasty":18,"author":257,"museum":316,"description":76770,"tags":76771,"thumbUrl":76772,"material":139,"size":139,"collection":139,"collections":76773,"showCount":774,"zanCount":48,"manualWeight":48,"mainColor":94},227866,"wan-he-guo-suo-tu-yi-ming-227866","晚荷郭索图","《宋扇面画晚荷郭索图》是宋代画家佚名创作一幅绢本设色画。\n此画现藏于北京 。\n此图原载《烟云集绘册》（《石渠宝笈续编》著录）。\n无款，签题黄居寀作。\n居寀为筌子。\n《圣朝名画评》云：黄居寀亦善画花竹毛羽，多与筌共为之，其气骨意思，深有父风。\n孟昶时，画四时花雀图数本，当世称绝。\n评曰：居寀之画鹤，多得筌骨。\n其有佳处，亦不能决其高下。\n至于花竹禽雀，皆不失筌法。\n对开有清乾隆皇帝御题诗一首：“从来螯蛫善横行，稻熟秋风意气生。\n甲介向称无所畏，如何每入膳人烹。\n”钤“古稀天子”、“八徵耄念之宝”、“ ”等玺印多方。\n本幅无款。\n钤鉴藏印“金陵□□□□”。\n曾经清内府收藏，《石渠宝笈续编》著录。\n图中一只硕大的 张牙舞爪踞于残荷之上，肥重的身躯竟将荷梗压断。\n衬以苍老的莲蓬、枯黄的 、稀疏的 ，更增添了萧瑟冷寂的气氛。\n荷叶和莲蓬用粗笔勾描，蟹用细笔写之，笔法粗犷写实，设色鲜艳浓重。\n无名氏。\n旧签题 “黄居寀”作，究其画风，与 相距甚远，故改为无名氏画。",[23,24,25,913,81,1260,173,7,136,137,720,22470,178,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba4b3faac025682ff468de9c8c866068.jpg",[],{"id":76775,"slug":76776,"title":76777,"dynasty":18,"author":257,"museum":316,"description":76778,"tags":76779,"thumbUrl":76780,"material":139,"size":139,"collection":139,"collections":76781,"showCount":774,"zanCount":48,"manualWeight":48,"mainColor":801},227855,"shan-yao-lou-guan-tu-ye-yi-ming-227855","山腰楼观图页","此作以水墨绘危峰陡立，云雾如纱空蒙，将山体半隐，仅留山腰楼宇静踞林麓。以斧劈皴利落勾勒山石筋骨，墨色由浓转淡晕染烟岚，虚实相生衬出幽谷空寂幽深。\n\n咫尺扇面以少胜多，尽显简淡空灵意趣，将林泉高致藏在淡墨轻岚间。题诗与画境呼应，把寻仙慕隐的出世之思融于山水，淡远清逸，观之如临其境，似可凭栏观山、静听穿林风声，幽远超脱的山居雅境跃然绢上。",[23,24,25,1260,29,107,176,34,104,177,7,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F274facbfdb6c3c7e5bdce52d2bca3976.jpg",[],{"id":76783,"slug":76784,"title":76785,"dynasty":18,"author":257,"museum":316,"description":76786,"tags":76787,"thumbUrl":76788,"material":139,"size":139,"collection":139,"collections":76789,"showCount":774,"zanCount":48,"manualWeight":48,"mainColor":49},227836,"wu-yun-lou-ge-tu-ye-yi-ming-227836","五云楼阁图页","此作以淡墨晕染铺就空濛底色，危峰如削，拔地耸峙，尽显山石嶙峋硬朗。山脚苍松错落，林麓间野路蜿蜒隐现，以边角取景营造出幽远无际的山野氛围，水墨皴擦勾勒出峭拔山势，将烟霞缥缈的世外秘境晕染得清冷出尘。\n对页题诗与画境相融，笔墨间浸透文人幽居林泉的雅趣，简淡构图里藏着辽远的天地气象，尽显宋人对山水意境的极致追寻，静穆间带着出世的空灵韵味。",[23,194,24,25,6083,1260,7,178,177,104,29,107,30,34,37,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ea704ebcc05fe27f9924065ef24fb0e.jpg",[],{"id":76791,"slug":76792,"title":76793,"dynasty":18,"author":257,"museum":316,"description":61728,"tags":76794,"thumbUrl":76795,"material":139,"size":139,"collection":139,"collections":76796,"showCount":774,"zanCount":48,"manualWeight":48,"mainColor":49},227360,"zhan-dao-heng-lv-tu-ye-yi-ming-227360","栈道行旅图页",[23,24,194,25,6083,7,29,1049,106,150,795,176,3960],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75b65495671b6e37fe5a1bbe7ea1b7d6.jpg",[],{"id":76798,"slug":76799,"title":76800,"dynasty":18,"author":257,"museum":316,"description":76801,"tags":76802,"thumbUrl":76803,"material":139,"size":139,"collection":139,"collections":76804,"showCount":774,"zanCount":48,"manualWeight":48,"mainColor":2504},227349,"xuan-he-dian-shuang-an-tu-yi-ming-227349","宣和殿双安图","北宋皇宫建筑之一，前后经历始建重建，后称保和殿，用以藏书藏画，北宋皇室三大藏书处所之一。著名的《宣和书谱》、《宣和画谱》都与此殿关系密切。",[23,194,24,25,7,28,83,7956,630,3712,913],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0812227ecaac5bde35609c91e6acc901.jpg",[],{"id":76806,"slug":76807,"title":76808,"dynasty":18,"author":257,"museum":316,"description":76809,"tags":76810,"thumbUrl":76811,"material":139,"size":139,"collection":139,"collections":76812,"showCount":774,"zanCount":48,"manualWeight":48,"mainColor":94},227346,"ming-liu-ji-zao-ce-shi-er-zhen-yi-ming-227346","名流集藻册十二帧","此《宋名流集藻册》为“蝴蝶装”形制，共十二帧。每帧有清乾隆皇帝的御笔题诗，与画意相对应，抒其感悟和评论，画页裱边的上端附有题签。依照《石渠宝笈续编》著录的顺序是，一开“燕文贵，纳凉观瀑”；二开“赵伯骕，碧山绀宇”；三开“萧照，丹林诗思”；四开“李迪，鸡雏待饲”；五开“苏汉臣，蕉阴击球”；六开“李迪，无花果图”；七开“刘松年，山馆读书”；八开“梁楷，三高游赏”；九开“梁楷，秋柳双鸦”，十开“陈宗训，秋庭戏婴”；十一开“鲁宗贵，玲峰鹁鸽”；十二开“陈可久，春溪水族”。\n\n“蝴蝶装”书籍装帧形式之一。始于唐末,盛行于北宋。其装订方法是将每页从中缝把有文字的两个半页对折,背面空白处在外,然后把这样对折的一叠散页用一张纸从前包到后面,并将各页折口处牢牢地粘连在这张纸上,以免脱落,这样就形成了蝴蝶装的书。其所以得名,是因为书册打开后左右对称,犹如蝴蝶展开双翅,因而称为“蝴蝶装”,或“蝶装”。",[23,24,25,81,1260,173,7,28,29,175,263,34,106,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ca49fdb98c3f08c2121cc90ba0a38f2.jpg",[],{"id":76814,"slug":76815,"title":76816,"dynasty":18,"author":76817,"museum":316,"description":76818,"tags":76819,"thumbUrl":76820,"material":139,"size":139,"collection":139,"collections":76821,"showCount":774,"zanCount":48,"manualWeight":48,"mainColor":801},227297,"shu-guang-zong-ti-yang-bu-zhi-hong-mei-tu-shi-li-zong-227297","书光宗题杨补之红梅图诗","理宗","宋理宗赵昀（1205年1月26日－1264年11月16日），初名赵与莒，后改名赵贵诚，绍兴府山阴县（今浙江绍兴）人，宋朝第十四位皇帝（1224年9月17日—1264年11月16日在位），南宋第五位皇帝。宋太祖赵匡胤十世孙，赵德昭九世孙。 [1-2]\n嘉定十五年（1222年），被立为宋宁宗弟沂王嗣子，赐名贵诚。嘉定十七年（1224年），立为宁宗皇子，赐名昀。 [3] 宋宁宗死后，赵昀被权臣史弥远拥立为帝。赵昀继位的前十年都是在权相史弥远挟制之下，自己对政务完全不过问，自己则尊崇理学，纵情声色，直到绍定六年（1233年），史弥远死后，赵昀才开始亲政。他亲政之初立志中兴，采取罢黜史党、亲擢台谏、澄清吏治、整顿财政等改革措施，史称“端平更化”。端平元年（1234年），派兵联蒙灭金。同年出兵收复三京，但以失败告终，次年（1235年）蒙古大汗窝阔台以宋朝背约为由，全面侵宋，持续四十多年的宋蒙战争爆发。晚年赵昀又沉湎于醉生梦死的荒淫生活中，朝政相继落入丁大全、贾似道等奸相之手，国势急衰。\n景定五年（1264年），赵昀在临安去世，在位四十一年，仅次于仁宗，享年六十岁。谥号建道备德大功复兴烈文仁武圣明安孝皇帝，庙号理宗。葬于永穆陵",[23,24,25,1260,178,212,820,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F69ab459a45ebc90b3709cbd648351953.jpg",[],{"id":76823,"slug":76824,"title":17921,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":76825,"thumbUrl":76828,"material":599,"size":600,"collection":139,"collections":76829,"showCount":774,"zanCount":48,"manualWeight":48,"mainColor":49},226471,"ku-yong-dao-ding-bu-yi-ming-226471",[7230,511,7,260,28,4027,106,2136,16406,76826,76827,264],"供养菩萨","台座","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80d5f40df538a35fd7afa4235da52aa3.jpg",[],{"id":76831,"slug":76832,"title":59862,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":76833,"thumbUrl":76834,"material":599,"size":600,"collection":139,"collections":76835,"showCount":774,"zanCount":48,"manualWeight":48,"mainColor":49},226447,"ku-qian-shi-bei-bi-yi-ming-226447",[511,260,7,106,107,104],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a77e441d068ce3528ad46517e2c2ee5.jpg",[],{"id":76837,"slug":76838,"title":13670,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":76839,"thumbUrl":76840,"material":599,"size":600,"collection":139,"collections":76841,"showCount":774,"zanCount":48,"manualWeight":48,"mainColor":49},226393,"ku-yong-dao-bei-bi-yi-ming-226393",[511,260,7,106,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1ffe7a4a62a26bbaee8fa2266dfe02d.jpg",[],{"id":76843,"slug":76844,"title":11620,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":76845,"thumbUrl":76846,"material":599,"size":600,"collection":139,"collections":76847,"showCount":774,"zanCount":48,"manualWeight":48,"mainColor":49},226358,"ku-zhu-shi-dong-bi-yi-ming-226358",[511,7,260,106,150],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4809a7ac47bbed4c27c52d85617d89d9.jpg",[],{"id":76849,"slug":76850,"title":26544,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":76851,"thumbUrl":76852,"material":599,"size":600,"collection":139,"collections":76853,"showCount":774,"zanCount":48,"manualWeight":48,"mainColor":801},226356,"ku-yong-dao-nan-bi-yi-ming-226356",[511,260,7,11370,106,4027,1488],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e59e3fc556889f173b277c9245596d3.jpg",[],{"id":76855,"slug":76856,"title":76857,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":76858,"thumbUrl":76860,"material":599,"size":600,"collection":139,"collections":76861,"showCount":774,"zanCount":48,"manualWeight":48,"mainColor":2504},226342,"ku-zhu-shi-ping-qi-ding-bei-mian-yi-ming-226342","窟主室平棋顶北面",[511,7230,7,104,260,5885,76859,5884,4028],"圆形纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9f2fac9683a5bcf3a24328f57d1bd05.jpg",[],{"id":76863,"slug":76864,"title":70744,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":76865,"thumbUrl":76866,"material":599,"size":600,"collection":139,"collections":76867,"showCount":774,"zanCount":48,"manualWeight":48,"mainColor":49},226322,"ku-zhu-shi-zhong-xin-zhu-dong-xiang-mian-yi-ming-226322",[511,5513,260,7,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52f05d00ffc6ae5c6a3e25ed784aef31.jpg",[],{"id":76869,"slug":76870,"title":17921,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":76871,"thumbUrl":76872,"material":599,"size":600,"collection":139,"collections":76873,"showCount":774,"zanCount":48,"manualWeight":48,"mainColor":49},226313,"ku-yong-dao-ding-bu-yi-ming-226313",[511,260,7,106,4027],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d818b6732ad42327da916acfd33bf5e.jpg",[],{"id":76875,"slug":76876,"title":17656,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":76877,"thumbUrl":76878,"material":599,"size":600,"collection":139,"collections":76879,"showCount":774,"zanCount":48,"manualWeight":48,"mainColor":49},226304,"ku-zhu-shi-xi-bi-yi-ming-226304",[511,260,7,106,5513],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7604051a99e6642479c313aeacb86f38.jpg",[],{"id":76881,"slug":76882,"title":39735,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":76883,"thumbUrl":76884,"material":599,"size":600,"collection":139,"collections":76885,"showCount":774,"zanCount":48,"manualWeight":48,"mainColor":2504},226290,"ku-qian-shi-nan-bi-yi-ming-226290",[511,260,7,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa983183b21b766a68ce98804b817933b.jpg",[],{"id":76887,"slug":76888,"title":23349,"dynasty":54,"author":257,"museum":1846,"description":4025,"tags":76889,"thumbUrl":76890,"material":599,"size":600,"collection":139,"collections":76891,"showCount":774,"zanCount":48,"manualWeight"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an-juan-xiao-chen-224567","此作追摹古法，以苍劲斧劈皴勾勒首阳山巉岩硬石，尽显山峦枯寂荒寒。伯夷、叔齐席地对坐，衣纹圆劲凝练，神色沉郁而坚毅，将先贤守节不屈的志节暗藏于眉眼身形间。\n整卷气息沉穆高古，设色浅淡克制，简淡笔墨里见朴拙苍厚。既恪守原作肃穆格调，又融入自身细腻摹写之功，将乱世君子的嶙峋风骨与山野清寂氛围相融，让观者于笔情墨韵间，触摸到千年不移的忠义襟怀。",[24,194,26,105,7,177,106,29,2954,43781],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54554e3c6cce8aff03f2293277073082.jpg",[],{"id":77099,"slug":77100,"title":77101,"dynasty":99,"author":25812,"museum":316,"description":77102,"tags":77103,"thumbUrl":77104,"material":139,"size":139,"collection":139,"collections":77105,"showCount":774,"zanCount":48,"manualWeight":48,"mainColor":94},224562,"shu-hua-ce-ye-27-xiao-yun-cong-wang-shi-zhen-224562","《书画册页》-27","近景苍松虬曲古拙，苔痕覆于顽石，执杖行人徐行溪桥，柴扉轻掩，僮仆静候于竹篱茅舍侧，修篁环绕更添幽寂。飞瀑穿谷蜿蜒而下，层叠山峦以朴拙皴法写就，山石棱角间点染丹色，暗合秋意。\n整幅画作以元人笔意写林泉幽居，笔墨简淡松秀，淡赭轻施衬出山野清秋之致。题字清雅隽秀，与山水笔墨相映成趣，将文人寄情丘壑的雅逸襟怀融于尺幅之中，把山野幽居的静穆恬然尽数铺陈，尽显淡远清寂的林下之风。",[24,25,81,7,173,177,29,106,107,109,176,1133,2532,1426],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe17b3a9e13051ba3c52fdb0d84755f1c.jpg",[],{"id":77107,"slug":77108,"title":77109,"dynasty":76,"author":7596,"museum":316,"description":77110,"tags":77111,"thumbUrl":77112,"material":139,"size":139,"collection":139,"collections":77113,"showCount":774,"zanCount":48,"manualWeight":48,"mainColor":49},224452,"xia-jing-shan-kou-dai-du-tu-wang-hui-224452","夏景山口待渡图","此作为平远构图，铺展江南夏日常卷。烟波浩渺的水网间洲渚连绵，山峦以披麻皴绘就，浑厚华滋，漫山林木蓊郁苍润，尽显盛夏蓬勃生机。水面渔舟泛波，洲头村舍错落，行人三两往来，将水乡悠然野趣融于淡远空濛的烟岚之中。\n画作师法董源笔意，以水墨晕染出氤氲水汽，山色与水色交融晕化，尽显北苑山水的平淡天真，又自具清润秀雅的格调，将江南夏日的湿润静美凝于长卷，把平阔辽远的江湖盛景和隐逸安然的村居日常揉合，尽显水墨山水的诗性韵味。",[23,24,26,7,29,177,28,32,34,33,989,10383,3712,1980,5701,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3779511fff95c1183fe30a2ba31e63f2.jpg",[],{"id":77115,"slug":77116,"title":77117,"dynasty":76,"author":4285,"museum":316,"description":77118,"tags":77119,"thumbUrl":77120,"material":139,"size":139,"collection":139,"collections":77121,"showCount":774,"zanCount":48,"manualWeight":48,"mainColor":94},224419,"shu-hua-shi-liu-kai-5-wang-shi-min-224419","书画十六开-5","此作以赭色绢本铺底，工写相融。白牡丹为画面眼目，淡墨勾瓣，轻施水色晕染，瓣层舒展如叠雪堆云，清腴柔妍，贵而不艳。枝上栖禽翎羽丝描细腻，赭黄、灰褐晕出绒泽，侧目望向花头，似正细嗅天香，灵动鲜活。枝叶以中锋写出，墨色分浓淡显向背，苍润秀雅。题字清雅疏朗，与画面气韵相合。整体娴静古雅，将工致与淡逸揉为一体，晕开春日清和里的幽淡意趣。",[23,24,25,81,28,7,83,292,209,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed52104fc84ec7accdec9de13fdf28db.jpg",[],{"id":77123,"slug":77124,"title":77125,"dynasty":76,"author":4285,"museum":316,"description":77126,"tags":77127,"thumbUrl":77128,"material":139,"size":139,"collection":139,"collections":77129,"showCount":774,"zanCount":48,"manualWeight":48,"mainColor":49},224412,"shu-hua-shi-liu-kai-13-wang-shi-min-224412","书画十六开-13","此作以平远之法铺陈山水，近岸怪石古拙，杂木错落间茅舍隐于林麓，野意悠然。中景湖波澹澹，洲渚横斜，远景山峦层叠，以淡墨晕染出空濛烟岚，将天地开合尽纳尺幅。\n\n笔墨温润苍秀，干笔皴擦间带着醇厚的仿古意趣，淡赭设色晕染绢素，衬出草木清润。右上角题款清雅融于景致，整体气息静穆萧散，将江南山水的温婉沉静铺展开来，尽显文人幽居林泉的雅怀，于仿古之中自出机杼，尽显简淡冲和的文人画意趣。",[23,24,7,177,81,29,108,109,353,176,35,3712,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F528be01158804a7b2b58896cf758f1ed.jpg",[],{"id":77131,"slug":77132,"title":77133,"dynasty":76,"author":17997,"museum":316,"description":77134,"tags":77135,"thumbUrl":77136,"material":139,"size":139,"collection":139,"collections":77137,"showCount":774,"zanCount":48,"manualWeight":48,"mainColor":94},224391,"chun-yan-cui-ai-wang-yuan-qi-224391","春崦翠蔼","此作以全景铺展山林胜境，山峦层叠逶迤取高远之势，干笔积墨反复皴擦，笔力苍厚沉雄，墨色层次氤氲，尽显山峦的浑莽质感。谷间村居错落隐于松竹之下，清溪蜿蜒环带，浮漾着春日的温润清光。浅绛淡赭轻敷山石，晕染出春山翠霭融融的氛围，草木点染灵动，暗合春日生机。整体气脉贯通，将江南春山的幽谧雅致与文人笔墨的书卷意趣相融，于苍秀兼济的笔法中，铺陈出春日山林静穆又盎然的隽永意境。",[23,24,25,29,226,7,177,685,262,34,1273,686,108,809,37,986],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcac120cc799130ed9f4172658a7c4a3.jpg",[],{"id":77139,"slug":77140,"title":77141,"dynasty":76,"author":17997,"museum":316,"description":77142,"tags":77143,"thumbUrl":77144,"material":139,"size":139,"collection":139,"collections":77145,"showCount":774,"zanCount":48,"manualWeight":48,"mainColor":94},224384,"fang-da-chi-shan-shui-wang-yuan-qi-224384","仿大痴山水","《设色仿大痴山水图》是清代王原祁创作的设色山水画，现收藏于沈阳故宫。\n重要展览 219年9月2日，该作品在“锦绣江山——沈阳故宫藏山水画特展”中展出。",[23,194,24,25,226,7,29,176,34,986,109,37,177,105],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc489ecfc1c06d7bcf6b15139b503e79.jpg",[],{"id":77147,"slug":77148,"title":77149,"dynasty":76,"author":1829,"museum":316,"description":77150,"tags":77151,"thumbUrl":77152,"material":139,"size":139,"collection":139,"collections":77153,"showCount":774,"zanCount":48,"manualWeight":48,"mainColor":94},224325,"hua-niao-shi-er-kai-3-li-shan-224325","花鸟十二开3","此作以淡墨晕染雀鸟翎羽，绒毛细密质感尽显，小雀侧首凝神，灵动野趣跃然纸上。竹枝以浓淡墨色挥写，叶片俯仰错落，笔致纵逸萧散，尽显清劲风骨。诗书与绘事相融，题字欹斜错落，文气萦绕画面。整作笔简意赅，将花鸟生趣与文人幽思揉合，以意写形不拘成法，墨色干湿互衬，寥寥数笔便勾勒出江乡小景的幽寂意韵，尽显随性疏朗的文人画风骨。",[23,24,25,81,173,7,83,227,209,86,178,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F476aad52c5f6bd95cc590c2a2bb64743.jpg",[],{"id":77155,"slug":77156,"title":77157,"dynasty":76,"author":1829,"museum":316,"description":77158,"tags":77159,"thumbUrl":77160,"material":139,"size":139,"collection":139,"collections":77161,"showCount":774,"zanCount":48,"manualWeight":48,"mainColor":94},224302,"hua-hui-shi-er-kai-3-li-shan-224302","花卉十二开3","此作以淡赭挥写竹杆，枯涩灵动间尽显苍劲挺拔之态，墨色浓淡晕染牵牛花瓣，蓝紫清妍鲜活，翠色叶片交叠错落，将朝颜娇柔生机尽数铺陈。\n\n行书题字欹侧跌宕，笔意率性不羁，与画作写意野趣相得益彰，诗书合璧尽显文人随性酣畅。整幅以简驭繁，脱略形似而神完气足，将篱间牵牛绕竹的夏日清趣揽于尺幅之间。笔底带着鲜活生机，尽显不拘成法、师法自然的写意精神，寥寥数笔便勾勒出花草疏野雅致，淡冶中见风骨，寻常小景溢出悠然林下之致。",[23,24,25,81,7,173,83,84,553,554,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4b41f8a92c4e3e7a9a030332fa62736.jpg",[],{"id":77163,"slug":77164,"title":77165,"dynasty":76,"author":257,"museum":316,"description":77166,"tags":77167,"thumbUrl":77168,"material":139,"size":139,"collection":139,"collections":77169,"showCount":774,"zanCount":48,"manualWeight":48,"mainColor":49},224241,"fu-gui-shuang-quan-tu-yi-ming-224241","富贵双全图","此作以工笔重彩绘就，石上瑞禽翎羽妍丽华贵，尾屏铺陈如曳地织锦，眼斑历历分明，身姿舒展振翅，雄健灵动恍似将引吭长啼。石下名花雍容绽放，紫艳朱红缀于翠叶间，与苍奇湖石相映成趣。花叶勾勒细腻入微，敷色明润雅致，晕染过渡自然柔和。\n\n整幅疏密相宜，重工轻写兼具，既有院体画的精工富丽，又暗含文人雅韵，以瑞禽名花寄寓吉庆意涵，笔致间尽显雍和雅致的太平气象。",[23,24,25,226,28,7,83,277,292,176,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F357232fb0e7e36d29e9bf562a2612aa2.jpg",[],{"id":77171,"slug":77172,"title":77173,"dynasty":76,"author":77174,"museum":316,"description":77175,"tags":77176,"thumbUrl":77177,"material":139,"size":139,"collection":139,"collections":77178,"showCount":774,"zanCount":48,"manualWeight":48,"mainColor":94},224155,"hua-shan-mei-hua-ce-zhang-zhao-224155","画扇梅花册","张照","上幅行书圆劲秀逸，笔墨温润舒展，词句咏梅寄怀，文思与笔意相得益彰，自带清雅书卷气。下幅墨梅以淡墨写枝，浓墨点花，清瘦枝桠错落舒展，寒梅数朵绰约含香，不着艳色却尽得冰清之姿。留白空寂悠远，尽显文人画以意取胜的韵致。\n\n双扇合璧，书画相映，将爱梅赏梅的雅趣融于尺幅之间，以简约笔墨勾勒花木品格，暗合文人心性，尽显冲淡闲和的林下之风，是意趣隽永的文人抒情小品。",[23,24,25,1260,81,820,86,178,212,173,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdda413448615adeaf8857bb9601f5a07.jpg",[],{"id":77180,"slug":77181,"title":77182,"dynasty":76,"author":257,"museum":316,"description":42306,"tags":77183,"thumbUrl":77185,"material":599,"size":600,"collection":139,"collections":77186,"showCount":774,"zanCount":48,"manualWeight":48,"mainColor":94},224021,"xiang-hua-fa-lang-xi-fang-shi-nv-jing-yi-ming-224021","镶画珐瑯西方仕女镜",[12819,21604,7,106,59,77184],"西方仕女","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb444397515efd90adc6c143bad7fbc66.jpg",[],{"id":77188,"slug":77189,"title":77190,"dynasty":256,"author":257,"museum":316,"description":27801,"tags":77191,"thumbUrl":77192,"material":599,"size":600,"collection":139,"collections":77193,"showCount":774,"zanCount":48,"manualWeight":48,"mainColor":94},223918,"wu-cai-hua-kou-wan-yi-ming-223918","五彩花口碗",[12818,46284,7,820,227,406,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa1e8039ca14caf18a9f60ca12521d91.jpg",[],{"id":77195,"slug":77196,"title":77197,"dynasty":99,"author":257,"museum":316,"description":77198,"tags":77199,"thumbUrl":77200,"material":139,"size":139,"collection":139,"collections":77201,"showCount":774,"zanCount":48,"manualWeight":48,"mainColor":94},223682,"feng-yu-po-zhou-tu-yi-ming-223682","风雨泊舟图","此作以淡墨晕染出空濛雨意，水雾裹挟秋意漫过江天。近岸怪石虬松相错，丹红枝叶点破深褐苍翠，晕开晚秋暖色。远山隐在烟霭中，只露嶙峋半截，将天地晕成一片苍茫。\n\n江面上薄雾横生，泊岸的舟楫静立，远水处孤帆在烟浪里浮沉，尽写羁旅之人待雨歇的怅惘。画师以虚实相生之法，将风雨欲来的沉郁秋江铺展开，淡墨轻皴晕出湿冷空寂的氛围感，把秋日羁泊的萧索意趣藏在烟水林峦之中。",[23,24,25,29,7,177,174,353,230,109,34,686],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04289f046947f163b3eebe5ac5d89837.jpg",[],{"id":77203,"slug":77204,"title":77205,"dynasty":18,"author":257,"museum":316,"description":77206,"tags":77207,"thumbUrl":77208,"material":139,"size":139,"collection":139,"collections":77209,"showCount":774,"zanCount":48,"manualWeight":48,"mainColor":49},223675,"shuang-you-han-chu-tu-yi-ming-223675","霜莜寒雏图","《宋人画霜篠寒雏图》是宋代佚名创作的绢本设色画。\n5只 集于枯棘上，姿势各异，神态如生。\n枯棘下的竹枝色黄叶疏，点明了瑟瑟秋意。\n画家将聚集4只文鸟的重心着落于画面中心偏左的位置，而将另一文鸟绘于右侧高处的棘枝上以分散重心，但它回眸向下的眼神与另外4只相呼应，如此布局使画面既错落有致而重心突出。\n文鸟的描绘先勾出轮廓，再用细劲的笔锋绘出羽毛，并施以淡墨、赭石等色，渲染出毛绒的质感；竹叶使用双钩笔法，然后渲染；竹竿采用白描法；荆棘则一笔画出，显得苍劲老到。\n此图原载《宋人集绘册》。\n图绘家雀五只栖止于枯棘上，右下侧衬以双钩翠竹。\n五只 的神态，刻画极为精工。\n麻雀窃窃私语的神情，欲飞未飞的动态，以及它们茸茸的羽毛，圆而有神的眼睛，描绘得栩栩如生，使人感到如闻其声，如入其境。\n图中竹页用双钩，然后用花青、汁绿渲染，竹竿用白描，荆棘以一笔出之。\n小鸟勾出轮廓后用细笔丝出羽毛，具有毛茸茸的质感。\n此图无作者宽印，钤「宋荦审定」一印。\n本幅无款。\n鉴藏印钤“宋荦审定”。\n裱边题签：“宋人画霜篠寒雏”。\n经清代收藏家宋荦鉴藏，见《石渠宝笈三编》著录。",[23,194,24,28,7,83,209,227,7428],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa796d5d8ac8e342dc30faa9a1bfe80fb.jpg",[],{"id":77211,"slug":77212,"title":77213,"dynasty":18,"author":257,"museum":316,"description":77214,"tags":77215,"thumbUrl":77216,"material":139,"size":139,"collection":139,"collections":77217,"showCount":774,"zanCount":48,"manualWeight":48,"mainColor":49},223659,"wen-chuan-tu-juan-yi-ming-223659","问喘图卷","此作用淡墨白描写就，右侧古木虬劲苍郁，浓墨点簇枝叶，衬出林间幽寂。画面左侧水畔空濛悠远，平沙浅滩愈发衬出乡野静穆。\n\n画中士人抬手问询，田夫敛袖作揖应答，神态恳切自然，身后侍童恭立持扇，氛围悠然庄重。耕牛垂首缓行，身姿朴拙生动，将典故融于乡野实景。\n\n构图疏密相宜，淡墨晕染水色空濛，简练线条精准勾勒人物神情与物态，设色简淡素雅，尽显清雅意趣，暗含体恤民生的古韵深意，平淡画面间尽显含蓄悠远的古典风雅。",[23,24,26,352,7,212,106,151,378,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ae80987d2d826d7b80a5a3b01b261be.jpg",[],{"id":77219,"slug":77220,"title":17353,"dynasty":18,"author":257,"museum":316,"description":77221,"tags":77222,"thumbUrl":77223,"material":139,"size":139,"collection":139,"collections":77224,"showCount":774,"zanCount":48,"manualWeight":48,"mainColor":49},223654,"yuan-shui-yang-fan-tu-yi-ming-223654","《宋人画远水扬帆》是南宋佚名画家创作的一幅表现江南水乡之美的中国古画。\n青山数抹，远浮天际。\n烟波浩渺的江面上，一阵劲风，将江边突岩上树叶茂密的大树吹弯了身子，也将江上三艘客船直往江心推去。\n江畔一位白衣隐士，带着琴童，正打算漫步到岩边林荫下的茅亭里。\n明朗的景境，流露着几分闲适、畅快的朝气。\n南宋偏安江南，江南水乡的杏花春雨，便逐渐取代华北的千岩万壑，成为画家描绘的主要对象。\n反映在作品里，除了云烟弥漫外，最大的特色，便是「水」的增加。\n在这幅「远水扬帆」里，我们可以看出吸引隐士策杖前来的，除了远山帆影外，也正是这一片映照山、天之影的江水。\n「远水扬帆」图上没留下名款，画中紧密的画叶画水的方法，和画石头的小斧劈皴法，都与南北宋之交 的名作「江山小景」相似。\n而左实右虚的半边构图，也是南宋常见的布局方式。\n隐士主仆俩身上寥寥廓廓的几根线条，也属南宋点景人物惯见的作风。\n这幅作品是一幅南宋表现江南水乡之美的典型佳作。",[23,194,24,25,3559,67,7,3052,177,34,1241,989,176,3519,3517,106,1169,1980,978,118,30414,689],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72cbaf521890fbde5497afffb62995ae.jpg",[],{"id":77226,"slug":77227,"title":77228,"dynasty":99,"author":257,"museum":101,"description":77229,"tags":77230,"thumbUrl":77231,"material":529,"size":25058,"collection":139,"collections":77232,"showCount":774,"zanCount":48,"manualWeight":48,"mainColor":49},223574,"mu-yang-tu-yi-ming-223574","牧羊图","绘春郊野外，羊群于坡岸吃草放牧的情景，羊群刻画生动，奔走俯首等姿态栩栩如生，有母子舔犊情深、有结伴奔跑嬉戏、有独自悠闲觅食。荒草并不丰茂，但却充满生机，平稳均衡的画面布局又隐藏着山坡横向的动感和柳树上扬下垂的起伏变化，而正在攀爬柳树的牧童，更是给看似安静的画面增添了活眼。",[23,24,1260,7,106,6162,378,9086,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d76828bbf7925e25c75ff00155b1967.jpg",[],{"id":77234,"slug":77235,"title":77236,"dynasty":18,"author":257,"museum":20,"description":77237,"tags":77238,"thumbUrl":77240,"material":67,"size":77241,"collection":139,"collections":77242,"showCount":774,"zanCount":48,"manualWeight":48,"mainColor":94},223507,"song-yin-xian-qi-tu-yi-ming-223507","松荫闲憩图","绘一老者倾躺在斜坡上小憩，高戴高帽，满脸皱纹，长须及胸，右臂枕于头下，双腿蜷缩，安详的享受自然之景；四周杂草蓬勃生长，上方松木遮阳，松针细长繁多，藤条自松枝上垂下。",[23,24,25,11932,913,173,7,28,106,1133,77239],"闲憩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5060744d24e47c5354270e434f38253.jpg","22x54",[],{"id":77244,"slug":77245,"title":77246,"dynasty":18,"author":257,"museum":191,"description":77247,"tags":77248,"thumbUrl":77249,"material":529,"size":77250,"collection":139,"collections":77251,"showCount":774,"zanCount":48,"manualWeight":48,"mainColor":94},223429,"wu-kuan-xi-pang-xian-hua-yi-ming-223429","无款溪旁闲话","前景岩石矗立于溪旁，岩壁松树垂下，间杂着红叶、绿萝。岸上士人，拱手与渔夫问答。渔父持竿压着膝盖，稳坐船头倾听。渔父将脚深入水中，与「沧浪之水浊兮，可以濯吾足」文字叙述吻合，所画或是《楚辞》〈渔父〉。此画小斧劈皴刚劲犀利，传达出山石的坚硬嶙峋，不失为十三世纪佳作。本幅选自《宋人集绘册》第五开。",[23,24,7,28,81,106,109,174,353],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dc5abf621abb036630676a076c87c6e.jpg","25.7x23.6厘米",[],{"id":77253,"slug":77254,"title":77255,"dynasty":76,"author":257,"museum":191,"description":32494,"tags":77256,"thumbUrl":77257,"material":139,"size":139,"collection":139,"collections":77258,"showCount":774,"zanCount":48,"manualWeight":48,"mainColor":49},223412,"ma-zu-qi-ji-c-yi-ming-223412","妈祖奇迹C",[23,24,7,28,104,260,106,149,3041,37,3517],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1bdb2f2246419402205f91e670b372b.jpg",[],{"id":77260,"slug":77261,"title":77262,"dynasty":18,"author":257,"museum":20,"description":77263,"tags":77264,"thumbUrl":77265,"material":529,"size":77266,"collection":139,"collections":77267,"showCount":774,"zanCount":48,"manualWeight":48,"mainColor":49},223334,"si-lun-tu-yi-ming-223334","丝纶图","此图描绘了在苍苍茫茫的山林中,几位女子正在纶丝,两个天真的幼童则在嬉戏游玩,生活气息十分浓厚。掩映在山林中的茅屋围以栅栏,近处的山石陡峭高耸,附岩壁而长的苍松枝干虬劲蟠曲,显示了劲松雄强的本色。画上有一首题诗: 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Rubens）（1577年6月28日—1640年5月30日），教名伯多禄·保禄·鲁宾斯，17世纪佛兰德斯画家，西班牙哈布斯堡王朝外交使节。鲁本斯是佛兰德斯画家，是巴洛克画派早期的代表人物。\n鲁本斯出生于德国锡根，在他的父亲去世后，12岁的鲁本斯跟随母亲回到了西班牙统治下的家乡安特卫普，并在那里接受了天主教洗礼。而宗教也成为鲁本斯画家生涯中十分重要的一个主题。",[78291,68076,7,106,59,53799,115,8080,19926],"西洋画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74cfc76c2d7c35b8632244807430e244.jpg",[],{"id":78295,"slug":78296,"title":78297,"dynasty":76,"author":257,"museum":316,"description":78298,"tags":78299,"thumbUrl":78301,"material":599,"size":600,"collection":139,"collections":78302,"showCount":889,"zanCount":48,"manualWeight":48,"mainColor":94},288438,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-kang-xi-shi-si-zi-yin-ti-yi-ming-288438","历代帝王贵妃大臣朝服像(康熙十四子胤禵)","此作为写实工笔肖像，用笔精细入微。画师以淡墨晕染面部，将人物皮肤的松弛褶皱与霜色须发刻画得丝丝分明，沉稳威严的神态呼之欲出，尽显中年男子的沉凝气度。石青色常服线条劲挺，晕染出织物的厚重质感，暖绒官帽点缀出端庄仪范。蓝底红云坐褥设色浓艳华贵，与素净背景形成冷暖对比，衬得人物沉静内敛。上方题诗与画像呼应，暗合人物端方仁厚的风骨。整作形神兼备，既有宫廷肖像画的严谨工整，又将人物气度与仪容完美融合，是清代肖像画的上乘之作。",[23,24,7,106,28,226,23715,333,86,78300],"男性肖像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a502daf27004585523e0ca50abe0f5c.jpg",[],{"id":78304,"slug":78305,"title":78306,"dynasty":76,"author":257,"museum":316,"description":78307,"tags":78308,"thumbUrl":78309,"material":599,"size":600,"collection":139,"collections":78310,"showCount":889,"zanCount":48,"manualWeight":48,"mainColor":49},288436,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-jian-wei-rui-feng-yi-ming-288436","历代帝王贵妃大臣朝服像(建威锐锋)","此作工笔精细写实，将老者威仪内敛的气度尽数铺展。画师落笔入微，老者苍劲的面容带着世家尊者的沉稳肃穆，褶皱细腻的朝袍晕染厚重华贵，补子纹饰与江崖海水层次分明，朝珠串饰色泽温润写实，细节处处彰显礼制规格。整体构图中正端方，素净背景衬得人物愈发庄重，脚下繁复华丽的地毯纹样，烘托出肃穆的宗族祭祀氛围。画作以形写神，色彩沉厚朴雅，将旧世家的宗法礼制风貌尽显笔底，兼具写实功力与礼制意蕴。",[23,24,226,7,28,106,6929,333,337,23715],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c62be9cfeca4ec02b63c653d141fe86.jpg",[],{"id":78312,"slug":78313,"title":78314,"dynasty":76,"author":2162,"museum":316,"description":24836,"tags":78315,"thumbUrl":78316,"material":599,"size":600,"collection":139,"collections":78317,"showCount":889,"zanCount":48,"manualWeight":48,"mainColor":49},288400,"lin-xiao-xiang-kui-duo-ju-hua-shi-sun-wen-288400","林潇湘魁夺菊花诗",[23,24,7,28,106,107,175,1557,245,60,990,1930,59],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8680ac2375a247993af1aa51a1c52151.jpg",[],{"id":78319,"slug":78320,"title":78321,"dynasty":76,"author":22749,"museum":316,"description":31971,"tags":78322,"thumbUrl":78323,"material":599,"size":600,"collection":139,"collections":78324,"showCount":889,"zanCount":48,"manualWeight":48,"mainColor":94},288339,"shan-shui-tu-fang-yong-rong-288339","山水图(仿)",[24,25,194,226,105,7,177,29,176,109,34,3176,175,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F09ecface8233be70ac1254894a6345a5.jpg",[],{"id":78326,"slug":78327,"title":78328,"dynasty":76,"author":257,"museum":316,"description":78329,"tags":78330,"thumbUrl":78332,"material":599,"size":600,"collection":139,"collections":78333,"showCount":889,"zanCount":48,"manualWeight":48,"mainColor":94},288318,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-xiao-sheng-xian-huang-hou-yi-ming-288318","历代帝王贵妃大臣朝服像(孝圣宪皇后)","此作工笔细腻写实，将主人端庄沉静的仪态尽显无余。画师以精妙笔触晕染面容，神态慈和威严，还原出人物的尊贵气度。朝服纹样繁复华丽，蓝底衬以金线龙纹，腾云驾雾栩栩如生，江崖海水纹饰工整细致，绣法精妙绝伦，尽显皇家服饰的华贵规制。头顶朝冠、项下朝珠搭配严整，珠玉色泽莹润分明，层次饱满丰富。整体设色富丽雅致，构图端方稳重，既恪守宫廷肖像画的严谨范式，又将人物身份尊崇之感烘托到极致，是清代肖像画中兼具纪实性与艺术性的上乘之作。",[23,24,25,226,7,28,106,42864,333,406,78331],"宫廷肖像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faea8bfdb472ffe17c73c385092280157.jpg",[],{"id":78335,"slug":78336,"title":78337,"dynasty":76,"author":257,"museum":316,"description":78338,"tags":78339,"thumbUrl":78340,"material":599,"size":600,"collection":139,"collections":78341,"showCount":889,"zanCount":48,"manualWeight":48,"mainColor":49},288316,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-xiao-gong-ren-huang-hou-yi-ming-288316","历代帝王贵妃大臣朝服像(孝恭仁皇后)","此作工笔精谨，将皇后仪范尽致描摹。主尊神态端静温婉，面庞刻画细致入微，妆容典正合于宫规。石青朝服团龙暗纹隐现，肩缘行龙鲜活灵动，织绣技法精妙，配色沉穆华贵，礼制细节分毫毕现。身下坐毯云龙缠枝，纹样繁密富丽，衬出皇家尊崇地位。整幅恪守宫廷肖像范式，以细腻笔触还原帝后仪容气度，将清代服饰礼制与工笔肖像的精湛工艺相融，尽显雍容肃穆的皇家威仪，处处彰显出宫廷绘画的严谨匠心。",[23,24,25,7,28,106,406,63,333,31263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2dbe0fb00235521de8b6884ca04506e.jpg",[],{"id":78343,"slug":78344,"title":78345,"dynasty":76,"author":257,"museum":316,"description":78346,"tags":78347,"thumbUrl":78348,"material":599,"size":600,"collection":139,"collections":78349,"showCount":889,"zanCount":48,"manualWeight":48,"mainColor":94},288311,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-kang-xi-fei-pin-wu-ya-shi-yi-ming-288311","历代帝王贵妃大臣朝服像(康熙妃嫔乌雅氏)","整幅画像工致写实，主人公端然正坐，神色温婉肃穆，尽显后宫妃嫔的端庄气度。石青色朝服上团龙纹盘绕，绣工细密平整，金线隐于织纹间流露华贵底色，护甲与长挑垂落，衬出身份尊荣。\n\n座椅披覆瑞兽纹锦缎，威严灵动的纹饰呼应主人地位，身下地毯缠枝花卉间游龙蜿蜒，繁复纹饰层次分明，晕染考究。画作设色沉稳雅致，恪守宫廷肖像画仪制规范，写实还原仪容之余，以精细织绣细节烘托出雍容端方的宫廷气韵，将礼制要求与肖像美感融为一体。",[23,24,28,7,106,59,406,63,23715],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdbc7acf96a92961cf7f3af40e2233fa2.jpg",[],{"id":78351,"slug":78352,"title":78353,"dynasty":76,"author":8060,"museum":316,"description":51780,"tags":78354,"thumbUrl":78355,"material":599,"size":600,"collection":139,"collect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[1] 供奉内廷十余年。与董其昌、詹景凤诸人交游，故流传作品多有董其昌、陈继儒等人的题赞。董其昌赠以印章，曰毫生馆。其得意之作，尝一用之。万历八年（1580）作江南春扇，天启元年（1621）作伙溪渔隐图。\n其画以人物、佛道最负盛名,论者谓,在明末人物画家中，丁云鹏与陈洪绶、崔子忠成鼎足之势。早年人物画工整秀雅，晚期趋于沉着古朴，前后变化可从存世的《媛挡熊图》及《三教图》（均藏故宫博物院）中窥知一斑。山水画也有一定造诣，在师法宋元基础上,自具风格。早期隽秀,晚期古拙，以平整为法。亦能作兰草，有《楚泽流芳图》（故宫博物院）存世。后世流传他的作品，有不少是伪作。而台北故宫博物院所藏钱选《卢同烹茶图》实为丁云鹏手笔。丁云鹏生活于雕板、制墨业发达的徽州，还为书刊画了不少插画，对于新安木刻画的发展起到了一定作用。",[1260,24,25,7,29,106,34,109,35,212,177,54208],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fa9414f96ce5c74dd7c82367b21521f.jpg",[],{"id":78464,"slug":78465,"title":78466,"dynasty":76,"author":34136,"museum":316,"description":63298,"tags":78467,"thumbUrl":78468,"material":599,"size":600,"collection":139,"collections":78469,"showCount":889,"zanCount":48,"manualWeight":48,"mainColor":94},287354,"shan-shui-tu-ce-9-wang-gai-287354","山水图册-9",[24,81,29,174,6582,795,176,2562,173,7,86,212,796],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8dffed0f34415aaddf411aa07e729e70.jpg",[],{"id":78471,"slug":78472,"title":78473,"dynasty":76,"author":25329,"museum":316,"description":25330,"tags":78474,"thumbUrl":78475,"material":599,"size":600,"collection":139,"collections":78476,"showCount":889,"zanCount":48,"manualWeight":48,"mainColor":801},283782,"hong-qing-chan-meng-tu-wang-li-283782","红情忏梦图",[24,26,7,106,19430,6768,353,662,176,446,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F41f77161fb0ff3c657f6b8fd60b8e536.jpg",[],{"id":78478,"slug":78479,"title":78480,"dynasty":99,"author":257,"museum":316,"description":78481,"tags":78482,"thumbUrl":78483,"material":599,"size":600,"collection":139,"collections":78484,"showCount":889,"zanCount":48,"manualWeight":48,"mainColor":49},283646,"wan-qin-tu-yi-ming-283646","玩琴图","松下雅集，炉烟轻飏。主客围案对坐，琴音暗淌。主人神色安和，二宾或倾身凝聆，或捻髯沉醉，旁侧侍者垂立随侍。庭中古松苍虬撑盖，湖石堆簇间牡丹绽艳，孔雀闲踱阶前，案头盆栽雅致清幽。\n全作用笔工细遒劲，衣纹流转自然，设色古雅沉润，将文人雅聚的闲逸情致尽数铺展，把耽乐于丝竹、寄怀于林泉的林下高风，揉入这一方庭院雅景之中，尽显文人士大夫的审美意趣与精神归处。",[24,7,28,106,4352,4999,195,1273,292,277,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2301dcb7c455395f785793016048436e.jpg",[],{"id":78486,"slug":78487,"title":56723,"dynasty":76,"author":257,"museum":316,"description":56724,"tags":78488,"thumbUrl":78489,"material":599,"size":600,"collection":139,"collections":78490,"showCount":889,"zanCount":2368,"manualWeight":48,"mainColor":49},273900,"hong-se-sha-xiu-yun-wen-fei-hu-qi-yi-ming-273900",[8969,65,3982,5443,6422,2136,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9023f11d1258522d534b078b43db73b.jpg",[],{"id":78492,"slug":78493,"title":78494,"dynasty":76,"author":257,"museum":316,"description":78495,"tags":78496,"thumbUrl":78498,"material":599,"size":600,"collection":139,"collections":78499,"showCount":889,"zanCount":48,"manualWeight":48,"mainColor":94},273651,"dai-mao-bian-qian-ya-song-he-bai-lu-tu-gua-ping-yi-ming-273651","玳瑁边嵌牙松鹤柏鹿图挂屏","以素纱为地，玳瑁围框，自带雅致华贵之气。绒线堆绣出苍松虬枝，针叶蓬松鲜活，点翠缀饰其间，尽显古木苍劲生机。象牙雕琢的灵鹿肌理细腻柔和，姿态悠然灵动，漫步林泉，暗含福禄绵长的美好祈愿。山石晕染皴擦，色泽雅致晕然，衬出林间幽寂清逸之境。\n\n这件作品融刺绣、牙雕、点翠工艺于一炉，工致精巧却和谐相融，将山林野趣凝于方寸之间，尽显匠人的精妙巧思，把吉祥意趣与雅致审美相合，尽显旧时工艺的绝佳匠心。",[9496,5513,44145,64805,78497,1133,2479,746,7,176],"玳瑁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a81f7596f209fed0db53778b4367fab.jpg",[],{"id":78501,"slug":78502,"title":78503,"dynasty":76,"author":257,"museum":316,"description":78504,"tags":78505,"thumbUrl":78507,"material":599,"size":600,"collection":139,"collections":78508,"showCount":889,"zanCount":48,"manualWeight":48,"mainColor":94},272835,"zi-tan-dian-cui-qian-ya-yu-jia-le-cha-ping-yi-ming-272835","紫檀点翠嵌牙渔家乐插屏","此件以紫檀为骨，边框缠枝纹精雕细镂，古意盎然。屏心以墨底铺陈，借点翠晕染山林村居，深浅翠色仿若烟岚覆坡，柔润雅致。象牙巧作人物舟楫，细细勾勒出江南水乡烟火日常：江面扁舟错落，渔翁撒网收获、停舟闲话；堤岸浣洗劳作，田垄俯身耕耘，处处皆是鲜活生机。百宝相嵌之下，莹润翠色与温润牙色在沉深墨底上相映成趣，将水乡渔家乐的太平盛景凝于屏间，尽显嵌作工艺的精妙灵秀，把江南日常的恬暖意趣永恒定格。",[67155,229,7135,64805,78506,5513,796,106,5701,109,107,29,7],"点翠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83b50f90b76d242ecf4f2fa0eabd1767.jpg",[],{"id":78510,"slug":78511,"title":78512,"dynasty":76,"author":257,"museum":316,"description":78513,"tags":78514,"thumbUrl":78515,"material":599,"size":600,"collection":139,"collections":78516,"showCount":889,"zanCount":48,"manualWeight":48,"mainColor":94},270204,"zong-zhu-gu-hui-qin-wang-shu-hua-ying-xi-tu-mian-zhe-shan-yi-ming-270204","棕竹股惠亲王书画婴戏图面折扇","此作以浅设色绘就婴戏小景，左侧古木虬曲苍劲，新叶扶苏，晕染出清润雅致的氛围。数位稚童神态灵动鲜活，簇拥着戴冠执礼的红衣幼童嬉闹游玩，衣饰敷色明快柔妍，将孩童烂漫天真的嬉游之态尽数铺陈。\n\n右侧留白晕染出朦胧庭院一角，虚实相生，更衬画面悠然松弛的意趣。整体笔致秀雅简淡，设色清新柔润，将日常稚趣融于扇面方寸间，尽显清逸雅致的文玩意韵，是颇具情致的婴戏小品佳作。",[1260,24,25,7,106,8665,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75988733ac15ff857814a3ee48481e16.jpg",[],{"id":78518,"slug":78519,"title":78520,"dynasty":18,"author":257,"museum":316,"description":78521,"tags":78522,"thumbUrl":78523,"material":599,"size":600,"collection":139,"collections":78524,"showCount":889,"zanCount":48,"manualWeight":48,"mainColor":801},269048,"ke-si-qing-bi-shan-shui-tu-zhou-yi-ming-269048","缂丝青碧山水图轴","此作用缂丝之技摹绘山水，上下分景各有意趣。远景烟波浩渺，青嶂层叠隐现于云霭之间，淡色晕染出空濛辽远的平林水色，尽现江天寥廓。近岸古木虬曲苍劲，枝桠舒展自带荒寒意趣，浅滩乱石错落排布，一叶扁舟横卧波上，幽寂闲雅。青碧主调柔和雅致，丝缕间织就淡远萧散的宋韵山水，将林泉高致藏于尺幅，静穆间尽显文人山水的悠远意境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[1] 学明代的丁云鹏笔法，有出蓝之誉。雍正四年(1726)进入宫廷为画院处行走，是雍正、乾隆朝画院高手，与唐岱、郎世宁、张宗苍、金廷标齐名。造诣深湛，得乾隆帝赏识，曾为《圣制诗》初集、二集、三集之多幅画卷题诗。在宫廷画院五十年左右，作品近二百件。传世作品有完成于乾隆三十二年(1767)《法界源流图》卷，纵33厘米，横1635厘米，该卷场面宏大，人物众多，描金设色，精细绚丽，为中国佛教艺术瑰宝、世界佛教艺术明珠，现藏吉林省博物馆；乾隆十三年(1748)作《乞巧图》卷藏上海博物馆；二十六年(1761)作《无量寿佛图》轴、《宝相观音图》轴藏故宫博物院；三十五年(1770)八月作《说法图》轴藏西柏林民俗博物馆。弟丁观鹤，亦供奉内廷，工人物。\n丁观鹏擅长画道释人物，也善画山水。曾与弟弟观鹤同供奉于南熏殿。他的画作清宫收藏很多。与陈枚等六家合作《庆丰图》卷，《太平春市图》卷，与陈枚、孙硝合作《丹台春晓图》卷等，均辑入《石渠宝笈》。传世作品有：《摹宋人雪渔图》和《仿韩 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康熙五十三年召为内廷供奉，其宫廷工笔画造诣颇深，因不愿受“正统派”画风束缚而遭忌离职。乾隆三年出任山东滕县知县，颇得民心，因得罪上司而罢官。后居扬州，卖画为生。李鱓工诗文书画。曾随蒋廷锡、高其佩学画。后受石涛影响，擅花卉、竹石、松柏，早年画风工细严谨，颇有法度。中年画风始变，转入粗笔写意，挥洒泼辣，气势充沛，对晚清花鸟画有较大影响。",[24,173,7,83,81,1111,1980,498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71ffad346df645f21757cf8ef14b4cb7.jpg",[],{"id":80006,"slug":80007,"title":80008,"dynasty":256,"author":68073,"museum":316,"description":68074,"tags":80009,"thumbUrl":80010,"material":599,"size":600,"collection":139,"collections":80011,"showCount":889,"zanCount":48,"manualWeight":48,"mainColor":2504},231310,"su-miao-564-xi-fang-231310","素描564",[68076,7,106,59,11296],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf99b3706803008248c7c8c1fe61e6fd.jpg",[],{"id":80013,"slug":80014,"title":16056,"dynasty":54,"author":257,"museum":316,"description":4025,"tags":80015,"thumbUrl":80016,"material":599,"size":600,"collection":139,"collections":80017,"showCount":889,"zanCount":48,"manualWeight":48,"mainColor":49},230942,"ku-zhu-shi-nan-pi-yi-ming-230942",[7230,511,1846,260,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4419aaf351b5ec6182b885c06aadeea.jpg",[],{"id":80019,"slug":80020,"title":17921,"dynasty":54,"author":257,"museum":316,"description":4025,"tags":80021,"thumbUrl":80022,"material":599,"size":600,"collection":139,"collections":80023,"showCount":889,"zanCount":48,"manualWeight":48,"mainColor":2504},230940,"ku-yong-dao-ding-bu-yi-ming-230940",[511,7,260,106,1846],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5267db410ca69553cfbc19308962be6.jpg",[],{"id":80025,"slug":80026,"title":80027,"dynasty":302,"author":257,"museum":316,"description":80028,"tags":80029,"thumbUrl":80030,"material":139,"size":139,"collection":139,"collections":80031,"showCount":889,"zanCount":48,"manualWeight":48,"mainColor":49},230902,"hua-hui-tu-ye-yi-ming-230902","花卉图页","此作用色清和柔婉，以没骨法晕绘花枝。素白花瓣轻透柔润，攒聚的细点圈出花蕊，朴拙中带着精巧意趣。叶片以深浅绿意铺陈，随枝条自然舒展，将花枝的绰约姿态托衬得愈发清雅。古绢的沉褐底色晕开旧时光晕，让整幅画面浸着幽淡娴静的古雅气韵，似将暮春庭隅的清寂花影凝在绢上，淡而不薄，简而有味，尽显文人意趣里的雅致闲情。",[23,194,24,25,81,28,7,83,84,554,211],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea57ae90d4205641248ba1b657896677.jpg",[],{"id":80033,"slug":80034,"title":80035,"dynasty":76,"author":80036,"museum":316,"description":80037,"tags":80038,"thumbUrl":80039,"material":139,"size":139,"collection":139,"collections":80040,"showCount":889,"zanCount":48,"manualWeight":48,"mainColor":94},230879,"qiu-jiang-wan-du-ye-yao-zhong-bao-230879","秋江晚渡页","姚钟葆","淡墨晕开烟水空蒙，江畔秋树斜出，赭色点染丹黄，将晚秋霜色尽揽枝梢。垂条轻曳，晕出松弛疏淡的野趣。\n\n扁舟泊于浅渚，舟上幽人兀坐，隐入澄澈江天，不着一笔写愁，却将秋江岑寂全然铺陈。留白处尽是悠悠晚意，仿佛可闻欸乃橹声，随晚风漫过江心。\n\n笔墨简淡清灵，以少胜多，把羁旅闲愁化作静穆秋意，文题与淡墨秋景相融，晕开独有的空濛诗意，尽显幽远萧散的林下风致。",[24,173,7,81,177,174,106,245,378,13460,3466,31602],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F398701c4b5e7ea6c7f53c677cdf4ea49.jpg",[],{"id":80042,"slug":80043,"title":80044,"dynasty":76,"author":257,"museum":316,"description":80045,"tags":80046,"thumbUrl":80047,"material":599,"size":600,"collection":139,"collections":80048,"showCount":889,"zanCount":48,"manualWeight":48,"mainColor":94},230338,"bai-miao-tu-miao-man-tu-shuo-wu-yi-ming-230338","百苗图苗蛮图说（五)","柳丝轻曳、桃枝泛红，将春日柔色晕染在茅舍小院旁。画里的苗家日常鲜活又温热：挎篮的妇人正将汤水递予怀抱着幼童的丈夫，小女儿拽着父亲衣袍娇憨讨要关注，老翁倚在门扉含笑，看稚童攥着短笛信口吹奏。\n\n淡彩细笔勾勒出屋舍篱栅的朴拙，线条柔和地晕开烟火暖意，没有浓艳着色与繁复技法，只将边陲村寨的天伦之趣静静铺展。山野乡居松弛的日常瞬间被定格，把苗家质朴鲜活的烟火温情永远留存，满是平实动人的乡野诗意。",[24,25,7,28,81,106,35,1241,243,108,2385,16143,13730,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf044c3bfaf9ae0247bb3d2c75c34de2.jpg",[],{"id":80050,"slug":80051,"title":80052,"dynasty":76,"author":257,"museum":316,"description":80053,"tags":80054,"thumbUrl":80055,"material":139,"size":139,"collection":139,"collections":80056,"showCount":889,"zanCount":48,"manualWeight":48,"mainColor":49},230317,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-nu-er-ha-chi-yi-ming-230317","历代帝王贵妃大臣朝服像(努尔哈赤)","此作工致写实，将帝王威仪凝于绢素之上。明黄朝服工整华贵，团龙纹样饱满威严，晕染细腻，层次分明地还原出织绣的肌理华彩，衣纹舒展沉稳，贴合身形尽显礼制规制。帝王面容刻画写实传神，神态沉静肃穆，自带开国君主的厚重气场，眉眼间尽显沉稳威严。背景纹样工整雅致，与人物朝服的华丽相得益彰，烘托出庄重典仪氛围。整作兼顾纪实性与礼制性，细腻还原清初帝王仪范，笔墨之间尽显肃穆庄重的皇家气度，是清代肖像画中颇具代表性的典制肖像作品。",[23,24,25,226,7,28,106,63,406],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F302754de7146badad37e3ce97031c595.jpg",[],{"id":80058,"slug":80059,"title":6834,"dynasty":76,"author":50010,"museum":316,"description":80060,"tags":80061,"thumbUrl":80062,"material":139,"size":139,"collection":139,"collections":80063,"showCount":889,"zanCount":48,"manualWeight":48,"mainColor":94},230255,"shan-shui-ce-wang-su-230255","此作以淡赭轻染、花青敷缀，写就水滨冬景。江天色调清濛，岸旁柳芦枝叶疏柔，似含朔风之意，带着萧寒疏朗之态。近岸小舟系于枯木之下，篷顶暖意暗生；远江扁舟孤行，淡波载着舟影缓缓漾开，留白铺就空阔水天，晕开朦胧烟霭。\n题诗笔意清隽，和画面柔澹氛围相融。整幅无繁复皴擦，以简淡笔墨托出萧散空寂的意境，将冬日水畔的闲逸清和藏于浅淡设色之中，尽显文人画天真简淡的意趣，观之便如临幽寂江天，俗尘尽涤。",[24,25,81,173,7,174,1241,1980,3518,109,245,17513,689,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9591750a149d747d9b88fc296549bdcf.jpg",[],{"id":80065,"slug":80066,"title":80067,"dynasty":76,"author":6776,"museum":316,"description":80068,"tags":80069,"thumbUrl":80070,"material":599,"size":600,"collection":139,"collectio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wu-gu-shi-ye-yi-ming-228376","人物故事页","此作用笔挺劲，以铁线描勾勒形象，线条简练流畅，将人物衣褶的起伏褶皱精准铺展，生动带出二人一马二牛的动态。骑者神色安然，坐姿舒展，仆从赤足束发，扬杆驱策双牛，朴拙情态呼之欲出。\n\n设色简淡清雅，以赭石、石绿晕染衣饰层次，古旧绢面晕开沉厚古韵。画面捕捉羁旅行役的日常一瞬，以小见大，无繁复铺陈却将赶路的平实氛围烘托尽致。留白与古印相映，暗合古韵悠长的雅致意趣，尽显写实中暗藏写意情致的风貌，浅淡间定格行旅的烟火日常。",[23,24,7,106,151,150,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F35b314c39166e2c1ee3b7573373fd05b.jpg",[],{"id":80152,"slug":80153,"title":80154,"dynasty":302,"author":257,"museum":316,"description":80155,"tags":80156,"thumbUrl":80157,"material":139,"size":139,"collection":139,"collections":80158,"showCount":889,"zanCount":48,"manualWeight":48,"mainColor":49},228232,"xin-pi-yin-ju-tu-yi-ming-228232","辛毗引裾图","苍松虬曲、茂叶层叠，将深庭掩映出私密肃穆的议事氛围。画面人物排布错落有致，主宾对坐之间，扯衣强谏的身姿凛然生动，把忠直不屈的诤臣情态凝于笔端。侍从仕女垂立恭谨，更衬出君臣对谈的张力。\n\n设色沉厚朴拙，线条凝练劲挺，以淡赭墨晕染衣褶神情，将汉末朝堂犯颜直谏的场景复刻于绢素之上，定格古人犯言敢谏的风骨，兼具叙事性与感染力，尽显古雅厚重的历史画意趣，让千年前的忠直诤言仿佛仍回荡在庭间。",[23,24,25,226,7,28,106,34,115,409,280],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a4418be9d801ecd024106fbbe1a8721.jpg",[],{"id":80160,"slug":80161,"title":19429,"dynasty":302,"author":257,"museum":316,"description":80162,"tags":80163,"thumbUrl":80164,"material":139,"size":139,"collection":139,"collections":80165,"showCount":889,"zanCount":48,"manualWeight":48,"mainColor":49},228224,"luo-han-yi-ming-228224","此作绘禅林尊者，蹙眉沉凝，神色威严沉静，似正于枯岩禅椅间论禅说法。衣纹以铁线描勾勒，转折刚劲爽利，敷色苍古沉稳，石色晕染出衣袍厚重质感，暗纹隐现愈显庄重。靴履绒毛、衣缘纹饰刻画入微，细节见功底。淡墨晕染的枯木怪石烘托出幽寂禅意，整幅画作承袭唐宋造像法度，兼具元代洗练气质，将高僧超尘出世的沉静风骨尽显无遗，古韵悠悠，尽显宗教人物画的肃穆雅致。",[24,25,226,260,7,106,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff22c2af75802b1709a4750a9ddb96e95.jpg",[],{"id":80167,"slug":80168,"title":80169,"dynasty":302,"author":257,"museum":316,"description":80170,"tags":80171,"thumbUrl":80172,"material":139,"size":139,"collection":139,"collections":80173,"showCount":889,"zanCount":48,"manualWeight":48,"mainColor":49},228221,"qiu-lin-shan-zhuang-tu-ye-yi-ming-228221","秋林山庄图页","此作用笔简淡松秀，以干笔皴擦辅以淡墨晕染，绘就秋日山林逸致。远山空灵虚蒙，主峰浑厚苍劲，带着沉静古拙之气。近岸林木错落，墨色浓淡相宜，枯荣交织间晕开清寂秋意。山居隐于林麓深处，石阶蜿蜒探入其间，藏着避世闲雅的意趣。浅滩碎石错落，缓流无声，野趣横生。\n\n整幅画以萧散之韵勾勒山水，摒弃繁饰，将秋日山野的幽寂与山居恬逸融为一体，尽显文人画尚意境、重简淡的风骨，观之便如踏入清秋林泉，山风裹木叶轻响漫过周身，浸满心间出世的安宁。",[23,24,173,7,177,81,29,353,176,107,10677],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d509898140a5a6b0d07109bfe329e7f.jpg",[],{"id":80175,"slug":80176,"title":53767,"dynasty":18,"author":257,"museum":316,"description":80177,"tags":80178,"thumbUrl":80179,"material":139,"size":139,"collection":139,"collections":80180,"showCount":889,"zanCount":2368,"manualWeight":48,"mainColor":49},227933,"shuang-xiao-han-chu-tu-ye-yi-ming-227933","疏棘轻篠间，五只稚雀错落栖止。或垂首理羽，或探喙啄枝，或敛翅俯瞰，姿态灵动娇憨，尽显幼雀软萌天真。\n画师笔墨细腻入微，禽鸟绒毛以淡墨轻晕，层层敷色将绒羽蓬松柔润的质感晕染尽致，荆棘枯涩遒劲的枝桠与竹篠清润秀挺的叶片形成鲜明质感对比，烘托出深冬清萧寒寂的氛围。\n画面构图疏密相宜，淡古的绢底色调晕开沉静雅致的氛围感，于尺幅小景间铺展出冬日荒寒里的鲜活生机，尽显以小见大、于细微处撷取意趣的审美情致，淡韵悠长，耐人寻味。",[23,24,194,25,81,28,7,83,227,209],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd11bccfa0733fb47e60f50906728a46b.jpg",[],{"id":80182,"slug":80183,"title":80184,"dynasty":18,"author":257,"museum":316,"description":80185,"tags":80186,"thumbUrl":80187,"material":139,"size":139,"collection":139,"collections":80188,"showCount":889,"zanCount":48,"manualWeight":48,"mainColor":49},227923,"lian-tang-fan-ting-tu-yi-ming-227923","莲塘泛艇图","此作用水墨晕染铺就塘间幽趣，古木虬曲苍劲，浓墨点叶半掩水榭，凭栏二人对坐低语，檐下暗影浮动浸着凉意。扁舟缓行于烟水间，舱中三人敛衣静坐，淡墨晕开的烟霭晕化虚实界限，树影与水色融作一片朦胧，将暑夜荷塘的清宁雅致尽数铺展。\n\n全画以墨色浓淡区分层次，于尺幅团扇间营造出悠远空阔的幽居之境，尽显闲逸雅致的林下风流，寥寥笔墨便勾勒出淡远空灵的氛围感，将幽寂闲趣藏进晕染的烟水间，诗意漫溢其间。",[23,2003,194,24,25,1260,7,28,29,106,174,228,136,175,34,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3772f4c64aa6c5f5f71e8800df047da4.jpg",[],{"id":80190,"slug":80191,"title":9482,"dynasty":18,"author":257,"museum":316,"description":80192,"tags":80193,"thumbUrl":80194,"material":139,"size":139,"collection":139,"collections":80195,"showCount":889,"zanCount":48,"manualWeight":48,"mainColor":49},227860,"dou-niu-tu-yi-ming-227860","枯木斜欱，淡墨晕出朦胧坡岸，寥寥数笔便铺就荒寂郊野底色。两头犍牛犄角相抵，四蹄攒动拧转，躯体的肌肉轮廓以浓墨晕染，将角力间迸发的蛮力与野性尽数展露。\n\n全作笔致简淡却精准传神，舍去多余修饰，独取斗牛最酣烈的一瞬定格。以写意笔墨捕捉牲畜好斗的天生野性，乡野间蓬勃朴拙的生趣跃然绢素，于疏淡之中蕴藏着饱满蓬勃的生命力，尽显以简驭繁的写意妙趣。",[23,24,194,25,226,7,28,151,230,378,173],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd528a92ff060f51045a85b2c95ebad86.jpg",[],{"id":80197,"slug":80198,"title":80199,"dynasty":18,"author":257,"museum":316,"description":80200,"tags":80201,"thumbUrl":80202,"material":139,"size":139,"collection":139,"collections":80203,"showCount":889,"zanCount":48,"manualWeight":48,"mainColor":49},227857,"gui-mu-tu-yi-ming-227857","归牧图","柔柳垂丝轻拂溪岸，将暮春的慵懒揉入淡墨晕染的郊野暮色里。右侧石畔春树缀着初绽的碎花，清润雅致。\n\n溪间小径上，牧童斜卧牛背，抬手逗弄枝梢，自在憨顽的神态跃然绢上。水牛缓步徐行，憨态温驯，带着收工后的松弛安然。\n\n整幅笔墨简括灵动，留白悠远清寂，将日暮归牧的闲散诗意铺陈开来。寥寥数笔便定格乡野间悠然自适的日常，把田园隐逸的恬淡安闲揉进空濛画境里，尽显小品画的隽永意趣。",[194,24,25,28,7,29,106,151,2532,176,108],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa148c2528ceed5d7922fc200a9a4438.jpg",[],{"id":80205,"slug":80206,"title":80207,"dynasty":18,"author":257,"museum":316,"description":80208,"tags":80209,"thumbUrl":80210,"material":139,"size":139,"collection":139,"collections":80211,"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889,"zanCount":48,"manualWeight":48,"mainColor":94},225422,"fu-shi-hui-180-yi-ming-225422","浮世绘180",[12745,4006,7,106,59,19942,38414,80464],"菊花装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6f88567d59bb8a6372300fcfc6cfe33.jpg",[],{"id":80468,"slug":80469,"title":80470,"dynasty":256,"author":257,"museum":316,"description":38922,"tags":80471,"thumbUrl":80473,"material":599,"size":600,"collection":139,"collections":80474,"showCount":889,"zanCount":48,"manualWeight":48,"mainColor":94},225417,"fu-shi-hui-175-yi-ming-225417","浮世绘175",[12745,4006,7,106,59,37170,19942,2307,80472,51704],"托盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a07afaf00c9072961f6f1e7984f7e80.jpg",[],{"id":80476,"slug":80477,"title":80478,"dynasty":256,"author":257,"museum":316,"description":80479,"tags":80480,"thumbUrl":80481,"material":139,"size":139,"collection":139,"collections":80482,"showCount":889,"zanCount":48,"manualWeight":48,"mainColor":94},225384,"fu-shi-hui-141-yi-ming-225384","浮世绘141","这是花魁出行的经典场景，四位女子款步行进，身姿温婉从容。发髻缀满华丽张扬的金饰，衬出人物明艳气度。和服纹样精巧细腻，水波纹路柔和舒展，撞色腰带与衣身呼应，青蓝与暖棕搭配和谐雅致。淡素底色衬托出织物柔丽质感，画师以流畅简练的墨线勾勒步态身形，将江户游廓艺伎的端庄风韵尽数铺展，晕染出雅致闲静的古典氛围，还原出当时风月町的雅致风情。",[12745,7,4006,106,59,409,19942,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc045620eff3181184872596e936e3e9e.jpg",[],{"id":80484,"slug":80485,"title":80486,"dynasty":256,"author":257,"museum":316,"description":80487,"tags":80488,"thumbUrl":80489,"material":139,"size":139,"collection":139,"collections":80490,"showCount":889,"zanCount":48,"manualWeight":48,"mainColor":94},225364,"fu-shi-hui-120-yi-ming-225364","浮世绘120","这幅作品以游廓夜景为底色，左侧隅角男女偎依私语，晕开私密亲昵的缱绻；凭栏处一众游女探身笑语，指尖轻指夜色，将嬉闹松弛弥散在廊间。夜色里花树漫开，被晚风卷落的油纸伞散在花下，蓝调夜空缀着细碎星子，衬出风月场的柔靡日常。\n\n温润雅致的线条勾勒出屋宇回廊的错落层次，柔淡设色晕开松弛暧昧的氛围，将烟花巷陌的夜色温柔与儿女情态揉合一处，把俗世里的风月闲情描摹得细腻动人，晕开独属于旧时代的慵懒暖意。",[12745,4006,7,106,107,115,820,8419,279],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0dcfb18caeaa08594cabe82847c807a5.jpg",[],{"id":80492,"slug":80493,"title":80494,"dynasty":256,"author":257,"museum":316,"description":80495,"tags":80496,"thumbUrl":80497,"material":139,"size":139,"collection":139,"collections":80498,"showCount":889,"zanCount":48,"manualWeight":48,"mainColor":94},225335,"fu-shi-hui-88-yi-ming-225335","浮世绘88","这幅作品以撞色铺陈山林飞瀑之景，冷调瀑水如垂落的素白匹练，自涡旋潭水倾泻而下，衬得两侧暖黄覆绿的崖壁愈显温润厚实。\n\n左侧崖台之上，三位旅人围坐铺陈的席面，就着山音瀑声煮茶闲坐，将幽寂山境晕出悠然雅趣。画作以装饰性的线条勾勒水纹与山形，将自然的雄浑壮阔与市井文人的松弛闲情相融，落笔尽显侘寂悠然的日式美学意韵，定格出深山中治愈松弛的片刻闲景。",[12745,4006,7,29,1426,106,34,686,912,37],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda9bc4955b2fb3c24bfab0a38bef4537.jpg",[],{"id":80500,"slug":80501,"title":80502,"dynasty":256,"author":257,"museum":316,"description":80503,"tags":80504,"thumbUrl":80510,"material":139,"size":139,"collection":139,"collections":80511,"showCount":889,"zanCount":48,"manualWeight":48,"mainColor":94},225323,"fu-shi-hui-68-yi-ming-225323","浮世绘68","这幅风景绘以大开大合的构图铺陈峡谷索桥之景。苍劲古松下，高悬的索桥连接两岸险崖，两名旅人负物徐行，步履安然。留白晕染出云气翻涌的深谷，拉满视觉纵深感，崖顶小鹿驻足远眺，为雄奇山野添了几分灵动。\n\n石青与砂黄撞色明快澄澈，勾勒出清旷辽远的山间氛围，线条凝练利落，精准带出索桥的紧绷张力，将旅人行于险途的悠然从容尽数刻画。自然雄奇与人间烟火柔和相融，尽显静谧幽远的山野意趣，仿佛山风拂面，能听见索桥轻晃的细碎声响，静与动在此间悄然平衡。",[12745,7,29,80505,80506,10361,49228,80507,245,80508,80509,3585],"索桥","峡谷","小鹿","石青","砂黄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F684233528e77564ba82dc61d2bb40292.jpg",[],{"id":80513,"slug":80514,"title":80515,"dynasty":256,"author":257,"museum":316,"description":80516,"tags":80517,"thumbUrl":80518,"material":139,"size":139,"collection":139,"collections":80519,"showCount":889,"zanCount":48,"manualWeight":48,"mainColor":49},225312,"fu-shi-hui-46-yi-ming-225312","浮世绘46","靛蓝湖面晕开柔润水色，淡墨远山融在水天尽头晕出空濛侘寂。临水而立的红顶吊脚屋，枕着清波尽显水乡意趣。左侧石板山道上，两名町人作揖寒暄，衣褶舒展鲜活，将市井日常揉入雅致景致间。\n\n暖红檐角、苍绿林木撞色和谐，带着日式版画独有的平涂鲜亮质感，将闲淡乡居烟火与清寂湖光融为一体，藏起隐于山水间的温柔日常，引观者沉入这份松弛的和风诗意里。",[12745,4006,7,106,107,109,265,8882,35,34,1169,3519,9086],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d492b767333ad0eb94cc27d1af0c137.jpg",[],{"id":80521,"slug":80522,"title":80523,"dynasty":256,"author":257,"museum":316,"description":80524,"tags":80525,"thumbUrl":80526,"material":139,"size":139,"collection":139,"collections":80527,"showCount":889,"zanCount":48,"manualWeight":48,"mainColor":94},225309,"fu-shi-hui-40-yi-ming-225309","浮世绘40","春樱垂枝漫开，粉云轻覆近海晴波，柔暖天光晕染出融融春日氛围。山道樱下，旅人们围坐休憩，闲谈间消解行路劳顿，尽显松弛惬意。提水脚夫躬身山涧，竹桶盛满清冽，烟火闲趣揉入春景。青绿坡岸衬着水色天光，配色雅致柔和，将郊野春旅的悠然意趣娓娓铺展。笔韵简淡却藏着鲜活日常，把平凡行路片刻晕染成诗意风物，定格住春日里鲜活又治愈的旅途剪影。",[12745,4006,7,106,22360,34,176,3884,8882],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb588b1a12c2d5e506b2cf7cf8e9b6e89.jpg",[],{"id":80529,"slug":80530,"title":80531,"dynasty":99,"author":25812,"museum":316,"description":80532,"tags":80533,"thumbUrl":80534,"material":139,"size":139,"collection":139,"collections":80535,"showCount":889,"zanCount":48,"manualWeight":48,"mainColor":94},224558,"shu-hua-ce-ye-23-xiao-yun-cong-wang-shi-zhen-224558","《书画册页》-23","此作用笔清隽秀逸，以刀削般奇崛林立的峰林为骨，以留白晕染出漫谷云气，将山居轻揽其中。屋舍雅致，有人闲坐凭栏，尽显幽居林下的悠然意趣，左下角浮屠松石点缀，更添古雅沉静。\n设色糅合浅绛与青绿，淡雅柔和，勾勒简练却苍劲奇峭，将山水灵秀与文人遁世之思相融。尺幅间淡远空灵，悠悠古韵漫溢，尽显超然出尘的林下之风，将山水之美与文人心底的丘壑悄然铺展。",[24,81,7,173,104,177,106,107,176,34,24640],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fac4216ea4ffef16e9d20f2e0892fc054.jpg",[],{"id":80537,"slug":80538,"title":80539,"dynasty":99,"author":25812,"museum":316,"description":80540,"tags":80541,"thumbUrl":80542,"material":139,"size":139,"collection":139,"collections":80543,"showCount":889,"zanCount":48,"manualWeight":48,"mainColor":94},224556,"shu-hua-ce-ye-21-xiao-yun-cong-wang-shi-zhen-224556","《书画册页》-21","此作以淡墨写尽林泉幽致，危崖壁立留白萦雾，虚摹山岚空濛。几株古松虬曲苍劲，松针攒簇尽显老硬风神，枯笔勾勒山石肌理，皴染极简，却将崖壁厚重苍朴之意托出。滩渚扁舟之上，隐士垂纶独钓，与幽寂山水浑然相融。追摹李成笔意，以简淡清润的笔墨，复刻宋人山水中静穆淡远的意境，将林下幽闲的隐逸之思藏于尺幅之间，通篇萧散出尘，尽显山林高致。",[194,24,25,81,173,7,177,29,106,1273,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ffcf411dec0de24fd38c2c62f6835e2.jpg",[],{"id":80545,"slug":80546,"title":80547,"dynasty":76,"author":17997,"museum":316,"description":80548,"tags":80549,"thumbUrl":80551,"material":139,"size":139,"collection":139,"collections":80552,"showCount":889,"zanCount":48,"manualWeight":48,"mainColor":49},224403,"gao-ling-ping-chuan-tu-wang-yuan-qi-224403","高岭平川图","《王原祁画论译注》由俞丰译注，荣宝斋出版社出版。\n雨窗漫笔 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附录",[23,24,25,226,7,177,29,685,80550,378,107,109,108],"平川","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5175b8b65826f681dca70b8cad442470.jpg",[],{"id":80554,"slug":80555,"title":80556,"dynasty":76,"author":17997,"museum":316,"description":80557,"tags":80558,"thumbUrl":80560,"material":139,"size":139,"collection":139,"collections":80561,"showCount":889,"zanCount":48,"manualWeight":48,"mainColor":94},224396,"shan-jian-lin-lu-wang-yuan-qi-224396","山磵林庐","此作用笔沉厚老辣，以干笔积墨层层皴擦，山石苍润浑厚，草木华滋清隽。取景紧凑却丘壑幽深，巨岩洞天藏山光，飞瀑落溪撞碎林麓静谧，蜿蜒山径隐于苍林，板桥轻架溪上，暗合山居幽趣。\n\n画面融宋元古意与清时文心，将江南秋山的秀润与沉雄揉为一体，笔底晕开幽寂山居的雅兴，藏林下隐逸的文人情致于皴染点苔之间，整体气息浑朴雅致，尽显文人山水画的从容格调。",[23,24,25,173,7,177,81,29,685,686,1426,109,108,34,32192,80559,212,1785],"庐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F088ab1978204110c84f6a7f7d85c76ce.jpg",[],{"id":80563,"slug":80564,"title":80565,"dynasty":76,"author":80566,"museum":191,"description":80567,"tags":80568,"thumbUrl":80569,"material":599,"size":600,"collection":139,"collections":80570,"showCount":889,"zanCount":48,"manualWeight":48,"mainColor":94},224350,"qing-shan-shui-lou-tai-jin-de-ying-224350","清山水楼台","金德瑛","金德瑛（1701年－1762年），中国清朝状元、政治人物，字汝白，号桧门。浙江仁和（今浙江杭州）人。\n生于康熙四十年（1701年），乾隆元年（1736年）状元。授翰林院修撰，历任右庶子、太常寺卿，任江西、山东及顺天学政。乾隆二十一年（1756年），路过徐州，发现黄河决口，运河溢涨，及时上奏。官至左都御史。金德瑛工书法，喜欢戏曲，常至梨园听歌。",[23,24,25,7,28,29,107,175,106,34,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F911cc53f39a6642f5e1301b28b6ba7b0.jpg",[],{"id":80572,"slug":80573,"title":80574,"dynasty":76,"author":9671,"museum":316,"description":24434,"tags":80575,"thumbUrl":80576,"material":599,"size":600,"collection":139,"collections":80577,"showCount":889,"zanCount":48,"manualWeight":48,"mainColor":94},224349,"hong-ya-xian-tu-juan-1-shen-zhen-lin-224349","洪崖仙图卷1",[23,24,25,26,7,106,28,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb02cc932e9912b406e18e2273a375e93.jpg",[],{"id":80579,"slug":80580,"title":80581,"dynasty":76,"author":70880,"museum":316,"description":80582,"tags":80583,"thumbUrl":80584,"material":139,"size":139,"collection":139,"collections":80585,"showCount":889,"zanCount":48,"manualWeight":48,"mainColor":94},224280,"shan-shui-hua-hui-ce-shi-er-fu-shan-224280","山水花卉冊(十二)","此作用笔简淡稚拙，以浅赭轻晕山峦，敷色清和柔润。近滩板桥轻横，浅渚疏林错落；中景红墙环绕，古寺隐现于茂林之间，城郭拱门洞开，晕开几分烟火清寂；远景峰峦平缓朦胧，晕染出空濛山意。全画无繁复皴擦，以简淡线条勾勒出幽寂山居，将林泉隐逸的萧散意趣融于尺幅之中。笔墨空灵简净，褪去雕琢之态，尽显超然出尘的林下之风，藏着寄情丘壑的文人雅怀，整体氛围静谧冲淡，意蕴悠远绵长。",[23,24,25,81,7,29,177,685,378,107,108,109,212,35,34,3519,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F532ed8a4cf428d9d61c7bc6b9cfbed48.jpg",[],{"id":80587,"slug":80588,"title":80589,"dynasty":76,"author":70880,"museum":316,"description":80590,"tags":80591,"thumbUrl":80592,"material":139,"size":139,"collection":139,"collections":80593,"showCount":889,"zanCount":48,"manualWeight":48,"mainColor":49},224278,"shan-shui-hua-hui-ce-shi-yi-fu-shan-224278","山水花卉冊(十一)","此作用淡赭铺就底色，晕开烟岚暮色。远景山峦以淡墨轻扫，隐入空濛雾霭间，虚渺悠远；近山石以浓墨挥写出朴拙块面，厚重沉凝，虚实相映间拉开天地纵深。阔静水面之上，红衣旅人独行滩涂，渺小身形衬出天地辽寂荒寒，点染出萧散淡远的意境。\n\n全画笔墨简淡写意，舍却精细描摹，重在意境生发，寥寥数笔铺陈出荒寒空灵之境，将孤高出世的襟怀寄寓其中，笔简而意足，清冷孤高的林下之风扑面而来。",[23,24,25,81,173,7,29,230,106,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52592c15fcc9a4bed6abbb257d1bc05a.jpg",[],{"id":80595,"slug":80596,"title":80597,"dynasty":76,"author":70880,"museum":316,"description":80598,"tags":80599,"thumbUrl":80600,"material":139,"size":139,"collection":139,"collections":80601,"showCount":889,"zanCount":48,"manualWeight":48,"mainColor":94},224275,"shan-shui-hua-hui-ce-ba-fu-shan-224275","山水花卉冊(八)","这幅小品以浅绛晕染出清旷秋山，层叠峰峦如瘦玉排云，淡赭轻敷，尽显清峭空灵。前景枯木虬枝盘错，苍劲如龙，带着深秋的荒寒古拙，将山野萧索之气铺展开来。溪涧蜿蜒穿林，板桥横卧浅流，似能听见潺潺水声，衬出空山幽寂。\n全画笔简意足，以淡墨勾勒形神，轻施淡彩不着浓艳，将文人山水的疏朗意趣藏于尺幅之间。静穆空寂中暗含生机，无繁复皴擦却将丘壑灵韵尽数托出，寄寓着林泉高致，淡而不薄，简而有味，尽显水墨小品的隽永余韵。",[23,24,7,29,108,109,1353,353,230,177,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ef01adc37194acb4634f850f7a504be.jpg",[],{"id":80603,"slug":80604,"title":80605,"dynasty":76,"author":70880,"museum":316,"description":80606,"tags":80607,"thumbUrl":80608,"material":139,"size":139,"collection":139,"collections":80609,"showCount":889,"zanCount":2368,"manualWeight":48,"mainColor":49},224274,"shan-shui-hua-hui-ce-wu-fu-shan-224274","山水花卉冊(五)","此作笔墨简率古雅，以朴拙皴染写就群山苍莽浑厚的质感，数道飞泉破壁而出，灵动生机撞破山林沉静。坡上古松虬曲苍劲，松针攒簇如盖，掩映着朱栏青瓦的山居，暖艳设色在水墨晕染间跳脱而出，为山野添了几分雅致温馨。\n\n画面无过多雕琢，将山野荒疏之境与幽居安和之意相融，浅淡设色晕出柔和静谧的氛围，藏着遁世丘壑、寄情林泉的文人襟怀，尽显静穆散淡的世外意趣。",[23,24,25,81,7,177,29,685,1426,1273,107,108],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9054b9316da205782a3ee8906cbcf0e5.jpg",[],{"id":80611,"slug":80612,"title":80613,"dynasty":76,"author":66720,"museum":316,"description":80614,"tags":80615,"thumbUrl":80616,"material":139,"size":139,"collection":139,"collections":80617,"showCount":889,"zanCount":48,"manualWeight":48,"mainColor":94},224251,"chu-zheng-tu-zhou-xu-fang-224251","出征图轴","此作用淡赭晕染残阳暮色，远山层叠朦胧，戍楼孤峙山巅，猎猎军旗暗合将行肃穆。坡岸间人马错落，或缓行或伫立，寥寥数笔便将情态勾勒尽致，淡逸清润的笔触晕开边地荒疏萧索的氛围。\n\n左侧长题诗文与画作相映成趣，诗画合璧。整幅不施繁复皴擦，以极简笔墨烘托出征沉凝氛围，将将士临行之际的沉肃与边地苍茫糅合，于简淡悠远间暗蕴家国壮怀，尽显文人画融情于景的雅致意韵。",[23,24,25,173,7,226,29,1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印”、“石雪斋秘笈印”等共4方。\n“癸巳”是道光十三年(18年)，作者时年岁。",[194,24,25,226,352,173,7,106,227,176,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ae970ae071e04f94b8ee705744f033d.jpg",[],{"id":83451,"slug":83452,"title":1751,"dynasty":76,"author":563,"museum":316,"description":17905,"tags":83453,"thumbUrl":83454,"material":599,"size":600,"collection":139,"collections":83455,"showCount":918,"zanCount":48,"manualWeight":48,"mainColor":94},235058,"za-hua-ce-hua-yan-235058",[24,25,81,7,173,746,378,838,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76c35dd6e2ea7e9508497d33a9df9a0f.jpg",[],{"id":83457,"slug":83458,"title":83459,"dynasty":99,"author":257,"museum":316,"description":83460,"tags":83461,"thumbUrl":83462,"material":599,"size":600,"collection":139,"collections":83463,"showCount":918,"zanCount":2368,"manualWeight":48,"mainColor":94},234969,"qian-gu-shan-shui-shan-ye-yi-ming-234969","钱穀山水扇页","此作用平远章法铺展湖山小景，三段洲渚错落排布，留白勾画出空阔水色，尽显湖天寥廓。枯木虬曲苍劲，以简括折芦笔意写出古拙之态，远林以点染之法轻施笔墨，淡赭晕染秋山，花青敷色浅岸，轻烟隐于远峦间，浅绛设色清透雅致。村居藏在林间坡岸，野意闲静，将江南秋日萧疏淡远的隐逸之趣收于咫尺扇面。题钤朱印点缀边角，文气悠然，笔墨疏淡却意蕴悠长，尽显文人山水寄情丘壑的雅逸品格。",[24,25,1260,29,173,7,177,353,176,109,174,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F298d611f28db0ebf31aeb5ae6874a5be.jpg",[],{"id":83465,"slug":83466,"title":33546,"dynasty":76,"author":3071,"museum":316,"description":33547,"tags":83467,"thumbUrl":83468,"material":599,"size":600,"collection":139,"collections":83469,"showCount":918,"zanCount":48,"manualWeight":48,"mainColor":49},234946,"yue-man-qing-you-ce-chen-mei-234946",[24,25,28,7,178,86,212,106,59,107,175,265,34,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbe28a13ec087287115be0adb00a9fe29.jpg",[],{"id":83471,"slug":83472,"title":38703,"dynasty":76,"author":4055,"museum":20,"description":67766,"tags":83473,"thumbUrl":83474,"material":581,"size":67769,"collection":139,"collections":83475,"showCount":918,"zanCount":48,"manualWeight":48,"mainColor":94},234915,"xue-jing-gu-shi-ce-sun-hu-234915",[24,25,81,7,178,28,86,29,2562,35,34,108,11396],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a903a9e7094137117389a07086cb5c7.jpg",[],{"id":83477,"slug":83478,"title":22672,"dynasty":76,"author":17997,"museum":316,"description":22673,"tags":83479,"thumbUrl":83480,"material":638,"size":22676,"collection":139,"collections":83481,"showCount":918,"zanCount":48,"manualWeight":48,"mainColor":94},234882,"wang-yuan-qi-fang-gu-shan-shui-ce-wang-yuan-qi-234882",[24,25,81,7,29,177,108,109,34,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2df1518a055839c665b21d179fa85aa8.jpg",[],{"id":83483,"slug":83484,"title":36332,"dynasty":99,"author":83485,"museum":316,"description":83486,"tags":83487,"thumbUrl":83488,"material":599,"size":600,"collection":139,"collections":83489,"showCount":918,"zanCount":48,"manualWeight":48,"mainColor":94},234827,"hua-die-shan-yuan-wen-234827","袁问","吴（今江苏苏州）诸生，晚年居杭州。",[24,1260,7,173,498,83,84,484],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37ca6cee4ff70085c4cdeb918a548ab1.jpg",[],{"id":83491,"slug":83492,"title":3868,"dynasty":76,"author":59236,"museum":20,"description":59237,"tags":83493,"thumbUrl":83494,"material":770,"size":139,"collection":139,"collections":83495,"showCount":918,"zanCount":2368,"manualWeight":48,"mainColor":94},234738,"huang-shan-tu-ce-jiang-zhu-234738",[320,194,24,25,81,7,177,29,23284,176,34,37,1273,178,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b06e15593f0c0b799413b461de64ee3.jpg",[],{"id":83497,"slug":83498,"title":6834,"dynasty":76,"author":11031,"museum":316,"description":45310,"tags":83499,"thumbUrl":83500,"material":139,"size":139,"collection":139,"collections":83501,"showCount":918,"zanCount":48,"manualWeight":48,"mainColor":94},234639,"shan-shui-ce-cha-shi-biao-234639",[24,25,81,173,7,29,795,174,245,109,230,178,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b4e5b7d54682fbdb90b8120d8bd186f.jpg",[],{"id":83503,"slug":83504,"title":83505,"dynasty":76,"author":83506,"museum":20,"description":83507,"tags":83508,"thumbUrl":83509,"material":139,"size":139,"collection":139,"collections":83510,"showCount":918,"zanCount":48,"manualWeight":48,"mainColor":94},234625,"ting-bei-dai-yue-tu-wan-shan-sha-fu-234625","停杯待月图纨扇","沙馥","沙馥（1831年—1906年），字山春，号粟庵，别署香泾外史，江苏苏州人，晚清画家。出身绘画世家，马仙根弟子，工人物、仕女、花鸟，笔意纵意饶富韵致。\n沙馥善画人物、仕女、花卉，以此为业，为苏州阊门外山塘年画铺中最著名画家。初慕陈老莲；咸丰间任熊至吴门，曾问业于任熊；任熊去世后，又与任薰关系甚密。后因自愧画学不如任薰雄伟恣肆，遂弃老莲法，转学改琦、费丹旭，并专攻仕女、花卉，遂自成一家，卒年七十六。",[24,25,1260,7,28,106,378,227,265,1551,615],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ee5f9716eafa22ef7e9a25ec8ef9557.jpg",[],{"id":83512,"slug":83513,"title":83514,"dynasty":99,"author":257,"museum":316,"description":83515,"tags":83516,"thumbUrl":83517,"material":599,"size":600,"collection":139,"collections":83518,"showCount":918,"zanCount":48,"manualWeight":48,"mainColor":94},234479,"wu-ling-gu-mu-gao-shi-shan-yi-ming-234479","吴令古木高士扇","泥金扇面设色古雅，危岩虬松错落排布，古木蟠曲苍劲，苔点皴染出山石嶙峋质感，石青晕染湍流激浪，灵动鲜活。溪岸石台上，两位高士相对而坐，或执卷清谈，或凝思远眺，将文人隐逸林下的闲雅意趣融于尺幅之间。构图疏密相宜，简淡清逸的氛围里，尽显林泉高致的出世情怀，把丘壑雅兴刻画得淋漓尽致。",[24,1260,7,28,177,21346,5412,176,1169,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4d51fbf0b6fed9724b479f90c68500b9.jpg",[],{"id":83520,"slug":83521,"title":83522,"dynasty":76,"author":83523,"museum":20,"description":83524,"tags":83525,"thumbUrl":83526,"material":500,"size":83527,"collection":139,"collections":83528,"showCount":918,"zanCount":48,"manualWeight":48,"mainColor":94},234473,"he-ting-fan-ting-shan-wu-da-cheng-234473","荷汀泛艇扇","吴大澂","吴大澂[chéng]（1835年—1902年），初名大淳，字止敬，又字清卿，号恒轩，晚号愙斋，江苏吴县（今江苏苏州）人。清代官员、学者、金石学家、书画家，民族英雄。清同治七年（1868年）进士。善画山水、花卉，精于篆书。皆得力于金石鉴赏修养。\n题跋：旧藏宋人集册，有此一帧，不署画款，爱其疏散有致，约略拟此。黼卿大兄大人雅鉴。吴大澂。\u2028 画中的文人坐于船上泛舟荷汀欣赏夏季美景，船上放着一函书，渔夫轻快地划着船，好一个闲适的生活！",[24,25,1260,7,173,29,228,174,106,378,1980,262],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e31b3a65d44a24549835378870184a1.jpg","19.5cmx53.7cm",[],{"id":83530,"slug":83531,"title":83532,"dynasty":76,"author":257,"museum":316,"description":83533,"tags":83534,"thumbUrl":83535,"material":599,"size":600,"collection":139,"collections":83536,"showCount":918,"zanCount":48,"manualWeight":48,"mainColor":94},234433,"qing-ren-bai-yong-bao-hu-fa-xiang-zhou-yi-ming-234433","清人白勇保护法像轴","主尊六面六臂皎然如玉，安坐于炽盛烈焰光鬘之中，宝相威严慑人，握持法器尽显护法神威。整幅构图层次分明，上方云端诸佛安坐，似聆梵音；四方环绕忿怒本尊，共护坛城。\n\n云水苍峦以石青石晕染，朱砂赤金勾描衣纹宝饰，矿物颜料晕染出沉静又浓烈的色调，尽显藏地唐卡的华美厚重。画面细节饱满，净水瑞草、翔游灵禽点缀其间，将护法的狞厉肃穆与天界清宁相融，是藏传宗教绘画里兼具神性意蕴与工艺美感的精品。",[24,25,226,260,7,28,106,16831,3661,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8ff6e566cb14adb8e1471fe067fe0a2.jpg",[],{"id":83538,"slug":83539,"title":3327,"dynasty":76,"author":37845,"museum":20,"description":55156,"tags":83540,"thumbUrl":83541,"material":770,"size":139,"collection":139,"collections":83542,"showCount":918,"zanCount":48,"manualWeight":48,"mainColor":94},234312,"ren-wu-gu-shi-ce-chen-zi-234312",[24,25,81,7,106,86,178,212,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4acfa7e6ed873458313c8a1624150096.jpg",[],{"id":83544,"slug":83545,"title":30123,"dynasty":76,"author":1207,"museum":316,"description":30124,"tags":83546,"thumbUrl":83547,"material":770,"size":139,"collection":139,"collections":83548,"showCount":918,"zanCount":48,"manualWeight":48,"mainColor":94},234278,"hua-guo-ce-wang-yun-234278",[24,25,81,7,28,292,1185],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc27e81b9b6b3addb85c44c3c4d002bc4.jpg",[],{"id":83550,"slug":83551,"title":83552,"dynasty":76,"author":13506,"museum":316,"description":83553,"tags":83554,"thumbUrl":83555,"material":1175,"size":139,"collection":139,"collections":83556,"showCount":918,"zanCount":48,"manualWeight":48,"mainColor":94},234245,"chen-shu-hua-si-zi-jiang-de-juan-chen-shu-234245","陈书画四子讲德卷","陈书（1660–1736）是清代女画家。陈书出生于浙江省秀州（今嘉兴），以字“南楼”及号“上元弟子”、“南楼老人”著称。陈书被认为是清代第一位女画家，以及秀水画派的开创者。除了她本人的艺术成就外， 陈书的另一闻名之处是作为清代名臣钱陈群的母亲。在她丈夫早逝后，陈书独自抚养儿子长大。钱陈群在乾隆朝深得皇帝赏识，并将其母画作介绍予乾隆帝，因此陈书的画作相当一部分收入大内，现藏于北京故宫博物院和台北国立故宫博物院。陈书擅长人物、山水、花鸟。",[23,194,24,25,26,7,28,178,212,29,1273,175,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a83c11e883961e84fe7ffe9131110e1.jpg",[],{"id":83558,"slug":83559,"title":83560,"dynasty":76,"author":76308,"museum":20,"description":83561,"tags":83562,"thumbUrl":83563,"material":40,"size":83564,"collection":139,"collections":83565,"showCount":918,"zanCount":48,"manualWeight":48,"mainColor":94},234189,"jin-jie-ren-hua-xiang-ding-gao-234189","靳介人画像","画面表现的是暮春时节，茅亭绿柳，渚清荷新，一士人左手执卷，右手扶膝，正襟危坐于岸边石凳上，身旁石几上置书函、茗盏之属，一小童执扇对炉烹茶。环境清新雅逸，文人雅士闲适的生活情景跃然纸上。\n从题跋内容分析，画中主人公靳介人为官吏，但具体行状不详，尚待进一步考察。画中人物的表现方法与波臣派风格略有差异，面部平涂较多，皴染不足，故而显得较平，但眉宇间神气盎然，亦为传神之佳作。在波臣派作品中，将人物置于山水之间的肖像画多为合作之画，有喧宾夺主者，有人、景布置不谐者，而此图情景合一，将人融于景物之中，通过环境衬托人物清逸的品质，无疑是一件成功之作。",[23,24,25,28,7,106,1241,262,136,175,379,912],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbf56539146803162af663c1bb64e0bbb.jpg","纵36厘米，横131.8厘米",[],{"id":83567,"slug":83568,"title":83569,"dynasty":18,"author":257,"museum":20,"description":83570,"tags":83571,"thumbUrl":83572,"material":67,"size":83573,"collection":139,"collections":83574,"showCount":918,"zanCount":48,"manualWeight":48,"mainColor":49},234080,"song-gu-wen-dao-tu-ye-yi-ming-234080","松谷问道图页","在这张照片中，现场附近有一条潺潺的小溪。 一个老和尚坐在一棵古松下，另一个老和尚用手问老和尚。 远景云雾缭绕。 人物文笔简洁，意境生动，精神饱满。 这张图题中的“询价”二字，显然有表面和内在两层含义。 类似的题材和绘画手法出现在南宋马远、夏圭的画册中。",[194,24,25,7,177,212,29,106,1133,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc520db25e880f9feeb4e1560f18da22c.jpg","44x43cm",[],{"id":83576,"slug":83577,"title":43924,"dynasty":18,"author":257,"museum":20,"description":77263,"tags":83578,"thumbUrl":83579,"material":529,"size":83580,"collection":139,"collections":83581,"showCount":918,"zanCount":48,"manualWeight":48,"mainColor":49},234038,"si-lun-tu-zhou-yi-ming-234038",[24,25,226,173,7,177,86,178,29,34,1273,35,106,1171,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc447fe7cf03f1038a72f049cc5ebbc4f.jpg","纵83.2厘米 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像》。此图画于乾隆十八年(1753)，为程兆熊写真图。程兆熊(1717—1764)是扬州当时的文化名流，其字孟飞，号香南，工诗词，书画俱佳。乾隆 时寓居扬州仪征桐华庵，故号桐华庵主。李斗《扬州画舫录》中对其评道：“扬州名园甲第、榜署屏障，金石碑版之文，皆赖之。”丁皋画的程兆熊像所占幅面很 小，但眉目神情，生动细腻。此图以生宣入画，更觉“运思落墨，均臻神妙”。画中背景则由当时扬州名画家黄溱、华嵒合作完成。",[24,25,226,7,28,104,173,106,34,686,115,114,912,1558],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6d8cd75563d88afb2a56c5d1d038a93.jpg",[],{"id":83650,"slug":83651,"title":83652,"dynasty":76,"author":53649,"museum":20,"description":83653,"tags":83654,"thumbUrl":83655,"material":638,"size":139,"collection":139,"collections":83656,"showCount":918,"zanCount":48,"manualWeight":48,"mainColor":94},233149,"hua-yun-feng-qiu-ji-tu-xiang-zhou-hu-xi-gui-233149","画云峰求己图像轴","就求己图而言，现藏于故宫博物院的清代画家胡锡珪的《云峰求己图》这幅作品，画面是典型的求己图的构图模式，画作是为一位名叫云峰的朋友所创作的很可能是祝寿性质的肖像画。整个画作淡墨写就并略敷淡色，线条灵动，设色淡雅，整体上气韵悠然。画中右侧一位身着长衫的文士模样的人手中拿着一本书站立着，其面前一位人物伏地长叩，脑袋后的辫子悬至腰际，整个构图带有一股文人雅士的超然气息。这幅作品上有题跋达十处之多，从题跋上看诸多题款是云峰邀请其好友为其题词，其中胡锡珪题道：“求己图，云峰仁兄大人，玉照清玩。”此外还有许多题词更是不乏溢美之词，由此可见这幅作品当时画中主角云峰仁兄的心头之好，对此图和此图之意也颇有自许之意，这点可从他本人在这幅作品中的题诗可以看出：\n\n事业千秋醉亦休，人生原是一沙鸥。\n痴心欲开丹青里，为底殷勤把自求。\n凡事须先求自己，临场何必仰他人。\n男人福命生来定，只要心头把得真。\n天涯何处觅良俦，回首已经四十秋。\n一样求人求己好，衣粮便得自家谋。",[24,25,226,28,173,7,106,178,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f92bf88c40346946e03286fb556143a.jpg",[],{"id":83658,"slug":83659,"title":33596,"dynasty":76,"author":257,"museum":20,"description":65519,"tags":83660,"thumbUrl":83661,"material":638,"size":33602,"collection":139,"collections":83662,"showCount":918,"zanCount":48,"manualWeight":48,"mainColor":94},233095,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-233095",[24,25,81,7,28,106,29,26046,176,34,38,52181,1785,76383,320],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F434b37f84590d7aa59c39313089e5f3e.jpg",[],{"id":83664,"slug":83665,"title":33596,"dynasty":76,"author":257,"museum":20,"description":65519,"tags":83666,"thumbUrl":83669,"material":638,"size":33602,"collection":139,"collections":83670,"showCount":918,"zanCount":48,"manualWeight":48,"mainColor":94},233094,"ping-ding-miao-jiang-zhan-tu-ce-yi-ming-233094",[24,81,7,177,2954,26047,106,176,981,83667,83668],"村寨","苗疆平叛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5730dde14976d866db2f6913425aa251.jpg",[],{"id":83672,"slug":83673,"title":53759,"dynasty":76,"author":257,"museum":20,"description":53760,"tags":83674,"thumbUrl":83675,"material":638,"size":33602,"collection":139,"collections":83676,"showCount":918,"zanCount":48,"manualWeight":48,"mainColor":94},233081,"ping-ding-zhong-miao-zhan-tu-ce-yi-ming-233081",[24,81,7,106,150,29,2954,26047],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d69fc0ceafd93faa0f27fa096d17af9.jpg",[],{"id":83678,"slug":83679,"title":31853,"dynasty":76,"author":257,"museum":20,"description":31854,"tags":83680,"thumbUrl":83681,"material":638,"size":31859,"collection":139,"collections":83682,"showCount":918,"zanCount":48,"manualWeight":48,"mainColor":94},233062,"ping-ding-hui-jiang-jiao-qin-ni-yi-zhan-tu-ce-yi-ming-233062",[24,25,81,28,7,106,150,8628,2724,3982,33599],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a49c885727c2c9cf97dce68919e65d3.jpg",[],{"id":83684,"slug":83685,"title":76401,"dynasty":302,"author":257,"museum":316,"description":55463,"tags":83686,"thumbUrl":83687,"material":139,"size":83688,"collection":139,"collections":83689,"showCount":918,"zanCount":48,"manualWeight":48,"mainColor":94},233024,"hou-fei-xiang-yi-ming-233024",[194,24,28,7,106,59,63,64],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93f4c8f74e43b7486ebad28c1c90ce10.jpg","纵41.2cm 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[112] ，尊号“成吉思汗”（传统蒙古文：ᠴᠢᠩᠭᠢᠰ ᠬᠠᠭᠠᠨ；拉丁蒙古文：Činggis Qaγan；西里尔蒙古文：Чингис Хаан；英语：Genghis Khan），蒙古族乞颜部人，生于漠北斡难河（今鄂嫩河）上游地区（今蒙古国肯特省）。大蒙古国可汗（1206年—1227年8月25日在位），世界史上杰出的军事家、政治家。\n铁木真早年丧父，投奔克烈部首领脱里，积蓄实力，于1189年被推举为蒙古乞颜部可汗，随后经过一系列战争，统一蒙古高原诸部。1206年在斡难河源即皇帝位，建立大蒙古国。建国后，实行千户制，建立护卫军，颁布《大扎撒》。此后经过多次的对外战争，占领东亚地区金朝的大片领土，并灭亡西夏、西辽及中亚的花剌子模，其征服足迹远抵东欧的黑海海滨。1227年，铁木真在西夏投降前夕病逝，终年六十六岁。临终前定下“联宋灭金”的战略，死后被秘密安葬于起辇谷。元朝建立后，累赠谥号为法天启运圣武皇帝，庙号太祖。\n铁木真是一位极具争议性的人物。自其崛起以来，便被视为野蛮残忍的侵略者 。到近代以后，也有许多学者认为铁木真及其继承人领导下的蒙古帝国发动的对外征服战争，促进了欧亚大陆间的相互影响，对之后的世界历史进程产生了深远的影响 。此外，他对蒙古诸部的统一战争，对蒙古民族共同体的形成起到了重要的作用",[24,25,194,28,7,106,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F567e01e0e72d4cc7969b8e3d33f0fa5f.jpg",[],{"id":83722,"slug":83723,"title":83724,"dynasty":256,"author":83725,"museum":316,"description":83726,"tags":83727,"thumbUrl":83739,"material":599,"size":600,"collection":139,"collections":83740,"showCount":918,"zanCount":48,"manualWeight":48,"mainColor":49},232510,"he-er-bai-yin-169-he-er-bai-yin-232510","荷尔拜因169","荷尔拜因","小汉斯·荷尔拜因（约1497年-1543年11月29日以前）是德国画家，最擅长油画和版画，是欧洲北方文艺复兴时代的艺术家。其代表作有：木版画《死神之舞》。\n荷尔拜因在创作一幅肖像画以前，经常用铅笔描绘衣物、装饰品等细节，有时也用钢笔或垩笔，然后在纸上沿轮廓扎上小孔，铺在画布上，用炭粉将其转移到画布上。在晚年也使用复写纸。他的画作对细节描绘非常详细、真实，甚至于仪器上的刻度、信笺上的文字、桌布上的花纹都描绘的一丝不苟，但整体风格仍然非常统一，人文主义风格非常明显，俄罗斯作家陀斯妥耶夫斯基曾经评价他的作品《墓中的基督》：“可以把许多人的信仰夺去。” 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公余探胜图卷-一分段",[23,24,7,29,26,33370,10383,686,34,16440,111,46846,2235,407,27762,1273,38,46847,106,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F897e39219f17fa6a69eead11cab93a56.jpg",[],{"id":83828,"slug":83829,"title":83830,"dynasty":256,"author":257,"museum":316,"description":83831,"tags":83832,"thumbUrl":83834,"material":599,"size":600,"collection":139,"collections":83835,"showCount":918,"zanCount":48,"manualWeight":48,"mainColor":49},231734,"jiang-hu-shi-dai-luo-zhong-luo-wai-tu-ping-feng-er-ping-yi-ming-231734","江户时代 洛中洛外图屏风-二屏","以金箔为底，借云气划分场景，全景铺展往昔都城的鲜活世态。屋舍错落排布，仪仗穿街过巷，茶肆中宴饮正酣，林泉处雅士闲游。贩夫走卒与簪冠仕族各司其态，笔触细密勾勒出烟火日常与仪典盛事。冷金底色晕开雅致华贵，揉合俗世喧嚣与林下闲情，将浮生百相凝于尺幅之间，每一处细节都是鲜活的时代切片，铺就出一卷饱满生动的市井风华长卷。",[23,83833,7,104,28,106,107,108,109,34,35,150,1273],"屏风画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb32431e1bd8f82df0dddc0ac69376e45.jpg",[],{"id":83837,"slug":83838,"title":83839,"dynasty":256,"author":83840,"museum":316,"description":83841,"tags":83842,"thumbUrl":83843,"material":599,"size":600,"collection":139,"collections":83844,"showCount":918,"zanCount":48,"manualWeight":48,"mainColor":94},231726,"lian-cang-shi-qi-zhen-shou-shen-ren-hui-xi-tu-juan-ruo-xia-guo-231726","鎌仓时期 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本幅：34×105.5cm 题跋：31×33cm×13",[],{"id":83878,"slug":83879,"title":83880,"dynasty":18,"author":1599,"museum":191,"description":83881,"tags":83882,"thumbUrl":83886,"material":638,"size":83887,"collection":139,"collections":83888,"showCount":918,"zanCount":48,"manualWeight":48,"mainColor":49},231398,"bu-na-tu-liu-song-nian-231398","补纳图","本幅画两名僧人坐于禅榻上，老者正潜心补衣，另一人则抱膝旁观。屏后，复有侍者二人，伫立捻茶。画中人物，表情鲜活而自然，衣纹用笔亦流畅有力。惟左下方款署之“画院待诏赐金带刘松年敬赠”及钤印疑伪。 宋元罗汉画常见僧侣日常活动，此轴描绘僧人补衣，亦可归入罗汉画类型。刘松年是活动在十二世纪的南宋宫廷画家，以本院所藏〈画罗汉〉三轴最具代表性。若与〈补纳图〉相较，风格互异，本幅应系南宋晚期至元的画家托名所作。\n“南宋四家”之一刘松年在南宋画院崭露头角，介于李唐和马远、夏圭之间。他曾师从张敦礼学画，而敦礼画法学李唐，工于山水、人物画，刘松年学到了老师恬洁滋润的长处，也继承了李唐的绘画优点。\n刘松年的作品传世者并不多，据记载他的作品多表现江南一带风景，特别是西湖园林的优美景色，并穿插以文人贵族的闲适生活，少数还图绘了仙山楼阁的神仙世界，反映了那一时代上层社会的审美情趣。\n刘松年的工笔人物画尤其是罗汉图主要是对贯休的继承。当然这种继承不是拷贝，而是在古人的基础之上融入了自己的理解和心得，并形成自己的风格特色。",[24,194,25,226,28,7,106,746,3701,1010,12508,84,7725,37545,83883,8432,83884,83885],"宋代画风","衣纹细致","色彩典雅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ad9390faee56e00d3126eeee9d660f4.jpg","纵141.9cm，横59.8cm",[],{"id":83890,"slug":83891,"title":83892,"dynasty":99,"author":5750,"museum":191,"description":83893,"tags":83894,"thumbUrl":83895,"material":638,"size":83896,"collection":139,"collections":83897,"showCount":918,"zanCount":48,"manualWeight":48,"mainColor":94},231372,"qi-xia-shan-tu-zhang-hong-231372","栖霞山图","栖霞山以禅寺和石刻千佛岩闻名于世，位于南京城东北22公里，又名摄山，南朝时山中建有“栖霞精舍”，因此得名。栖霞山有三峰，主峰三茅峰海拔286米，又名凤翔峰；东北一山，形若卧龙，名为龙山；西北一山，状如伏虎，名称虎山。栖霞山没有钟山高峻，但清幽怡静，风景迷人，名胜古迹，遍布诸峰，被誉为“金陵第一名秀山”。尤其是深秋的栖霞，枫林如火，漫山红遍，宛如一幅美丽的画卷，素有“春牛首，秋栖霞”之说。1634年，明代画家张宏以南京近郊的胜地栖霞山为画题，创作了一幅栖霞山图。真实地描绘出了明朝时期栖霞山的风貌。整幅画面气势恢宏，以千佛岩为主体，纵深地铺洒出一片葱郁的森林，使人看后心旷神怡，仿佛置身于那片清凉世界之中。\n此画以浓密如屏的树丛遮掩了其下山腰的轮廓，在这里，观画者必须先穿过树丛方能找到通往寺庙之路。张宏所要呈现的并非等览庙宇的经验，而是从雨中远眺的感受。他在题款中写道：“甲戌初冬，明止挈游栖霞，冒雨登眺，情况颇饶，归而图此。”由画幅下半部的细节，我们更可见出张宏的手法。张宏只画了庙门，这扇门也只画了局部，并且明显地按照远近比例法缩小。对岩壁间石刻壁龛的描写生动简洁，与石壁和树荫融合为一个视觉整体。画家秉承了传统的笔法，忠实地再现视觉经验。一张摄于1930年的千佛岩照片，肯定了张宏画中形象的忠实性：佛龛位于岩壁间，有一部分为树木所掩盖，从我们这个距离看去，仅能依稀辨认。张宏将此景压缩为因应挂轴裱式的垂直画面，布局也较乍看之时来得更具巧思；虽则如此，十一英尺有余的画幅本身，亦强化了如大银幕电影或电视超大画面般的临场感，宰制了我们大部分的视野。画面的主体千佛岩，在林木的掩映下显得古朴典雅。一望无际的森林覆盖着栖霞山，似有微风吹过，树影婆娑中透出清凉之气，引观者共鸣，一同去体会那清爽的栖霞山风光。",[24,25,226,7,29,34,175,107,176,37,177,1169],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3fad6af81b9c3d5091b3f39f4570be3.jpg","纵341.9cm，横101.8cm",[],{"id":83899,"slug":83900,"title":83901,"dynasty":18,"author":257,"museum":191,"description":83902,"tags":83903,"thumbUrl":83904,"material":123,"size":81892,"collection":139,"collections":83905,"showCount":918,"zanCount":48,"manualWeight":48,"mainColor":49},231081,"yu-e-tu-yi-ming-231081","浴鹅图","画面取水岸一隅，古木虬枝苍拙雄健，疏梅绽花点点，柳丝柔曼垂落晕染出春日清氛。\n\n白鹅浮于水面，翎羽刻画精工细腻，绒羽蓬松、主羽分明，曲颈昂首悠然自得，尽显雍容闲适。枝头小雀理羽顾盼，鲜活灵动，与白鹅的静雅形成呼应，一动一静间晕开松弛野逸的意趣。\n\n全作用色古雅沉稳，工写兼融，禽鸟刻画细致入微，林石布景写意简澹，将幽寂的池畔春景晕染出静谧悠然的古典格调，尽显雅致恬淡的自然之美。",[194,24,25,28,7,7355,353,662,209,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63b094f5baeb96b4cd23585e29b9b69e.jpg",[],{"id":83907,"slug":83908,"title":83909,"dynasty":18,"author":257,"museum":191,"description":83910,"tags":83911,"thumbUrl":83912,"material":123,"size":32111,"collection":139,"collections":83913,"showCount":918,"zanCount":48,"manualWeight":48,"mainColor":49},231080,"tong-shi-xiu-ling-tu-yi-ming-231080","桐实修翎图","这幅小品以极简取景尽显雅致意趣。枯涩桐枝斜出，叶片晕染苍润，桐实垂悬，带着秋意的沉敛。枝上禽鸟侧身理羽，绒羽蓬松柔润、覆羽棱纹毕现，笔致精细入微，将禽鸟的慵懒闲适刻画得鲜活传神。\n\n画面虚实相生，淡远空境衬出小景静谧，古绢的沉暗底色晕开旧时光晕，钤印朱红点缀，添上岁月沉淀的厚重，尽显写生的精妙工致，将秋日林间的幽寂生机定格在尺幅之间。",[194,24,25,226,28,7,83,209,836,554],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F40cb72af34f436ca4a5ea71e741b3c48.jpg",[],{"id":83915,"slug":83916,"title":47322,"dynasty":99,"author":5750,"museum":316,"description":83917,"tags":83918,"thumbUrl":83919,"material":139,"size":139,"collection":139,"collections":83920,"showCount":918,"zanCount":48,"manualWeight":48,"mainColor":94},230915,"shi-ji-jun-chen-gu-shi-tu-zhang-hong-230915","此作笔墨秀雅清润，以平远视角铺展庭院景致。垂杨柳丝扶苏，掩映廊庑台榭，墨色晕染出清寂空疏的氛围。画面左下角，着官袍士人正与仆从揖对，旁侧马匹静候，将朝臣谒见等候的场景娓娓铺陈，人物情态生动自然，尽显古礼分寸。\n\n布景简淡洗练，线条细劲工致，淡设色晕染浅淡柔和，将史记旧事的沉静静谧融于日常朝谒场景之中。画作兼具叙事性与文人雅意，无需繁复铺陈，便把君臣故事里的恭敬庄重，藏在庭院幽寂氛围里，尽显温婉古雅的文人叙事画格调。",[24,25,7,104,28,106,150,34,107,212,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ce24d8ae3f83d6f50fe771dbf7b0a0f.jpg",[],{"id":83922,"slug":83923,"title":83924,"dynasty":302,"author":257,"museum":316,"description":83925,"tags":83926,"thumbUrl":83927,"material":139,"size":139,"collection":139,"collections":83928,"showCount":918,"zanCount":48,"manualWeight":48,"mainColor":49},230903,"ge-ba-qiu-feng-tu-yi-ming-230903","歌罢秋风图","淡墨晕染芙蓉瓣，留白衬出柔润娇妍，层叠舒展间暗蕴盛放之姿。浓焦墨勾勒叶脉，苍劲利落的笔触写尽秋意萧疏，枝梗挺括暗藏清刚骨力。\n\n画幅间题诗与画境呼应，以墨代彩，褪去浓艳浮华，尽显简淡秀逸的文人意趣。水墨相生，将清秋芙蓉冷艳风骨与澹泊心境相融，淡远萧疏的氛围里，把晚风里芙蓉的清隽寂寥缓缓铺陈，简淡笔墨间留住一刹幽寂秋光，尽显文人水墨小品的空静雅韵。",[23,24,25,173,7,84,554,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78f4f12104f7914b7ff23728192398f8.jpg",[],{"id":83930,"slug":83931,"title":83932,"dynasty":256,"author":257,"museum":316,"description":83933,"tags":83934,"thumbUrl":83937,"material":599,"size":600,"collection":139,"collections":83938,"showCount":918,"zanCount":48,"manualWeight":48,"mainColor":49},230693,"tian-qiu-xing-tu-yi-ming-230693","天球星图","以淡蓝晕染作天幕底色，红、黄、黑三色星点错落排布，勾勒出古人心目中的苍穹秩序。残损的边角晕开岁月痕迹，却未掩星官排布的缜密脉络。星点或串联成象，或孤悬天际，将浩渺天河凝缩于圆形尺幅之内，带着手绘朴拙的温度，复刻出千年前观星者仰首凝视的整片星空。它是古人求索天地的具象缩影，藏着古老的宇宙遐想，虽历经岁月磨耗，却依旧留存着天文记录与古典艺术交织的独特价值，静静诉说着跨越时空的观星浪漫。",[24,25,7,28,52068,24096,83935,83936],"天体","圆幅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda4b964d795509339c902807414ba2fd.jpg",[],{"id":83940,"slug":83941,"t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Harmensz.van Rijn - 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冬日江野的澹泊清寂之美。",[23,24,7,29,174,795,176,5903,796,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1af03191cefa620a2ca42015524e4fb9.jpg",[],{"id":84118,"slug":84119,"title":84120,"dynasty":99,"author":257,"museum":316,"description":84121,"tags":84122,"thumbUrl":84123,"material":139,"size":139,"collection":139,"collections":84124,"showCount":918,"zanCount":48,"manualWeight":48,"mainColor":49},228776,"lin-xi-xian-tiao-tu-yi-ming-228776","临溪闲眺图","此作用笔苍润兼具，以淡墨晕染远山，虚影朦胧融于空濛雾气，将天地寥廓的悠远意境缓缓铺展。近岸古木虬枝错盘，枯梢与繁叶互生，浓墨点染层叠木叶，沉郁间尽显苍劲生机。\n\n溪面空阔无波，渔人收舟立岸，简笔勾勒的身影意态悠然，静眺林泉烟景。整幅以水墨皴擦晕染相融，以极简物象铺陈出山林幽居的散淡意趣，萧疏野逸间藏着出世闲雅的山居况味，观之便如身临幽寂林泉，涤去尘俗喧嚣。",[23,24,3559,226,177,7,34,7428,176,73167,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F177849b6e577db11274d711ecbe88233.jpg",[],{"id":84126,"slug":84127,"title":84128,"dynasty":99,"author":257,"museum":316,"description":49457,"tags":84129,"thumbUrl":84130,"material":599,"size":600,"collection":139,"collections":84131,"showCount":918,"zanCount":2368,"manualWeight":48,"mainColor":49},228666,"wu-cai-bai-lu-zun-yi-ming-228666","五彩百鹿尊",[860,12818,46284,7,229,2479,746,34,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44a0cd95d73f694da81155f13e428e8f.jpg",[],{"id":84133,"slug":84134,"title":84135,"dynasty":302,"author":257,"museum":316,"description":84136,"tags":84137,"thumbUrl":84138,"material":139,"size":139,"collection":139,"collections":84139,"showCount":918,"zanCount":48,"manualWeight":48,"mainColor":49},228219,"hou-tu-yi-ming-228219","猴图","《五猴图》是近现代佚名画家创作的一幅中国画。\n尺寸：97×68.5cm 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藏印：鲁府图书（上中）、钤山堂书画印（左下）、严嵩藏章、嘉谟（右下），另一印模糊不可辨识",[24,25,1260,173,7,10516,746,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F129fc44a8e7e51d24a0064077af65def.jpg",[],{"id":84141,"slug":84142,"title":84143,"dynasty":302,"author":257,"museum":316,"description":84144,"tags":84145,"thumbUrl":84146,"material":599,"size":600,"collection":139,"collections":84147,"showCount":918,"zanCount":48,"manualWeight":48,"mainColor":2504},228193,"zhun-zhi-guan-yin-xiang-ping-an-shi-dai-yi-ming-228193","准胝观音像平安时代","本作品的准胝观音身体涂白，以朱线勾勒轮廓。宝冠上贴有金箔，墨线勾勒，头发涂略带灰色的淡绿色。衣裙及莲华宝座为略显灰色的白色及淡褐色、淡青、淡绿等，多用混有白色颜料的中间色。轮廓线也用墨线勾勒，装饰台座的花瓣类的轮廓为白色线。而且衣裙上用纤细的细金箔表现出各种的图案，腿腹的膨胀部分等采用白色表现出照晕（佛画的一种表现手法，采用明暗体现出立体感），衣服的褶皱也施有与底色同系统稍浓的色彩制出段晕（绘画表现手法），画像整体呈现院政时期佛画所特有的柔和优美的感觉。另一方面，虽然现在作品已经泛黑，但是头光、背光的一部分在强调交织的细金箔图案的同时，却以银截金、截箔构成的图案为主，从天盖垂下的璎珞也采用细银箔表现出稳重的光辉。而其周围的四天王上的金属构件类都施有里箔（日本绘画技法，从绢底里侧贴上金银箔），整体的色彩稍暗，以墨线的轮廓线条为主，对足边岩石台座的描绘，以及对天衣、冠缯的动态描写等，都可见镰仓时代的主流表现要素。此作品巧妙的改变表现手法以凸显主题的主次关系，从而形成了考究画面，令人感觉到自平安时代至镰仓时代的时代变迁。",[23,24,25,226,260,7,28,106],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5e188f072a473e4c2abfdabc9e629cf.jpg",[],{"id":84149,"slug":84150,"title":84151,"dynasty":302,"author":257,"museum":316,"description":84152,"tags":84153,"thumbUrl":84154,"material":599,"size":600,"collection":139,"collections":84155,"showCount":918,"zanCount":48,"manualWeight":48,"mainColor":49},228189,"xiu-xing-zhong-de-luo-han-yi-ming-228189","修行中的罗汉","罗汉，是阿罗汉的简称，梵音译(Arhat)。含有杀贼、无生、应供等义。杀贼是杀尽烦恼之贼，无生是解脱生死不受后有，应供是应受天上人间的供养。在小乘佛教中，是伟大的佛陀得法弟子修证最高的果位。\n罗汉者皆身心六根清净，无明烦恼已断（杀贼）。已了脱生死，证入涅槃（无生）。堪受诸人天尊敬供养（应供）。于寿命未尽前，仍住世间梵行少欲，戒德清净，随缘教化度众。",[24,25,226,260,106,7,28,63,230,280],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd95137bbda0087e21b255de14140e188.jpg",[],{"id":84157,"slug":84158,"title":48820,"dynasty":18,"author":257,"museum":316,"description":84159,"tags":84160,"thumbUrl":84161,"material":139,"size":139,"collection":139,"collections":84162,"showCount":918,"zanCount":48,"manualWeight":48,"mainColor":94},227895,"cheng-jiang-bi-xiu-tu-yi-ming-227895","此作为宋代青绿山水小品，取半边构图，左畔山石以石青石绿晕染，苍润古雅，坡岸松荫蔚然，隐见茅舍山居，野意悠然。右侧铺陈空阔澄江，几叶扁舟随波缓行，远山以淡墨轻扫晕染，在赭色绢底烘托下，将尺幅小景延展为辽远空濛的水天之境。\n\n全画色调沉静古拙，雅致内敛，把江南平远山水的清寂空阔，与山居的安闲悠然相融。咫尺尺幅间尽显宋人观照山水的澹泊意趣，见微知著，藏着江南烟水的沉静诗意，尽显院体小品的清丽雅致。",[23,194,24,25,1260,7,29,174,378,379,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faebd0603c9adc30af9685e06d3a0274a.jpg",[],{"id":84164,"slug":84165,"title":84166,"dynasty":18,"author":257,"museum":316,"description":84167,"tags":84168,"thumbUrl":84169,"material":139,"size":139,"collection":139,"collections":84170,"showCount":918,"zanCount":48,"manualWeight":48,"mainColor":49},227875,"liu-tang-qiu-cao-tu-yi-ming-227875","柳塘秋草图","此作以淡墨晕染水天，将清秋的空濛萧索揉在氤氲水汽中。左侧岸渚垂柳成林，枝叶以细笔点染如烟似雾，把秋的清柔藏在垂绦之间。水面留白处点缀浅渚芦草，笔墨简淡却野意自生，细描的水纹漾开闲静涟漪，晕开塘岸幽寂。\n\n以尺幅小景框住秋郊疏朗之美，摒弃繁复皴法，凭水墨浓淡铺陈远近层次，将深秋的沉静淡愁融在画面里，如同一曲低缓清寂的秋歌，淡而余味悠长，尽显宋画独有的含蓄雅致，藏着文人偏爱的冷澹幽隽意境。",[23,194,24,25,1260,28,173,7,177,29,2532,838,2340,34,3884],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ce6b7f466f533a40e0830c8a2449467.jpg",[],{"id":84172,"slug":84173,"title":84174,"dynasty":18,"author":257,"museum":316,"description":84175,"tags":84176,"thumbUrl":84177,"material":139,"size":139,"collection":139,"collections":84178,"showCount":918,"zanCount":48,"manualWeight":48,"mainColor":94},227873,"liu-tang-du-shu-tu-yi-ming-227873","柳堂读书图","苍松虬劲盘绕，柔柳垂拂溪岸，茅庐静踞山隅，堂内人影潜于书卷之间。溪石隐现于浅濑，清泠水意漫溢出纸面，远景平波澹澹，林峦在烟霭中晕化成淡墨剪影，将尘嚣完全隔绝在外。\n笔墨苍莽淋漓，皴擦间带着山野朴拙之气，将林泉高致的隐逸意趣藏在细节里，观之如身临幽寂山隅，窥见古人寄心林泉、沉潜书卷的雅静襟怀，仿佛能听见松涛卷着书香漫过水湄。",[23,194,24,25,1260,28,7,29,34,35,212,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bd30268d4053639501778e8219f9b2a.jpg",[],{"id":84180,"slug":84181,"title":84182,"dynasty":18,"author":257,"museum":316,"description":84183,"tags":84184,"thumbUrl":84186,"material":139,"size":139,"collection":139,"collections":84187,"showCount":918,"zanCount":48,"manualWeight":48,"mainColor":94},227762,"qiu-jiang-ming-po-tu-yi-ming-227762","秋江瞑泊图","宋 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seedpods","这组水彩手稿以米黄底色衬底，将莲与罂粟的花苞、莲蓬与种荚错落排布。笔触清透柔和，晕染出花苞粉绿渐变的鲜活质感，莲蓬凹陷的莲房、种荚层叠的瓣状轮廓都被精细捕捉，带着博物手绘的严谨温柔。作者以细腻色彩过渡还原植物舒展柔和的生长肌理，旁侧的细小标注带着复古手绘的沉静温度，将植物萌发的蓬勃与盛放后的枯寂余韵定格。既有科学绘图的写实克制，又带着水彩晕染的诗意温柔，让植物的生机与余味共存，满溢着自然手绘独有的松弛雅致。",[7,86189,84,723,720,136,40684,86190],"手绘","设计图","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe1749bbace7de59007bb5ca39df60ce.jpg",[],{"id":86194,"slug":86195,"title":86196,"dynasty":256,"author":257,"museum":316,"description":86197,"tags":86198,"thumbUrl":86201,"material":599,"size":600,"collection":139,"collections":86202,"showCount":1233,"zanCount":48,"manualWeight":48,"mainColor":4199},289051,"lenox-incorporated-design-drawing-of-of-lotus-blossom-yi-ming-289051","Lenox, Incorporated--Design drawing of of lotus blossom","这帧花卉写生带着松弛随性的创作质感，以柔缓水色晕染花苞初绽的娇态。瓣尖晕开柔粉，向着乳白自然过渡，把莲瓣的通透柔嫩藏在淡彩层次中。明黄的花蕊点亮画面中心，鲜活生机呼之欲出。\n\n右侧留有未完成的线条稿，带着灵感迸发时的仓促随性，似是创作者将初见莲花的刹那心动随手定格。泛黄纸面晕开时光的温度，落款轻落角落，没有过度雕琢的匠气，将即兴描摹的温柔藏在水色交融间，留住了独属于这朵莲的鲜活瞬间，让这份未完成的写生，成为带着松弛诗意的赏花记忆。",[136,7,86199,86189,86200],"花卉画","设计稿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F103bdd189e8d4111e9367a01e71076f4.jpg",[],{"id":86204,"slug":86205,"title":86206,"dynasty":256,"author":257,"museum":316,"description":86207,"tags":86208,"thumbUrl":86213,"material":599,"size":600,"collection":139,"collections":86214,"showCount":1233,"zanCount":48,"manualWeight":48,"mainColor":94},288612,"john-gregory-crace-design-for-the-decoration-of-the-drawing-room-yi-ming-288612","John Gregory Crace--Design for the Decoration of the Drawing Room","这是一幅哥特复兴风格的会客厅设计稿，蓝底描金的肋拱穹顶缀满纹章浮雕，修长花饰沿拱券垂落，将中世纪宗教建筑的雅致庄重移入私邸。墙面铺陈古典叙事壁画，壁炉侧的猩红长椅柔化了建筑线条的冷硬，同色系帐幔与地毯首尾呼应，晕开温暖柔和的空间底色。\n\n中央雕花台座配古典画作，与两侧壁龛形成对称韵律，阳光穿透高窗在彩绘织物间晕开朦胧层次。设计师将中世纪装饰语言转化为宅邸厅堂的华贵私享氛围，纹饰暗含古典美学秩序感，平衡复古形制与起居暖意，尽显浪漫规整的复古室内美学精髓。",[86209,86210,8432,86211,86212,86179,44883,336,70318,7,511,33803],"水彩画","装饰设计","客厅","彩绘天花板","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d7a55d043f4e803338390b664ca6de8.jpg",[],{"id":86216,"slug":86217,"title":86218,"dynasty":256,"author":257,"museum":316,"description":86219,"tags":86220,"thumbUrl":86222,"material":599,"size":600,"collection":139,"collections":86223,"showCount":1233,"zanCount":48,"manualWeight":48,"mainColor":49},288486,"wu-dai-juan-hua-gong-yang-tu-yi-ming-288486","五代绢画供养图","画面上下分野，铺陈出梵天净土与俗世虔敬。上段佛陀安坐莲台，神情端严，抬手施印，衣纹舒卷沉稳，两侧胁侍合掌伫立，宝冠璎珞俱全，设色沉厚晕染柔和，尽显超然平和的禅意氛围。\n下方供养人身着宽袍乌纱，手持熏炉躬身礼拜，眉眼间满是恭谨至诚，服饰细节勾勒写实，尽显信者风貌。绢面历经岁月泛黄斑驳，反倒赋予画作古拙厚重的质感。笔意质朴凝练，将宗教的庄严神性与世俗的恳切祈愿相融，静静诉说着旧时的信仰图景与审美意趣。",[23,24,25,226,86221,7,106,260,6768,11625,4428,26045],"绢画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff9e29cdd5428c9d910aa9a3eca382d50.jpg",[],{"id":86225,"slug":86226,"title":86227,"dynasty":256,"author":83863,"museum":316,"description":86228,"tags":86229,"thumbUrl":86230,"material":599,"size":600,"collection":139,"collections":86231,"showCount":1233,"zanCount":48,"manualWeight":48,"mainColor":94},288476,"fang-song-yuan-bi-yi-shou-ye-chang-xin-288476","仿宋元笔意","野常信（KanōTsunenobu）是狩野派的日本畫家。他先是在父親狩野尚信（KanōNaonobu）的指導下學習，後來在父親去世後，在叔叔狩野探幽（KanōTan'yū）的指導下學習。他成為大師級畫家，並在1674年接替叔叔Tan'yū擔任狩野派校長。",[23,24,7,106,28,105,2385,230,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c39ad05a2847e35692f384ea8977fe2.jpg",[],{"id":86233,"slug":86234,"title":86235,"dynasty":76,"author":2162,"museum":316,"description":24836,"tags":86236,"thumbUrl":86237,"material":599,"size":600,"collection":139,"collections":86238,"showCount":1233,"zanCount":48,"manualWeight":48,"mainColor":49},288405,"liu-lao-lao-chu-you-xiao-xiang-you-sun-wen-288405","刘老老初游潇湘游",[23,24,28,7,106,107,1173,29,115,40632,1557],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22f507d3ef760c9586f9b9e3fed86bb8.jpg",[],{"id":86240,"slug":86241,"title":86242,"dynasty":76,"author":2162,"museum":316,"description":24836,"tags":86243,"thumbUrl":86244,"material":599,"size":600,"collection":139,"collections":86245,"showCount":1233,"zanCount":48,"manualWeight":48,"mainColor":49},288398,"wang-fu-ren-wen-bao-jie-yuan-qin-sun-wen-288398","王夫人闻报接远亲",[23,24,28,7,106,59,107,115,353,27503],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84d16dfe0bed3a00caaf1e6af5847570.jpg",[],{"id":86247,"slug":86248,"title":86249,"dynasty":18,"author":257,"museum":316,"description":86250,"tags":86251,"thumbUrl":86252,"material":599,"size":600,"collection":139,"collections":86253,"showCount":1233,"zanCount":48,"manualWeight":48,"mainColor":94},288363,"lu-lu-tu-yi-ming-288363","芦鹭图","这幅小景截取江泽一角，芦枝苍劲舒展，以浓淡墨色勾勒苇叶，条理清劲又带着随风摇曳的野趣。四只水鸟振翅掠过空濛暮色，姿态灵动写意，打破了水天的岑寂，又衬得周遭愈发安闲悠远。整体色调沉郁古雅，大片留白晕染出水天一色的秋日薄暮，将江汀秋意的萧疏清寂尽数铺展。以小见大，把郊野水泽的闲淡野趣凝于尺幅之间，笔墨简淡却意境悠长，带着雅致意趣，将秋日江渚的静谧诗意定格，尽显小品画以少胜多、余韵无穷的独特魅力。",[24,1260,83,1980,245,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ea76c81a2a162ceac132de825adbf41.jpg",[],{"id":86255,"slug":86256,"title":86257,"dynasty":76,"author":257,"museum":316,"description":86258,"tags":86259,"thumbUrl":86260,"material":599,"size":600,"collection":139,"collections":86261,"showCount":1233,"zanCount":48,"manualWeight":48,"mainColor":49},288317,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-xiao-zhuang-wen-huang-hou-yi-ming-288317","历代帝王贵妃大臣朝服像(孝庄文皇后)","此作为工笔肖像，笔致凝练精细。画中人物端然正坐，宝蓝色朝服沉稳华贵，衣纹勾勒匀整流畅，边缘镶边更添庄重。红顶暖帽规制严整，衬出人物沉静端雅的气度。手中哈达轻柔垂落，暗合其出身的草原印记。坐具织锦纹样繁丽精巧，配色浓丽古雅，晕染细腻写实，层层烘托出人物尊崇的身份地位。整体画面气韵沉静肃穆，尽显清代宫廷肖像画的工整写实风格，精准定格了人物威仪温婉兼具的独特气质。",[23,24,28,7,106,23715,333,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5ba2ccd4e010ce5cf0f4f413a4dab7f.jpg",[],{"id":86263,"slug":86264,"title":86265,"dynasty":76,"author":257,"museum":316,"description":86266,"tags":86267,"thumbUrl":86268,"material":599,"size":600,"collection":139,"collections":86269,"showCount":1233,"zanCount":48,"manualWeight":48,"mainColor":49},288309,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-cheng-ze-qin-wang-shuo-sai-yi-ming-288309","历代帝王贵妃大臣朝服像(承泽亲王硕塞)","此作为工笔肖像上乘之作，画中老者面容清癯，神态沉凝威严，自带宗室亲贵的从容威仪。画师以精细笔触描摹朝服，正龙纹鳞爪分明、气势雄健，海水江崖层次细腻，石青、明黄、朱红诸色交叠，富丽庄重又不失章法，精准贴合宗室品级仪制。\n\n领口貂裘、腰间饰件与项下朝珠皆写实入微，毛发丝缕毕现，珠串光泽莹润，将服饰材质肌理尽数展现。整作沉稳端凝，既恪守宫廷肖像的规制法度，又生动刻画出老者的耆年风骨，兼具纪实价值与艺术审美价值。",[23,24,28,7,37542,406,63,333,23715],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F39be9a97f2fd5ca86c4d0f2b70f38163.jpg",[],{"id":86271,"slug":86272,"title":86273,"dynasty":76,"author":257,"museum":316,"description":86274,"tags":86275,"thumbUrl":86276,"material":599,"size":600,"collection":139,"collections":86277,"showCount":1233,"zanCount":48,"manualWeight":48,"mainColor":94},288257,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-ai-xin-jue-luo-xuan-ye-yi-ming-288257","历代帝王贵妃大臣朝服像(爱新觉罗 玄烨)","此作工笔写实，笔触精细入微。画中人物身着华贵朝服，宝蓝底衬明黄龙纹，绣工繁复精密，纹样威严庄重，朝珠、顶戴细节分毫毕现，尽显至尊威仪，人物神态沉稳肃穆，眉眼间自有君王持重气场。\n\n周遭陈设亦处处考究，文房器具规整雅致，孔雀翎摆件彰显礼制规格，桌椅与地毯纹饰华美庄重，细节间烘托出宫廷礼制的森严华贵。整幅设色厚重鲜明，将纪实性与艺术性相融，精准诠释清代宫廷肖像画的典型风貌，把帝王气度与宫廷规制氛围完美融合，是清代肖像画中的上乘之作。",[23,24,7,28,106,11229,406,5443,63,12034,11296],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72337d4f0c0e300e38800a8591c5baa1.jpg",[],{"id":86279,"slug":86280,"title":86281,"dynasty":76,"author":257,"museum":316,"description":86282,"tags":86283,"thumbUrl":86284,"material":599,"size":600,"collection":139,"collections":86285,"showCount":1233,"zanCount":48,"manualWeight":48,"mainColor":49},288256,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-yi-ming-288256","历代帝王贵妃大臣朝服像","此作糅合中西技法，工致细腻。帝王端严安坐，神色沉静内敛，朝服规制森严，朝珠垂坠尽显礼制威仪。宝座融欧式雕花与中式构件，蓝金配色华贵雅致，衬出主人尊崇地位。画师恪守御容画庄重范式，又以西洋光影晕染出面部立体感，皮肉纹理与衣褶层次刻画入微，既得传统写真传神要义，又暗含西风东渐的艺术新风，将帝王威仪与写实水准相融无间，是清代跨文化肖像画的精妙之作。",[23,24,7,28,106,11229,333,226,23715],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F939e8b101086ba5245e3ee83bbc40fc1.jpg",[],{"id":86287,"slug":86288,"title":86289,"dynasty":76,"author":257,"museum":316,"description":86290,"tags":86291,"thumbUrl":86293,"material":599,"size":600,"collection":139,"collections":86294,"showCount":1233,"zanCount":48,"manualWeight":48,"mainColor":94},288247,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-su-ma-la-gu-chao-fu-yi-ming-288247","历代帝王贵妃大臣朝服像(苏麻喇姑)朝服","此作以工笔写实，刻画出女主人端雅沉静的气度。冠帽朱红顶戴规整持重，吉服袍以石青为地，满绣五彩升龙，间缀宝相缠枝、江崖海水，绣纹细密饱满，设色浓丽沉稳，晕染匀称自然，分毫毕现清代宫廷冠服礼制的华美繁复。\n\n画师捕捉人物眉眼舒展平和的神态，褪去宫廷仪轨的疏离感，尽显其历经三朝的温润从容。项间朝珠层叠错落，更衬身份尊崇。整幅构图中正端严，融纪实性与审美性为一体，既恪守宫廷肖像的礼制要求，又生动传递出人物沉静温婉的独特风骨。",[23,24,7,106,28,226,63,406,86292,69376],"苏麻喇姑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F771cdd4aa3a4879bb58e24b518f6fb0e.jpg",[],{"id":86296,"slug":86297,"title":86298,"dynasty":76,"author":257,"museum":316,"description":86299,"tags":86300,"thumbUrl":86302,"material":599,"size":600,"collection":139,"collections":86303,"showCount":1233,"zanCount":48,"manualWeight":48,"mainColor":49},288246,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-fan-wen-cheng-yi-ming-288246","历代帝王贵妃大臣朝服像(范文程)","此作工笔精细，将这位勋贵重臣的威严沉凝尽显无遗。画师落笔细致入微，人物面容苍劲有神，沉稳内敛的气度呼之欲出。朝服上的金线龙纹盘绕腾挪，绣工精巧华贵，宝蓝底色衬出明黄龙纹，配色端庄肃穆。朝珠制式严谨，串饰排布规整，与服饰相得益彰，精准还原清代重臣的朝仪规制。整体画面静穆庄重，遵循清代肖像画的写实传统，既细致还原服饰器用的典制细节，又生动刻画出人物历经世事的老成持重，尽显庙堂重臣的威仪风范。",[23,24,226,7,28,106,406,63,86301],"大臣肖像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88251542c3490542685b4a7b66856d36.jpg",[],{"id":86305,"slug":86306,"title":86307,"dynasty":76,"author":257,"museum":316,"description":86308,"tags":86309,"thumbUrl":86310,"material":599,"size":600,"collection":139,"collections":86311,"showCount":1233,"zanCount":48,"manualWeight":48,"mainColor":94},288208,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-huang-tai-ji-bian-fu-xiang-yi-ming-288208","历代帝王贵妃大臣朝服像(皇太极便服像)","此作工笔精谨，设色调和沉静。画中主人面膛方正饱满，虬须苍劲，神色威穆内敛，自带九五之尊的沉凝气度。石青便服挺括厚重，明色冠帽点缀其间，双手握朝珠静置于膝头，端坐在髹木嵌理石宝座之上。座椅蓝地缠枝围屏纹样舒展富丽，座垫织锦华而不艳，衬出主人的尊崇地位。画师写实功力深厚，衣纹晕染还原了面料的垂坠质感，面部晕染贴合骨相，将这位帝王的雄毅沉稳刻画入微，是清代肖像画里兼具纪实性与审美价值的精品。",[23,24,226,7,106,28,11229,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7412ef2ccdb72b371ecbeef1997f5eb.jpg",[],{"id":86313,"slug":86314,"title":86315,"dynasty":76,"author":257,"museum":316,"description":86316,"tags":86317,"thumbUrl":86318,"material":599,"size":600,"collection":139,"collections":86319,"showCount":1233,"zanCount":48,"manualWeight":48,"mainColor":49},288207,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-yin-ti-fu-fu-yi-ming-288207","历代帝王贵妃大臣朝服像(胤禵夫妇)","此作为工笔重彩肖像，构图规整肃穆，二人正襟端坐，尽显世家眷侣的端方气度。画师以精细笔触还原服饰细节：藏青素缎朝服之上，补子、云肩、江崖海水纹饰华美繁复，金彩勾边搭配朱红、宝绿晕染，将清代宗室服饰的华贵礼制铺陈尽致，朝珠垂挂错落合仪，细节处处恪守典制。\n\n人物刻画写实传神，老者苍髯垂胸，神色平和自带威仪，女子妆容秀雅温婉，旗装头面一丝不苟，精准还原清代宗室贵眷的容仪风貌。整作配色沉稳雍容，以写实技法记录清代贵族日常仪范，兼具纪实价值与工笔美学质感。",[23,24,25,28,7,106,23715,63,333],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fb05210a13c131ae3272ef2b02e1b87.jpg",[],{"id":86321,"slug":86322,"title":86323,"dynasty":76,"author":257,"museum":316,"description":86324,"tags":86325,"thumbUrl":86327,"material":599,"size":600,"collection":139,"collections":86328,"showCount":1233,"zanCount":48,"manualWeight":48,"mainColor":49},288206,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-su-ma-la-gu-yi-ming-288206","历代帝王贵妃大臣朝服像(苏麻喇姑)","此帧工笔肖像以浅褐素底衬映，将人物端凝气度铺陈开来。主人物安坐于织锦软垫宝座，神情温和沉静，眉目间带着阅尽世事的从容。石青朝服庄重沉穆，补子纹样精巧华美，朱白相间的朝珠垂坠胸前，领口袖口镶边绣纹细密繁复，尽显礼制规格。画师笔触细腻入微，发丝根根分明，衣料褶皱晕染自然写实，精准呈现服饰肌理质感，将人物温婉肃穆的神态刻画淋漓尽致，恪守清代肖像画纪实法度的同时，于细节中烘托出人物独特气质，尽显宫廷肖像工整雅致之韵。",[23,24,25,28,7,6170,23715,86326,333],"女性人物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87184e9eb8431295e72f6700686b2ee4.jpg",[],{"id":86330,"slug":86331,"title":86332,"dynasty":76,"author":257,"museum":316,"description":86333,"tags":86334,"thumbUrl":86335,"material":599,"size":600,"collection":139,"collections":86336,"showCount":1233,"zanCount":48,"manualWeight":48,"mainColor":49},288186,"xia-ri-na-liang-tu-juan-ben-yi-ming-288186","夏日纳凉图绢本","这幅小品以青绿设色写就，晕染出幽然消暑意趣。水岸垂柳柔条拂波，汀岸浅绿晕开暑夏水汽，将溽热轻轻揉碎在烟水间。山畔高阁凭渊藏于林麓，不见纳凉之人，却自有一种幽闲空寂的松弛意韵。\n\n远山以石青石绿勾染，淡赭铺底衬出峰峦温润古雅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星光寺缘起画卷上下卷(下)",[23,7,28,104,26,25,106,107,29,34,114,115,31,808,5883,260,7135,3712,912,8432,44706,55035],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c4e8c658f98ed5e6da2b6f79695a224.jpg",[],{"id":88618,"slug":88619,"title":88620,"dynasty":256,"author":49352,"museum":316,"description":88621,"tags":88622,"thumbUrl":88623,"material":599,"size":600,"collection":139,"collections":88624,"showCount":1233,"zanCount":48,"manualWeight":48,"mainColor":94},231701,"tian-cun-jia-ting-hui-juan-jiang-hu-shi-qi-231701","田村家庭绘卷","这卷手迹以平假名草书挥就，墨色沉凝古雅，笔势婉转舒展，牵丝映带间尽显和风书法的隽秀意趣。泛黄的古纸晕开浅褐色的岁月痕迹，将旧时心绪藏在纸间褶皱与墨迹之中。\n\n笔锋温润柔和，每一处转折都带着松弛的雅致，似在轻诉往昔的日常絮语，将时代的文心融于笔墨之间，让百年前书写时的沉静氛围顺着墨痕流淌至今，观者仿佛能触碰旧时纸面的温度，在素纸浓墨里，窥见旧时光里的缱绻文情。",[26,25,7,18387,106,27379],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa206b80b3e9a179923228944528c4081.jpg",[],{"id":88626,"slug":88627,"title":88628,"dynasty":256,"author":257,"museum":316,"description":88629,"tags":88630,"thumbUrl":88631,"material":599,"size":600,"collection":139,"collections":88632,"showCount":1233,"zanCount":48,"manualWeight":48,"mainColor":49},231682,"jiang-hu-shi-qi-ren-wu-tu-zhou-yi-ming-231682","江户时期 人物图轴","秋夜江天，月色衔着薄云晕开清光，归雁列队划破岑寂。茅舍檐下苇席铺陈，振袖女子以袖掩面，柔婉身形似含幽绪，席上男子持扇凝睇，案间布帛轻置，日常缱绻里漫着淡淡别意。丹枫斜枝缀着艳色，衬着茅檐朴拙，水畔木架与幽草晕开野趣。笔触清隽雅致，设色柔润古雅，将市井儿女的悱恻心事融在江秋夜色里，把幽微情愫藏在景致与情态之间，淡远缱绻，尽显和风古典的温婉余韵。",[23,24,25,226,7,106,245,265,28283,243,378,227],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dbb2250af231ae36a00e00ab660d322.jpg",[],{"id":88634,"slug":88635,"title":88636,"dynasty":256,"author":88637,"museum":316,"description":88638,"tags":88639,"thumbUrl":88640,"material":599,"size":600,"collection":139,"collections":88641,"showCount":1233,"zanCount":48,"manualWeight":48,"mainColor":94},231669,"jiang-hu-shi-dai-ying-jian-quan-shi-xiang-zhou-du-bian-feng-shan-231669","江户时代 鹰见泉石像轴","渡边峰山","这幅肖像以清劲线条勾勒身形，淡彩晕染衣袍，浅素底色衬出人物沉静威仪的气度。画家精准捕捉了主人公锐利沉稳的眼神，将其儒士风雅与武者刚毅融于一身，乌帽发型细节写实还原风貌，腰间胁差纹饰精巧，尽显身份不凡。皮肤晕染细腻自然，将面部肌理与神情刻画得栩栩如生，淡雅和服配色素雅且层次分明，留白构图烘托出静谧肃穆的氛围，尽显肖像画写实传神的美学意趣。",[23,194,226,7,106,63,2439,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d3ad3fe54a3dd0fc3d8910f1227cf8a.jpg",[],{"id":88643,"slug":88644,"title":88645,"dynasty":256,"author":257,"museum":316,"description":88646,"tags":88647,"thumbUrl":88650,"material":139,"size":139,"collection":139,"collections":88651,"showCount":1233,"zanCount":48,"manualWeight":48,"mainColor":94},231653,"xi-ma-tu-juan-yi-ming-231653","戏马图卷","此卷以淡彩施绘，笔墨清简秀逸。右端平远郊野间，群马散游浅草坡地，或垂首啮草，或信步徐行，村舍隐于林麓，漾着乡野闲静意趣。随卷左移，画面渐次鲜活：仆役控缰牵马，骑手们或策马奔腾，或俯身控御烈马，更有健儿挥弄长械戏马，烈马扬鬃奋蹄，人马的灵动神态被简练线条勾勒尽致。浅青、淡赭的淡设色调雅致柔和，将牧养日常与游嬉之趣相融，把民间驯马戏马的鲜活图景缓缓铺展，尽显世俗生活的生动意韵。",[23,24,25,26,7,28,106,150,29,8583,808,88648,88649],"群马","动态场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e8fcb02ee6658a46924bfa4d3b69f70.jpg",[],{"id":88653,"slug":88654,"title":88655,"dynasty":256,"author":257,"museum":316,"description":88656,"tags":88657,"thumbUrl":88659,"material":599,"size":600,"collection":139,"collections":88660,"showCount":1233,"zanCount":48,"manualWeight":48,"mainColor":94},231635,"lian-cang-shi-dai-zhu-ji-wu-yu-hua-juan-yi-ming-231635","镰仓时代 住吉物语画卷","以俯瞰长卷铺展秋日图景，左段郊野丹枫点染秋意，士人围坐雅谈，武士恭谨侍立，山林丘壑间漫着悠然秋韵。中段日式宅邸廊庑萦回，屋中主人安坐，侍从穿廊往来，将贵族闲居日常细腻铺陈。\n清隽墨线勾勒屋宇衣纹，浅淡设色晕开古雅温柔，岁月晕黄的纸本更添沉静韵味，将山居闲雅诗意融于笔底，复刻出千年前和风贵族的风雅日常。",[26,28,7,104,106,107,34,29,1754,1273,115,1024,88658],"水洼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0e8492f4fb31b52df86230c0000e433.jpg",[],{"id":88662,"slug":88663,"title":88664,"dynasty":256,"author":88665,"museum":316,"description":88666,"tags":88667,"thumbUrl":88668,"material":599,"size":600,"collection":139,"collections":88669,"showCount":1233,"zanCount":48,"manualWeight":48,"mainColor":94},231600,"dong-wu-xie-sheng-tu-gui-chuan-guo-rui-231600","動物写生図","桂川国瑞","桂川甫週（KatsuragawaHoshū）是日本醫師，也是蘭學的學者。他曾在德川幕府擔任醫師和荷蘭語翻譯。他是作家和蘭學學者森島中良（MorishimaChūryō）的哥哥。作為桂川家族的長子，將軍的荷蘭式醫生霍舒於1777年被任命為該職位。他於1794年開始在幕府將軍醫學院任教。",[25,7,28,566,229,81,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa3fb02042d367c59a81eac1fec864aa6.jpg",[],{"id":88671,"slug":88672,"title":88673,"dynasty":256,"author":257,"museum":316,"description":88674,"tags":88675,"thumbUrl":88677,"material":599,"size":600,"collection":139,"collections":88678,"showCount":1233,"zanCount":48,"manualWeight":48,"mainColor":49},231576,"xu-kong-cang-pu-sa-xiang-dong-jing-yuan-ben-yi-ming-231576","虚空藏菩萨像( 东京原本)","菩萨面容圆融慈悲，神态沉静庄严，宝冠璎珞遍饰周身，衣纹流转间尽显华贵端庄。身周放射出灼灼光焰，将菩萨的神圣威仪烘托得淋漓尽致，深暗底色更衬出造像明丽肃穆。\n\n莲台层叠繁茂，青绿主调晕染出古朴雅致的气韵，下方青绿山水铺陈，将圣像融于天地悠悠之间，让宗教的神圣感晕染出东方山水的悠远意境。\n\n整作线条精细流畅，设色厚重古雅，装饰细节分毫毕现，尽显匠者巧思，将菩萨福德圆满、智慧无尽的意象尽显无余，是兼具宗教性与艺术性的上乘造像。",[23,24,260,106,88676,7,27,28,12796,29,88224,43282],"虚空藏菩萨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c24b01576e37122623560d1ecb4918f.jpg",[],{"id":88680,"slug":88681,"title":88682,"dynasty":302,"author":257,"museum":316,"description":27801,"tags":88683,"thumbUrl":88686,"material":599,"size":600,"collection":139,"collections":88687,"showCount":1233,"zanCount":48,"manualWeight":48,"mainColor":94},231460,"cui-lv-xiao-hua-ping-yi-ming-231460","翠绿小花瓶",[12818,2592,88684,7610,229,88685,7],"开片","翠绿釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71505d63837da0bf2e7cae858e106054.jpg",[],{"id":88689,"slug":88690,"title":88691,"dynasty":256,"author":257,"museum":316,"description":88692,"tags":88693,"thumbUrl":88694,"material":599,"size":600,"collection":139,"collections":88695,"showCount":1233,"zanCount":48,"manualWeight":48,"mainColor":94},230987,"niao-yu-seng-zheng-hua-juan-yi-ming-230987","鸟羽僧正画卷","淡彩晕染搭配稚拙灵动的线条，定格了一出荒诞喧嚣的街头闹剧。左侧奔逃的百姓神色惊惶，推搡拥挤间衣袂翻飞，尽显狼狈惶急，妇孺跌扑奔窜，满是仓皇失措之态。右侧官吏差役神态骄横各异，或挥臂喝斥、或持扇作态，将官威凌人的跋扈展露无遗。\n整幅画作以写意笔调勾勒众生，情态各有不同，将官民对立的张力拉至极致，以戏谑的民间视角辛辣铺陈衙役驱民的现实，笔意朴拙却鲜活生动，暗喻着对世俗不公的讽刺。",[23,194,24,25,26,7,106,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cc575e2ca921dbcd470913fa4023ce3.jpg",[],{"id":88697,"slug":88698,"title":88699,"dynasty":76,"author":257,"museum":316,"description":88700,"tags":88701,"thumbUrl":88706,"material":139,"size":139,"collection":139,"collections":88707,"showCount":1233,"zanCount":2368,"manualWeight":48,"mainColor":49},230347,"nao-xue-wan-xi-yi-ming-230347","闹学顽戏","这是一幅满溢稚拙意趣的世俗佳构，将沉闷私塾化为嬉闹戏台。塾中先生酣然沉睡，学童们索性闹将起来：有扮作伶人敲锣打鼓，捏腔作势演起大戏，堆垒的书卷被搭成戏楼布景，案头文房器物全变作玩闹道具；也有学童模仿先生训人模样，或是追跑笑闹搅乱书堂。设色明丽雅致，线条勾勒鲜活灵动，无半分说教，只把孩童淘气相尽数铺陈。画师以温柔目光捕捉市井童年的片刻逃闲，将寒窗日常化作满堂童趣，把烟火里的天真烂漫凝在纸面，是旧时稚子顽戏的鲜活剪影。",[24,25,7,106,14626,88702,88703,17647,88704,88705,2852,17649],"闹学","顽戏","戏曲","文房器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F75a93e21e975cf7881372d1fd3dfdcf3.jpg",[],{"id":88709,"slug":88710,"title":88711,"dynasty":76,"author":257,"museum":316,"description":88712,"tags":88713,"thumbUrl":88714,"material":139,"size":139,"collection":139,"collections":88715,"showCount":1233,"zanCount":48,"manualWeight":48,"mainColor":94},230318,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-shi-qi-a-ge-yong-lin-yi-ming-230318","历代帝王贵妃大臣朝服像(十七阿哥永璘)","此作工笔精绝，绘就亲贵仪范。宝蓝朝服之上，正龙团纹平金绣制，丝丝细密清晰，十二章纹错落排布，暗合礼制规制，尽显宗室尊荣。朝珠朱润莹亮，顶戴制式严整，细节处处恪守清代仪轨。\n\n人物沉静端坐在髹漆描金王座之上，锦垫纹样华丽繁复，烘托出肃穆华贵的氛围。画师用笔写实细腻，晕染柔和自然，将人物内敛持重的气度刻画入微，设色沉雅庄重，既还原了清代近支亲贵的真实风貌，也是清代肖像画中纪实性与艺术性兼具的佳构。",[23,320,28,7692,7,106,333,337,20335,336,334],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaba8ea958e0a91e6d01c3784862ae95.jpg",[],{"id":88717,"slug":88718,"title":88719,"dynasty":76,"author":257,"museum":316,"description":88720,"tags":88721,"thumbUrl":88722,"material":139,"size":139,"collection":139,"collections":88723,"showCount":1233,"zanCount":48,"manualWeight":48,"mainColor":49},230315,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-ba-a-ge-yin-si-yi-ming-230315","历代帝王贵妃大臣朝服像(八阿哥胤禩)","此作写实细腻，人物端坐沉稳威严。朝服之上团龙纹以金线勾勒，五爪神龙矫健灵动，形制严谨的细节尽显清代宗室礼制规制。暖红官帽配孔雀花翎，晕染入微，将华贵身份烘托尽致。\n\n画师以精妙笔触刻画面容，眉目沉静内敛，神态传神，还原出人物沉稳气度。设色调和雅致，背景晕染柔和朦胧，烘托出庄重肃穆的氛围，尽显清代肖像画恪守礼制又传神写实的典型特色，精准定格了这位贵胄的威仪风貌。",[23,320,28,7,106,63,406,337],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc021557dab49a3b57aca25d5696ff057.jpg",[],{"id":88725,"slug":88726,"title":88727,"dynasty":76,"author":257,"museum":316,"description":88728,"tags":88729,"thumbUrl":88732,"material":139,"size":139,"collection":139,"collections":88733,"showCount":1233,"zanCount":48,"manualWeight":48,"mainColor":94},230314,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-qin-wang-ai-xin-jue-luo-hong-zhou-yi-ming-230314","历代帝王贵妃大臣朝服像(亲王爱新觉罗.弘昼)","整作取景春日庭院，古柳垂绦抽新绿，花树缀粉、湖石错落，晕染出悠然雅致的闲居氛围。主位贵胄安坐石上，展卷细读，神态松弛自适。两侧侍从躬身奉物，身姿恭谨，将清代宗室日常仪制暗藏其间。\n\n衣纹描摹细腻写实，旗装官帽的制式纹理清晰可见，衣料褶皱层次自然，把服饰质感还原入微。设色调和柔润，衣袍的暗紫、赭红与草木新色相映，工笔勾勒兼顾写意氛围感，将贵胄春日闲读的松弛日常铺陈开来，兼具纪实性与审美意趣，鲜活再现了旧时王府一隅的平和图景。",[23,24,7,28,106,1241,176,380,278,245,912,37544,230,88730,88731],"小植物","淡彩渲染","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0cca75b7d728fa0178020b8b4edc4960.jpg",[],{"id":88735,"slug":88736,"title":88737,"dynasty":76,"author":257,"museum":316,"description":88738,"tags":88739,"thumbUrl":88740,"material":139,"size":139,"collection":139,"collections":88741,"showCount":1233,"zanCount":48,"manualWeight":48,"mainColor":801},230311,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-jiu-a-ge-yin-tang-yi-ming-230311","历代帝王贵妃大臣朝服像(九阿哥胤禟)","此作工笔写实，将宗室贵胄的矜重威仪尽显无余。画中人物坐姿端方，双手按于扶手，面容沉毅肃穆，神态不怒自威。吉服纹饰极为考究，前胸正龙团纹精细繁复，龙形矫健灵动，祥云环绕其间，缂丝质感描摹逼真，衣身寿字暗纹隐现，贴合清代宗室服饰规制。设色调和古雅，素净背景烘托出人物主体，笔触精细入微，从冠帽形制到衣褶晕染皆严谨细致，精准还原出这位皇子的气度风貌，尽显清代肖像画礼制与写实兼备的精妙特质。",[23,24,25,226,28,7,106,406,63,20335,72216],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc30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宋苏轼、苏辙撰",[24,25,81,28,7,83,937,264,568],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa09d03ad3203d8837b963c6c84f630da.jpg",[],{"id":89263,"slug":89264,"title":89265,"dynasty":99,"author":25812,"museum":316,"description":89266,"tags":89267,"thumbUrl":89268,"material":139,"size":139,"collection":139,"collections":89269,"showCount":1233,"zanCount":48,"manualWeight":48,"mainColor":94},224554,"shu-hua-ce-ye-19-xiao-yun-cong-wang-shi-zhen-224554","《书画册页》-19","以淡墨晕染烟霭长空，崖壁奇崛高耸，文士策杖凭崖，凝望远江平芜。枯木虬枝错落坡岸，间有柔枝茂叶点缀荒寒，笔墨以干淡皴擦勾勒山石肌理，兼得宋画苍劲与文人画雅逸。\n\n题跋朱印错落留白处，诗画相融，将幽居林泉的隐逸心绪藏在萧疏景致间，清寂淡远的古意漫溢纸面，暗合画中孤高文人心志。",[24,25,81,173,7,177,86,212,29,106,353,230,407,686,34,211,2235,838],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdaae4723fd04a5f2ab0bf9de09a0ba0.jpg",[],{"id":89271,"slug":89272,"title":89273,"dynasty":99,"author":25812,"museum":316,"description":89274,"tags":89275,"thumbUrl":89276,"material":139,"size":139,"collection":139,"collections":89277,"showCount":1233,"zanCount":48,"manualWeight":48,"mainColor":94},224552,"shu-hua-ce-ye-17-xiao-yun-cong-wang-shi-zhen-224552","《书画册页》-17","此作以危崖为骨，层叠楼阁依山而起，飞檐翘角隐于苍松虬枝之间，将人工巧思揉入天工奇险。设色调清雅柔和，山石勾勒方折硬朗，皴擦极简便勾勒出崖壁肌理，古松姿态苍劲古拙，尽显高浑气象。\n\n崖间回廊蜿蜒，行人缓步登游，为冷峭山景添上悠然雅趣，右上角题跋小字灵动，与画意相映成趣，晕开文雅余韵。工致界画衬以写意山水，将世外仙山出尘之境，描摹得淋漓尽致。",[24,25,81,104,7,29,107,106,34,176,2235,1273,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd9d18ef08fba367f18c210f9c9efab9.jpg",[],{"id":89279,"slug":89280,"title":89281,"dynasty":76,"author":89282,"museum":316,"description":89283,"tags":89284,"thumbUrl":89285,"material":139,"size":139,"collection":139,"collections":89286,"showCount":1233,"zanCount":48,"manualWeight":48,"mainColor":49},224538,"jiao-yin-na-liang-tu-deng-wen-ju-224538","焦荫纳凉图","邓文举","浓荫覆蔽的蕉林之下，宽袍高士斜倚凉榻，案头书卷茶盏错落，眉眼舒展间尽显松弛自适。稚童三两环绕，或俯身摆弄茶器，或嬉玩低语，鲜活稚气晕开了幽寂氛围，一动一静相映成趣。\n\n设色调和古雅，苍润蕉叶晕染出沉凝绿意，衬得绢底古褐愈发柔暖沉静。线条清隽秀逸，将蕉叶婆娑之态与高士闲散之姿勾勒传神，把夏日林下消暑的雅逸意趣尽数铺陈。仿佛能窥见晚风穿林、蕉影轻摇，将文人幽居消夏的闲情雅兴融于尺幅之中，恍若将溽热暑气隔绝在外，只留一室清宁，尽显林下风流与雅致襟怀。",[23,24,25,320,7,28,106,2385,54064,12465],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60e75c9094b8bc0063c73467689305ca.jpg",[],{"id":89288,"slug":89289,"title":89290,"dynasty":76,"author":1829,"museum":316,"description":89291,"tags":89292,"thumbUrl":89293,"material":139,"size":139,"collection":139,"collections":89294,"showCount":1233,"zanCount":48,"manualWeight":48,"mainColor":94},224306,"hua-hui-shi-er-kai-7-li-shan-224306","花卉十二开7","此作以极简笔墨勾勒秋日闲景，构图疏朗留白有致。右上角淡墨绘藤蔓残叶，朱红果鲜亮醒目，晕染灵动，与浅淡枝叶相映成趣。下方枯枝上，禽鸟以浓淡墨色晕染出羽毛层次，昂首远眺姿态鲜活，仿佛正侧目红果，野趣横生。\n全画笔意纵逸随性，寥寥数笔便将禽鸟的机警灵动与秋果的鲜活生机尽显，浓淡墨色冷暖相映，简淡却意蕴悠长。配之题款朱印，文气雅致，尽显文人写意画的随性风神，将秋日一隅的幽寂生机悄然铺展，恬淡悠然，尽显写意花鸟的隽永意趣。",[23,24,25,81,173,7,83,209,836,569,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4eff5f05f84877912f8f80a3c7e379a0.jpg",[],{"id":89296,"slug":89297,"title":89298,"dynasty":76,"author":1829,"museum":316,"description":89299,"tags":89300,"thumbUrl":89301,"material":139,"size":139,"collection":139,"collections":89302,"showCount":1233,"zanCount":48,"manualWeight":48,"mainColor":94},224303,"hua-hui-shi-er-kai-4-li-shan-224303","花卉十二开4","这幅小品兼用没骨与写意笔法，绘两折幽花。上枝柔茎修长，粉花轻妍，晕染细腻，尽显娇柔轻盈之态；下簇黄花明媚鲜亮，墨叶以阔笔挥就，浓淡交叠，苍劲中藏秀润，朴拙见灵动。\n\n左侧题诗与花木相衬，以花自喻，吐露清介襟怀，诗书画印浑然一体，尽显扬州画派纵恣文心。笔墨简括却意态丰盈，将花木的绰约风神与文人孤傲品格相融，清雅脱俗，余韵悠长。",[23,24,25,81,7,83,84,86,178,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff87a8cacac29b8f8f20ecdeeefa4100.jpg",[],{"id":89304,"slug":89305,"title":89306,"dynasty":76,"author":1829,"museum":316,"description":89307,"tags":89308,"thumbUrl":89309,"material":139,"size":139,"collection":139,"collections":89310,"showCount":1233,"zanCount":48,"manualWeight":48,"mainColor":94},224298,"hua-hui-shi-er-kai-10-li-shan-224298","花卉十二开10","这幅小品将水仙与日常蒜头并置，打破雅俗边界。淡墨轻扫水仙叶片，笔意舒展灵动，花瓣晕染留白，清逸柔婉。一旁蒜头以枯笔极简勾勒，憨拙质朴，二者相映成趣。\n题款笔墨恣肆，暗合“同是蒜也，可雅可俗”的谐趣，尽显文人随性诙谐的意趣。水墨设色简淡却神采具足，把清雅花草与日常风物相融，消解雅俗对立，寄寓画师对生活的通透体察，笔情墨趣间尽显写意花鸟的灵动生机。",[23,24,25,81,7,498,898,84,178,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F273442628b32e2197828f1322a679f80.jpg",[],{"id":89312,"slug":89313,"title":89314,"dynasty":76,"author":70880,"museum":316,"description":89315,"tags":89316,"thumbUrl":89317,"material":139,"size":139,"collection":139,"collections":89318,"showCount":1233,"zanCount":48,"manualWeight":48,"mainColor":94},224281,"shan-shui-hua-hui-ce-shi-wu-fu-shan-224281","山水花卉冊(十五)","此作用留白摹绘空濛水面，虚实相映间晕染出澹远氛围。淡赭铺就底色，晕开温润古雅的基调。层叠飞檐的楼阁笔致沉稳工细，朴拙雅致，被繁茂林木掩映其中，苍润点叶勾勒出郁葱林木，将古建藏于幽林深处，尽显园居林下的幽谧雅致。整体笔墨简淡萧散，以极简的构图铺陈出悠然林泉意趣，将山居清逸诗意藏于毫端，尽显文人画静雅疏朗的气韵。",[23,24,7,81,104,29,107,34,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcefbf253f5d81cb951145273ef1c17b.jpg",[],{"id":89320,"slug":89321,"title":89322,"dynasty":76,"author":70880,"museum":316,"description":89323,"tags":89324,"thumbUrl":89325,"material":139,"size":139,"collection":139,"collections":89326,"showCount":1233,"zanCount":48,"manualWeight":48,"mainColor":94},224273,"shan-shui-hua-hui-ce-er-fu-shan-224273","山水花卉冊(二)","此作以淡赭晕染出水天浑然的底色，群峰被绘作奇崛瘦硬的嶙峋之态，如笋如刃错落浮于虚渺烟岚之间。山间林木以细笔极简点簇，萧疏冷逸。画面留白肆意铺陈，勾勒出荒寒空濛的幽寂意境。左侧题印与山水相映，添了文墨雅趣。画家舍去繁复皴染，以简淡笔墨写胸中丘壑，将北方山川的奇峭风骨，与遗世孤高的文人意趣相融，尽显清冷淡远的禅味，笔墨简净却意韵悠长。",[23,24,25,81,173,7,29,230,108,34,212,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9a89b3cc5fc5b36085465ba8a7fd6dc.jpg",[],{"id":89328,"slug":89329,"title":89330,"dynasty":76,"author":59236,"museum":316,"description":89331,"tags":89332,"thumbUrl":89333,"material":139,"size":139,"collection":139,"collections":89334,"showCount":1233,"zanCount":48,"manualWeight":48,"mainColor":94},224266,"dou-bi-dan-tai-tu-jiang-zhu-224266","陡壁丹台图","《新安画派书画精品集》以渐江为代表的新安画派及与之同时的一些杰出画家的创作成就，同时介绍作为“源”的在他们之间的一些著名画家与作为“流”的在他们之后一些画家的创作成就，叙述对新安画派、新安画坛的创作有深刻影响的绘画美学思想，特别是新安人的绘画美学思想。\n《新安画派书画精品集》由 出版。\n敛辞朱良剑 敛辞石金呜 前言 “新安画派”概述张飞莺 风骨冷然气韵清逸——安徽博物院藏渐江《晓江风便图》赏析李艳红 先声 江必名 雪景山水图 吴龙草亭听泉图 郑元勋古木秀石图 郑为虹山斋读书图 程嘉燧柳桥山寺图扇面 程嘉燧秋浦泛舟图扇面 李永昌策杖行吟图 高峰 汪之瑞空亭幽树图页 渐江浊阜图册 渐江晓江风便图卷 渐江秋江风帆图扇面 孙逸溪桥觅句图 查士标宿雨初收图 查士标深山古寺图 查士标仿董北苑山水图 查士标仿梅华道人山水图 查士标仿元人山水图 查士标坐对江天图 查士标 云山梦树图页 查筠仿梅壑山水图 胡皋和风烟雨图 程邃山静太古图 程邃独往秋山图 程邃秋山图册 戴本孝巢民老人观菊图卷 戴本孝 山谷回廊图 戴本孝草阁幽情图 戴本孝苍松劲节图 戴本孝摹北苑山水图 戴本孝湖山逸兴图 吴定剡溪积雪图 吴定秋高叶醉图 吴定瑶峰玉树图 郑畋仿吴仲圭山水图 郑欧黄山四景图四条屏 郑畋仿倪山水图 程萝乱山草木图 姚宋仿黄鹤山樵山水图 江注黄山一角图 江注陡壁丹台图 祝昌仿倪山水图 吴元澄 临赵鸥波《夏山高隐图》 余韵 谢绍烈江石萝月图扇面 释雪庄木莲花图 释一智黄山云舫道中图 方士庶栖霞楼归图 何文煌溪山话别图卷 程义仿赵子固山水图 鲍楷寒庵香雪图 程堂仿梅华山水图 汪朴南窗寄傲图 江士相富春归棹图卷 吴麈仿梅道人山水图 汪滋仿古山水图册 程鸣沧江泛舟图 汪梅鼎云光林翠图卷",[23,194,24,25,226,173,7,177,29,106,34,1273,107,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a377bbdc316fd42f6a777df356cbf29.jpg",[],{"id":89336,"slug":89337,"title":89338,"dynasty":76,"author":15368,"museum":316,"description":15366,"tags":89339,"thumbUrl":89340,"material":599,"size":600,"collection":139,"collections":89341,"showCount":1233,"zanCount":48,"manualWeight":48,"mainColor":2504},224138,"abheda-tang-ka-224138","Abheda",[260,7,28,106,29,1273,263,53269,2479,3429,7690],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F064991e3eccba759ac8af1f24e0cfb16.jpg",[],{"id":89343,"slug":89344,"title":65544,"dynasty":18,"author":257,"museum":316,"description":89345,"tags":89346,"thumbUrl":89347,"material":139,"size":139,"collection":139,"collections":89348,"showCount":1233,"zanCount":48,"manualWeight":48,"mainColor":49},223684,"xun-qin-fu-zhuo-tu-ye-yi-ming-223684","《宋人画驯禽俯啄图》是宋代佚名创作的绢本设色画。\n此图原载《宋元集绘册》。\n图绘一件浅蓝色瓷罐置于画面正中，一只小麻雀于罐沿上低头觅食。\n雀身系一赤色小绳，绳端拴一圆圈，以点出「驯禽」之意。\n作者先用细笔勾出鸟的轮廓，然后用细笔丝出羽绒，再用浓墨点出翅膀、鸟尾和眼珠，使小鸟的形象生动逼真，具有较强的质感。\n全图笔法工细，构图简洁，设色柔和自然。\n此图无款，旧题签为「驯禽俯啄」，现沿用此名。\n画面左下角钤「宋荦审定」一印。\n曾经清人宋荦收藏，《石渠宝笈三编》著录。\n本幅无款。\n钤鉴藏印“宋荦审定”。\n裱边题签：“宋人驯禽俯啄”。\n图中一只 立于浅蓝色敞口瓷罐上，低头欲啄罐沿。\n麻雀身系红绳，绳端拴一圆环，表示已被擒获豢养。\n麻雀属难以驯化之鸟，画面中的瓷罐内虽有白米，雀却不食，表达了向往自由生活的心愿。\n画家先以尖细之笔绘出麻雀的轮廓、羽绒，再用浓墨、淡赭点画出翅膀、尾羽和眼目。",[23,194,24,25,81,7,28,83,209,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5063ca27005a536981c4ba62953d8db8.jpg",[],{"id":89350,"slug":89351,"title":81997,"dynasty":18,"author":257,"museum":316,"description":89352,"tags":89353,"thumbUrl":89354,"material":139,"size":139,"collection":139,"collections":89355,"showCount":1233,"zanCount":48,"manualWeight":48,"mainColor":94},223628,"he-tang-xi-lai-tu-yi-ming-223628","《宋人画荷塘鸂鵣图》是宋代佚名创作的绢本设色画。\n烟雾迷蒙，一曲清溪，两岸夹植杨柳，间以红花。\n溪中莲叶点点，鸂鵣戏水，其乐融融。\n一行白鹭破空飞向远方，将观赏者的视线引向画外；蜿蜒的清溪，则将视线推向了画景深处。\n柳叶用攒笔点画，树干用双钩法绘出，鸂鵣以工笔刻画。\n设色柔和淡雅。\n小小的册页画中略用了深远与高远的画法，就使画面意境达到了深远的效果。\n对幅有清乾隆皇帝御题诗一首:“花鸟从来属剑南，水禽夏卉照晴潭。\n鸳鸯无碍称其紫，弟子有时胜彼蓝。\n水宿相呼如觧勅，沙群式度自能谙。\n涨滩落鸟寻常事，何涉西台纪怪谈。\n” 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Renoir--Young Woman with a Muff","女子眉眼轻阖，拢住暖手筒将寒意隔绝在外，周身漫开松弛慵懒的柔意。深褐色高领上衣沉稳柔和，衬得她神态愈发娴静。画家以粉彩晕染长裙，暖橘与米白交织出蓬松褶皱，将女装的温婉雅致娓娓道来。朦胧的浅棕背景做了晕化开的留白，将视线牢牢锁在女子身上，仿佛能触到暖筒的温度，捕捉到冬日街头这片刻沉静温柔的日常。轻盈笔触把庸常日常晕染出诗意暖意，细腻勾勒出女性柔美的神态气韵，将松弛安然的瞬间永远定格。",[3187,106,59,7,63,91073],"暖手筒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb45a5fec742d5a722b866a7fc8928325.jpg",[],{"id":91077,"slug":91078,"title":91079,"dynasty":256,"author":257,"museum":316,"description":91080,"tags":91081,"thumbUrl":91082,"material":599,"size":600,"collection":139,"collections":91083,"showCount":1003,"zanCount":48,"manualWeight":48,"mainColor":49},289449,"chuan-ming-he-chang-nian-xiang-yi-ming-289449","传名和长年像","画面主体端坐的武者面容沉毅，墨绿宽袍衬出煊赫气度，腰间横刀、手持短笏，暗显武家身份。身侧侍童持长弓垂首静立，满是恭谨肃穆。下方驯马场景鲜活灵动，仆役倾力安抚躁动骏马，动静对比鲜明。\n\n整体用色古雅凝练，线条拙朴写实，既铺陈上位者的威严气场，又以驯马的日常细节烘托世家氛围，将武家风骨与俗世烟火巧妙融合。古旧绢面晕开的色泽里，藏着对武人日常的细腻刻画，尽显东洋古绘的沉静意趣。",[23,24,25,226,7,106,150,2439,23715],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcaa13f081eb32b788595ce4e8562653.jpg",[],{"id":91085,"slug":91086,"title":91087,"dynasty":256,"author":257,"museum":316,"description":91088,"tags":91089,"thumbUrl":91090,"material":599,"size":600,"collection":139,"collections":91091,"showCount":1003,"zanCount":48,"manualWeight":48,"mainColor":94},289448,"shan-zhong-jie-lu-tu-yi-ming-289448","山中结庐图","近景苍木扶苏，几间茅庐错落溪畔，朱红板桥卧于浅流之上，策杖行人徐行其间，野趣悠然。中景山腰朱栏回廊隐于烟岚翠色中，林木疏密得宜，灵动皴笔晕染出山石温润质感，墨色浓淡变化间尽显层次。远景山峦以淡墨轻笼，云气氤氲，晕染出空濛清远的山林意境。\n\n全作用笔松秀简逸，浅设色与水墨相融相生，以留白衬出林泉静气，将幽居山野的隐逸意趣藏于尺幅间，尽显文人山水萧散淡远之美，观之如身临静雅林泉，俗念尽消。",[23,24,25,226,7,29,4706,107,108,109,176,353,86,212,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc461cd64fa822aa61f431e016d2109c3.jpg",[],{"id":91093,"slug":91094,"title":91095,"dynasty":256,"author":91096,"museum":316,"description":91097,"tags":91098,"thumbUrl":91100,"material":599,"size":600,"collection":139,"collections":91101,"showCount":1003,"zanCount":48,"manualWeight":48,"mainColor":94},289447,"zuo-zhu-ben-san-shi-liu-ge-xian-hua-juan-duan-jian-zhu-ji-ming-shen-yue-weng-cang-qiu-289447","佐竹本三十六歌仙画卷断简(住吉明神)","岳翁藏丘","岳和声（生卒年不详），字尔律，一作之律，号石梁，一号梁父，自号餐微子，浙江嘉兴府秀水县（今桐乡市）人。南宋著名军事家、诗人岳飞十八世孙。",[23,24,25,26,18387,7,29,175,108,795,245,260,2459,91099],"住吉明神","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f598121f3dfe7714864feecc3a1190a.jpg",[],{"id":91103,"slug":91104,"title":91105,"dynasty":256,"author":257,"museum":316,"description":91106,"tags":91107,"thumbUrl":91109,"material":599,"size":600,"collection":139,"collections":91110,"showCount":1003,"zanCount":48,"manualWeight":48,"mainColor":94},289035,"louis-comfort-tiffany-drawing-of-a-figure-of-christ-yi-ming-289035","Louis 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江南，尽显东方雅致意韵。",[24,37774,37765,91244,29,109,174,45453,34,7,796],"绣画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e7b1b1ac6643cafa95a5365de26fbbc.jpg",[],{"id":91248,"slug":91249,"title":72098,"dynasty":76,"author":257,"museum":316,"description":91250,"tags":91251,"thumbUrl":91253,"material":599,"size":600,"collection":139,"collections":91254,"showCount":1003,"zanCount":48,"manualWeight":48,"mainColor":49},272987,"mu-bian-mi-se-di-xiu-shan-shui-tu-wei-ping-xin-yi-ming-272987","此作以米色素缎为地，施针走线间铺展山居图景。绣工以平针、套针等技法晕染色彩，青瓦山居随坡错落，石桥衔起幽径，秋木丹黄相间，远山轻覆蓝彩，烟霞柔丝勾勒，白鹤悠然振翅于天际，曲水萦回绕穿林泉。构图疏密相宜，配色柔和沉静，将文人山水的澹泊意境藏于针线之中，兼具院体工致与文人雅趣，把丝绣工艺与山水意趣融作一处，雅致清逸尽显匠心。",[24,25,7,29,107,108,245,227,34,109,8969,91252],"围屏心","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F147b2e4f75604aacb359bdf6a3a3c72c.jpg",[],{"id":91256,"slug":91257,"title":91258,"dynasty":76,"author":257,"museum":316,"description":91259,"tags":91260,"thumbUrl":91261,"material":599,"size":600,"collection":139,"collections":91262,"showCount":1003,"zanCount":48,"manualWeight":48,"mainColor":49},272969,"zi-tan-mu-bian-qian-fa-lang-pen-hua-tu-gua-ping-yi-ming-272969","紫檀木边嵌珐琅盆花图挂屏","屏心以蓝地回纹珐琅为底，鎏金题字错落排布，笔意隽雅，暗蕴文思雅趣。下方立体堆嵌盆梅，花盆珐琅填彩饰纹，鎏金边饰勾勒出挺拔器型。梅桩苍劲虬曲，花枝缀蕾含英，施色沉静古拙，将珐琅明润光泽与髹金华贵融于一处。\n\n整体构图虚实相宜，上部金题墨趣呼应下部花艺雅构，既有文人案头清供的幽远情致，又尽显精工巧思。将冬日赏梅闲情凝于屏上，揉诗文、工艺与雅趣为一体，雅致脱俗，尽显内敛东方意韵。",[9496,7135,21605,820,86,937,5513,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4564328a1f64b38567767cc6cca1f54a.jpg",[],{"id":91264,"slug":91265,"title":91266,"dynasty":76,"author":257,"museum":316,"description":91267,"tags":91268,"thumbUrl":91269,"material":599,"size":600,"collection":139,"collections":91270,"showCount":1003,"zanCount":48,"manualWeight":48,"mainColor":49},272884,"zi-tan-mu-bian-hua-bo-li-gua-ping-yi-ming-272884","紫檀木边画玻璃挂屏","此作为玻璃反向绘制，工艺殊为精巧。画面以青绿设色晕染出山水雅境，却融入西洋光影技法，山石褶皱明暗尽显，云雾柔润朦胧，赋予传统山水通透的层次感。澄澈湖面泛着幽蓝波光，扁舟轻摇，板桥通岸，亭台错落隐于苍翠峰林之间，将东方山居闲逸之意托于笔端。\n\n紫檀边框雕饰回纹缠枝，古朴雅致，衬得画面愈发清丽。整体融中西所长，既有文人山水的静美意境，又以明暗铺陈烘托出山川的悠远空濛，色彩浓妍和谐，将中式隐逸之趣与西洋写实光影相融，别具别致韵味。",[24,75010,27,7,29,107,108,109,174,175,808,34,2235,7135,9496],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00c980b7ceed54e1f88b2d50c576249e.jpg",[],{"id":91272,"slug":91273,"title":91274,"dynasty":76,"author":257,"museum":316,"description":91275,"tags":91276,"thumbUrl":91277,"material":599,"size":600,"collection":139,"collections":91278,"showCount":1003,"zanCount":48,"manualWeight":48,"mainColor":94},272669,"yu-zhi-yue-ling-qi-shi-er-hou-shi-se-mo-da-yu-shi-xing-huang-mo-yi-ming-272669","御制月令七十二候诗色墨-大雨时行黄墨","墨，中国传统文房用具之一，文房四宝之一，是书写、绘画的黑色颜料，后亦包括朱墨和各种彩色墨。\n墨的主要原料是煤烟、松烟、胶等，是碳元素以非晶质型态的存在。通过砚用水研磨可以产生用于毛笔书写的墨汁，在水中以胶体的溶液存在。古墨主要派别分徽墨、川墨。\n墨的水分及胶的成分不同，会影响到墨的黏度。在不同场合使用的墨，其黏度有所不同。另外，初制成的墨的水分亦较多。另有存放时间较长的墨，其致密度较高，并经过长年累月的干燥，使墨色的立体感更高。这种墨在日本被称为“古墨”。",[1011,5513,29,106,174,175,34,109,7,12034],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51f578d9ea7839b584d2e7f5acc10026.jpg",[],{"id":91280,"slug":91281,"title":91282,"dynasty":76,"author":257,"museum":316,"description":91275,"tags":91283,"thumbUrl":91284,"material":599,"size":600,"collection":139,"collections":91285,"showCount":1003,"zanCount":48,"manualWeight":48,"mainColor":49},272667,"yu-zhi-yue-ling-qi-shi-er-hou-shi-se-mo-hong-yan-lai-bin-huang-mo-yi-ming-272667","御制月令七十二候诗色墨-鸿雁来宾黄墨",[1011,229,245,227,5513,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe84f68877b191981759a1a86e98d433f.jpg",[],{"id":91287,"slug":91288,"title":91289,"dynasty":76,"author":257,"museum":316,"description":91275,"tags":91290,"thumbUrl":91291,"material":599,"size":600,"collection":139,"collections":91292,"showCount":1003,"zanCount":48,"manualWeight":48,"mainColor":49},270700,"hu-kai-wen-da-fu-gui-yi-shou-kao-wu-se-mo-lv-mo-yi-ming-270700","胡开文大富贵亦寿考五色墨-绿墨",[1011,12034,292,3584,11726,83,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a866847c832ddf08d034fae27385abd.jpg",[],{"id":91294,"slug":91295,"title":91296,"dynasty":76,"author":257,"museum":316,"description":91297,"tags":91298,"thumbUrl":91300,"material":599,"size":600,"collection":139,"collections":91301,"showCount":1003,"zanCount":48,"manualWeight":48,"mainColor":49},270537,"wu-mu-gu-qian-yin-si-bian-hua-hua-hui-tu-mian-zhe-shan-yi-ming-270537","乌木股嵌银丝边画花卉图面折扇","此扇以红地洒金为面，衬得折枝花卉愈发妍丽动人。留白错落间，素白花头饱满柔润，晕染出花瓣舒展的层次，墨色老干遒劲苍拙，新叶嫩翠鲜亮，写意笔墨糅合工细晕染，将花木盛放之态描摹得灵动雅致。乌木扇骨沉敛温润，和热烈的扇面色彩相映成趣，华贵而不俗艳，雅致又不失明艳，把文人雅玩的审美意趣融于方寸之间，尽显传统制扇与书画结合的精巧韵味。",[1260,24,25,7,84,7135,91299],"嵌银丝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b2f8d0a273d8732a1ee2f499a251725.jpg",[],{"id":91303,"slug":91304,"title":91305,"dynasty":76,"author":257,"museum":316,"description":91306,"tags":91307,"thumbUrl":91308,"material":599,"size":600,"collection":139,"collections":91309,"showCount":1003,"zanCount":48,"manualWeight":48,"mainColor":49},270239,"zong-zhu-gu-bian-jin-mian-hua-ju-hua-tu-mian-zhe-shan-yi-ming-270239","棕竹股边金面画菊花图面折扇","金笺为底，将秋菊雅致烘托得恰到好处。画面双菊相映，白菊肆意盛放，瓣片如素丝舒展，莹润饱满，尽显清妍之态；旁侧红菊含苞轻绽，娇柔婉约，添一抹灵动暖意。衬叶以浓淡墨色晕染，层次分明间将叶片翻卷舒展的鲜活姿态勾勒，明暗错落里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。即取以市大布制棉衣以施寒者，乡里称善人，卒年六十七 。著有《响泉集》、《梁溪诗钞》。",[25,178,212,7,4774,107,175,29662],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab3bbc5aec8ed12d63dc3e4f6a9f4af7.jpg",[],{"id":92351,"slug":92352,"title":92353,"dynasty":76,"author":92354,"museum":316,"description":92355,"tags":92356,"thumbUrl":92357,"material":638,"size":139,"collection":2065,"collections":92358,"showCount":1003,"zanCount":48,"manualWeight":48,"mainColor":49},241501,"qi-lv-shi-zhou-shi-yi-zhi-241501","七律诗轴","史贻直","史贻直（1682-1763年），字儆弦，号铁崖，江苏溧阳县人。清朝大臣。\n康熙三十九年（1699年），中进士，授检讨。历充云南主考、广东督学、赞善、侍讲、太子庶子、讲读学士。雍正元年（1723年），任内阁学士。次年，升吏部侍郎。后来署理闽浙总督，升左都御史，协理西安巡抚，又升户部、兵部尚书。 乾隆初年，历任湖广、直隶总督。乾隆九年（1744年），授文渊阁大学士兼吏部尚书。乾隆二十五年（1755年），他为次子史奕昂担任甘肃布政司写信给巡抚鄂昌，被告发而削职。乾隆二十七年（1757年），入朝拜相。乾隆二十八年（1758年），去世，追赠太保，谥号“文靖”，入祀贤良祠。",[25,226,178,86,228,227,280,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42d2bc0f7f5852f8e8fb0b22c26bbddd.jpg",[2065],{"id":92360,"slug":92361,"title":92362,"dynasty":99,"author":92363,"museum":316,"description":92364,"tags":92365,"thumbUrl":92366,"material":139,"size":139,"collection":2065,"collections":92367,"showCount":1003,"zanCount":48,"manualWeight":48,"mainColor":94},240002,"zhi-jia-da-ren-shi-ye-zhao-shi-xian-240002","致家大人诗页","赵世显","赵世显，字仁甫，侯官人。万历癸未进士。\n世显风度秀整，其为诗一意盛唐而已。初任池州司李，左迁稍起为梁山令。复转别驾，以母老不赴。自负才名，郁郁不得志，杜门却轨，以文、酒娱日，达官罕识其面也。所著有《芝园稿》。其同年举有郑日休，字廷德，能诗文，官终惠州司李。",[86,178,173,7,212,25,22971],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a8240dfcb707713975b3ece9649f35e.jpg",[2065],{"id":92369,"slug":92370,"title":92371,"dynasty":99,"author":92372,"museum":316,"description":92373,"tags":92374,"thumbUrl":92375,"material":139,"size":139,"collection":139,"collections":92376,"showCount":1003,"zanCount":48,"manualWeight":48,"mainColor":94},239913,"wu-ding-shi-ye-wang-xing-shu-239913","武定诗页","王行书","此作用笔爽利苍劲，中锋侧锋兼施，牵丝映带间尽显灵动意趣，字字顾盼相生，左右两页行气贯通，章法疏朗通透。结体欹正错落，时而开张大气，时而收敛紧致，既有晋人行书的飘逸韵致，又兼具明人尚态的舒展洒脱。墨色富于浓淡枯湿变化，随书写时的情绪起伏自然过渡，将文思与笔墨风骨相融。通篇带着疏放洒脱的书卷气息，文人意趣浸透于每一处笔墨细节，尽显书写者的随性襟怀，抒情性与笔墨表现力相互成就，是极具个性风采的行书佳作。",[860,86,178,6083,173,7,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58757ca143145908c0c9c9d7b65a8cd1.jpg",[],{"id":92378,"slug":92379,"title":92380,"dynasty":76,"author":92381,"museum":316,"description":92382,"tags":92383,"thumbUrl":92384,"material":139,"size":139,"collection":2065,"collections":92385,"showCount":1003,"zanCount":48,"manualWeight":48,"mainColor":94},239845,"zhi-gong-fu-zha-ye-li-fu-ping-239845","致功甫札页","李黼平","李黼平（1770年——1833年2月10日） ，字绣子，又字贞甫，号著花居士，广东嘉应州东街堡攀桂坊（今梅江区较场背旺巷口）人。自幼和兄弟李嗣章一同在东邨草堂读书，成绩优异，有“两陆”（陆机、陆云）、“二苏”（苏轼、苏辙）的美称。嘉庆十年(1805）乙丑科中进士（殿试金榜二甲第85名），选翰林院庶吉士。曾任江苏昭文县知县、东莞宝安书院山长等职，道光十二年（1832），在宝安逝世。《清史稿·儒林传》、《嘉应州志》、《清代学者像传》（叶恭绰编撰），都有他的专传。",[25,178,81,68263,7,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F152ee5d89fbe7f3e29a4ee0fcfceeccf.jpg",[2065],{"id":92387,"slug":92388,"title":92389,"dynasty":76,"author":12058,"museum":316,"description":12059,"tags":92390,"thumbUrl":92391,"material":599,"size":600,"collection":139,"collections":92392,"showCount":1003,"zanCount":48,"manualWeight":48,"mainColor":94},239784,"shu-yu-zhi-wu-fu-wu-dai-tang-ji-ce-wang-cheng-pei-239784","书御制五福五代堂记册",[86,25,81,7,6322],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F057362b0319305532721a8bf14ef66e3.jpg",[],{"id":92394,"slug":92395,"title":92396,"dynasty":76,"author":17531,"museum":316,"description":56520,"tags":92397,"thumbUrl":92398,"material":599,"size":600,"collection":139,"collections":92399,"showCount":1003,"zanCount":48,"manualWeight":48,"mainColor":94},239779,"guan-huai-shu-yong-yan-qing-shu-zhai-shi-zhou-guan-huai-239779","关槐书颙琰清淑斋诗轴",[320,86,937,226,638,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b307f49b761d181dbb690175e89ea45.jpg",[],{"id":92401,"slug":92402,"title":92403,"dynasty":76,"author":87123,"museum":316,"description":87124,"tags":92404,"thumbUrl":92405,"material":599,"size":600,"collection":139,"collections":92406,"showCount":1003,"zanCount":48,"manualWeight":48,"mainColor":94},239760,"shu-hong-li-yun-shang-yu-tian-jie-ce-zhou-huang-239760","书弘历云上于天解册",[937,86,81,7,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa53ea93e5666bf24e1373d11ad124e52.jpg",[],{"id":92408,"slug":92409,"title":92410,"dynasty":76,"author":87123,"museum":316,"description":87124,"tags":92411,"thumbUrl":92412,"material":599,"size":600,"collection":139,"collections":92413,"showCount":1003,"zanCount":48,"manualWeight":48,"mainColor":94},239759,"shu-hong-li-wan-shou-shan-wu-bai-luo-han-tang-ji-ce-zhou-huang-239759","书弘历万寿山五百罗汉堂记册",[937,86,81,260,6322,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f9da6f689a5b1d2b884e0452728d469.jpg",[],{"id":92415,"slug":92416,"title":92417,"dynasty":76,"author":92418,"museum":316,"description":92419,"tags":92420,"thumbUrl":92421,"material":599,"size":600,"collection":139,"collections":92422,"showCount":1003,"zanCount":48,"manualWeight":48,"mainColor":49},239705,"a-gui-shu-hong-li-wan-shou-ju-shi-ce-a-gui-239705","阿桂书弘历万寿菊诗册","阿桂","章佳氏，字广庭，号云岩，满洲正蓝旗（后以功抬入正白旗）人，清朝名将，大学士阿克敦之子\n阿桂于乾隆三年（1738年）中举，累授户部郎中、军机章京。乾隆十三年（1748年），随征大小金川，遭劾被贬。后复升为内阁学士兼礼部侍郎，因办事勤慎而受重用，历任参赞大臣、镶红旗蒙古副都统、工部侍郎等，长期戍守西北边疆。乾隆二十四年（1759年），参与平定大小和卓叛乱，事后移驻伊犁，建屯田之策。回朝数年间，历任内大臣、汉军镶蓝旗都统、军机大臣、满洲正红旗都统、四川总督等。乾隆三十三年（1768年），以副将军之职随经略傅恒领兵征讨缅甸。乾隆三十六年（1771年），再次参加大小金川之役，历时五年，运筹战事，多合机宜，为平定金川首功。此后多次前往地方办理钦案、督筑河堤，两次率师镇压甘肃回民起义，并以领班军机大臣身份提出镇压台湾林爽文起义的进兵方略，累加太子太保、武英殿大学士。嘉庆二年（1797年），阿桂逝世，享年八十一岁。获赠太保，谥号“文成”，并入祀贤良祠。道光三年（1823年），配飨太庙。有《军需则例》15卷，今已佚。有诗数首传世。",[24,25,81,86,7,897,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f9978b095cf694218df7826fd430125.jpg",[],{"id":92424,"slug":92425,"title":92426,"dynasty":76,"author":38628,"museum":316,"description":92427,"tags":92428,"thumbUrl":92429,"material":139,"size":139,"collection":139,"collections":92430,"showCount":1003,"zanCount":48,"manualWeight":48,"mainColor":94},239533,"fang-gu-ji-you-tu-ce-huang-yi-239533","访古纪游图册","画面左右疏密相生，左侧题跋笔墨朴拙舒展，行书苍劲清逸，与右侧山水浑然相融。干笔淡墨晕出山峦秋意，屋舍错落隐于枯木疏枝之间，简括写意，留白空灵幽寂。\n\n整体以书入画，笔致简劲清脱，将寻古幽怀寄寓淡墨轻岚之中，尽显文人雅淡意趣。萧索淡远的山居小景，与长篇题咏相映成趣，诗画合璧，笔简而意足，漫溢出静穆古雅的林下之风。",[24,25,81,173,7,29,175,35,34,176,212,86,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e703d15fabc404980d71f616584a315.jpg",[],{"id":92432,"slug":92433,"title":92434,"dynasty":76,"author":92435,"museum":316,"description":92436,"tags":92437,"thumbUrl":92438,"material":599,"size":600,"collection":139,"collections":92439,"showCount":1003,"zanCount":48,"manualWeight":48,"mainColor":94},239466,"qing-chu-shi-si-jia-shu-hua-ji-jin-ce-hua-hui-ce-ye-xiong-fei-239466","清初十四家书画集锦册-花卉册页","熊飞","熊飛（？－？），中國清朝官員，江蘇江寧人。 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且层次分明。\n\n画面上下排布胁侍祖师，呼应主尊，构图饱满规整，兼具对称美感与叙事性。整体用笔工细精妙，融宗教神性与绘画审美于一体，既传递出藏传佛教的庄严肃穆，也尽显传统唐卡的工艺匠心。",[15368,226,15369,31768,6170,4428,92571,28,7,13680,12796,3661,4876,21042,92572,5031,53399],"祖师","宝杖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ac0e4e9e8991419e8ff6583b0395423.jpg",[],{"id":92576,"slug":92577,"title":31761,"dynasty":76,"author":257,"museum":316,"description":92578,"tags":92579,"thumbUrl":92580,"material":599,"size":600,"collection":139,"collections":92581,"showCount":1003,"zanCount":48,"manualWeight":48,"mainColor":49},238876,"qing-ren-shan-ba-la-wang-pu-sa-xiang-zhou-yi-ming-238876","主尊身披朱红织金宝衣，安坐雕花宝座之上，面容慈悲温煦，右手持法器，左握吐宝鼠，尽显财神的富足威严。\n\n画面以石青石绿晕染出悠远灵秀的雪域林峦，青白云气舒卷浮空，胁侍尊神乘云环绕左右，白象缓步、瑞花盛放，铺陈出祥瑞清宁的圣域图景。\n\n画师以传统藏地矿物颜料施色，色泽历久明艳饱和，严守藏传佛教造像仪轨之余，以细腻笔触刻画出衣袂纹理与神态细节，饱满构图层次分明，将护法尊神的庄肃和神域的灵逸完美相融，是藏传佛教绘画中兼具宗教法度与审美意趣的佳作。",[320,24,25,226,260,7,28,106,406,292,3661,84,746],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5172ef98e731527d519bf4e5c566db31.jpg",[],{"id":92583,"slug":92584,"title":29002,"dynasty":76,"author":658,"museum":316,"description":8264,"tags":92585,"thumbUrl":92586,"material":599,"size":600,"collection":139,"collections":92587,"showCount":1003,"zanCount":48,"manualWeight":48,"mainColor":94},238803,"hua-hui-xiao-ce-dong-gao-238803",[24,25,81,28,7,83,820],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ba0fb5527736fd17f91db7cf18efcbd.jpg",[],{"id":92589,"slug":92590,"title":29002,"dynasty":76,"author":658,"museum":316,"description":8264,"tags":92591,"thumbUrl":92592,"material":599,"size":600,"collection":139,"collections":92593,"showCount":1003,"zanCount":48,"manualWeight":48,"mainColor":94},238799,"hua-hui-xiao-ce-dong-gao-238799",[24,81,28,7,83,84,210],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F597c3940a43a34d83b1b8f1742f22fdb.jpg",[],{"id":92595,"slug":92596,"title":50229,"dynasty":76,"author":658,"museum":316,"description":92597,"tags":92598,"thumbUrl":92599,"material":139,"size":139,"collection":139,"collections":92600,"showCount":1003,"zanCount":48,"manualWeight":48,"mainColor":94},238776,"shan-shui-ren-wu-xiao-ce-dong-gao-238776","此作以浅绛设色绘秋山幽居，淡墨皴写山石肌理，短披麻皴勾勒出危崖层叠的苍劲朴拙。左侧溪岸蜿蜒，板桥通幽，山居掩映在丹枫翠柏间，丹红枝叶点染出浓浓秋意，与苔点青绿相映，明丽雅致又不失沉静。屋舍简淡古朴，暗合林泉隐士幽居的意趣。远景留白空灵，孤雁掠空，衬出秋山清远空寂。笔墨兼具元人秀逸与宋人丘壑苍浑，以简驭繁，将林泉高致融于尺幅间，笔意萧散简远，尽显静穆淡远的林下雅韵。",[24,25,81,7,173,177,29,106,34,176,35,243,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b654fd89750bc0d986c0b366bf894f6.jpg",[],{"id":92602,"slug":92603,"title":50229,"dynasty":76,"author":658,"museum":316,"description":92604,"tags":92605,"thumbUrl":92606,"material":139,"size":139,"collection":139,"collections":92607,"showCount":1003,"zanCount":48,"manualWeight":48,"mainColor":94},238774,"shan-shui-ren-wu-xiao-ce-dong-gao-238774","此作以淡设色绘就冬日乡景，枯木虬枝疏朗劲挺，淡墨晕开薄雾清寒。村道间行人往来，挑担赶路、呼伴闲行，更有群鸭嬉游，鲜活的市井烟火铺满乡路，左侧村居错落朴拙，右侧重楼临水静立，将野趣日常与雅致楼宇相映成趣。\n浅赭铺陈水岸村路，留白晕出空濛寒意，笔致细劲写实，人物衣袂鲜活灵动，老树苍古拙朴。把冬日元寂的郊野氛围，揉进温热的人间烟火，清雅题字与画面相融，尽显江南冬日里的闲淡温煦，藏着文人画里的诗意日常。",[24,25,81,7,29,106,107,795,35,34,1171,114,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd376ac119c42d6991c1fcc9112b6c515.jpg",[],{"id":92609,"slug":92610,"title":50229,"dynasty":76,"author":658,"museum":316,"description":92611,"tags":92612,"thumbUrl":92613,"material":139,"size":139,"collection":139,"collections":92614,"showCount":1003,"zanCount":48,"manualWeight":48,"mainColor":94},238773,"shan-shui-ren-wu-xiao-ce-dong-gao-238773","此作以淡墨写就冬山清景，枯木虬枝交错横斜，枝头轻缀花萼似凝残雪，将冬末将醒的清寒尽数铺展。林畔茅舍隐于枝桠之后，一角檐宇晕着浅淡暖调，于冷寂山景中揉进细碎烟火暖意。\n\n留白作平湖寒波，愈发衬出山峦林木的空疏淡远。笔意清简秀润，淡墨晕染山石肌理，以极简笔墨勾勒出荒寒又暗含生息的幽寂意境，尽显文人画简淡天真的意趣，将冬日山野的疏旷闲静晕染得如诗如幻。",[24,25,81,173,7,177,29,106,1353,353,230,107,176,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbce2040900dbd46b6b00f543fc9ef3b.jpg",[],{"id":92616,"slug":92617,"title":50229,"dynasty":76,"author":658,"museum":316,"description":92618,"tags":92619,"thumbUrl":92620,"material":139,"size":139,"collection":139,"collections":92621,"showCount":1003,"zanCount":48,"manualWeight":48,"mainColor":94},238772,"shan-shui-ren-wu-xiao-ce-dong-gao-238772","此作以奇崛山石为骨架，留白虚写云气，虚实相映拉开空间层次。细笔勾勒山石肌理，以短皴复加点染，刻画出苍厚朴拙的质感。崖间点缀细碎丹叶，晕出清秋日色。左侧山道隐见行人，渺小身形衬出山岳雄奇，衬出林泉幽寂之境。\n\n淡墨轻晕山岚，空濛悠远，左上角题款小字融于画境，文气悠然。整体笔致松秀灵润，简淡清逸，将山林荒寒之美与幽居雅意相融，萧散意趣尽显，淡而有味，余韵悠长。",[24,25,81,173,7,177,29,106,230,34,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9f587cb90e7a12ac069befcffe5fbe5.jpg",[],{"id":92623,"slug":92624,"title":50229,"dynasty":76,"author":658,"museum":316,"description":92625,"tags":92626,"thumbUrl":92627,"material":139,"size":139,"collection":139,"collections":92628,"showCount":1003,"zanCount":48,"manualWeight":48,"mainColor":94},238770,"shan-shui-ren-wu-xiao-ce-dong-gao-238770","此作以淡墨轻皴铺陈秋意，左畔崖脚山居隐于霜林之中，几株杂木缀着残红，衬出萧疏况味，屋舍简雅素朴，石阶逶迤接向崖边，尽写林居幽寂。右侧以大片留白晕染江天浩渺，远山浅赭淡墨轻勾轮廓，朦胧清浅，江岸仅以数笔点染草木，虚实相生，将江天寥廓与山居静谧相融。\n\n整幅笔致松秀清润，不施浓艳重彩，以简淡之笔绘就秋日丘林江景，把文人幽居、寄情林泉的意趣藏于尺幅间，淡远清和，余韵悠然，尽显中式山水留白造境的精妙。",[194,24,25,81,173,7,177,29,106,34,176,3518],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1e6c7f54f5bb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江户时代中期的画家。",[23,24,29,104,173,177,7,107,108,109,34,176,37,1785],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2459b6003b2266b79592c88255f0a1c.jpg",[],{"id":94073,"slug":94074,"title":94075,"dynasty":99,"author":94076,"museum":316,"description":94077,"tags":94078,"thumbUrl":94079,"material":599,"size":600,"collection":139,"collections":94080,"showCount":1003,"zanCount":48,"manualWeight":48,"mainColor":94},231716,"ping-an-shi-dai-guan-wu-tu-ping-feng-biao-wu-zong-da-231716","平安时代 关屋图屏风","俵屋宗达","俵屋宗達（Tawaraya 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ce-qing-ren-224571","毛诗品物图考（三）册","此作以工细笔触绘就鹈鹕振翅凌于云水之上，禽鸟翎羽纤毫分明，绒羽蓬松、飞羽劲挺的质感被描摹尽致。淡赭与墨色晕染出水波层叠的柔润清透，清浅雅致。旁附蝇头小楷考证文字，图文相辅，将名物考据的严谨与花鸟写生的隽秀意趣相融，淡墨轻彩间兼具博物图鉴的详实与文人花鸟画的雅逸，尽显绘者考据与绘事兼备的雅致审美，把古典名物化为可感的生动图景，淡静悠然，意韵绵长。",[24,25,81,28,7,83,245,109,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffa1ae71bc472796975929b6209c7ee5.jpg",[],{"id":95072,"slug":95073,"title":95074,"dynasty":76,"author":4285,"museum":316,"description":95075,"tags":95076,"thumbUrl":95077,"material":139,"size":139,"collection":139,"collections":95078,"showCount":1003,"zanCount":48,"manualWeight":48,"mainColor":801},224420,"shu-hua-shi-liu-kai-6-wang-shi-min-224420","书画十六开-6","此作以没骨兼工带写绘就仲夏小景，淡墨轻勾萱草茎叶，敷色清妍温雅。萱花盛放与残颓相济，尽显芳华将歇的柔婉之态。草间粉蝶轻栖振翅，大蛱蝶翩跹而来，翅脉纤毫毕现，灵动之姿跃然纸上，将虫蝶的鲜活意态定格于纸面。赭色底纸晕染出古雅氛围，题字娟秀、印文朱红，融诗书画印为一炉。整体清逸静雅，将幽隅小景绘得生机盎然，兼具写生之真与文人隽雅意趣，笔底尽是闲淡天真的幽居雅趣。",[23,24,25,81,7,28,83,484,62],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F555ea6c7ce84246a6a8bd5688afe0ae9.jpg",[],{"id":95080,"slug":95081,"title":95082,"dynasty":76,"author":1829,"museum":316,"description":95083,"tags":95084,"thumbUrl":95085,"material":139,"size":139,"collection":139,"collections":95086,"showCount":1003,"zanCount":48,"manualWeight":48,"mainColor":94},224305,"hua-hui-shi-er-kai-6-li-shan-224305","花卉十二开6","此作用笔放逸洒脱，左侧绘折枝秋葵，嫩黄花瓣以没骨晕染，柔润饱满，将秋花凝露绽放之态尽显。苍劲墨笔写就老干，间缀待放花苞，野趣横生。叶片以泼墨写意，浓淡干湿交叠，尽显舒展灵动，水墨氤氲中带着萧散疏朗。\n\n右侧题诗与画作呼应，书画交融，将秋花凌霜仍娇妍的风骨托出。脱出院体画拘囿，以率性笔触直抒胸臆，将文人疏旷情怀寄寓折枝间，笔底既有写生鲜活，更具写意文心，寥寥数笔便勾勒出秋日花卉的清刚之美与幽淡情致，尽显文人写意花鸟的精妙意趣。",[23,24,25,81,173,7,83,136,210,498,212,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04c2c788cbf1566fbd32216d4e4581d5.jpg",[],{"id":95088,"slug":95089,"title":95090,"dynasty":76,"author":1829,"museum":316,"description":95091,"tags":95092,"thumbUrl":95093,"material":139,"size":139,"collection":139,"collections":95094,"showCount":1003,"zanCount":48,"manualWeight":48,"mainColor":94},224304,"hua-hui-shi-er-kai-5-li-shan-224304","花卉十二开5","此作以淡逸之笔绘秋花插于石盆，花枝错落舒展，紫、粉、黄三色菊瓣柔润鲜活，叶片带着雨霁后的清润绿意，笔致写意却不失花姿娇妍。墨色勾勒的盆石朴拙苍劲，与花枝的秀雅相映成趣。右侧题字笔势俊朗，与画面融为一体，尽显文人意趣，将秋花傲霜清寂的神韵尽显，似能嗅见雨后秋芳的淡香，清恬雅致的文人逸趣溢满纸面。",[23,24,25,81,7,83,897,230,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f779b644fd4b30b18c9bcb45d3724f8.jpg",[],{"id":95096,"slug":95097,"title":95098,"dynasty":76,"author":1829,"museum":316,"description":95099,"tags":95100,"thumbUrl":95101,"material":139,"size":139,"collection":139,"collections":95102,"showCount":1003,"zanCount":48,"manualWeight":48,"mainColor":94},224301,"hua-hui-shi-er-kai-2-li-shan-224301","花卉十二开2","这幅画以写意笔墨绘就石畔幽花野卉，水墨晕染的湖石朴拙苍劲，淡紫二月兰柔婉舒展，花瓣晕染清透雅致，叶片敷色明润鲜活，细草瘦劲挺秀。笔墨刚柔相济，写意间不失花木娇柔之态，寥寥数笔便将林下野逸生机尽显。题诗与画意相映成趣，诗书画印融为一体，尽显文人写意画的雅致意趣，笔情墨趣间饱含悠然林下的澹然情怀，尽显随性洒脱却不失细腻的创作意韵。",[23,24,25,81,7,173,498,84,230,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1d201bc5fee7ea3e50e27c60d4d7c93.jpg",[],{"id":95104,"slug":95105,"title":95106,"dynasty":76,"author":1829,"museum":316,"description":95107,"tags":95108,"thumbUrl":95109,"material":139,"size":139,"collection":139,"collections":95110,"showCount":1003,"zanCount":48,"manualWeight":48,"mainColor":94},224300,"hua-hui-shi-er-kai-12-li-shan-224300","花卉十二开12","此作折枝秋菊错落生姿，紫、粉、白菊次第绽放，没骨绘就的花瓣薄润鲜活，叶片舒展带着清润生机，笔墨放逸却不失秀润意趣，将秋菊清隽之态尽显。\n\n右侧行书题诗笔致率意洒脱，诗书与花木相映成趣。诗句将晚晴霞色附于花枝，让娇花似染落日余晖，把花木风神与文思诗意相融，尽显文人画以物寄情的意趣。画面雅洁灵动，笔情墨趣间，尽是悠然自得的文人情致。",[23,24,25,81,7,84,554,211,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe76a21249cc0b1c6fd6cf767055061e9.jpg",[],{"id":95112,"slug":95113,"title":95114,"dynasty":76,"author":70880,"museum":316,"description":95115,"tags":95116,"thumbUrl":95117,"material":139,"size":139,"collection":139,"collections":95118,"showCount":1003,"zanCount":48,"manualWeight":48,"mainColor":94},224279,"shan-shui-hua-hui-ce-shi-san-fu-shan-224279","山水花卉冊(十三)","此作用色简淡古雅，浅赭为底，淡墨晕出山峦轮廓，谷间冷月斜悬，晕开朦胧清寂。层叠飞瀑以稚拙线条勾勒，无繁复皴擦，却藏水姿流动之意。两岸垂柳柔条披拂，轻垂于浅溪之上，朱红板桥卧于水面，冷调中一抹艳色点睛，衬出幽谧山居的灵动生机。\n构图空灵疏朗，以极简笔墨勾勒林泉山水，将文人林下隐逸的雅趣寄于其间，淡墨轻岚间静穆萧疏，尽显清寂出尘的林下之风，笔简意足，淡远悠长，尽显文人画寄情山水的意趣。",[23,24,25,81,7,173,29,108,109,265,34,1426],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F204690b521a9d4e47796e1e04a8ee204.jpg",[],{"id":95120,"slug":95121,"title":95122,"dynasty":76,"author":257,"museum":316,"description":95123,"tags":95124,"thumbUrl":95126,"material":139,"size":139,"collection":139,"collections":95127,"showCount":1003,"zanCount":48,"manualWeight":48,"mainColor":94},224249,"qing-yuan-ben-qin-can-tu-juan-cai-sang-12-yi-ming-224249","清院本亲蚕图卷 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to Sahib Ram--Head of Krishna cartoon for a mural of the Raslila","###（不对，不能用###）重新写：\n这幅肖像以细腻笔触铺陈神性柔美，浅淡底色之上，暖金色的头饰层叠繁复，珠翠宝石用晕染与勾线区分色泽，流光婉转间尽显华贵庄重。\n\n侧脸轮廓柔和舒展，墨色长发卷曲垂落，鼻饰、耳间花形镶钻饰物精巧点缀，将神祇俊朗温润的气质晕染开来。未完成的底稿线条隐约可见，仿佛留存着创作时的构思轨迹，让静美的肖像多了几分灵动的创作温度，细密画的精致质感糅合宗教肖像的肃穆，将神祇的温柔神性娓娓道来。",[260,106,7,511,512,97133,28],"奎师那","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24fb54a3856cf5e873c0734145d2cc8d.jpg",[],{"id":97137,"slug":97138,"title":97139,"dynasty":256,"author":257,"museum":316,"description":97140,"tags":97141,"thumbUrl":97146,"material":599,"size":600,"collection":139,"collections":97147,"showCount":1379,"zanCount":48,"manualWeight":48,"mainColor":94},289207,"gountei-sadahide-foreigners-in-the-drawing-room-yi-ming-289207","Gountei Sadahide--Foreigners in the Drawing Room","这幅三联绘定格了开埠之初的交融日常，欧陆客厅里，外客围坐举杯谈笑，舷窗外远洋航船隐约可见，西洋吊灯晕开精致暖意。和服侍女款步奉茶，洋装女眷或持烟闲憩、或拨弄弦乐，东瀛华服与西洋裙装错落交织，将东西日常美学揉于一室。画面铺陈出新旧碰撞的鲜活切片，异质文化在方寸画纸间安然共处，藏着那个特殊年代里开放又微妙的风土，温柔定格下文明相遇时的鲜活瞬间。",[12745,7,6170,97142,1930,1551,97143,37170,97144,7558,97145,70328,15266,3190],"会客厅","乐器演奏","西洋服饰","吊灯","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e0d5a1875c992991b9f1f6fd7ef862f.jpg",[],{"id":97149,"slug":97150,"title":97151,"dynasty":256,"author":257,"museum":316,"description":97152,"tags":97153,"thumbUrl":97156,"material":599,"size":600,"collection":139,"collections":97157,"showCount":1379,"zanCount":48,"manualWeight":48,"mainColor":49},289139,"marco-ricci-capriccio-with-roman-ruins-yi-ming-289139","Marco Ricci--Capriccio with Roman Ruins","这幅画以残垣织就怀古梦境，将罗马废墟揉入抒情景致。斑驳拱券残存铭文，诉说岁月侵蚀的沉疴，虬曲斜枝携霜红枝叶晕开萧瑟秋意。石狮子盘踞高座，鬃毛的粗粝纹理凝固旧日威严，下方匠人在残石间忙碌，为荒颓废墟暗涌进鲜活生机。远景城郭轻笼烟霭，另一处颓败殿宇隐在林梢，暖调柔光漫过断壁，将怀古怅惘晕成温柔底色。画作以细腻笔触平衡沧桑与鲜活，把虚构的残景绘成带着呼吸的诗意挽歌，引观者沉陷古典余韵的温柔怅惘之中。",[3187,7,97154,93886,65571,11893,106,97155,34,45869,35050],"古罗马遗迹","残垣断壁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76d8e2b9a0bf24480d362f20cc1de8e4.jpg",[],{"id":97159,"slug":97160,"title":97161,"dynasty":256,"author":257,"museum":316,"description":97162,"tags":97163,"thumbUrl":97165,"material":599,"size":600,"collection":139,"collections":97166,"showCount":1379,"zanCount":48,"manualWeight":48,"mainColor":94},289092,"jean-jacques-lagrene-e-still-life-vases-a-cassolette-on-a-pedestal-yi-ming-289092","Jean Jacques Lagrenée--Still Life Vases, a Cassolette on a Pedestal","帷幔轻展，铺陈出一方古典雅致的陈列空间。利落的线条勾勒出洛可可式柔婉的器物轮廓，台座上的香炉浮雕精巧，两侧银壶缠枝纹饰华贵细腻。左侧藤篮倾溢出饱满鲜果与葡萄，搭配角落贝壳，将人工造物的精致与自然野趣柔和相融。淡灰水色晕染出明暗层次，烘托出静谧庄重的氛围，让华丽的陈设褪去张扬，尽显复古沉静的美学张力，将巴洛克式的装饰感与松弛的写生意趣平衡恰好，勾勒出古典静物独有的典雅质感。",[2594,68076,7,58548,56084,97164,44883],"果物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff044dca9bd7f90a110e95738f9a4fe4e.jpg",[],{"id":97168,"slug":97169,"title":97170,"dynasty":256,"author":257,"museum":316,"description":97171,"tags":97172,"thumbUrl":97173,"material":599,"size":600,"collection":139,"collections":97174,"showCount":1379,"zanCount":48,"manualWeight":48,"mainColor":94},289052,"lenox-incorporated-design-drawing-of-magnolia-blossom-yi-ming-289052","Lenox, Incorporated--Design drawing of magnolia blossom","这幅水彩写生以两朵木兰构景，一放一敛，晕开柔雅生机。\n上方盛放的花株，柔粉轻点瓣边，米黄晕满花心，色彩过渡清透自然，将舒展烂漫的花姿描摹得鲜活灵动，仿佛能窥见春日暖阳下花瓣轻颤的模样。下方半绽花苞以深玫红铺陈瓣底，凝住初绽的含蓄张力，与上方盛放的明媚形成温柔呼应。\n创作者以晕染笔触替代繁复线条，细腻晕开花瓣的柔润肌理，留白松弛舒适，将木兰盛放的明媚与初绽的沉静并置，于清淡雅致的色彩层次间，定格住花木最动人的诗意瞬间。",[7,83,633,86199,86189,86190],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb22cd96761e82c837b02cc3c55cca292.jpg",[],{"id":97176,"slug":97177,"title":97178,"dynasty":256,"author":257,"museum":316,"description":97179,"tags":97180,"thumbUrl":97181,"material":599,"size":600,"collection":139,"collections":97182,"showCount":1379,"zanCount":48,"manualWeight":48,"mainColor":801},289050,"lenox-incorporated-design-drawing-of-of-poppy-blossom-yi-ming-289050","Lenox, Incorporated--Design drawing of of poppy blossom","这幅水彩习作以罂粟花为主题，拆解呈现花的不同视角。上方俯视视角将花型铺陈舒展，绯红色晕染的花瓣水润通透，由边缘向内侧渐次加深，晕开自然的肌理层次。深色花盘围拢嫩黄蕊心，色彩对比醒目，精准还原罂粟花热烈饱满的特质。下方截取花筒侧面，简化多余细节，用利落的色块表现花瓣挺括的形态，留白衬出暖色花瓣的温柔张力。整体笔触松弛克制，无繁复修饰，以极简的水彩晕染捕捉花朵鲜活的生机，带着沉静的手绘温度，将花卉的柔美与蓬勃定格于纸面。",[2746,7,25852,84,264,86189],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27cdaa1bc77429b6be037caaae715814.jpg",[],{"id":97184,"slug":97185,"title":97186,"dynasty":256,"author":257,"museum":316,"description":97187,"tags":97188,"thumbUrl":97189,"material":599,"size":600,"collection":139,"collections":97190,"showCount":1379,"zanCount":48,"manualWeight":48,"mainColor":2504},289049,"lenox-incorporated-design-drawing-of-peony-blossom-yi-ming-289049","Lenox, Incorporated--Design drawing of peony blossom","这幅作品以巧思重构芍药，将花头与花萼拆分为上下两部分。上部花头舒展柔润的玫红色花瓣，晕染出自然的明暗层次，还原花瓣绒绒的肌理质感，明黄花芯饱满鲜活，盛放着蓬勃生机。下方花萼被幻化为容器模样，似将这朵芍药温柔承托，带着超现实的俏皮浪漫。整体笔触细腻柔和，复古旧纸底晕开暖调氛围，极简构图将花卉柔美与奇想结合，静谧中透着灵动巧思，勾勒出温柔浪漫的独特观感。",[7,292,86199,86190],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6163a13906b44a246f1ca29d9a5e5487.jpg",[],{"id":97192,"slug":97193,"title":97194,"dynasty":256,"author":257,"museum":316,"description":97195,"tags":97196,"thumbUrl":97199,"material":599,"size":600,"collection":139,"collections":97200,"showCount":1379,"zanCount":48,"manualWeight":48,"mainColor":94},288812,"peter-oliver-the-family-of-cain-yi-ming-288812","Peter Oliver--The Family of Cain","这幅单色淡彩画作，以细腻排线晕染出洞窟前的图景。端坐的女子怀拥婴儿，垂睫敛目，衣褶层叠舒展，柔化了岩壁的粗粝，将母性的温婉尽数铺陈。身旁的壮年男子肌肉线条虬结，拄杖俯身望向妻儿，沉郁的神态里晕开缱绻的依恋，粗朴的兽皮装束尽显原始粗粝的质感。远景郊野晕染朦胧，荒寂中晕着静谧暖意。明暗将人物与山石自然区隔，克制的色调里，把这个家庭暗藏的深沉羁绊，揉进温柔又厚重的氛围之中。",[11623,512,97197,106,68076,7,45454,78066,97198],"该隐家族","家庭场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa009313dc3ec8fb9112bf18647c1da37.jpg",[],{"id":97202,"slug":97203,"title":97204,"dynasty":256,"author":257,"museum":316,"description":97205,"tags":97206,"thumbUrl":97209,"material":599,"size":600,"collection":139,"collections":97210,"showCount":1379,"zanCount":48,"manualWeight":48,"mainColor":49},288746,"school-of-raphael-head-of-an-apostle-surrounded-by-a-tongue-yi-ming-288746","School of Raphael--Head of an Apostle Surrounded by a Tongue","柔缓卷曲的发丝如流水般铺展，带着沉静的圣洁感，与环绕的放射状火舌形成强烈的视觉对冲。火舌笔触锐利紧绷，如同迸发的天启神光，将灼热的张力裹挟其中，深色背景衬得画面更显肃穆厚重。\n\n岁月蚀刻下的斑驳痕迹晕染在颜料之上，为圣灵降临的朦胧异象更添古朴厚重的质感。发丝的柔与火舌的刚交织相融，将信徒的虔敬神魂与神圣感召具象化，带着沉静又撼人的宗教叙事张力，残损的肌理也让这份神性的庄严更添时光沉淀后的厚重氛围。",[3187,8245,6170,97207,97208,7,16831],"使徒","基督教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89a686fca4054b4487c3507db4f51894.jpg",[],{"id":97212,"slug":97213,"title":97214,"dynasty":256,"author":257,"museum":316,"description":97215,"tags":97216,"thumbUrl":97218,"material":599,"size":600,"collection":139,"collections":97219,"showCount":1379,"zanCount":48,"manualWeight":48,"mainColor":49},288745,"school-of-raphael-tapestry-cartoon-fragment-yi-ming-288745","School of Raphael--Tapestry Cartoon Fragment","残损的涂层之下，浓密虬结的鬃毛带着厚重油彩的肌理温度，暖棕与亮橙撞出炽热张力，左侧的白纹涡旋如盘绕灵蛇，和充满力量感的兽形轮廓形成柔刚对冲。\n\n斑驳掉漆的痕迹是时光盖下的印鉴，将原作的恢弘构思封存在断章之中，粗粝质感依旧能窥见磅礴气韵，把神话生灵的野性力量凝固在此间，即便只剩残片，也依旧留存着撼人的视觉冲击力。",[511,2459,7,106,746,97217],"残片","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa15f4a4d47a1fdc918d98022ea22a25f.jpg",[],{"id":97221,"slug":97222,"title":97223,"dynasty":256,"author":257,"museum":316,"description":97224,"tags":97225,"thumbUrl":97228,"material":599,"size":600,"collection":139,"collections":97229,"showCount":1379,"zanCount":48,"manualWeight":48,"mainColor":94},288710,"william-blake-angel-of-the-revelation-yi-ming-288710","William Blake--Angel of the Revelation","挺拔的天使周身漫溢暖金神光，抬手昭告天启降临，另一手紧攥载满圣谕的经卷。他赤足立于惊涛之上的岩礁，熔火光焰缠绕踝间，躯体的线条凝练而充满力量感，将神性威严与精神伟力具象化。\n\n云霭间簇拥的众灵神态各异，或敬畏凝视，或惶惑低语，以凡俗的渺小反衬出天使的崇高孤绝。淡彩晕染出朦胧又磅礴的神光明暗，柔和笔触勾勒的神圣辉光，将天启时刻的庄严肃穆铺展开来，让观者仿若亲历神谕降下的瞬间，灵魂随这束神光震颤，沉浸在神圣降临的震撼之中。",[260,6170,7,53799,88224,97226,37,3041,97227],"光芒","圣经题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2042e8386e1bfa58d6347b9ebb4fb5c1.jpg",[],{"id":97231,"slug":97232,"title":97233,"dynasty":256,"author":257,"museum":316,"description":97234,"tags":97235,"thumbUrl":97237,"material":599,"size":600,"collection":139,"collections":97238,"showCount":1379,"zanCount":48,"manualWeight":48,"mainColor":94},288699,"workshop-of-jacques-charles-franc-ois-marie-froment-meurice-drawing-yi-ming-288699","Workshop of Jacques-Charles-François-Marie Froment-Meurice--Drawing","以孔雀翎羽为灵感，将宝石匠心融于羽饰之中。弧面蓝宝石作为眼芯，凝敛幽邃光泽，周遭细钻簇拥如碎星落雪，外层珐琅晕开苍翠绿泽，柔化金属线条的冷硬。淡彩晕绘出蓬松羽丝，纤毫间晕开朦胧肌理，将珠宝华贵感与翎羽的轻盈灵动相融。暖调底色晕开复古柔韵，构图雅致克制，将精巧藏于细节笔触，尽显复古珠宝设计的浪漫绮思与匠心意趣。",[86189,7,97236,64,83730,86210],"孔雀羽毛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb336e610010051bceceb929ae411a798.jpg",[],{"id":97240,"slug":97241,"title":97242,"dynasty":76,"author":2162,"museum":316,"description":24836,"tags":97243,"thumbUrl":97244,"material":599,"size":600,"collection":139,"collections":97245,"showCount":1379,"zanCount":48,"manualWeight":48,"mainColor":49},288408,"jin-lan-qi-hu-pou-jin-lan-yu-sun-wen-288408","金澜契互剖金澜语",[23,24,28,7,106,59,29,107,175,108,109,230,2562,8419],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1711a4116bf9c4f211193501edc48129.jpg",[],{"id":97247,"slug":97248,"title":97249,"dynasty":76,"author":257,"museum":316,"description":97250,"tags":97251,"thumbUrl":97252,"material":599,"size":600,"collection":139,"collections":97253,"showCount":1379,"zanCount":48,"manualWeight":48,"mainColor":94},288396,"die-tu-yi-ming-288396","蝶图","此作留白疏朗，意韵清寂淡远。以淡墨晕染湖石，枯涩笔法尽显山石朴拙苍古之态。幽兰叶条舒展柔婉，嫩黄花苞隐于叶间，暗吐幽芳。右下角褐彩藤壶附石而生，肌理斑驳，与湖石形成明暗层次。两只粉蝶翩跹于空，破了画面的岑寂，添几分灵动生趣。\n\n笔墨松秀简淡，以小景写清秋闲趣，将文人心底的幽怀寄寓草木虫蝶之间，尽显传统花鸟画以物抒情的清雅韵致。",[23,24,7,226,83,579,484,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd3366338c1f1d0a7398f4b77fbcc5197.jpg",[],{"id":97255,"slug":97256,"title":97257,"dynasty":76,"author":257,"museum":316,"description":97258,"tags":97259,"thumbUrl":97260,"material":599,"size":600,"collection":139,"collections":97261,"showCount":1379,"zanCount":48,"manualWeight":48,"mainColor":94},288255,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-ai-xin-jue-luo-duo-duo-yi-ming-288255","历代帝王贵妃大臣朝服像(爱新觉罗·多铎)","此作尽显开国宗王威仪，人物面容方正虬髯微张，神色沉稳威严，自带杀伐勋贵的沉凝气度。\n朝服刻画极尽工细，胸背正龙狞厉雄健，袍身行龙蜿蜒灵动，海水江崖纹样层叠晕染，金线绣纹在宝蓝底色上华光熠熠，朝珠垂佩规整肃穆，恪守清代宗室朝服礼制。\n画师以精湛工笔设色，写实还原形貌与服饰规制，色彩厚重端雅，细节毫厘毕现，将人物身份尊崇与宫廷仪范庄严融于画面，是清代纪实肖像画的上乘之作。",[23,24,25,226,28,7,106,64718,333,334],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4cc364d97a0d7bb4952c519da23ef3f5.jpg",[],{"id":97263,"slug":97264,"title":97265,"dynasty":76,"author":257,"museum":316,"description":97266,"tags":97267,"thumbUrl":97268,"material":599,"size":600,"collection":139,"collections":97269,"showCount":1379,"zanCount":48,"manualWeight":48,"mainColor":49},288252,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-huang-shi-zi-yun-e-yi-ming-288252","历代帝王贵妃大臣朝服像(皇十子允䄉)","此作工笔精妙，如实还原了冬日着装的宗室仪范。石青常服褂镶饰白绫出锋，紫貂领厚重温润，暖红冬帽周正端方。画师细致勾勒出人物清癯肃穆的面容，沉静内敛的神态间，尽显贵胄矜重威仪。\n\n坐椅织锦繁丽精巧，宝相团纹缠萦卷草回纹，鲜亮配色与暗沉衣装形成柔化对比，衬出人物沉静气场。整卷设色醇厚雅致，线条匀净流畅，既恪守肖像写实法度，又暗藏宫廷肖像的审美意趣，将宗室气度永远定格于绢素之上。",[23,24,106,7,28,63,11296],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f9508c8852a7a7e8ffce14566149565.jpg",[],{"id":97271,"slug":97272,"title":97273,"dynasty":76,"author":257,"museum":316,"description":97274,"tags":97275,"thumbUrl":97277,"material":599,"size":600,"collection":139,"collections":97278,"showCount":1379,"zanCount":48,"manualWeight":48,"mainColor":94},288251,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-rui-gong-qin-wang-ai-xin-jue-luo-chun-ying-yi-ming-288251","历代帝王贵妃大臣朝服像(睿恭亲王爱新觉罗.淳颖)","此作工笔写形，细致入微。画中亲贵面容清俊，神态端严沉稳，眉眼间自显世家威仪。明黄常服配石青马蹄袖，顶戴花翎细节分毫毕现，手中朝珠垂坠合度。衣褶线条挺括匀净，设色雅致写实，将清代宗室的着装仪范与雍容气度精准呈现。\n\n画面留白疏朗，题字题跋错落排布，笔致秀雅规整，既彰表主人公功绩德操，又为画作添上文气，让写实肖像兼具文人意趣。整幅形神兼备，是清代肖像画中兼具礼制纪实性与审美价值的上乘之作。",[23,24,25,226,28,7,106,35402,337,86,212,97276,69376],"亲王像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3497a80c72d66d55867e029292422ed3.jpg",[],{"id":97280,"slug":97281,"title":97282,"dynasty":76,"author":257,"museum":316,"description":97283,"tags":97284,"thumbUrl":97285,"material":599,"size":600,"collection":139,"collections":97286,"showCount":1379,"zanCount":48,"manualWeight":48,"mainColor":49},288250,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-shi-wen-ying-yi-ming-288250","历代帝王贵妃大臣朝服像(石文英)","整幅肖像庄重沉凝，官员端坐神态威严厚重，不怒自威。画师以细腻工笔描摹服饰细节，宝蓝朝服之上，彩绣团龙张颌奋爪，云纹缭绕周身，下幅江崖海水纹样精细规整，将吉庆寓意融于经纬之间。明黄朝珠垂坠胸前，与衣色互为映衬，顶戴花翎更显身份尊崇。\n\n画师晕染入微，衣料的挺括质感、豹纹坐垫的绒毛层次都被精准还原。整体设色沉稳雅致，构图规整均衡，尽显清代纪实肖像画的法度与考究，将武官大员的轩昂器宇定格于绢素，纪实性与审美意趣兼备。",[23,24,7,28,106,23715,64718,333,334,337,226],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0e4544906138f06859c8bc51b19e015e.jpg",[],{"id":97288,"slug":97289,"title":97290,"dynasty":76,"author":257,"museum":316,"description":97291,"tags":97292,"thumbUrl":97293,"material":599,"size":600,"collection":139,"collections":97294,"showCount":1379,"zanCount":48,"manualWeight":48,"mainColor":49},288249,"li-dai-di-wang-gui-fei-da-chen-chao-fu-xiang-li-qin-wang-dai-shan-yi-ming-288249","历代帝王贵妃大臣朝服像(礼亲王代善)","整幅画像庄重肃穆，代善端坐于座，面容沉稳威严，神态凝练内敛，尽显清初宗室亲王的尊贵气度。\n\n朝服绘制精工极致，石青色底料衬以金彩团龙纹样，盘绕交错间尽显华贵礼制，衣袂处彩绣晕染细腻，纹饰层次分明，将清代宗室朝服的规制细节复刻入微。画面构图规整，设色沉厚雅致，以细腻笔触捕捉人物威严风骨，将这位铁帽子王的赫赫威仪凝于绢素，是清代宗室肖像画中极具代表性的写实佳作。",[23,24,226,7,28,106,63,64718,69376],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f071f97274cc67bae42a2026acc0ec3.jpg",[],{"id":97296,"slug":97297,"title":97298,"dynasty":76,"author":257,"museum":316,"description":9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盆、筒杯、勺、盘、缸、甑、 釜、小壶、扁壶、茧形壶、钵、罐、钟、碗等。明器包括礼器鼎和模型明器仓、陶囤以及各种动物形象。纹饰多为变形回纹、三角纹和窝纹。陕西潼关以东地区人们的日常用陶，以灰陶为主，有罐、 壶、碗、勺、筒杯、 瓮、盒、洗、甑、釜、杯、盘、尊等。在汉代流行起来的生活用具模型，如仓、 炉、 灶、井等。大都作为明器供随葬之用。盒、盘、案、杯等，逐渐成组出现，为适应人们厚葬之需也成为祭器。猪、羊、狗、鸡等家畜家禽及圈舍、住宅等明器模型也大量流行。装饰则有弦纹、刻划的三角纹、连环纹、栉齿纹和动物纹，还有绳纹、拍印纹、模印、浮雕、涂色和彩绘等。南方的长沙地区，制陶工艺自成体系，陶盒使用普遍，陶壶无盖，鼎的三足成矮胖的兽蹄形，其他实用器皿还有壶、罐、碗、钫、、盆、釜、甑、长方炉、博山炉等。特点是坚硬厚重。殉葬明器有灶、仓、井、屋、猪圈模型等。广东地区秦汉时属南海郡，常用陶器有瓮、双耳罐、提、四联罐和五联罐、瓿、小瓿、壶、匏壶、温壶、钫、 盒、敦、 小盒、三足盒、三足罐、三足瓿、四联盒、 碗、盆、 甑、釜、鼎、豆、三足格盒等。生活用具中灰白色的印纹硬陶占多数， 有的还戳上印记，多为容器，炊器只有釜、 鼎、甑 3种。造型特别的三足器、温壶、匏壶有着明显的地方特点。印纹硬陶很讲究装饰，单是几何图案就达70多种，此外还有弦纹、 陶纹、 镂孔、篦纹及文字记号等。明器上多施彩绘。四川云南等也有自己的制陶业，不少作品和中原地区相似，如圆底釜、侈口束颈、鼓腹的壶等。关中地区流行的茧形壶虽不生产，确有发现。舞蹈俑、说书俑、抚琴俑、听琴俑、侍立俑和各类家禽形象，生动优美，自然写实。",[22030,58905,26404,7,746,22309],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d08268f8cf8438d1375fe84056dbc2c.jpg",[],{"id":98545,"slug":98546,"title":92018,"dynasty":2720,"author":257,"museum":316,"description":58897,"tags":98547,"thumbUrl":98548,"material":599,"size":600,"collection":139,"collections":98549,"showCount":1379,"zanCount":48,"manualWeight":48,"mainColor":2504},254499,"tao-hua-cai-chi-dun-wu-shi-yong-yi-ming-254499",[2720,58905,7,5513,106,26405,92020,22309],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc0fbb5738c14490a9010251ee43407c4.jpg",[],{"id":98551,"slug":98552,"title":22306,"dynasty":2720,"author":257,"museum":316,"description":58897,"tags":98553,"thumbUrl":98554,"material":599,"size":600,"collection":139,"collections":98555,"showCount":1379,"zanCount":48,"manualWeight":48,"mainColor":49},254498,"tao-hua-cai-wu-shi-yong-yi-ming-254498",[12818,7,106,22309,5513],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0004882e23f1142052cc7565cace5d2e.jpg",[],{"id":98557,"slug":98558,"title":98559,"dynasty":54,"author":257,"museum":316,"description":98560,"tags":98561,"thumbUrl":98562,"material":599,"size":600,"collection":139,"collections":98563,"showCount":1379,"zanCount":48,"manualWeight":48,"mainColor":49},254400,"tao-hua-cai-ji-yi-ming-254400","陶画彩鸡","唐三彩（Tang Tri-Color Glazed Ceramics ），中国古代陶瓷烧制工艺的珍品，全名唐代三彩釉陶器，是盛行于唐代的一种低温釉陶器，釉彩有黄、绿、白、褐、蓝、黑等色彩，而以黄、绿、白三色为主，所以人们习惯称之为“唐三彩”。因唐三彩最早、最多出土于洛阳，亦有“洛阳唐三彩”之称 。\n唐三彩在唐代的兴起有它的历史原因。首先陶瓷业的飞速发展，以及雕塑、建筑艺术水平的不断提高，促使它们之间不断结合、不断发展，因此从人物到动物以及生活用具都能在唐三彩的器物上表现出来。\n唐代贞观之治以后，国力强盛、百业俱兴，同时也导致了一些高官生活的腐化，于是厚葬之风日盛。唐三彩当时也是作为一种冥器，曾经被列入官府的明文规定，一品、二品、三品、四品，就是说可以允许他随葬多少件，但是实际上作为这些达官显贵们，并不满足于明文的规定，反而他们往往比官府规定要增加很多的倍数，去做这种厚葬。官风如此，民风当然也如此，于是从上到下就形成了这么一种厚葬之风，这也就是唐三彩当时能够迅速在中原地区发展和兴起的一个主要原因之一。\n唐代是我国封建社会的鼎盛时期，所以说唐三彩从另外一个侧面也反映了这种唐王朝的政治、文化、生活，它跟唐代诗歌、绘画、建筑其他文化一样，共同形成了唐王朝文化的旋律，但是它又不同于其他的文化艺术，从现代的陶瓷史上认为，唐三彩在唐代陶瓷史上是一个划时代的里程碑，因为在唐以前，只有单色釉，最多就是两色釉的并用，在我国的汉代，已经有了两色，即黄色和绿色两种釉彩在同一器物上的使用。到了唐代以后，这种多彩的釉色在陶瓷器物上同时得到了运用。从陶瓷史上有人考证，这和唐代当时的审美观点起了很大的变化有关。在唐以前人们崇尚的是素色主义，到唐代以后，它包容了各种文化，包括许多外来文化，这个时候从绘画、陶瓷、金银器的制作，形成了一个灿烂文化的特点。\n唐三彩的生产已有1300多年的历史。它吸取了中国国画、雕塑等工艺美术的特点。唐三彩制作工艺复杂，以经过精细加工的高岭土作为坯体，用含铜、铁、钴、锰、金等矿物作为釉料的着色剂，并在釉中加入适量的炼铅熔渣和铅灰作为助剂。先将素坯入窑焙烧，陶坯烧成后，再上釉彩，再次入窑烧至800℃左右而成。由于铅釉的流动性强，在烧制的过程中釉面向四周扩散流淌，各色釉互相浸润交融，形成自然而又斑驳绚丽的色彩，是一种具有中国独特风格的传统工艺品。\n唐三彩不仅贵在釉色浓艳瑰丽，而且骆驼、马和人物等的造型生动传神，富有生活气息，当时的国际场上，唐三彩就已负有盛名，成为中外经济文化交流的重要物品之一。1928年，陇海铁路修筑到洛阳邙山时，出土了大量唐三彩，古董商们将其运至北京，受到了国内外古器物研究者的重视和古玩商竞相收藏。之后，洛阳地区不断有唐三彩出土，数量之多、质量之美，令人惊叹。",[12818,7,5513,2703],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67d6563bf901311bffdfb8dd223fddf0.jpg",[],{"id":98565,"slug":98566,"title":91983,"dynasty":22030,"author":257,"museum":316,"description":58897,"tags":98567,"thumbUrl":98568,"material":599,"size":600,"collection":139,"collections":98569,"showCount":1379,"zanCount":48,"manualWeight":48,"mainColor":49},254352,"tao-yong-yi-ming-254352",[22030,86928,5513,7,106,22309],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8f2dc0b6a0eb941079dea35d25d38ac.jpg",[],{"id":98571,"slug":98572,"title":98532,"dynasty":2720,"author":257,"museum":316,"description":58877,"tags":98573,"thumbUrl":98574,"material":599,"size":600,"collection":139,"collections":98575,"showCount":1379,"zanCount":48,"manualWeight":48,"mainColor":49},254293,"tao-ma-yi-ming-254293",[2720,12818,22309,150,746,5513,26406,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b4e7053b569413cb786464b4e7076cf.jpg",[],{"id":98577,"slug":98578,"title":91990,"dynasty":2720,"author":257,"museum":316,"description":58897,"tags":98579,"thumbUrl":98580,"material":599,"size":600,"collection":139,"collections":98581,"showCount":1379,"zanCount":48,"manualWeight":48,"mainColor":49},254214,"tao-hua-cai-qi-ma-nan-yong-yi-ming-254214",[2720,58905,26404,22309,106,150,7,12818,5513],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7d84a3e727863fb46b5e28de14565bf.jpg",[],{"id":98583,"slug":98584,"title":64915,"dynasty":2720,"author":257,"museum":316,"description":58897,"tags":98585,"thumbUrl":98586,"material":599,"size":600,"collection":139,"collections":98587,"showCount":1379,"zanCount":48,"manualWeight":48,"mainColor":2504},254180,"tao-hua-cai-nan-li-yong-yi-ming-254180",[2720,26406,26404,7,106,82527,12818],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f2e32a92c1ae24e988e691fa302815b.jpg",[],{"id":98589,"slug":98590,"title":86853,"dynasty":22030,"author":257,"museum":316,"description":98540,"tags":98591,"thumbUrl":98592,"material":599,"size":600,"collection":139,"collections":98593,"showCount":1379,"zanCount":2368,"manualWeight":48,"mainColor":2504},254140,"tao-hua-cai-gou-yi-ming-254140",[22030,12818,26406,6767,7,746,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6736f4fe10ad704cee798f932c61cb4.jpg",[],{"id":98595,"slug":98596,"title":64915,"dynasty":2720,"author":257,"museum":316,"description":58897,"tags":98597,"thumbUrl":98598,"material":599,"size":600,"collection":139,"collections":98599,"showCount":1379,"zanCount":48,"manualWeight":48,"mainColor":2504},253987,"tao-hua-cai-nan-li-yong-yi-ming-253987",[2720,12818,7,106,22309],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5dfe89ad28a83cf2a8b713f66255f068.jpg",[],{"id":98601,"slug":98602,"title":22306,"dynasty":1939,"author":257,"museum":316,"description":58897,"tags":98603,"thumbUrl":98604,"material":599,"size":600,"collection":139,"collections":98605,"showCount":1379,"zanCount":48,"manualWeight":48,"mainColor":2504},253937,"tao-hua-cai-wu-shi-yong-yi-ming-253937",[12818,7,22309,106,26405,5513],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadffe4677ca45f987d31ae8fbd8fd58a.jpg",[],{"id":98607,"slug":98608,"title":98609,"dynasty":54,"author":257,"museum":316,"description":58897,"tags":98610,"thumbUrl":98611,"material":599,"size":600,"collection":139,"collections":98612,"showCount":1379,"zanCount":48,"manualWeight":48,"mainColor":49},253898,"tao-hua-cai-hu-ren-yong-yi-ming-253898","陶画彩胡人俑",[54,12818,7,106,22309],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52e2e8c4177c0acaf68b1ffba9bb15d0.jpg",[],{"id":98614,"slug":98615,"title":98616,"dynasty":18,"author":257,"museum":316,"description":58897,"tags":98617,"thumbUrl":98618,"material":599,"size":600,"collection":139,"collections":98619,"showCount":1379,"zanCount":48,"manualWeight":48,"mainColor":49},253874,"tao-hua-cai-shi-er-chen-gou-yong-yi-ming-253874","陶画彩十二辰狗俑",[12818,22309,26404,7,106,746],"https:\u002F\u002Foss.chuangqi.st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的恬然雅致晕染纸面，尽显小品画的清雅格调，兼得观赏性与文人情致。",[860,24,25,1260,7,28,62,379,873],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71ed2ae4fbec2a5b5dfeaf21f370937b.jpg",[],{"id":99845,"slug":99846,"title":99847,"dynasty":99,"author":45364,"museum":316,"description":79132,"tags":99848,"thumbUrl":99849,"material":599,"size":600,"collection":139,"collections":99850,"showCount":1379,"zanCount":48,"manualWeight":48,"mainColor":49},236302,"qiu-tong-yin-yu-shan-zhang-fu-236302","秋桐阴雨扇",[24,1260,173,7,29,808,34,107,175,108,109,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b6dfc2ffd76807ff0d84d0c321c68a4.jpg",[],{"id":99852,"slug":99853,"title":1751,"dynasty":76,"author":37845,"museum":316,"description":37846,"tags":99854,"thumbUrl":99855,"material":599,"size":600,"collection":139,"collections":99856,"showCount":1379,"zanCount":48,"manualWeight":48,"mainColor":94},236281,"za-hua-ce-chen-zi-236281",[24,25,7,81,29,106,796,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1da4a7182eaf3aa3d92dfd1b9f5c373f.jpg",[],{"id":99858,"slug":99859,"title":83283,"dynasty":99,"author":10632,"museum":20,"description":10633,"tags":99860,"thumbUrl":99861,"material":139,"size":139,"collection":181,"collections":99862,"showCount":1379,"zanCount":48,"manualWeight":48,"mainColor":94},236185,"shan-shui-cheng-shan-wen-jia-236185",[24,25,1260,173,7,29,34,176,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa5a8f674e70db2cbda5d3566a30ee360.jpg",[181,45],{"id":99864,"slug":99865,"title":42104,"dynasty":76,"author":538,"museum":316,"description":99866,"tags":99867,"thumbUrl":99868,"material":139,"size":139,"collection":139,"collections":99869,"showCount":1379,"zanCount":48,"manualWeight":48,"mainColor":94},236097,"hua-luo-han-ce-leng-mei-236097","此作白描清劲秀逸，勾勒极具表现力。主者袒胸跣足，神态威严又随性自在，抬手间尽显出尘威仪。侍从头束宝冠躬身持物，神态恭谨，幼童伏地憨态尽显，诸人情态各异，细节鲜活传神。左侧题诗笔意端雅，与绘画面面相呼应，诗画合璧晕染出悠然禅意，将佛门清寂庄严的意境融于尺幅之间，工细中带着文雅意趣，静谧古雅里尽显超然禅韵。",[24,25,81,260,28,7,106,212,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F945c72d9f76ff7c2d6f525c026ee6878.jpg",[],{"id":99871,"slug":99872,"title":42104,"dynasty":76,"author":538,"museum":316,"description":99873,"tags":99874,"thumbUrl":99875,"material":139,"size":139,"collection":139,"collections":99876,"showCount":1379,"zanCount":48,"manualWeight":48,"mainColor":94},236096,"hua-luo-han-ce-leng-mei-236096","画面中罗汉安坐如松，神态清寂超然，衣褶流转自然，尽显世外高逸之姿。身旁侍者恭谨随侍，猿猴奉来奇花异果，灵动憨态为静穆的禅意画面添上鲜活生趣。\n\n左侧题诗书风清隽，笔墨与绘卷相映成趣，书画合璧。整幅设色淡雅秀润，线条精细流畅，既有院体画的工致细腻，又饱含文人写意的悠然韵致，将禅家静定超脱与林间野趣融为一体，勾勒出空灵出尘的世外禅境，在工巧与写意之间，尽显绝妙的审美意趣与禅思内涵。",[194,24,25,28,7,260,106,10516,212,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ee6d144bcedd4577f57695d03850acc.jpg",[],{"id":99878,"slug":99879,"title":42104,"dynasty":76,"author":538,"museum":316,"description":99880,"tags":99881,"thumbUrl":99882,"material":139,"size":139,"collection":139,"collections":99883,"showCount":1379,"zanCount":48,"manualWeight":48,"mainColor":94},236095,"hua-luo-han-ce-leng-mei-236095","此作设色雅淡明净，右侧绘禅室清景。袒胸罗汉安坐案侧，目含静定悠然之态，一童子俯首研墨，侍者正趋前供花。案头卷册、砚台错落，瓶花素净雅致，笔线清劲秀挺，衣纹流转自如，晕染柔润细腻，将禅居的静穆闲和尽显无余。\n\n左侧行书舒展俊逸，诗画相映成趣。整幅简净空灵，工致中不失文人雅逸之韵，将禅者萧散自在的襟怀融于绢素，把清修禅意与文房雅境相融，尽显静谧悠远的世外幽情。",[24,25,28,7,260,106,12034,6240,84,212,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F948535ada5b246890bf49c4f661cefdd.jpg",[],{"id":99885,"slug":99886,"title":42104,"dynasty":76,"author":538,"museum":316,"description":99887,"tags":99888,"thumbUrl":99889,"material":139,"size":139,"collection":139,"collections":99890,"showCount":1379,"zanCount":48,"manualWeight":48,"mainColor":94},236094,"hua-luo-han-ce-leng-mei-236094","此作设色清和雅致，画面中罗汉安坐雕花宝榻，神态恬然超脱，侍童或持物随侍，或打理瓶中花枝，动静相映。衣纹勾勒舒展流畅，晕染柔和细腻，将人物仪态铺陈得恰到好处，案上清瓶供花，衬得画面愈发静谧悠然。\n左侧题字笔意清隽，与画作相得益彰，整体融书画于一炉，工细间不失文人雅意，将禅门林下闲居的超然氛围烘托尽致，笔墨间漫溢出平和冲淡的禅韵，尽显静穆出尘之美。",[24,25,81,28,7,260,106,2385,6240,1488,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86645fcbebefd90b72b0c43836bfda67.jpg",[],{"id":99892,"slug":99893,"title":42104,"dynasty":76,"author":538,"museum":316,"description":99894,"tags":99895,"thumbUrl":99896,"material":139,"size":139,"collection":139,"collections":99897,"showCount":1379,"zanCount":48,"manualWeight":48,"mainColor":94},236093,"hua-luo-han-ce-leng-mei-236093","此作设色柔淡雅致，右侧袒胸露腹的弥勒笑坐榻上，神态憨然和煦。数名童子环绕嬉闹，或扯拽衣袍，或攀爬肩头，稚态灵动鲜活，将童真嬉趣与佛门意象相融，消解禅家肃穆，尽显悠然喜乐。\n\n左侧行书题字娟秀舒展，笔意清雅，书画合璧，禅意与世俗温情相映。工细线条将人物形神勾勒入微，淡彩晕染柔和雅致，整体兼具工笔的细腻精妙与写意的悠然意趣，把日常嬉闹融入禅境，晕开冲淡温暖的氛围感。",[194,24,25,320,260,6768,106,28,7,212,1145,37545],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff97d887727faa1519d9cad124cb54cb8.jpg",[],{"id":99899,"slug":99900,"title":42104,"dynasty":76,"author":538,"museum":316,"description":99901,"tags":99902,"thumbUrl":99903,"material":139,"size":139,"collection":139,"collections":99904,"showCount":1379,"zanCount":48,"manualWeight":48,"mainColor":94},236090,"hua-luo-han-ce-leng-mei-236090","此幅以淡彩白描绘就罗汉，足蹑云涛，衣褶线条流转如回风垂柳，神情端严澄澈，似在静聆禅音，周身云气萦纡晕染，晕开超逸出尘之态。\n\n左侧题诗配朱印错落排布，笔意隽秀舒展，与画意相得益彰，禅心文思交融无间。整作清和静雅，淡墨轻岚暗藏空灵禅韵，将罗汉弃刃向佛的超脱心境暗含其间，笔墨工丽却不失简澹意趣，尽显含蓄悠远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信贵山缘起绘卷-1","这幅画截取乡野渔村一隅，左侧烟波缠绕浅黛山峦，清寂幽远。竹木围栏圈起工坊，灶炉蒸腾烟气，数不清的竹编渔笼错落排布，似在熏制渔获。下方妇人正俯身分拣收贮，尽显劳作的朴拙日常。\n右侧临水木构酒肆热闹鲜活，宾客凭栏谈笑，楼中女眷探窗遥望，铺展出世井宴饮的松弛意趣。整作淡彩晕染，线条清隽雅致，将山野静气与人世烟火巧妙相融，勾勒出鲜活的民间日常图景，恬淡间满溢生活温度。",[23,194,25,26,260,104,352,7,106,29,107,109,34,14200,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3911f257cd4f7f01d3727d61faeff9cd.jpg",[],{"id":101151,"slug":101152,"title":101153,"dynasty":256,"author":257,"museum":316,"description":101154,"tags":101155,"thumbUrl":101156,"material":599,"size":600,"collection":139,"collections":101157,"showCount":1379,"zanCount":48,"manualWeight":48,"mainColor":94},231728,"lian-cang-shi-dai-tian-gou-cao-zi-hui-juan-chao-ben-dong-da-si-juan-yi-ming-231728","镰仓时代 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厩图屏风第2屏","画面分野有致，左畔厩房静立，三匹良骏或垂首小憩或昂首敛息，系马木构细节妥帖，尽现驯牧日常。廊台之上，衣冠雅致的男女或闲坐低语，或垂首休憩，伴以嬉游的小犬，松弛的闲淡氛围漫开。\n\n右侧苍松虬劲盘绕，山池蜿蜒，白羽天鹅悠然浮于水面，幽谧野趣扑面而来。整作以柔缓的矿物淡彩晕染，线条朴拙细腻，将私邸日常闲情与郊野清趣相融，褪去刻意的华贵铺陈，只留平和温润的生活质感，尽显世俗雅致的日常况味。",[7,28,279,150,106,1273,7355,8941,114,262],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F013ccec7581d9a234ccb97692f6269b1.jpg",[],{"id":101181,"slug":101182,"title":101183,"dynasty":256,"author":257,"museum":316,"description":101184,"tags":101185,"thumbUrl":101186,"material":599,"size":600,"collection":139,"collections":101187,"showCount":1379,"zanCount":48,"manualWeight":48,"mainColor":94},231636,"lian-cang-shi-dai-dong-bei-yuan-ge-ren-ge-he-hua-juan-yi-ming-231636","镰仓时代 东北院歌人歌合画卷","淡墨轻敷勾勒数位歌者，乌帽束带的雅士、素袍跣足的隐者神态各异、形神兼备，寥寥笔墨便将人物身份性情尽显。旁侧平假名草书笔势舒展灵动，墨色浓淡自然晕开，书法与绘像相映成趣。\n\n此卷既是歌合的文本实录，亦是和风雅致小品，藏着中古吟酬唱和的闲雅日常。纸面晕开的岁月痕迹，更添古旧温润的质感，将彼时歌道文化的风雅气韵凝于长卷之中。",[24,25,26,7,173,352,106,86,178,2307,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33458c5459a61a05fc68198b450aa9ae.jpg",[],{"id":101189,"slug":101190,"title":101191,"dynasty":256,"author":257,"museum":316,"description":101192,"tags":101193,"thumbUrl":101194,"material":599,"size":600,"collection":139,"collections":101195,"showCount":1379,"zanCount":48,"manualWeight":48,"mainColor":49},231633,"lian-cang-shi-dai-dao-xuan-lv-shi-xiang-yi-ming-231633","镰仓时代 道宣律师像","此作写实传神，将高僧清癯威严的仪容尽显，淡晕面色晕染出沉静肃穆的气度，举手投足间皆见禅门仪范。纯素墨色晕染僧袍，衣纹简练克制，仅以一枚精巧胸饰点缀，于朴拙间透出雅致。左手轻执朱红拂尘，细节生动还原日常仪轨。背景团花纹饰浓烈鲜亮，朱红钴蓝交织呼应，繁复华丽的衬景反衬出人物超然出尘，工写结合，把律宗高僧端严自持的风骨刻画得入木三分，尽显肖像画的传神妙处。",[24,25,226,7,28,106,260,63,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F282161cd444ce29f569299c5b5c43105.jpg",[],{"id":101197,"slug":101198,"title":101199,"dynasty":256,"author":257,"museum":316,"description":101200,"tags":101201,"thumbUrl":101202,"material":599,"size":600,"collection":139,"collections":101203,"showCount":1379,"zanCount":48,"manualWeight":48,"mainColor":94},231614,"shi-ting-shi-qi-jian-feng-si-tu-juan-yi-ming-231614","室町时期 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material":599,"size":600,"collection":139,"collections":102183,"showCount":1379,"zanCount":48,"manualWeight":48,"mainColor":94},225380,"fu-shi-hui-137-yi-ming-225380","浮世绘137",[12745,4006,7,59,106,229,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ec53cfd61198623ea5c770846f50d11.jpg",[],{"id":102185,"slug":102186,"title":102187,"dynasty":256,"author":257,"museum":316,"description":102188,"tags":102189,"thumbUrl":102190,"material":139,"size":139,"collection":139,"collections":102191,"showCount":1379,"zanCount":48,"manualWeight":48,"mainColor":94},225361,"fu-shi-hui-117-yi-ming-225361","浮世绘117","这幅作品以木桥行旅为焦点，将赶路的旅人、驮货的马队收揽于前景，鲜活铺展出行路的日常烟火。远景以青蓝晕染水色，暖黄晕开沙洲浅山，柔化了天地边界，将旅途的奔波与水乡清寂融为一景。\n\n画面动静相映，负货的旅人神色匆匆，岸边堆放的木料、错落村舍晕开世俗暖意，远景的淡墨山林又晕开松弛悠远的氛围。雅致柔和的色调铺陈出悠然诗意，将市井行路的日常晕染出浮世独有的烟火温情。",[12745,7,4006,108,150,106,34,31,37298,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f3d0ae1c9f6f01c11bdafee0de5148d.jpg",[],{"id":102193,"slug":102194,"title":102195,"dynasty":256,"author":257,"museum":316,"description":102196,"tags":102197,"thumbUrl":102199,"material":139,"size":139,"collection":139,"collections":102200,"showCount":1379,"zanCount":48,"manualWeight":48,"mainColor":94},225356,"fu-shi-hui-112-yi-ming-225356","浮世绘112","明黄的拱形木桥凌于清浅水面之上，结构舒展雅致，醒目的色调让桥身成为画面焦点。桥上行人三两，或凭栏远眺天光水色，或拾级缓行，衣袂轻曳间尽显日常的松弛闲趣。\n\n沿岸绿植蓊郁，临水屋舍与淡远空蒙的天色相映，水面漾开柔缓波纹，晕开悠然的市井氛围。线条洗练精准，将桥的建筑美感与俗世情态相融，以澹雅平和的色调，把隅间闲景晕染成隽永的和风诗意，藏着独属于旧时烟火的澹泊温情。",[12745,7,106,108,109,3176,20175,102198,10363],"闲趣","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc71216c2f204223fd22dffe8e81dbbff.jpg",[],{"id":102202,"slug":102203,"title":102204,"dynasty":256,"author":257,"museum":316,"description":102205,"tags":102206,"thumbUrl":102207,"material":139,"size":139,"collection":139,"collections":102208,"showCount":1379,"zanCount":48,"manualWeight":48,"mainColor":94},225346,"fu-shi-hui-99-yi-ming-225346","浮世绘99","这幅作品以横卷铺陈雅宴场景，笔致清隽朴拙。淡赭石、草色晕染出古雅温润的色调，将市井的闲雅日常缓缓铺展。席间老者把盏笑谈，侍女添奉茶汤，衣袂鬓发的线条细腻鲜活，把松弛欢愉的氛围烘托尽致。室隅春梅斜斜探出，为宴饮添了几分幽然雅致，食案、茶具处处流露着日常意趣，将浮世日常的松弛鲜活凝于纸面，是描摹世俗闲情的和风佳作。",[12745,4006,7,106,820,229,1551],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ada07d1394456650b21465a090e0052.jpg",[],{"id":102210,"slug":102211,"title":102212,"dynasty":256,"author":257,"museum":316,"description":102213,"tags":102214,"thumbUrl":102215,"material":139,"size":139,"collection":139,"collections":102216,"showCount":1379,"zanCount":48,"manualWeight":48,"mainColor":94},225345,"fu-shi-hui-98-yi-ming-225345","浮世绘98","这幅风景绘以仰视视角铺展幽谷飞瀑，苍翠绿意覆于陡崖之上，银白水流如匹练垂落，轰然砸入深潭溅起漫天水雾。\n\n前景挑担行旅驻足观瀑，草舍檐角被水雾打湿，下方急流翻涌呼应瀑水，动静相映成趣。青蓝与暖黄底色调和，将山野雄浑与清幽相融，既绘出飞瀑吞天沃日的磅礴气势，又以行旅茅舍点染烟火暖意，将旅人行经深谷偶遇奇景的悠然意境晕染开来，尽显日式风景绘的别致意趣。",[12745,4006,7,29,1426,34,106,686,63540,989,71297],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5c93b7eda3a26f80b34802e454e99ef.jpg",[],{"id":102218,"slug":102219,"title":102220,"dynasty":256,"author":257,"museum":316,"description":102221,"tags":102222,"thumbUrl":102223,"material":139,"size":139,"collection":139,"collections":102224,"showCount":1379,"zanCount":48,"manualWeight":48,"mainColor":49},225337,"fu-shi-hui-90-yi-ming-225337","浮世绘90","这幅作品以雄奇飞瀑为主体，水流自丹崖翠岭间奔涌直下，撞入深潭溅起朦胧水雾。画师以劲挺线条勾勒水流动势，以青绿与赭红撞色晕染山林，铺陈出磅礴开阔的山水意趣。\n\n画面下半段切入俗世日常，赤身脚夫在激浪中踩踏作业，茶屋静立一旁，旅人驻足旁观，将山林胜景与江户庶民的生活图景相融。动静相生间，尽显自然风物雄浑的同时，也带着浮世绘独有的市井温情，让幽深山景沾染了人间烟火的鲜活温度。",[12745,4006,7,29,1426,34,176,109,106,114],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11871374ea7292f6db04d5a656e62a17.jpg",[],{"id":102226,"slug":102227,"title":102228,"dynasty":256,"author":257,"museum":316,"description":102229,"tags":102230,"thumbUrl":102232,"material":139,"size":139,"collection":139,"collections":102233,"showCount":1379,"zanCount":48,"manualWeight":48,"mainColor":94},225330,"fu-shi-hui-82-yi-ming-225330","浮世绘82","清辉满月悬于淀川上空，将银白铺洒在粼粼河面。数艘商船首尾相衔缓行，舟上货篷浸在月色里，艄公的身影晕开朦胧暖意。右侧石垣城楼翼角轻翘，河畔水车静立，衬出夜的安宁。\n\n左岸田埂蜿蜒，三两行人踱步归途，村舍错落藏在浅黄的岸渚间，远山晕染成柔淡的黛色暖黄。雅致的平涂色块晕开日式和风意趣，靛蓝河面撞着暖棕舟船、土黄岸渚，将江户河川夜行的悠然烟火揉进朦胧月色，把商贾行旅的日常，晕成清冷月色下流淌的俗世诗意，是侘寂美学与市井暖意的温柔相融。",[12745,4006,7,265,107,111,31,102231,1169,34,114],"水车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76593e34ec54c5e7ffffad52c96f604c.jpg",[],{"id":102235,"slug":102236,"title":102237,"dynasty":256,"author":257,"museum":316,"description":102238,"tags":102239,"thumbUrl":102240,"material":139,"size":139,"collection":139,"collections":102241,"showCount":1379,"zanCount":48,"manualWeight":48,"mainColor":49},225325,"fu-shi-hui-72-yi-ming-225325","浮世绘72","满月清辉漫洒天际，将淀川晕作幽蓝琉璃。石构城阁踞于画角，飞檐层叠挑破夜色，旁侧水车静立晕开乡野意趣。水面商船连樯而行，暖棕货舱在冷色水光里格外温软，舟子俯身打理货物，将生计揉进月夜行旅中。\n\n远处浅丘覆着月色晕出的暖黄，林莽间村舍星散，田埂行人三两缓行，将烟火气晕染进清寂夜色。冷暖色调交织糅合，把河畔夜航晕成静谧又鲜活的风物诗，将乡野悠然与市井温热融在一处，晕开旧时光的温柔余韵。",[12745,7,104,265,107,109,118,29,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ab6580c15e0f473bcb0cb9bf4f1c08c.jpg",[],{"id":102243,"slug":102244,"title":102245,"dynasty":256,"author":257,"museum":316,"description":102246,"tags":102247,"thumbUrl":102248,"material":139,"size":139,"collection":139,"collections":102249,"showCount":137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形的轮廓，则又可以上溯到董源的传统。",[24,23,226,105,29,107,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99c57b458a035bd2ef7b2a95a6c3e25f.jpg","136.1x63.2厘米",[181,45],{"id":104755,"slug":104756,"title":104757,"dynasty":99,"author":257,"museum":316,"description":104758,"tags":104759,"thumbUrl":104760,"material":599,"size":600,"collection":139,"collections":104761,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":94},290815,"tai-zu-ban-shen-xiang-yi-zhou-yi-ming-290815","太祖半身像（一）轴","明太祖朱元璋（1328年10月21日—1398年6月24日），字国瑞，原名朱重八、朱兴宗，出生于濠州（今安徽凤阳）钟离太平乡孤庄村。明朝开国皇帝（1368年—1398年在位），年号“洪武”。",[24,226,7,37542,11229,63,334],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc37e8d0a7ffbe3866f3f7cdfcf4df9ec.jpg",[],{"id":104763,"slug":104764,"title":104765,"dynasty":76,"author":658,"museum":316,"description":8264,"tags":104766,"thumbUrl":104767,"material":599,"size":600,"collection":139,"collections":104768,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":49},290212,"jin-fen-shui-cun-tu-cheng-dong-gao-290212","金粉水村图成",[23,1260,24,29,7,97107,86,937,1981,981,808],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55825679e5d552e5fedfeb3363063b3a.jpg",[],{"id":104770,"slug":104771,"title":104772,"dynasty":76,"author":257,"museum":316,"description":104773,"tags":104774,"thumbUrl":104775,"material":599,"size":600,"collection":139,"collections":104776,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":49},290162,"shi-zi-tu-yi-ming-290162","狮子图","此图瑞兽造型奇趣，迥异写实雄狮。它面含憨态，双耳宽如垂扇，蓬卷鬃毛以浓淡墨色晕染堆叠，蓬松厚重如覆绒毡。躯体壮硕敦实，肌肉线条柔缓却暗含劲力，蜷曲上扬的长尾，带着不怒自威的气场，却又因圆钝的神态消解了凶戾，尽显拙朴萌态。\n背景以工笔绘山野幽境，苍松虬劲、流泉卷云，皴石施色雅致沉着，衬出瑞兽的超然气场。整体设色暖润细腻，工写兼具，将古人对瑞狮的浪漫想象与工整技法相融，意趣与匠气兼具。",[24,25,194,28,7,746,11893,1273,176,109],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc01b095a90d149a869114cef66deb4b7.jpg",[],{"id":104778,"slug":104779,"title":104780,"dynasty":256,"author":257,"museum":316,"description":104781,"tags":104782,"thumbUrl":104783,"material":599,"size":600,"collection":139,"collections":104784,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":94},289549,"attributed-to-john-carter-drawing-room-of-lea-castle-looking-west-yi-ming-289549","Attributed to John Carter--Drawing Room of Lea Castle, Looking West","整体是哥特复兴风格的雅致厅堂，层次错落的雕花藻井以青绿描金点缀，晕开复古华贵的底色。墙面拱壁龛柱搭配浮雕人像，庄重典雅之余带着复古仪式感。壁炉居于视觉中心，上方古典画作与对称排布的软包座椅相互呼应，边桌鎏金摆件柔和了建筑的冷硬肌理，铺陈出旧日宅邸的闲适氛围。\n水彩晕染柔和细腻，精准勾勒每一处雕花肌理，将中世纪复古形制与室内陈设的柔美融合，仿若将鎏金岁月凝于纸面，尽显古典宅邸的精致雍容，让人好似窥见旧日厅堂里衣香鬓影的松弛光景。",[86209,104,7,28333,8432,29068,86179,20335,100750],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbdffd9fcd1e4b98c5eb7752208451339.jpg",[],{"id":104786,"slug":104787,"title":104788,"dynasty":256,"author":257,"museum":316,"description":104789,"tags":104790,"thumbUrl":104792,"material":599,"size":600,"collection":139,"collections":104793,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":94},289541,"attributed-to-richard-parkes-bonington-the-proposal-recto-unfinished-drawing-yi-ming-289541","Attributed to Richard Parkes Bonington--The Proposal (recto); Unfinished drawing","水彩晕染铺就朦胧室内，跪地的华服男子姿态热切，指尖轻触女子裙摆，将爱慕与忐忑揉进动作中。白衣女子背身僵直，侧脸带着疏离的犹豫，华贵裙装的褶皱在水色晕染下柔润舒展，将她的迟疑具象为凝滞的身形。\n\n镜中窥伺的侍女藏起好奇，壁龛肖像沉在暖棕色调里，衬得这场私密求婚暧昧又紧绷。松弛的笔触晕开柔化色块，把心动与迟疑拉扯的情绪藏进朦胧画面，如同古典戏剧里按下暂停的一幕，将未尽的话语与涌动心绪定格在这方寸之间。",[106,7,78291,100877,19470,104791,59,19926],"求婚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12d0fddc1aa0b6b6676202dd8b89e051.jpg",[],{"id":104795,"slug":104796,"title":104797,"dynasty":256,"author":257,"museum":316,"description":104798,"tags":104799,"thumbUrl":104800,"material":599,"size":600,"collection":139,"collections":104801,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":94},289525,"aureliano-milani-hilly-landscape-with-three-figures-yi-ming-289525","Aureliano Milani--Hilly Landscape with Three Figures","以红粉笔晕开乡野意趣，前景虬曲古木占据左侧画面，苍劲枝干肆意舒展，叶片晕染出蓬松生机，深褐阴影稳稳锚定视觉重心。右侧坡地三两旅人暂作休憩，姿态松弛自然，为静谧山野晕开一抹烟火暖意。\n\n丘陵层叠向着远方漫延，错落村舍依山势铺陈，石砌屋宇与尖顶隐现于林木之间，光影顺着起伏山势缓缓铺展，将郊野的安闲松弛娓娓晕开。朴拙随性的笔触感揉合着山野的鲜活与悠然，把丘林乡野的松弛意态铺陈纸面，藏着独属于郊野的温柔闲静。",[68076,29,106,34,1981,63458,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbac8ac1049ce7cae64849dc0cc2e580.jpg",[],{"id":104803,"slug":104804,"title":104805,"dynasty":256,"author":257,"museum":316,"description":104806,"tags":104807,"thumbUrl":104811,"material":599,"size":600,"collection":139,"collections":104812,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":94},289523,"aurelio-luini-the-martyrdom-of-saint-lawrence-yi-ming-289523","Aurelio Luini--The Martyrdom of Saint Lawrence","这幅素描淡彩稿构图铺陈饱满，以明暗层次区分画面场域。左侧平民或信众哀恸惶恐，有人蜷缩在地，有人伸手呼号，将殉难的悲戚尽数流露。画面中央，身着朱红法衣的教会显贵神情肃穆，抬手的动作仿佛在传递最后的祷念，旁侧素色修士垂首静立，满含悲悯。右侧士兵倨傲冷漠，倚坐打量着这场悲剧，神色毫无波澜。\n\n淡彩晕开衣袍褶皱，线条既勾勒出人物的肌理情态，也将城邦街景晕染得极具氛围感。细腻笔触刻画出不同阶层的神态反差，把殉道时刻的神圣与悲怆定格，叙事张力十足，虽为稿本却情绪饱满厚重。",[260,6170,7,68076,11933,104808,104809,104810],"殉道场景","城市建筑","神职人员","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbbc826af976cb0d4799d99672a9a66cb.jpg",[],{"id":104814,"slug":104815,"title":104816,"dynasty":256,"author":257,"museum":316,"description":104817,"tags":104818,"thumbUrl":104821,"material":599,"size":600,"collection":139,"collections":104822,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":94},289486,"berthe-morisot-a-woman-seated-at-a-bench-on-the-avenue-du-bois-yi-ming-289486","Berthe Morisot--A Woman Seated at a Bench on the Avenue du Bois","以轻盈通透的水彩晕染，定格了松弛慵懒的午后闲憩瞬间。娴静端坐的女子头戴浅黄礼帽，温婉神态暗藏于简练的色块勾勒间，深色外套的利落笔触，和朦胧柔化的背景形成精妙反差。蓝白格纹雨伞成为视觉重心，水色交融晕开柔润光泽，随性灵动的笔触赋予其通透鲜活的质感。\n\n背景的林荫车马被淡彩虚化，暖褐与苍绿朦胧交织，将街头漫不经心的松弛氛围拉满。未做繁复描摹，仅以灵动写意的笔触捕捉日常瞬间的诗意内核，让闲适中的雅致情调在晕染的水色间缓缓流淌，将转瞬即逝的温柔日常定格为永恒的视觉诗行。",[86209,10039,86326,22445,104819,104820,20176,912,34,7,6170,67018],"雨伞","公园","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb558786407a4cffb7732631587b822a1.jpg",[],{"id":104824,"slug":104825,"title":104826,"dynasty":256,"author":257,"museum":316,"description":104827,"tags":104828,"thumbUrl":104830,"material":599,"size":600,"collection":139,"collections":104831,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":94},289293,"paolo-gerolamo-piola-standing-figure-of-apollo-with-a-lyre-yi-ming-289293","Paolo Gerolamo Piola--Standing Figure of Apollo with a Lyre","以淡蓝灰铺就底色，用白垩与深色线条塑就阿波罗身姿。裸身的太阳神肌肉线条柔而有张力，卷发垂肩，神态沉静高贵。他一手持里拉琴，仿佛余音仍在指尖流转，另一手握着神谕小瓶，松垮衣袍搭在臂间，垂坠褶皱舒展自然，衬出躯体挺拔舒展。\n\n作者以明暗晕染烘托形体，淡色底衬让白色躯体更显圣洁温润，寥寥几笔便勾勒出古典神祇的庄严俊美，将阿波罗的音乐天赋与神格威仪相融，带着古典主义的静穆优雅，每一处线条都诉说着希腊神祇的不朽魅力，简约精准地定格了太阳神的神性光辉。",[78291,6170,512,104829,195,68076,7],"阿波罗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F982f8a619e2e6e01d07afe9eb7a224a6.jpg",[],{"id":104833,"slug":104834,"title":104835,"dynasty":256,"author":257,"museum":316,"description":104836,"tags":104837,"thumbUrl":104840,"material":599,"size":600,"collection":139,"collections":104841,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":94},289283,"peter-flotner-perspectival-drawing-of-a-cradle-yi-ming-289283","Peter Flotner--Perspectival Drawing of a 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Ducks","虬曲古槐横亘画面，垂枝掩映出郊野猎归的松弛午后。猎手们斜靠木桥栏，目光追着水面叼回水禽的猎犬。石墙旁有人调笑着打理猎具，白犬亲昵蹭着主人裤腿。水面上群犬划破涟漪，扎入水中争抢猎物，对岸堤岸挤满围观村人，远处河湖交错，坡间小镇在淡彩晕染里朦胧柔和。\n\n细密素描勾出鲜活细节，淡彩晕开水汽与树荫的暖调，将郊野狩猎后的闲散日常揉进暮色里，不见猎杀的紧绷，只剩同侪打趣的松弛、乡邻围观的热闹，把质朴鲜活的乡野烟火气凝于纸面。",[78291,68076,7,106,78257,353,109,26395,3740,104848,104849],"河畔","狩猎场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F127f9839eb0b47413a4107bfda047cd6.jpg",[],{"id":104853,"slug":104854,"title":104855,"dynasty":256,"author":257,"museum":316,"description":104856,"tags":104857,"thumbUrl":104859,"material":599,"size":600,"collection":139,"collections":104860,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":49},289267,"pietro-malombra-the-emperor-frederick-barbarossa-submitting-yi-ming-289267","Pietro Malombra--The Emperor Frederick Barbarossa 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Dervish","画面里两人相对席地而坐，氛围恬然松弛。年轻人俯身托举酒盏，神态恭谦温顺；长髯老者捻须垂眸，沉静淡然，似在静悟交谈。背景花树悬坠鲜果，晕染出幽然世外的闲趣。\n\n整幅画作线条柔婉流畅，衣褶晕染细腻柔和，人物神情刻画入微，边框缠枝纹样繁复秀雅，烘托出古典静谧的氛围感，将贤者对坐的悠然禅意缓缓铺陈，传递出超脱世俗的闲适意境，尽显东方古典美学的沉静雅致。",[6170,104867,7,11933,19926,34,104868,1551],"细密画","对坐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F326697e5c29aa04550a1bebf97a2ca02.jpg",[],{"id":104872,"slug":104873,"title":104874,"dynasty":256,"author":257,"museum":316,"description":104875,"tags":104876,"thumbUrl":104878,"material":599,"size":600,"collection":139,"collections":104879,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":49},289211,"giuseppe-passeri-the-ecstacy-of-the-blessed-giacinta-marescotti-yi-ming-289211","Giuseppe Passeri--The Ecstacy of the Blessed Giacinta Marescotti","画面以棕褐调铺就虚实边界，榻上圣女神魂驰往，枯瘦手掌抬起迎向天国，案头骷髅暗喻俗世虚妄。上方云气翻涌，天使簇拥着显圣十字架，灵动排线勾勒出羽翼蓬松肌理与衣袂褶皱的张力，淡彩晕染让云霭柔化了凡俗与神域的分野。明暗晕染间神性降临的震颤呼之欲出，将神魂飞升的迷幻狂喜定格于纸面，肃穆笔触交织出信仰带来的极致精神冲击力，让观者仿佛能共情这份超越尘世的神魂激荡。",[8245,106,53799,3188,68076,7,104877,7586,103077],"神魂超拔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe22a980c7911fc9ee3da1e757490078f.jpg",[],{"id":104881,"slug":104882,"title":104883,"dynasty":256,"author":257,"museum":316,"description":104884,"tags":104885,"thumbUrl":104890,"material":599,"size":600,"collection":139,"collections":104891,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":801},289134,"master-of-liechtenstein-adoration-of-the-shepherds-yi-ming-289134","Master of Liechtenstein--Adoration of the Shepherds","整体以红调铺陈，画面左右形成强烈动静对冲。左侧士兵步履粗粝刚健，肌肉块面硬朗紧绷，带着惶惶赶路的仓促感，右侧圣家族与牧羊人们围在圣婴身侧，姿态虔诚柔和，满是静谧的朝拜敬意。残垣断壁的废墟背景衬出乱世荒蛮，却让中心的诞生场面愈显圣洁安宁。\n\n锐利线条勾勒出人物筋骨细节，红调晕染的明暗变化区隔出两类人物的气质反差，俗世的粗莽与神性的温柔在此碰撞，将这场朝拜绘就成荒乱中破土而生的温柔神迹，张力十足。",[8245,4005,7,106,104886,104887,104888,104889],"圣婴","牧羊人","残垣","朝拜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04071d3cb21c8c1f59446d46f96efecd.jpg",[],{"id":104893,"slug":104894,"title":104895,"dynasty":256,"author":257,"museum":316,"description":104896,"tags":104897,"thumbUrl":104899,"material":599,"size":600,"collection":139,"collections":104900,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":94},289099,"jean-henri-alexandre-pernet-architectural-capriccio-yi-ming-289099","Jean Henri Alexandre Pernet--Architectural Capriccio","这幅椭圆形构图的画，将怀古幽思藏在残垣之间。蚀损的古典柱廊爬覆着野藤，风化的肌理刻满时光的辙痕。中心雕像静立在泉台之上，缄默凝望这片被遗忘的旧景。\n三两行人散落其间，或围坐低语，或凭台远眺，让冷寂废墟漾开鲜活暖意。朦胧天光晕开柔淡雾色，为断壁残瓦覆上一层怀旧薄纱，将岁月的沧桑与日常的悠然融于一处，仿佛踏入被时光封存的梦境，指尖能触到旧时代残留的温柔余温。",[78291,68076,7,104898,29068,100965,106,34],"建筑废墟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5abfdb52e283776b76664df882beab8.jpg",[],{"id":104902,"slug":104903,"title":104904,"dynasty":256,"author":257,"museum":316,"description":104905,"tags":104906,"thumbUrl":104912,"material":599,"size":600,"collection":139,"collections":104913,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":94},289090,"jean-jacques-lequeu-longitudinal-and-cross-sections-yi-ming-289090","Jean Jacques Lequeu--Longitudinal and Cross Sections","这幅室内立面设计尽显新古典主义的典雅克制。左上与左下方案以对称门楣、浮雕壁龛为骨架，复刻大理石肌理凸显石材冷冽质感，雕塑与雕花壁柱烘托出庄重仪式感，将建筑理性融于形制细节。\n\n右上与右下则以布艺柔化空间氛围，湖蓝与墨绿帘幔呼应墙面浮雕，采光窗嵌入装饰逻辑，让规整的古典形制晕染出通透暖意。细密排线精准区分材质层次，将装饰美学与实用功能平衡统一，还原了法式贵族宅邸的优雅范式，是新古典室内设计的细腻范本，尽显克制奢华的古典美学意趣。",[86178,9841,104907,7,104908,104909,100965,104910,28333,104911],"室内设计","剖面图","壁饰","窗饰","古典装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0314a264bf4808629ccada37f5a55b60.jpg",[],{"id":104915,"slug":104916,"title":104917,"dynasty":256,"author":257,"museum":316,"description":104918,"tags":104919,"thumbUrl":104921,"material":599,"size":600,"collection":139,"collections":104922,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":94},289059,"katsukawa-shunsho-ichikawa-danzo-iii-as-a-samurai-drawing-yi-ming-289059","Katsukawa Shunshō--Ichikawa Danzo III as a Samurai Drawing","这是一幅充满张力的役者绘，夸张的红色隈取妆面搭配凌厉上扬的眉形，将武士桀骜狠戾的气场拉满，紧绷的下颌线条暗藏隐忍的锋芒。武士正蓄力拔剑，一手按鞘一手抽刃，赤足踏地，身姿紧绷，静中酝酿着一触即发的杀伐动感。\n\n宽袖和服纹样华丽复古，暖棕与朱红交织出沉稳又明艳的层次，衣褶线条流畅劲挺，精准衬出人物的力量感。利落的版画线条凝练传神，将舞台上武士的威严气场定格，尽显日式美学雅致又极具表现力的特质，鲜活还原了戏剧角色的硬汉神采。",[12745,106,7,26405,80429,104920,4006],"日式衣帽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F461b6d0e86d1039eb3dd4bbe59c14ba6.jpg",[],{"id":104924,"slug":104925,"title":104926,"dynasty":256,"author":257,"museum":316,"description":104927,"tags":104928,"thumbUrl":104935,"material":599,"size":600,"collection":139,"collections":104936,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":49},289036,"louis-comfort-tiffany-design-for-double-lancet-window-yi-ming-289036","Louis Comfort Tiffany--Design for double lancet window","这幅双联尖拱花窗沿用哥特教堂窗的经典形制，上下两组对窗搭配顶部圆窗，规整而庄重。修长花格间缠饰卷叶浮雕，四组圆形纹章成为视觉重心，复古纹绘暗含世家威仪。晕染的水彩晕开朦胧色彩，暖棕底色晕着琉璃蓝与赭石调，细腻还原彩玻通透的柔光质感，复刻中世纪彩窗的肃穆雅致。泛黄手稿晕着旧时光晕，将宗教建筑的庄重与装饰美学融于一体，留存下设计初始的细腻巧思。",[104929,104930,104931,104932,7,104933,104934],"彩窗设计","尖拱窗","徽章纹样","手绘稿","宗教装饰","哥特式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F61b6fcf8477aad6bd9d0baa738bdc64d.jpg",[],{"id":104938,"slug":104939,"title":104940,"dynasty":256,"author":257,"museum":316,"description":104941,"tags":104942,"thumbUrl":104944,"material":599,"size":600,"collection":139,"collections":104945,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":94},289033,"louis-galloche-kneeling-female-figure-holding-a-child-yi-ming-289033","Louis Galloche--Kneeling Female Figure Holding a Child","这是一幅兼具松弛感与表现力的习作，以红粉笔与石墨结合创作。作者着重刻画衣物质感，厚重裙装以细腻排线勾勒垂坠褶皱，光影晕染自然，将织物的柔软与重量感尽显无遗。暖调粉笔晕染上衣，与灰调裙身形成温柔冷暖对比，让人物层次分明。\n\n人物姿态缱绻温柔，虽未精细刻画面容，却借依偎的肢体传递出静谧的母性氛围。画面保留了未完成的淡线稿，与深入刻画的衣装形成虚实对照，将创作过程的灵动留存纸面，让观者得以窥见落笔时的思考轨迹，在未竟之中自成含蓄韵味。",[68076,6170,7,104943,2385],"跪姿女性","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7431d651600cf3d54f5f79667c1712b.jpg",[],{"id":104947,"slug":104948,"title":104949,"dynasty":256,"author":257,"museum":316,"description":104950,"tags":104951,"thumbUrl":104953,"material":599,"size":600,"collection":139,"collections":104954,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":94},289032,"louis-gustave-taraval-design-for-a-neoclassical-building-yi-ming-289032","Louis Gustave Taraval--Design for a Neoclassical Building","整体遵循严整对称的古典构图，以神庙形制为基底，粗犷隅石立面勾勒建筑轮廓，中央柱廊复刻多立克柱式的庄重肃穆，壁龛与檐部浮雕延续古典叙事性装饰脉络。分层水景从壁龛、中央柱厅逐层铺展跌落，刚硬石材与柔缓水流形成视觉对冲，消解纪念性建筑的沉郁感。顶端的胜利女神雕塑收束立面视觉，水彩晕染的浅灰天际柔化建筑冷硬感，将礼制秩序与灵动水景精妙糅合，尽显新古典主义的秩序美学，是纪念性建筑与造景艺术融合的典范设计。",[104,53798,104952,59511,102013,19467,7],"建筑设计","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3114e2cb293f258de761972a2fe46f48.jpg",[],{"id":104956,"slug":104957,"title":104958,"dynasty":256,"author":257,"museum":316,"description":104959,"tags":104960,"thumbUrl":104962,"material":599,"size":600,"collection":139,"collections":104963,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":94},289025,"louis-lagrene-e-the-resurrection-yi-ming-289025","Louis Lagrenée--The Resurrection","这幅祭坛画以复活的基督为视觉核心，他周身光晕环绕，挣脱墓茔昂首向天，神性威严喷薄而出。周遭罗马兵丁或瘫倒惊呼，或错愕失神，将神迹降临的震撼烘托到极致。\n\n华丽的教堂祭坛框架为画面镶边，鎏金饰纹配搭大理石立柱，帷幔垂坠柔润舒展，衬出祭台的庄严肃穆。下方圣坛与持炬天使承接整体氛围，让信仰的厚重感贯穿画面。淡彩晕染让光影层次柔和分明，将神圣光辉与宗教建筑的沉静质感相融，将救赎降临的瞬间永久定格，满溢着庄严虔诚的信仰力量。",[8245,7,104961,106,53799,3188,94338,35050],"耶稣复活","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2151a965e2c08718f14c905b3c6767c.jpg",[],{"id":104965,"slug":104966,"title":104967,"dynasty":256,"author":257,"museum":316,"description":104968,"tags":104969,"thumbUrl":104973,"material":599,"size":600,"collection":139,"collections":104974,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":94},288799,"phil-may-costume-drawing-for-little-john-yi-ming-288799","Phil May--Costume Drawing for Little John","这是一幅充满即兴创作感的舞台服装设计手稿。利落的速写线条勾勒出英气逼人的女扮男装造型，高顶羽毛窄檐帽衬出人物冷艳神情，黑色收身军装搭配撞色黄缎腰饰，硬朗的制服轮廓与腰肢柔线形成绝妙平衡，飒爽中暗藏柔美。\n\n手稿旁的手写批注细致标注面料与工艺，点明黑绒上衣配黄色开叉衬里、金扣镶边，既是鲜活的创作实录，也让设计兼具审美性与落地性。随性的手绘笔触与细碎批注，还原了构思过程的生动细节，带着复古剧场的浪漫质感，尽显舞台服饰兼顾造型张力与功能性的巧思。",[6170,101076,7,104970,409,22448,104971,104972],"服装设计图","手杖","戏剧造型","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bcd892502bb935191ed04e792e48971.jpg",[],{"id":104976,"slug":104977,"title":104978,"dynasty":256,"author":257,"museum":316,"description":104979,"tags":104980,"thumbUrl":104983,"material":599,"size":600,"collection":139,"collections":104984,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":94},288793,"pierre-antoine-baudouin-le-matin-morning-yi-ming-288793","Pierre Antoine Baudouin--Le Matin (Morning)","蓝调帷幔围起一方私密闺房，鎏金饰边晕着华贵暖意。榻上女子尚陷在晨睡余韵中，手臂交叠枕于脑后，肌肤被晨光晕出柔润光泽，慵懒松弛漫溢开来。男子止步侧身，目光凝向榻上，似被这晨间慵态绊住脚步，一旁孩童扯住他的衣袍，为这暧昧氛围添上几分稚拙的拉扯感。\n\n笔触细腻晕开织物褶皱的柔光，以雅致配色铺就贵族晨间日常图景，将洛可可式的缱绻意趣藏在光影里，让私邸晨光里的松弛与暧昧，都融在人物细微的神态互动间。",[3187,6170,8432,104981,59,22341,2385,7,70318,104982],"卧室","晨起","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ab80b5e9afb5f726df2bf7b031e3390.jpg",[],{"id":104986,"slug":104987,"title":104988,"dynasty":256,"author":257,"museum":316,"description":104989,"tags":104990,"thumbUrl":104994,"material":599,"size":600,"collection":139,"collections":104995,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":94},288784,"pierre-numa-bassaget-fashion-drawing-with-a-woman-seated-in-a-chair-yi-ming-288784","Pierre-Numa Bassaget--Fashion Drawing with a Woman Seated in a Chair","这幅水彩以柔润晕染铺陈开旧时光景。斜倚扶手椅的贵妇，珊瑚红软帽配同色蕾丝镶边晨衣，慵懒姿态里满是矜贵松弛感。身旁两个孩童相映成趣，女孩白纱绣裙蓬松雅致，男孩风琴褶上衣带着复古俏皮，仰头的神态似在软声诉说童趣日常。低饱和色调晕开朦胧温柔的氛围，将上流宅邸的午后闲情定格，仿佛能听见童声软语和贵妇含笑的轻应，把闺阁细碎的暖意揉进纸面，晕成一首安静的复古情诗。",[86209,7,6170,104991,104992,2385,8432,104993],"时装画","贵妇","欧式服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6aec5d0a21f79315420cb6d2d129cf14.jpg",[],{"id":104997,"slug":104998,"title":104999,"dynasty":256,"author":257,"museum":316,"description":105000,"tags":105001,"thumbUrl":105004,"material":599,"size":600,"collection":139,"collections":105005,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":49},288749,"school-of-raphael-fragment-of-a-tapestry-cartoon-foot-in-a-buskin-yi-ming-288749","School of Raphael--Fragment of a Tapestry Cartoon Foot in a Buskin","这处残片将服饰质感描摹得极具张力，鞣制皮革的粗粝肌理顺着靴面自然延展，编织系带错落咬合，褶皱起伏间明暗层次分明，将金属扣件的冷硬与蝴蝶结饰的柔润形成鲜明反差。一旁织物的回纹古典规整，纹样勾勒利落凝练，衬出戎装靴履的威严厚重。背景植被晕染柔和朦胧，与主体的精细刻画形成虚实对比，以局部见整体，尽显写实技法的精湛功力，将古典戎装的工艺考究与威仪质感凝缩于方寸残片之中。",[78291,105002,105003,7,8170,9383,264],"人物局部","靴履","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2132753c942d6d831ee2c71fbfb2cc3.jpg",[],{"id":105007,"slug":105008,"title":105009,"dynasty":256,"author":257,"museum":316,"description":105010,"tags":105011,"thumbUrl":105015,"material":599,"size":600,"collection":139,"collections":105016,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":94},288740,"sebald-beham-the-presentation-of-the-infant-jesus-in-the-temple-yi-ming-288740","Sebald Beham--The Presentation of the Infant Jesus in the Temple","圆形画面将圣典瞬间凝于方寸，遒劲利落的线条勾勒出人物衣褶起伏与神态细节，淡彩晕染烘托出柔和沉静的氛围。前景女子躬身献礼，姿态虔诚庄重，老者托举圣婴，面容饱含慈爱肃穆，其余人物或持杖静立凝视，或低语慨叹，神情各有层次，生动还原了献祭时刻的庄严肃穆。整体构图饱满紧凑，以细密线条铺陈叙事，将神性的庄重与人性的真挚相融，带着质朴写实的质感，让这宗教圣典的瞬间拥有了触动人心的沉静力量。",[8245,6170,11370,7,105012,104886,105013,105014],"圣殿","圣经故事","宗教仪式","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8b0eea555a35443dd9ac34c02d08779.jpg",[],{"id":105018,"slug":105019,"title":105020,"dynasty":256,"author":257,"museum":316,"description":105021,"tags":105022,"thumbUrl":105024,"material":599,"size":600,"collection":139,"collections":105025,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":49},288635,"jean-baptiste-deshays-phryne-before-the-areopagus-yi-ming-288635","Jean-Baptiste Deshays--Phryne Before the Areopagus","这幅稿作用赭色浓淡铺陈光影，勾勒出喧嚷的法庭场域。前景跪地的躯体奋力伸展手臂，带着哀恳与申辩的张力，将视线锚向高台肃穆的审判者。廊柱分割开空间，把焦灼的人群与端坐的法官区隔开来，晕染的暗部烘托出紧绷的氛围，仿佛能听见场中沸沸的议论与抗辩的声息。\n作者以奔放的线条捕捉人物情绪起伏：有人交头接耳私语，有人愤然争执，有人怆然动容。潦草却精准的笔触，将这场审判的戏剧张力凝于纸面，定格了人性在律法与情欲间拉扯震颤的瞬间。",[68076,7,3190,2954,105023,8432],"法庭场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f778f38edf98897cdb02c85211def16.jpg",[],{"id":105027,"slug":105028,"title":105029,"dynasty":256,"author":257,"museum":316,"description":105030,"tags":105031,"thumbUrl":105034,"material":599,"size":600,"collection":139,"collections":105035,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":94},288581,"attributed-to-francesco-allegrini-the-library-of-pergamus-given-to-cleopatra-yi-ming-288581","attributed to Francesco Allegrini--The Library of Pergamus Given to 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Ware）在古时被称为“金”或“吉金”，是红铜与其他化学元素锡、铅等的合金，刚刚铸造完成的青铜器是金色，但因为出土的青铜因为时间流失产生锈蚀后变为青绿色，被称为青铜。\n青铜器的使用开始于新石器时代晚期的土耳其和伊拉克地区，及叙利亚古代TellRamad遗址出土的铜珠等。中国青铜器开始于马家窑至秦汉时期，以商周时期的器物最为精美。在中国仰韶文化早期和马家窑文化时期就已经出现。\n中国最初出现的是小型工具或饰物。夏代始有青铜容器和兵器。商中期，青铜器品种已很丰富，并出现了铭文和精细的花纹。商晚期至西周早期，是青铜器发展的鼎盛时期，器型多种多样，浑厚凝重，铭文逐渐加长，花纹繁缛富丽。随后，青铜器胎体开始变薄，纹饰逐渐简化。春秋晚期至战国，由于铁器的推广使用，铜制工具越来越少。秦汉时期，随着陶器和漆器进入日常生活，铜制容器品种减少，装饰简单，多为素面，胎体也更为轻薄。\n中国青铜器制作精美，在世界青铜器中享有极高的声誉和艺术价值，代表着中国5000多年青铜发展的高超技术与文化。\n我国商、周时代的青铜器具，不单是盛物用的容器，同时也是宗庙中的礼器。青铜器的数量可以表示出身份地位的高低，青铜器形制的大小也可以显示出权力的等级。青铜器中，最重要的器类就是鼎。远古的青铜器可以分为食器、酒器、水器、乐器四大类。食器中包括鼎、鬲等等。其中鼎是最重要的礼器。\n西周中晚期我国形成了列鼎制度，据《春秋公羊传》记载，天子用9鼎，诸侯用7鼎、卿大夫用5鼎、士用3鼎或1鼎。同时。与鼎一同出现的还有簋，通常为九鼎八簋，七鼎六簋，五鼎四簋，三鼎二簋。在西周中晚期的墓葬制度中，鼎为单数而簋为双数。青铜鼎随着时代的发展，形制也在发生变化。商代早期多为圆腹尖足，也有方鼎。到了中期出现了扁足鼎等等。商代晚期尖足鼎逐渐减少，圆腹柱足鼎开始居多，鬲鼎逐渐多了起来。《尔雅》记载“鼎之款足者，谓之鬲”。鬲鼎也称为分裆鼎，是鬲和鼎的混合体，鼎从商代开始铸有各式样的神秘纹饰，多为兽面纹，如饕餮纹、蝉纹、象纹等等，纹饰变化巧妙。容器内部铸有族徽或祖先的名字。\n青铜是铜和锡铅的合金。在中国古代早期的工艺美术中青铜工艺成为奴隶社会工艺美术的典型代表是我们的祖先对人类物质文明的巨大贡献。商周时期是中国历史上的青铜时代，它以品类丰富、造型优美、纹饰华丽、制作精巧、风格独特而著称。此时是冶炼铸造技术可以说有了突发猛进的发展，在应用上具有广泛的适用性。成为中国艺术史的一个组成部分。本文以商周时期的青铜器主要代表作品作品：《后母戊大方鼎》、《盂鼎》为例，从青铜器作为“礼器”的艺术精神与青铜器的造型、装饰艺术特点来谈谈商周青铜器艺术。\n中国古代青铜器，就使用规模、铸造工艺、造型艺术及品种而言。中国古代青铜器在世界艺术史上占有独特地位。商周时期是中国历史上的青铜时代，青铜流行于新石器时代晚期至秦汉时代。以商周器物最为精美，品种已很丰富器型多种多样，并出现了铭文和精细的花纹浑厚凝重。商周青铜器艺术装饰承接新石器时代艺术中若干精髓，经过长期绵延不断的变化，形成独特的体系，在成为中国艺术史的一个组成部分。商周时期，青铜的冶炼业作为生产力的标志而达到高峰。是中国古代青铜器发展的鼎盛时期。",[37774,6767,7,108441,229],"涡纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e7e3589b5dd8861ad1bc59303e36f08.jpg",[],{"id":108445,"slug":108446,"title":108447,"dynasty":76,"author":257,"museum":316,"description":51738,"tags":108448,"thumbUrl":108450,"material":599,"size":600,"collection":139,"collections":108451,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":49},248923,"qian-li-kuan-hei-qi-qian-luo-dian-hua-die-wen-yuan-pan-yi-ming-248923","千里款黑漆嵌螺钿花蝶纹圆盘",[37774,77072,320,83,62,873,108449,229,7],"圆盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c1770c689640df526826cfb04ad69e7.jpg",[],{"id":108453,"slug":108454,"title":108455,"dynasty":99,"author":257,"museum":316,"description":108456,"tags":108457,"thumbUrl":108458,"material":599,"size":600,"collection":139,"collections":108459,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":2504},248878,"kuan-cai-ai-e-tu-cha-ping-yi-ming-248878","款彩爱鹅图插屏","此作以款彩工艺铺陈羲之爱鹅典故，黑漆为底填施彩漆，描金勾勒筋骨。雅士与凌波而行的童子相映，童子怀拥白鹅，二人神态悠然相和。虬劲松枝斜探，青绿山水晕染出雅致湖山之景。边框描金螭纹团纹环饰，华丽古雅。构图疏密相宜，将魏晋名士的风流逸趣藏于漆色晕染中，把文人慕鹅的雅事定格于髹漆木面，尽显古雅精细的审美意趣，是兼具叙事性与装饰性的漆绘佳例。",[194,24,7,82643,37774,106,7355,1273,176],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02e48edfacbe06449491f9dfb82b8740.jpg",[],{"id":108461,"slug":108462,"title":108463,"dynasty":76,"author":257,"museum":316,"description":108464,"tags":108465,"thumbUrl":108466,"material":599,"size":600,"collection":139,"collections":108467,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":94},248871,"miao-cai-qi-ba-bao-wen-zhan-tuo-yi-ming-248871","描彩漆八宝纹盏托","这套茶器造型饱满圆融，酱褐色漆地之上，以阴刻卷草为锦地，描金晕彩绘就牡丹，花瓣饱满妍丽，枝叶晕染出柔润层次，将盛放之姿定格于盏身。托面卷草纹间暗饰八宝，吉祥寓意隐于雅致纹饰中。足托摹古青铜器蕉叶纹，描金勾棱，规整端庄，尽显沉稳大气。\n\n髹漆匀净莹润，彩饰浓淡相宜，无艳俗之感，将吉祥意趣融于日常茶事，把文人清雅意趣和传统吉庆内涵揉合，在方寸茶器间尽显古典造物美学的精巧韵味。",[320,37774,87066,7,229,97710],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6321bfcaa7af55b1452d48474159c2c.jpg",[],{"id":108469,"slug":108470,"title":108471,"dynasty":76,"author":257,"museum":316,"description":27801,"tags":108472,"thumbUrl":108473,"material":599,"size":600,"collection":139,"collections":108474,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":94},248831,"ti-hong-chan-zhi-lian-wen-kai-guang-ren-wu-tu-tian-qiu-ping-yi-ming-248831","剔红缠枝莲纹开光人物图天球瓶",[320,37774,5513,92304,41344,106,72249,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd42bb0f6c6cd57a612d105bf7e0f6f50.jpg",[],{"id":108476,"slug":108477,"title":108478,"dynasty":76,"author":257,"museum":316,"description":48958,"tags":108479,"thumbUrl":108480,"material":599,"size":600,"collection":139,"collections":108481,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":2504},248754,"miao-cai-qi-hua-hui-wen-chang-fang-he-yi-ming-248754","描彩漆花卉纹长方盒",[37774,87066,7,84,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F043e0ccb23af4a1432ad54c7d67f5f4a.jpg",[],{"id":108483,"slug":108484,"title":92257,"dynasty":76,"author":257,"museum":316,"description":48958,"tags":108485,"thumbUrl":108486,"material":599,"size":600,"collection":139,"collections":108487,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":49},248753,"hei-qi-miao-jin-shan-shui-ren-wu-tu-he-yi-ming-248753",[37774,11726,29,106,107,7,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6adc59494b91db7b37b6f6f45492b6f5.jpg",[],{"id":108489,"slug":108490,"title":108491,"dynasty":99,"author":257,"museum":316,"description":92228,"tags":108492,"thumbUrl":108493,"material":599,"size":600,"collection":139,"collections":108494,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":94},248736,"zhu-qi-miao-jin-shan-shui-ren-wu-yuan-he-yi-ming-248736","朱漆描金山水人物圆盒"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(England)",[10039,93921,106,93937,93938,110681,110843,7,3193,110844],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3541a5516cc77fe9f0069b55458e2dc8.jpg",[],{"id":111410,"slug":111411,"title":111412,"dynasty":256,"author":65588,"museum":316,"description":65589,"tags":111413,"thumbUrl":111415,"material":599,"size":600,"collection":139,"collections":111416,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":94},231989,"de-jia-6-de-jia-231989","德加6",[10039,93985,7,106,7699,65572,912,111414,32061],"速写笔触","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb00398c9f1940c161bc44001b22ddfb5.jpg",[],{"id":111418,"slug":111419,"title":111420,"dynasty":256,"author":65588,"museum":316,"description":65589,"tags":111421,"thumbUrl":111422,"material":599,"size":600,"collection":139,"collections":111423,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":94},231988,"study-for-the-portrait-of-josephine-gaujean-hamburger-kunsthalle-germany-de-jia-231988","Study for the Portrait of Josephine Gaujean - - Hamburger Kunsthalle (Germany)",[3187,106,11296,63,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F910d734c0d3b91fd35d3a953969fa537.jpg",[],{"id":111425,"slug":111426,"title":111427,"dynasty":256,"author":65588,"museum":316,"description":65589,"tags":111428,"thumbUrl":111430,"material":599,"size":600,"collection":139,"collections":111431,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":2504},231986,"sulking-circa-metropolitan-museum-of-art-usa-de-jia-231986","Sulking - circa - Metropolitan Museum of Art 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绘图卷-9",[23,194,25,26,7,106,150,114,260,26405,17266],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc72421c1d6759f4e6f4b4a77cf7b2b0.jpg",[],{"id":111456,"slug":111457,"title":111458,"dynasty":256,"author":257,"museum":316,"description":111459,"tags":111460,"thumbUrl":111461,"material":599,"size":600,"collection":139,"collections":111462,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":94},231811,"ri-guang-shan-tu-xia-juan-yi-ming-231811","日光山图下卷","此作为全景纪行山水，以鸟瞰视角铺展河岳胜状。蜿蜒江流以流畅往复的曲线摹写水势回旋奔涌，浪纹层叠尽显烟波灵动。两岸峰石以淡墨勾廓，青灰敷色晕出山峦肌理，苍松错落植于崖畔坡地，笔致简雅秀润。\n\n整作兼具纪实性与抒情意趣，既摹绘出河湾萦回的实景地貌，又以浅设色晕染出林泉幽深的雅境，江流回转间尽显造化灵韵，淡彩轻岚晕开静穆清旷的古意，暗含悠远超脱的林下襟怀。",[23,24,25,26,7,29,31,808,1273,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0953a25ed12ed128374d5b5a49110ac6.jpg",[],{"id":111464,"slug":111465,"title":111466,"dynasty":256,"author":257,"museum":316,"description":111467,"tags":111468,"thumbUrl":111469,"material":599,"size":600,"collection":139,"collections":111470,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":94},231802,"ri-guang-shan-tu-shang-juan-yi-ming-231802","日光山图上卷","此作用淡彩晕染山野川泽，青绿点染层峦植被，浅赭勾勒山石肌理，萦回水网穿梭于滩渚之间，茅舍行人点缀岸畔，将幽谷行旅的幽寂实景铺展开来，留白晕合烟岚，尽显林泉悠远之致。\n\n右侧题以行书长文，记述行路见闻与风物感触，图文相映，兼具纪胜写景与行旅笔录的意趣。笔致简淡古雅，把旅途中的山野实景与羁旅心绪相融，朴拙间带着独有的质朴悠然，将远行途中的林泉之美与行路感怀娓娓道来。",[23,24,26,7,29,34,176,809,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdaf5e7698789495a054b25e42eb7a8a2.jpg",[],{"id":111472,"slug":111473,"title":111474,"dynasty":256,"author":257,"museum":316,"description":111475,"tags":111476,"thumbUrl":111477,"material":599,"size":600,"collection":139,"collections":111478,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":94},231796,"chun-ri-ji-li-xing-fu-xing-shi-zhong-juan-yi-ming-231796","春日祭礼兴福行事中卷","这卷长卷以细密的叙事铺陈出祭礼游行全景，行列从左向右次第铺展，节律井然。开篇是制式严整的幡旗仪仗，执役者衣饰齐整肃穆，旁题墨字标注职守，尽显武家仪典的规整威仪。\n中段渐入鲜活世相，随行人员衣色渐趋丰富，神态舒展各异，带着市井的烟火暖意。末段礼祭核心仪仗尽显隆重，兵器幡幢形制琳琅，色彩明快醒目，抬舆队列庄重威严，完整复刻出这场祭礼的盛大仪轨，将武家礼制与民俗祭典的融合尽显纸上。",[23,24,25,26,7,106,28,2439],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba2cc0cbf58883d46c35d6edb45ba1e8.jpg",[],{"id":111480,"slug":111481,"title":111482,"dynasty":256,"author":17581,"museum":316,"description":94027,"tags":111483,"thumbUrl":111484,"material":599,"size":600,"collection":139,"collections":111485,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":94},231783,"xin-gui-shan-yuan-qi-hui-juan-3-niao-yu-seng-zheng-jue-you-231783","信贵山缘起绘卷-3",[23,25,26,7,173,29,10383,34,245,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc95963f964a4df718b94fa44e04db5f1.jpg",[],{"id":111487,"slug":111488,"title":111489,"dynasty":256,"author":257,"museum":316,"description":111490,"tags":111491,"thumbUrl":111492,"material":599,"size":600,"collection":139,"collections":111493,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":94},231778,"gu-hua-fen-ben-hua-ce-yi-ming-231778","古画粉本 画册","此作为水墨写意小品，笔简意丰。淡墨寥寥勾勒出驴子缓步的情态，形神兼备，简劲空灵。老者身披浅黄衣衫，造型稚拙古雅，神态悠然超脱。画面奇趣横生，将扁舟置于老者头顶，打破日常图景，揉合出行与泛舟的意象，带着老庄式的出世逍遥，尽显世外高人的放旷襟怀。浅淡设色与水墨晕染相映，留白舒朗宽和，以极简笔墨铺陈出悠远禅韵，把东方写意的留白美学发挥尽致，随性天真的笔意中，藏着文人画独有的清逸玄思，予人悠长遐思。",[23,24,25,81,173,7,106,150,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb2c10766e1f1a1ce84d1a9033d6f85c0.jpg",[],{"id":111495,"slug":111496,"title":111497,"dynasty":256,"author":257,"museum":316,"description":111498,"tags":111499,"thumbUrl":111500,"material":599,"size":600,"collection":139,"collections":111501,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":94},231727,"lian-cang-shi-dai-tian-gou-cao-zhi-ci-shu-yan-li-si-juan-yi-ming-231727","镰仓时代 天狗草纸词书延历寺卷","此卷以蓝褐晕染仿云石纹作底，水纹漫卷如云似浪晕开古雅底色。和样草书随性铺陈，墨色苍润灵动，线条舒展跳脱，兼具手札书写的松弛自在，又带着写经书法的沉静法度。字势随底色纹理错落排布，文字与背景浑然相融，将抄录文本化为流动的视觉诗篇，藏着中古东瀛艺文的幽玄意趣，尽显彼时书风的随性雅韵。",[26,25,86,18387,7,29,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa24626224e7722161fd40d2d77af2042.jpg",[],{"id":111503,"slug":111504,"title":111505,"dynasty":256,"author":68029,"museum":316,"description":68030,"tags":111506,"thumbUrl":111507,"material":599,"size":600,"collection":139,"collections":111508,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":94},231718,"shi-ting-shi-dai-xing-guang-si-yuan-qi-hua-juan-shang-xia-juan-shang-tu-zuo-guang-xin-231718","室町时代 星光寺缘起画卷上下卷(上)",[23,26,7,28,173,86,260,106,114,87460,31,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff08f845d4267b66329c851c6fa146083.jpg",[],{"id":111510,"slug":111511,"title":111512,"dynasty":256,"author":257,"museum":316,"description":111513,"tags":111514,"thumbUrl":111515,"material":599,"size":600,"collection":139,"collections":111516,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":49},231715,"jiang-hu-shi-qi-shu-hua-he-juan-yi-ming-231715","江户时期 书画合卷","此作为书画合璧之卷，右幅绘临水古松虬曲苍劲，朱衣士人凭松而立，静览沧波。青绿淡敷远山浅岸，浪纹层叠带着古朴和风意趣，人物形神悠然，尽显幽寂闲雅的林下之致。左侧假名书法笔势舒展流丽，墨韵与画意呼应相融，整体设色温婉古雅，晕开清寂悠远的侘寂之美，书画相映间尽显旧时风雅意趣。",[23,25,26,18387,7,106,29,408,686,34,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febadd9c0467b29075d6488fc52a1c20f.jpg",[],{"id":111518,"slug":111519,"title":111520,"dynasty":256,"author":257,"museum":316,"description":111521,"tags":111522,"thumbUrl":111525,"material":599,"size":600,"collection":139,"collections":111526,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":94},231713,"lian-cang-shi-dai-man-you-shang-ren-chuan-hua-juan-jia-juan-yi-ming-231713","镰仓时代 漫游上人传画卷-甲卷","这卷长卷以三段铺陈世相：左侧雅堂内宾主列坐，甲士侍从肃立阶下，仪制俨然；中段抬舆缓行，朱顶水榭静立岸旁，晕出行旅闲寂；右侧郊野间众人云集，或围坐歇憩、或汲水备餐，满是市井烟火气。\n以淡彩白描绘就，线条舒展清劲，场景排布张弛有度，将庄重仪礼与质朴日常串联，细腻复刻出当时社会的参差风貌，笔底带着平和的叙事感，让往昔人间的鲜活图景跃然纸上。",[23,26,7,28,104,106,107,115,114,111523,2168,111524,55035,12423,280],"群体活动","饮食器具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dfca485789b0332e45e5e28be4af44e.jpg",[],{"id":111528,"slug":111529,"title":111530,"dynasty":256,"author":257,"museum":316,"description":111531,"tags":111532,"thumbUrl":111536,"material":599,"size":600,"collection":139,"collections":111537,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":94},231712,"lian-cang-shi-dai-man-you-shang-ren-chuan-hua-juan-yi-juan-yi-ming-231712","镰仓时代 漫游上人传画卷-乙卷","此卷铺展古寺盛事，左侧连廊雅客凭栏观礼，衣袂舒展尽显闲雅意态。乌袍僧众沿朱红廊道列队徐行，阵容齐整，气度端严。五层宝塔朱栏青瓦醒目矗立，是整幅画面的视觉重心。右侧凭水高台楼阁错落，各色行人往来穿梭，伞具、和服纹样细腻鲜活。\n\n淡彩平涂晕染出古雅底色，线条勾勒屋宇形制谨严，人物排布疏密有致，将佛事的庄重与市井烟火交织，还原出盛会的热闹图景，笔致质朴却满溢古远的风物意趣。",[23,194,26,24,7,10687,260,111533,106,19430,107,111534,111535,120,38678],"佛事","宝塔","连廊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85cb4b17309fb59ae189d0bef73a2dac.jpg",[],{"id":111539,"slug":111540,"title":111541,"dynasty":256,"author":257,"museum":316,"description":111542,"tags":111543,"thumbUrl":111544,"material":599,"size":600,"collection":139,"collections":111545,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":94},231705,"jiang-hu-shi-qi-shan-shui-ren-wu-juan-yi-ming-231705","江户时期 山水人物卷","这卷绘作融书画为一体，右侧设色山水清隽雅致，金箔晕染出水岸朦胧柔光，苍松石崖静立汀洲，笔墨轻简却带着幽远空寂的意境。左侧手书墨色温润柔雅，与绘景相映成趣，留白处金箔碎点如沙洲浮絮，晕开慵懒闲淡的侘寂氛围。整体将山水幽居之静与文思雅韵相融，淡墨轻色间藏着和风独有的闲寂意趣，晕染出一卷清和悠远的林下幽思。",[23,24,25,26,7,29,106,1273,86,178,245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2414dbd1ce707a942ef33860aad41545.jpg",[],{"id":111547,"slug":111548,"title":111549,"dynasty":256,"author":257,"museum":316,"description":111550,"tags":111551,"thumbUrl":111552,"material":599,"size":600,"collection":139,"collections":111553,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":94},231703,"jiang-hu-shi-qi-xiang-cun-gu-shi-hui-shang-bu-yi-ming-231703","江户时期 乡村故事绘(上部)","这卷以和风连绵草书铺陈，笔势舒展流丽，墨色浓淡自然晕开在古旧楮纸之上，与右侧设色小景相映成趣。笔锋起落带着悠然节律，将乡野絮语藏在笔墨之中，江户文雅意趣融在每一道线条里。古纸沉淀的岁月痕迹晕开温润旧意，文字叙事与绘面衔接晕染出质朴的庶民故事氛围感，沉静古雅的书卷气息扑面而来，将乡野旧时光的温柔质感静静铺展。",[26,86,18387,7,29,12745,27379,55035,94090,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F80420ecce5b9e82eb0852c95e4defa3b.jpg",[],{"id":111555,"slug":111556,"title":111557,"dynasty":256,"author":257,"museum":316,"description":111558,"tags":111559,"thumbUrl":111561,"material":599,"size":600,"collection":139,"collections":111562,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":94},231649,"ji-shi-tu-juan-yi-ming-231649","记事图卷","此卷以清隽墨线勾勒世情百态，淡彩敷色古雅沉着，将中古日常铺展于泛黄绢素之上。画面人物排布错落有致，峨冠贵族席坐清谈，役人各司其职营生劳作，稚童嬉闹穿行其间，鲜活意趣藏于笔底。\n\n线条秀逸简练，带着古拙笔意，斑驳岁月痕迹里，留白与叙事交织，静静晕开市井烟火的松弛暖意，仿佛将千年前的寻常街巷铺展于眼前，让观者在古旧的温雅质感里，触摸到往昔平和的日常肌理。",[24,25,26,7,28,106,63,229,111560,989],"使用","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21abec46f773453097cc484606a57dcc.jpg",[],{"id":111564,"slug":111565,"title":111566,"dynasty":256,"author":68029,"museum":316,"description":68030,"tags":111567,"thumbUrl":111568,"material":599,"size":600,"collection":139,"collections":111569,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":49},231640,"shi-ting-shi-dai-tao-jing-zhi-quan-xiang-tu-zuo-guang-xin-231640","室町时代 桃井直诠像",[24,25,226,7,106,1273,409,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fceb0291c0fa26cf81ea3b414ab00eb4d.jpg",[],{"id":111571,"slug":111572,"title":111573,"dynasty":256,"author":257,"museum":316,"description":111574,"tags":111575,"thumbUrl":111578,"material":599,"size":600,"collection":139,"collections":111579,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":94},231639,"ping-an-shi-dai-ao-zhi-xi-dao-tu-juan-shang-juan-yi-ming-231639","平安时代 奥之细道图卷上卷","此卷以书为骨，以绘为韵，行草笔墨流丽舒朗，排布疏密得宜，墨色温雅古润，满卷漾着清逸书卷气。其间点缀设色小景与人物，线条简淡写意，晕染柔雅清和，将行旅心绪与沿途风物悄然融于纸间。文图相映成趣，既是一卷书法长轴，亦是一帧叙事绘卷，缓缓铺展出行途里的幽怀见闻，旧纸晕开的岁月质感里，藏着往昔漫游的风雅意趣，让千里行旅的悠悠况味，随笔墨缱绻流淌。",[26,25,18387,7,106,3960,111576,498,173,6508,111577],"风物","书卷气","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0af89c2ede874d3ec6811ddc9386a1e0.jpg",[],{"id":111581,"slug":111582,"title":111583,"dynasty":256,"author":257,"museum":316,"description":111584,"tags":111585,"thumbUrl":111586,"material":599,"size":600,"collection":139,"collections":111587,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":94},231634,"lian-cang-shi-dai-fa-ran-shang-ren-chuan-hua-juan-yi-ming-231634","镰仓时代 法然上人传画卷","这卷绘卷以图文合璧的形式铺陈，左畔假名笔致清丽柔婉，与右侧设色浅雅的场景彼此呼应。画师以工致界画勾勒屋舍廊宇，晕染柔和的衣袂衬出人物行止风貌，青绿淡点的草木晕开悠然禅意，将弘法开宗的历程藏进院政时代的仪礼日常里。浅赭底色晕开岁月温黄，笔底既还原中古宗教风貌，又将信仰的沉静融在叙事笔墨中，是兼具史料价值与绘艺美感的古雅长卷。",[26,7,104,86,106,107,260,28,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f6ca833e3178ddccc303a803f8aec7b.jpg",[],{"id":111589,"slug":111590,"title":111591,"dynasty":256,"author":101208,"museum":316,"description":111592,"tags":111593,"thumbUrl":111594,"material":599,"size":600,"collection":139,"collections":111595,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":94},231605,"yong-fu-hua-tie-3-ce-ce-yi-shan-tian-zhi-san-lang-231605","雍府画帖.3册（册一）","浅米纸色晕着柔淡石青余韵，古旧拓痕似偶然留存的残饰遗影。卷草虬结缠绕，线条婉转舒展，带着复古装饰的柔雅肌理。朦胧晕染的边缘消解了规整感，如同旧物辗转间留下的温柔印刻，在素朴纸面上晕开松弛沉静的氛围。\n\n全幅无浓艳着色，凭淡色余痕传递旧时光里的精致，将装饰纹样的华丽隐在浅淡朦胧中。简淡里藏着细腻工艺的余温，仿佛带着旧物摩挲过的温润质感，让静态纸面漫开悠悠复古意趣。",[25,81,7,6322],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F129f77ef5c0c8022bdfe4d5809b38d4e.jpg",[],{"id":111597,"slug":111598,"title":111599,"dynasty":256,"author":101208,"museum":316,"description":111600,"tags":111601,"thumbUrl":111602,"material":599,"size":600,"collection":139,"collections":111603,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":94},231604,"yong-fu-hua-tie-3-ce-ce-er-shan-tian-zhi-san-lang-231604","雍府画帖.3册册二）","淡赭色纸面晕着经年旧痕，浅绿拓印纹样如被时光揉碎的古雅碎片。卷草缠枝婉转舒展，柔丽线条带着斑驳残缺，似古砖旧瓦上的纹饰偶然留存。朦胧晕染色块消解了边界，将古韵融在松弛留白里，未做满幅铺陈，只以残痕传递沉静悠远的美感，将旧时光里的温柔意绪悄然定格，带着侘寂的沉静诗意，仿若一场跨越岁月的温柔邂逅，把古朴雅致的美学藏在朦胧晕染之间。",[25,81,173,7,352],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0c739bed165ec9297231eeb38863564.jpg",[],{"id":111605,"slug":111606,"title":111607,"dynasty":256,"author":68073,"museum":316,"description":68074,"tags":111608,"thumbUrl":111609,"material":599,"size":600,"collection":139,"collections":111610,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":49},231168,"su-miao-422-xi-fang-231168","素描422",[68076,7,8377,59,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a75a0353bef5ea72ab3f3df0c64dbe6.jpg",[],{"id":111612,"slug":111613,"title":111614,"dynasty":256,"author":68073,"museum":316,"description":68074,"tags":111615,"thumbUrl":111616,"material":599,"size":600,"collection":139,"collections":111617,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":94},231148,"su-miao-402-xi-fang-231148","素描402",[100877,7,84,2895,3074,553,88116,2594,101249],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52d25f577af61c9515d6810ee3a10236.jpg",[],{"id":111619,"slug":111620,"title":111621,"dynasty":256,"author":68073,"museum":316,"description":68074,"tags":111622,"thumbUrl":111623,"material":599,"size":600,"collection":139,"collections":111624,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":49},231143,"su-miao-397-xi-fang-231143","素描397",[68076,7,106,59,65],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd707bd71df536deebd86e71bd360ae4.jpg",[],{"id":111626,"slug":111627,"title":58813,"dynasty":99,"author":102453,"museum":316,"description":111628,"tags":111629,"thumbUrl":111630,"material":139,"size":139,"collection":139,"collections":111631,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":94},231012,"hua-shou-xing-feng-xiao-231012","淡墨轻晕，慢笔勾染出老翁风神。面庞圆润褶皱舒缓，垂髯飘洒，眼含温笑，褪去仙道的凌虚高渺，尽显乡野隐者的矍铄亲和。衣纹以游丝铁线勾勒，朴拙灵动，粗麻短褐、草履造型写实，全然不见仙官华贵，俨然市井间悠游的寻常老者。\n画面搭配长篇馆阁体题咏，笔墨端稳秀雅，与人物笔意呼应相融。弃用仙桃、灵鹤这类俗套瑞物，借题咏讲述老翁醉游京师的异闻，寄寓天下康宁、与民同寿的祈愿，是雅俗相融的祝寿佳构。",[24,25,226,7,106,28,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd208b1f49ed4e564b4213a951a123af.jpg",[],{"id":111633,"slug":111634,"title":111635,"dynasty":256,"author":257,"museum":316,"description":38922,"tags":111636,"thumbUrl":111637,"material":599,"size":600,"collection":139,"collections":111638,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":94},230782,"fu-shi-hui-164-yi-ming-230782","浮世绘164",[12745,7,28,106,59,86,178,212,8792,280,8432],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb679f860e951c05b3586454f9a5f5139.jpg",[],{"id":111640,"slug":111641,"title":111642,"dynasty":256,"author":257,"museum":316,"description":56788,"tags":111643,"thumbUrl":111644,"material":599,"size":600,"collection":139,"collections":111645,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":49},230777,"qing-hua-you-li-hong-yan-hu-yi-ming-230777","青花釉里红烟壶",[12818,56790,56791,7,106,107,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2233cd867f14ea15af16af383b19c0ab.jpg",[],{"id":111647,"slug":111648,"title":111649,"dynasty":256,"author":257,"museum":316,"description":111650,"tags":111651,"thumbUrl":111653,"material":599,"size":600,"collection":139,"collections":111654,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":94},230764,"da-xiao-mi-la-niu-zi-yi-ming-230764","大小蜜腊钮子","印章，用作印于文件上表示鉴定或签署的文具，一般印章都会先沾上颜料再印上，不沾颜料、印上平面后会呈现凹凸的称为钢印，有些是印于蜡或火漆上、信封上的蜡印。制作材质有 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问起这一风俗的来历，传说，还是三国时期貂蝉传下来的呢。 貂蝉原是东汉末汉献帝时司徒王允的一名歌伎，她长得相貌出众、能歌善舞，色伎俱佳，很受王允的宠爱，以亲女看待。当时，董卓专权，挟天子以令诸侯，大臣们对他恨之入骨，但是敢怒而不敢言。王允为此事也闷闷不乐，终日不思茶饭。 貂蝉虽是女流，可王允的心事，她却宗宗看在眼里，件件记在心中。她很会察言观色，为主人分忧解愁。在一个月光皎洁的夜晚，貂蝉在花园里设下香案，为主人祝祷。她虔诚地燃起三柱香火，仰天一拜说道：“明月呀明月，你虽昭昭洁白如洗，可知我家老爷心中烦恼？苍天呀苍天！我貂蝉虽乃女流之辈，老爷婢女，若能为老爷分担忧愁，我愿万死不辞。”恰在此时，王允因忧国心烦，夜不能寐，来到后花园赏月散心。他听见有人祝祷，连忙躲在一座假山后面，静听起来。他听完貂婶的祝愿，心情无比激动和感激，忙上前来，搀扶起这一歌女。 王允问貂婢：“你向苍天明月祈告，为我分忧解愁，可知我忧在何处？愁为何事呀！” 貂蝉说：“当然知道。” 王允又问：“既然知道，又有什么妙法替我杀了董卓？” 貂婢说：“只要老爷相信得过我，奴婢愿效犬马之劳，即使赴汤蹈火，也心甘情愿。” 王允听了，顿时为这女子的仗义和气魄所感动，当即认貂蝉为女儿。后来王允与貂蝉合议：先将貂蝉献于董卓，后再暗许吕布，以离间两人之交，让这董吕两人勾心斗角，互相杀害。 貂蝉耳垂小，怕自己美中不足，使董、吕二人看不上，使密谋落空。她想办法弥补，想了很久，终于想出了良法，就在家中拿了些碎银子，叫银匠给自己作了一对银耳坠，挂在耳垂上。这样过了不久，耳垂果然变大了，为她的美容又增添了不少姿色。 董卓一见貂蝉大喜！吕布一见貂蝉着迷，使董卓和吕布因争夺这一美女而激烈相斗。又因吕布貂蝉私通，恐事发觉，心神不安。王允设计使吕布为内应，结果董卓被杀了。 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、配饰样式皆考究入微。既呈现边疆族群的独特风貌，亦隐现清代多民族交流的图景，笔墨间藏着对异域风情的细致观察，是窥见当时民族文化交融的生动窗口，兼具艺术价值与历史意涵。",[23,24,25,81,7,28,106,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84545aa37284684232fc317bcfb17688.jpg",[],{"id":113288,"slug":113289,"title":113290,"dynasty":76,"author":257,"museum":316,"description":113291,"tags":113292,"thumbUrl":113293,"material":123,"size":139,"collection":139,"collections":113294,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":94},216072,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-3-ce-8-yi-ming-216072","职贡图巨幅彩绘册页第3册-8","画面分左右两帧，笔墨细腻勾勒出两位异域风貌的人物。左侧人物着兽皮饰边短装，条纹绑腿衬出赤脚质朴，姿态从容，眉眼间透着温和；右侧武士怒目圆睁，羽饰头饰与兽皮战袍张扬野性，腰间佩刀、手持带缨兵器，肢体张力尽显骁勇。服饰细节考究，毛皮纹理与绑带纹样清晰可见，神态鲜活如临其境。画作以写实笔触记录族群风貌，既展现不同文化的独特质感，也暗藏清代对边疆族群的观察视角，是研究当时民族交流与视觉文化的生动载体。",[23,24,7,28,106,409,2439,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a4ec5a7d1b3e3bc0bea4624e4617196.jpg",[],{"id":113296,"slug":113297,"title":113298,"dynasty":76,"author":257,"museum":316,"description":113299,"tags":113300,"thumbUrl":113302,"material":123,"size":139,"collection":139,"collections":113303,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":94},216071,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-3-ce-9-yi-ming-216071","职贡图巨幅彩绘册页第3册-9","画面分左右二帧，左帧女子头戴红巾，衣纹轻柔，青裙曳地，神态温婉沉静，服饰细节勾勒细腻；右帧男子纹身遍体，赤足腾跃，红装利落，姿态豪放不羁。设色古朴雅致，线条流畅精准，人物形象鲜活传神，既呈现边疆族群独特风貌，又蕴含清代对异域文化的观察记录，兼具艺术审美与历史文献价值，笔墨间尽显传统工笔彩绘的细腻质感与人文意趣。",[23,320,28,7,81,106,113301,409,6767],"少数民族","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58c7dd8070539295b5b610074b414005.jpg",[],{"id":113305,"slug":113306,"title":113307,"dynasty":76,"author":257,"museum":316,"description":113308,"tags":113309,"thumbUrl":113310,"material":123,"size":139,"collection":139,"collections":113311,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":94},216069,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-3-ce-7-yi-ming-216069","职贡图巨幅彩绘册页第3册-7","画面展呈两位边地或异域人物的鲜活形象，工笔彩绘细腻传神。左侧人物着黑衫红裙，手持器物，神态平和；右侧人物身佩蛇形杖与短刃，蓝裤红带，绑腿赤足，姿态刚健。人物服饰细节丰沛，纹样配色尽显族群特色，旁附文字注解身份背景。\n\n画作写实生动，既捕捉神态之真，又还原器物服饰之细，折射出清代对边疆或外域族群的观察与记录，承载着彼时民族交流与文化互鉴的鲜活印记，尽显职贡图类作品的历史价值与艺术张力。",[23,24,25,81,7,28,106,63,2439,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f9f6ba1a53bf4fa3c785d793b9c5574.jpg",[],{"id":113313,"slug":113314,"title":113315,"dynasty":76,"author":257,"museum":316,"description":113316,"tags":113317,"thumbUrl":113319,"material":123,"size":139,"collection":139,"collections":113320,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":94},216068,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-3-ce-14-yi-ming-216068","职贡图巨幅彩绘册页第3册-14","画面分左右两帧，铺展两位边地人物的鲜活样貌。左者头裹蓝巾，蓝袖白衣衬紫裙，赤足而立，肩挑木杆，一端悬铜铃，一端挂竹篮，神情平和。右者发挽脑后，深衣罩身，内衬蓝布，赤足微屈，手持系红穗的长杆，神色间藏着岁月痕迹。衣纹线条流畅，设色淡雅古朴，器具细节刻画入微，尽显清代职贡图写实风貌。既记录异域族群生活样貌，又于笔墨间传递独特人文气息与历史质感，简而有致，韵味悠长。",[23,320,7,28,81,106,63,113318],"用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67a6218a2140762cc1fd49939caa5c75.jpg",[],{"id":113322,"slug":113323,"title":113324,"dynasty":76,"author":257,"museum":316,"description":113325,"tags":113326,"thumbUrl":113327,"material":123,"size":139,"collection":139,"collections":113328,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":94},216067,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-3-ce-16-yi-ming-216067","职贡图巨幅彩绘册页第3册-16","画面左侧人物衣袂翩然，蓝衫绿裙衬红绦，肩负农具、手提竹篮，神态质朴尽显劳作之态；右侧壮汉赤足束腰，白褐条纹短打配蓝裙，弓箭在握，身旁猎犬昂首相伴，姿态雄健。线条细腻勾勒衣纹轮廓，设色明丽古雅，服饰细节鲜明体现地域特色。人物动态自然，猎犬刻画栩栩如生，尽显生活气息。旁题墨书似载族群风俗，既为工笔彩绘佳作，更承载清代多元文化交融与职贡关系的历史印记，兼具艺术审美与历史价值。",[23,24,7,28,81,106,746,8379,2439,409],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F676d292a3e19e51ff420f1b622fede34.jpg",[],{"id":113330,"slug":113331,"title":113332,"dynasty":76,"author":257,"museum":316,"description":113333,"tags":113334,"thumbUrl":113335,"material":123,"size":139,"collection":139,"collections":113336,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":94},216066,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-3-ce-15-yi-ming-216066","职贡图巨幅彩绘册页第3册-15","画面分左右两帧，左帧妇人与幼童相依而立，衣袂轻柔，神情温婉，孩童憨态可掬；右帧男子持杖弓身，肌肉线条硬朗，姿态充满张力，服饰纹样独具特色。彩绘笔触细腻，色彩雅致，人物造型精准传神，既展现不同族群的生活风貌，又暗合职贡图“怀柔远人”的叙事逻辑。衣饰褶皱、肌肤纹理刻画入微，生动还原清代边疆族群的鲜活形象，是研究当时民族文化与服饰习俗的珍贵视觉文献，兼具艺术审美与历史价值。",[23,24,7,28,6767,81,106,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F492a81ec116fb4cbf9ebdac01847b9f2.jpg",[],{"id":113338,"slug":113339,"title":113340,"dynasty":76,"author":257,"museum":316,"description":113341,"tags":113342,"thumbUrl":113343,"material":123,"size":139,"collection":139,"collections":113344,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":94},216065,"zhi-gong-tu-ju-fu-cai-hui-ce-ye-di-3-ce-13-yi-ming-216065","职贡图巨幅彩绘册页第3册-13","对开册页之上，左右分呈两帧人物肖像。左幅女子蓝衫白褂，墨裙赤足，青布裹头，红带悬葫芦状器物，神态温婉质朴；右幅男子绿袖白衣，外罩彩条坎肩，手持长板，须发短粗，面容憨直。线条勾勒细腻传神，设色淡雅自然，服饰器物细节毕现。旁侧文字注解与图像呼应，既如实记录族群风貌，又暗含清代对边疆族群的观察视角，为研究当时民族文化、服饰民俗留存鲜活视觉范本，尽显纪实与艺术交融之妙。",[23,24,25,81,7,28,106,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F424c2cbbc6db66fda915d2dd52647ae5.jpg",[],{"id":113346,"slug":113347,"title":113348,"dynasty":76,"author":257,"museum":316,"description":113349,"tags":113350,"thumbUrl":113351,"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ize":139,"collection":139,"collections":114076,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":94},215886,"qing-ren-hua-ce-8-yi-ming-215886","清人画册-8","人物面容圆润憨然，浅绿镶蓝边的短褂缀着细碎纹样，粉色裤脚轻扫青蓝布鞋，步履似带轻快。手中一枝虬曲梅枝，几点殷红花苞初绽，枝上墨羽小鸟似与人物相望，生机暗涌。蓝绿织纹边框圈定一方清趣天地，设色明丽却不艳俗，线条细腻流畅。画中日常闲逸被定格，透着清代市井生活的温婉鲜活，观之如沐春风，心生暖意。",[24,7,28,81,106,245,820],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0ba4730c295e27048130288d80b0c10.jpg",[],{"id":114078,"slug":114079,"title":114080,"dynasty":76,"author":257,"museum":132,"description":114081,"tags":114082,"thumbUrl":114083,"material":88,"size":139,"collection":139,"collections":114084,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":94},215885,"qing-ren-hua-ce-12-yi-ming-215885","清人画册-12","画面中人物身着粉红外褂与蓝绿长袍，衣袂褶皱以简练线条勾勒，灵动传神。光头造型契合清代男子风尚，蓝白布鞋更添生活气息。人物指尖前伸，神态平和从容，似在指引或轻语，将日常瞬间定格为生动图景。色彩搭配清新雅致，粉与蓝绿的碰撞既显活泼又不失沉稳，尽显传统审美意趣。画作以细腻笔触与鲜活神态，精准捕捉清代人物风貌，于方寸间传递出时代的生活质感，堪称兼具历史价值与艺术感染力的佳作。",[320,7,106,28,63,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe28e600951e9cc8089d15d89bf5f98bc.jpg",[],{"id":114086,"slug":114087,"title":114088,"dynasty":76,"author":257,"museum":316,"description":114089,"tags":114090,"thumbUrl":114091,"material":88,"size":139,"collection":139,"collections":114092,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":94},215877,"qing-dai-xing-fa-ji-lu-tu-ce-9-yi-ming-215877","清代刑罚记录图册-9","画面定格了清代刑罚的一幕：跪姿者红衫紫裤，双臂上举被绳索死死缚住，身躯因拉扯而紧绷如弓；两侧执绳人弓步沉腰，麻绳在手中绷成直线，力道似要穿透画面。左侧立者青袍束带，神情冷峻如旁观的监者，衣袂间透着疏离的威严。\n\n笔触简练却见筋骨，人物姿态的张力藏于线条褶皱间——跪者微蹙的眉峰、执绳者紧绷的小臂、监者微抬的下颌，皆勾勒出场景的沉重。色彩克制却有冲击力：红衫的刺目与蓝灰衣袍的沉郁形成对照，似在无声诉说惩戒的凛冽。\n\n这幅写实的记录，以具象的肢体语言与神态，还原了昔日社会治理中冷峻的一隅，让观者在静态画面里触碰到历史语境下的张力与沉重。",[24,25,81,7,28,106,320,34083],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45c1af5a234d5fe1330480ef24728cb0.jpg",[],{"id":114094,"slug":114095,"title":114096,"dynasty":76,"author":257,"museum":316,"description":114097,"tags":114098,"thumbUrl":114099,"material":88,"size":139,"collection":139,"collections":114100,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":94},215875,"qing-dai-xing-fa-ji-lu-tu-ce-5-yi-ming-215875","清代刑罚记录图册-5","棺木敞口横陈，赤衣躯体僵卧其中，蓝裤红衫者持刃俯身猛刺，动作狠厉决绝。刃光寒冽，与棺木暗沉形成刺目对比。旁立二人，蓝衣者叉腰提笼，似观刑役卒，姿态倨傲；紫衣人持牍而立，或为案录小吏，神色漠然。画面以写实笔触勾勒刑罚场景，人物神态、动作皆细致入微：刺刃者的狰狞、观刑者的冷视、伏案者的麻木，层层铺陈出旧时代司法的酷烈底色。冰冷的线条里藏着阴森压迫感，每个细节都折射出权力对生命的漠视，仿佛能听见利刃穿木的钝响，窥见底层命运在专制铁律下的破碎悲歌，是清代社会专制统治与人性异化的无声见证。",[24,25,81,7,28,106,34083,66010,50643,409],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3733d38d37fffe0dc2da87d67cf25f1e.jpg",[],{"id":114102,"slug":114103,"title":114104,"dynasty":76,"author":257,"museum":316,"description":114105,"tags":114106,"thumbUrl":114109,"material":88,"size":139,"collection":139,"collections":114110,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":94},215855,"qing-dai-xing-fa-ji-lu-tu-ce-19-yi-ming-215855","清代刑罚记录图册-19","画面以线性叙事铺展刑罚场景，黄衣者指斥的手势如利刃划破平静，蓝衣行刑者一持红棍、一举木具，动作的张力将权力压迫感拉满。跪地光头者缩身垂首，每一处肢体蜷缩都写满屈辱与恐惧。色彩冷暖对比暗合身份层级，黄的尊贵、蓝的肃杀、肤色苍白带出强烈视觉冲击。它以写实笔触凝固律法威严，每道衣褶、每次工具挥动，都是窥探清代社会秩序与人性挣扎的窗口，让历史沉重在方寸间缓缓流淌。",[7,28,106,320,85189,37544,103078,81,114107,114108,3190],"施刑","受刑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1b7474acd7b0b503e73d7676827ce3f.jpg",[],{"id":114112,"slug":114113,"title":114114,"dynasty":76,"author":257,"museum":316,"description":114115,"tags":114116,"thumbUrl":114119,"material":88,"size":139,"collection":139,"collections":114120,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":94},215852,"qing-dai-xing-fa-ji-lu-tu-ce-17-yi-ming-215852","清代刑罚记录图册-17","素净纸面铺展着一段无声的刑罚默剧。受刑者跪伏在地，红衫被绳索牵扯得微颤，仰头的姿态里藏着难忍的挣扎；两侧壮汉弓身拽绳，臂膀肌肉似要冲破衣料，绳线绷成笔直的标尺，丈量着痛苦的边界。左侧蓝袍人肃立旁观，目光如寒潭般平静，沉默里浸着时代的冰冷。线条朴拙却精准捕捉神态：拉绳者的用力、受刑者的屈从、旁观者的漠然，将清代刑罚的规制与残酷凝作切片。没有血腥直白，却以肢体对抗与绳线紧勒，让历史的沉重在方寸间流转，每一笔都似在低语那段被定格的规制与人性的微光。",[7,106,81,34083,49521,114117,114118],"痛苦","漠然","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd54d852e66d5fe642d7f2e45c0edb66.jpg",[],{"id":114122,"slug":114123,"title":114124,"dynasty":76,"author":257,"museum":316,"description":114125,"tags":114126,"thumbUrl":114127,"material":88,"size":139,"collection":139,"collections":114128,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":94},215851,"qing-dai-xing-fa-ji-lu-tu-ce-21-yi-ming-215851","清代刑罚记录图册-21","画面以素白为底，蓝边轻框，似一卷尘封的往事缓缓铺展。左侧人物屈膝持物，身旁红桶与蓝瓮朴拙而立；中间二人或递或接，动作间藏着旧时光的细碎痕迹；右侧戴枷者躬身匍匐，枷锁的沉重似要穿透纸面。红的艳、蓝的沉、枷板的素，色彩碰撞间更衬出场景的真实冷峻。笔触简淡却见力道，将清代刑罚的日常与严酷凝于方寸——没有刻意渲染的悲戚，只有对彼时社会生态的平实记录。每一处线条都是时光的注脚，每一个身影都是历史的切片，静静诉说着远去时代里，那些被定格的人间烟火与制度余温。",[76,7,28,81,106,34083,56084,409],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F416c141b04d9fe576ba72517b41c14cb.jpg",[],{"id":114130,"slug":114131,"title":114132,"dynasty":76,"author":257,"museum":316,"description":114133,"tags":114134,"thumbUrl":114135,"material":88,"size":139,"collection":139,"collections":114136,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":94},215850,"qing-dai-xing-fa-ji-lu-tu-ce-26-yi-ming-215850","清代刑罚记录图册-26","画面中，华服者立于中央，衣袂褶皱间透着威严，手持锁链一端；两侧差役躬身侍立，囚徒赤脚蜷缩，锁链勒痕深嵌肌肤，神情苦楚难言。色彩明暗交织，明黄官服与灰褐囚衣形成尖锐对峙，锁链冷光似透纸而出。每一处细节皆为纪实之笔：囚徒紧绷的肩背、差役拘谨的姿态、官员淡然的神情，将尊卑秩序与压迫感刻画得入木三分。它不只是刑罚场景的定格，更是清代司法生态的切片——让百年前权力的重量、囚徒的艰涩，在墨色与色彩的交织里，成为可触的历史印记。",[24,25,81,28,7,106,229,103077,85189,320],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0abbc7c91b48ef356754ef535c2e7898.jpg",[],{"id":114138,"slug":114139,"title":114140,"dynasty":76,"author":257,"museum":316,"description":114141,"tags":114142,"thumbUrl":114145,"material":88,"size":139,"collection":139,"collections":114146,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":94},215849,"qing-dai-xing-fa-ji-lu-tu-ce-22-yi-ming-215849","清代刑罚记录图册-22","画面铺展刑罚场景的具象切片：木枷沉沉压弯囚者腰背，铁枷横亘于地缚住蜷曲躯体；立笼高囚仅露头颅，官吏执物立于侧，姿态间藏着权力的凛冽。受刑者或垂首蜷身，或坐枷呆望，肢体拘挛与神情萎靡，将刑罚苛酷与囚者困顿铺陈纸上。每道线条勾勒的不仅是刑具形态，更是被定格的历史瞬间——冰冷刑具与无助身影交织，素纸间沉淀岁月沉重，也映出人性唏嘘的侧影。",[28,7,106,103078,114143,114144,320,85189],"囚笼","枷锁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c39a89a985299af1f8eaec7ccfeda46.jpg",[],{"id":114148,"slug":114149,"title":114150,"dynasty":76,"author":257,"museum":316,"description":114151,"tags":114152,"thumbUrl":114153,"material":88,"size":139,"collection":139,"collections":114154,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":94},215847,"qing-dai-xing-fa-ji-lu-tu-ce-24-yi-ming-215847","清代刑罚记录图册-24","画面以淡彩晕染四人身形，衣袂朴素间藏着岁月的褶皱。左首者草帽压肩，扁担挑着布袋与方箱，步履似沉；次者执杆挎蓝布，神情淡然；光头者肩扛扁担，一端垂着工具，一端悬绿筐，姿态憨直；末位女子背囊捂唇，眉间似凝着轻愁。线条简括却精准，色彩古雅不艳，人物神态各有千秋——或从容或凝思，似在记录某段特定情境下的众生相。画面虽静，却仿佛能听见扁担吱呀、脚步轻响，将一段被时光封存的日常（或隐于日常的刑罚场景）缓缓铺展，引人遐想其背后的故事。那些细微的神情与动作，如同一把钥匙，叩开了尘封的过往，让观者窥见清代社会某一隅的鲜活切片。",[320,7,28,106,34083,81],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5c123ad56078d7d7452d9cbf3182eecf.jpg",[],{"id":114156,"slug":114157,"title":114158,"dynasty":76,"author":257,"museum":316,"description":114159,"tags":114160,"thumbUrl":114161,"material":88,"size":37635,"collection":139,"collections":114162,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":94},215843,"miao-zu-yao-zu-sheng-huo-tu-ce-1-yi-ming-215843","苗族瑶族生活图册-1","画面铺展苗瑶族群的日常切片。左侧身影肩扛柴薪，陶壶悬臂，似刚踏晨露山径归来；右侧三人亲昵相依，蓝帽下眉眼漾笑，竹篮里红绿蔬果鲜活。衣饰纹样暗合山林韵律，肢体互动藏着无言默契——或许是分享野果，或许是絮语家常。笔墨晕染质朴烟火气，线条牵山野风，色彩裹生活暖，将族群本真温情与劳作诗意，凝在泛黄纸页上。每一处细节都浸着山野的清润，每缕笑意都裹着生活的热乎，把族群里无需修饰的鲜活与暖意，稳稳落进笔墨里。",[23,24,7,28,81,106,63,229],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa29a15009e323900465e3444f47cec21.jpg",[],{"id":114164,"slug":114165,"title":114166,"dynasty":76,"author":257,"museum":316,"description":114167,"tags":114168,"thumbUrl":114169,"material":88,"size":37635,"collection":139,"collections":114170,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":94},215842,"miao-zu-yao-zu-sheng-huo-tu-ce-6-yi-ming-215842","苗族瑶族生活图册-6","古朴纸面上，生活的暖意漫溢开来。左侧男子负篮携幼，粗布短褐裹着劳作的印记，稚童拽衣踮脚，憨态惹眼；右侧女子发髻玲珑，裙裾缀着彩绣纹样，手挽竹篮似低语相谈，眉眼间藏着细碎的温柔。衣褶线条轻缓，篮中物什隐约可见，每一处细节都描摹着日常的鲜活。没有刻意雕琢，却将族群服饰特色与生活本真温情凝于笔端，仿佛能听见山间软语，触到风里草木香，让久远的生活场景在眼前生动浮现。",[23,25,24,7,28,81,106,2309,103173,9412,2385,23716],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F18e0dd8febc9f5364c689d3a1ae6e1ea.jpg",[],{"id":114172,"slug":114173,"title":114174,"dynasty":76,"author":257,"museum":316,"description":114175,"tags":114176,"thumbUrl":114177,"material":88,"size":37635,"collection":139,"collections":114178,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":94},215841,"miao-zu-yao-zu-sheng-huo-tu-ce-5-yi-ming-215841","苗族瑶族生活图册-5","画面铺展着古朴的生活片段，木杵起落间，谷物在石臼中翻涌。两位执杵者俯身用力，衣袂随动作轻扬，挽起的发髻藏着族群特有的风情。旁侧端盘人微微前倾，似在承接劳作的成果；坐于一侧者手拢衣襟，神态悠然，似在歇憩静观。人物衣饰纹理简而真切，色调温润如旧时光的低语，纸张微黄晕染着岁月痕迹。整幅画无繁复修饰，却将日常劳作的协作与温情凝于笔端，每一个动作都带着鲜活烟火气，仿佛能听见木杵撞石臼的轻响，窥见族群生活里最质朴的生机与暖意。",[23,24,81,28,7,106,7220,103182],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa078e2b5a7c249c30bfeda817c9f4fe8.jpg",[],{"id":114180,"slug":114181,"title":114182,"dynasty":76,"author":257,"museum":316,"description":114183,"tags":114184,"thumbUrl":114185,"material":88,"size":37635,"collection":139,"collections":114186,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":94},215840,"miao-zu-yao-zu-sheng-huo-tu-ce-8-yi-ming-215840","苗族瑶族生活图册-8","画面铺展着一段鲜活的族群日常。背着竹筐的身影赤脚踏地，筐篓纹理似还沾着山野清露；中间孩童伸臂向前，稚态里藏着对前路的雀跃；右侧执杖者裙裾缀彩，发式挽成独特形状，每处细节都勾勒出族群的生活印记。线条朴拙却传神，淡彩晕染出岁月温厚，没有刻意修饰，却把劳作的坚韧与人际温情揉进每一笔。这不仅是幅画，更是被定格的生活片段，远去的烟火气在纸间流转，触手可及。",[23,24,25,81,7,28,106,63,8792,8380],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33c878aef01131d1d7a82f4e80ff80f1.jpg",[],{"id":114188,"slug":114189,"title":114190,"dynasty":76,"author":257,"museum":316,"description":114191,"tags":114192,"thumbUrl":114193,"material":88,"size":37635,"collection":139,"collections":114194,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":94},215839,"miao-zu-yao-zu-sheng-huo-tu-ce-3-yi-ming-215839","苗族瑶族生活图册-3","画面铺展鲜活的民俗图景，四位身着特色服饰的人物各携器具，姿态生动传神。左侧者弯腰持网，似欲捕捉；中间二人亲昵相依，女子执扇轻掩，男子侧身贴近，眉眼间漾着日常温情；右侧人物背网提物，步履间带着收获的轻快。衣袂纹饰、裙摆斑斓，皆藏浓郁民族风情。旁侧竖排文字勾勒场景意趣——或是劳作间隙的互动，或是以物易物的日常。古朴色调晕染岁月温润，线条细腻勾勒人物情态，将少数民族生活里的鲜活与温馨，凝成一帧动人画面，尽显民俗画卷的质朴与生动。",[23,24,25,81,7,28,106,2852,409,36883],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff89e05a4bb21657788723ae100ebcadf.jpg",[],{"id":114196,"slug":114197,"title":114198,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仿佛听见器物碰撞的轻响，混着两人低声的谈笑，漫过时光的缝隙。",[24,25,81,7,106,114379,97143,320,28],"民间生活","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb792b7fc748f417e6fbf50c01a2d5d0c.jpg",[],{"id":114383,"slug":114384,"title":114385,"dynasty":76,"author":257,"museum":316,"description":114386,"tags":114387,"thumbUrl":114388,"material":88,"size":49877,"collection":139,"collections":114389,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":94},215791,"min-jian-yan-zou-tu-ce-12-yi-ming-215791","民间演奏图册-12","粉衫黄裤的身影立于素净背景前，清代民间的鲜活气息自衣褶间漫出。他手持纹饰精巧的乐器与鼓槌，指尖似凝着未散的韵律，专注的神态里藏着市井生活的热络。身旁青绿物件添了几分明快，色彩搭配质朴却鲜活。画面虽简，却将民间演奏的生动瞬间定格，仿佛能听见那穿越时光的乐声，把寻常日子里的烟火气与艺术意趣揉成一抹温暖的记忆，尽显民俗风情的动人之处。",[320,24,25,81,28,7,44277,106,195],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a38900e38e0680a9c52eea4bcaa47e5.jpg",[],{"id":114391,"slug":114392,"title":114393,"dynasty":76,"author":114394,"museum":114395,"description":114396,"tags":114397,"thumbUrl":114398,"material":173,"size":139,"collection":139,"collections":114399,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":49},215648,"yu-zhi-geng-zhi-tu-1-kang-xi-215648","御制耕织图-1","康熙","哈佛艺术博物馆","田垄间耕犁翻土，织机旁纤手穿梭——寻常农桑场景被凝练成兼具纪实与深意的图景。器物形制精准，人物神态鲜活，还原清代前期生产风貌，似可闻耒耜声、织梭鸣。背后是“农为邦本”的郑重书写：以笔墨为媒，将耕织之重嵌入文化记忆，让衣食之源的辛劳与智慧，映照治国初心。线条工致含温情，实用教化与审美意趣相融，成为连接庙堂与民间、历史与生活的独特载体，静静诉说着时代对根基的珍视与对生活的敬畏。",[23,24,28,7,25,106,151,13428,8379,34],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bd887c61146e750ed40bb0e58323506.jpg",[],{"id":114401,"slug":114402,"title":114403,"dynasty":76,"author":114394,"museum":114395,"description":114404,"tags":114405,"thumbUrl":114406,"material":173,"size":139,"collection":139,"collections":114407,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":49},215641,"yu-zhi-geng-zhi-tu-12-kang-xi-215641","御制耕织图-12","笔墨间藏着帝王对民生的深切牵挂。端正笔锋裹着温润墨韵，每一笔都似在轻述耕织的辛劳与农桑的根本。泛黄纸页载满岁月痕迹，墨色浓淡间流露书写时的从容与关切。文字里的劝农之意，透过笔端渗入纸髓——既是艺术的雅韵，亦是治国的温度。一笔一划，连接朝堂与田间，让静默的纸页成为历史与民生对话的窗口。那些关于耕织的叮咛，在墨痕中静静流淌，晕开千年的民生情怀，也让这份书写成为兼具艺术价值与历史重量的珍贵印记。",[23,24,25,86,178,81,7,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5affcc0da4bdcdfdfcc6d89bc38b9d31.jpg",[],{"id":114409,"slug":114410,"title":114411,"dynasty":76,"author":257,"museum":316,"description":114412,"tags":114413,"thumbUrl":114414,"material":123,"size":139,"collection":139,"collections":114415,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":94},215187,"yi-shi-ji-yao-tan-3-yi-ming-215187","医士及药摊-3","淡墨轻彩晕开市井一角，医士长袍拂过药摊旁的竹凳，与坐者低语。案上的药钵、悬着的药囊，皆裹着旧时光的温软。线条简逸却传神——医士的从容，坐者的安然，似能闻见草药的清苦漫过街巷。没有浓墨重彩的铺陈，却以平实笔触勾勒出传统医药的日常图景，每一处细节都藏着烟火里的治愈暖意，仿佛踏入百年前的街巷，触碰到那份质朴的关怀与生活的真味。",[23,24,25,7,106,229,320,103234,39245],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb944b198d369bfb72c75d84ee429df02.jpg",[],{"id":114417,"slug":114418,"title":114419,"dynasty":76,"author":257,"museum":316,"description":114420,"tags":114421,"thumbUrl":114423,"material":123,"size":139,"collection":139,"collections":114424,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":94},215186,"yi-shi-ji-yao-tan-4-yi-ming-215186","医士及药摊-4","画面中，医士着深衣俯身施种，指尖凝着细致专注；母亲怀拥幼童坐于木凳，粉衫绿裙衬得神情柔婉，怀中孩童的懵懂与母亲的轻忧相映。背景淡影如往来行人，晕开市井烟火气。简淡笔触下，人物神态鲜活——医士的专业、母子的相依，将百年前传统接种的日常场景定格。没有繁复铺陈，却以质朴细节藏着旧时光的温情，让那段关于医疗与民生的片段，在纸间静静流淌，鲜活如初。",[23,24,7,28,106,2385,5423,103234,114422,8792],"木凳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e6128c32d0ed16b6addd519bf46b6f5.jpg",[],{"id":114426,"slug":114427,"title":114428,"dynasty":76,"author":257,"museum":316,"description":114429,"tags":114430,"thumbUrl":114431,"material":123,"size":139,"collection":139,"collections":114432,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":94},215181,"yi-shi-ji-yao-tan-8-yi-ming-215181","医士及药摊-8","笔墨晕染出晚清市井的一隅暖意。站者俯身专注，似在为坐者调理足疾，指尖的动作藏着医者的细致；坐者神态松弛，眉眼间透着对施治者的全然信任。旁侧药摊陈设简朴，招牌字迹依稀，挂着的布囊与摊上药具，勾勒出旧时行医的日常模样。更有英文小字隐于角落，似是中西文化悄然交汇的痕迹，为这幅日常图景添了几分时代的独特印记。整幅画以细腻笔触捕捉市井烟火，人物互动间的温情与生活气息，在清淡的色彩里缓缓流淌，让人窥见百年前街头行医的鲜活场景，寻常里藏着岁月的温度。",[23,24,25,7,106,81,8792,63],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F67e1392de54b018951f41d536d5bccd1.jpg",[],{"id":114434,"slug":114435,"title":114436,"dynasty":76,"author":257,"museum":316,"description":114437,"tags":114438,"thumbUrl":114439,"material":123,"size":139,"collection":139,"collections":114440,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":94},215175,"yi-shi-ji-yao-tan-17-yi-ming-215175","医士及药摊-17","画面里，拄杖老者微佝着身，腿上的不适让他眉头轻蹙，目光落在对面人递来的药膏上。持药者蹲身向前，手中药膏似含着暖意，动作恳切。一旁药旗随风展动，隐约的字迹藏着江湖药摊的烟火气。淡雅色彩晕开旧时光的温润，简练线条勾出鲜活神态——病者的愁容与医者的热忱交织，让这幅画浸满市井里的质朴温情，仿佛能听见药摊边的轻声关怀，触到那份跨越百年的治愈暖意，尽显民间生活的真切与暖。",[23,24,320,7,106,229,2852,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fa1c50a296595294999e3c8ab88305c.jpg",[],{"id":114442,"slug":114443,"title":114444,"dynasty":76,"author":257,"museum":316,"description":114445,"tags":114446,"thumbUrl":114447,"material":123,"size":139,"collection":139,"collections":114448,"showCount":2368,"zanCount":48,"manualWeight":48,"mainColor":94},215168,"yi-shi-ji-yao-tan-24-yi-ming-215168","医士及药摊-24","市井一隅的药摊前，藏着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宜，皴法勾勒山石肌理，既见工致又不失写意松弛，泥金底色托衬浅淡设色，更添沉静古雅氛围，将林泉避暑的悠然隐逸之趣，尽纳咫尺扇面之间，尽显文人心目中的栖居佳境。",[24,25,1260,7,29,107,34,177,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5388bb9940267fcf1eed940a56223cc.jpg",[],{"id":133248,"slug":133249,"title":93163,"dynasty":76,"author":257,"museum":316,"description":133250,"tags":133251,"thumbUrl":133252,"material":599,"size":600,"collection":139,"collections":133253,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},236247,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236247","金笺设色晕开湖山秋光，烟波漾开清寂水色，洲渚林木点染丹黄秋意，疏密交织间藏着幽居意趣。临水楼阁错落隐于林麓，石阶逶迤接岸，似能窥见山居闲凉。远山以淡墨轻笼，层峦含烟，与近景的明秀相映，虚实相生铺展出平远开阔的意境。笔墨秀润雅致，设色妍而不艳，将林泉高致藏于折幅咫尺之间，轻摇仿佛便揽得满扇山居清趣，恍若身临幽凉林泉，静享隐逸闲雅的诗意栖居之美。",[24,25,1260,7,29,107,34,28,177],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdef3f3dd5f2b47275a5f1b04ff58bc42.jpg",[],{"id":133255,"slug":133256,"title":93163,"dynasty":76,"author":257,"museum":316,"description":133257,"tags":133258,"thumbUrl":133259,"material":599,"size":600,"collection":139,"collections":133260,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},236246,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236246","以泥金笺为底，青绿晕染山峦叠翠，墨笔点簇林木苍茂，山居幽隐于林麓间，似可窥见山窗纳凉的清宁意趣。笔墨秀润温婉，将夏日山居的闲适静谧凝于盈尺扇面之上，青绿与泥金相映，更添雅致华贵。搭配包浆莹润的素骨，书画合璧，把消暑寄情的林下之思融于掌中清玩，尽显小品山水的温婉意韵，是案头清赏的佳妙之作。",[1260,24,25,27,7,29,981,4706,5742,7151],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e894079a0761742f2aaafae5773e9f7.jpg",[],{"id":133262,"slug":133263,"title":93163,"dynasty":76,"author":257,"museum":316,"description":133264,"tags":133265,"thumbUrl":133266,"material":599,"size":600,"collection":139,"collections":133267,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},236245,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236245","此作以泥金笺为地，墨色皴染层叠山峦，林麓间屋舍隐现，暗合山居夏凉的清寂幽致。山峦以披麻皴写就，线条松秀苍润，浓淡墨色交错晕染，既勾勒出雄浑山骨，又衬出泥金底的华贵雅致，将林泉幽居的闲静藏于咫尺扇间。素净扇骨与画面相得益彰，笔墨平和悠远，尽显林泉避暑的雅逸意趣，是融华贵材质与文人山水意韵于一体的佳制。",[320,24,1260,29,7,177,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7788deada02b9c12276b51876e8c79f.jpg",[],{"id":133269,"slug":133270,"title":93163,"dynasty":76,"author":257,"museum":316,"description":133271,"tags":133272,"thumbUrl":133273,"material":599,"size":600,"collection":139,"collections":133274,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},236244,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236244","此扇以泥金笺为地，自带华贵雅致底色。画面绘林苑一隅，重檐楼宇静处方庭，佳木环绕、远山逶迤。笔墨秀润细腻，敷色淡逸沉稳，将苑囿的清寂消暑意韵尽显，石隐木葱，处处透着山居夏凉的疏闲意境。\n\n书画合璧，笔墨兼具写实精巧与写意澹远，将苑林清幽揉入尺幅扇间，尽显传统扇面的隽永意趣，是兼具观赏与把玩价值的佳制。",[320,24,1260,7,104,29,107,34,115,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5325818f7d0138bd8effac6eb2a16315.jpg",[],{"id":133276,"slug":133277,"title":93163,"dynasty":76,"author":257,"museum":316,"description":133278,"tags":133279,"thumbUrl":133280,"material":599,"size":600,"collection":139,"collections":133281,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},236243,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236243","此扇以泥金为地，水墨晕染出山林幽居之境。淡墨轻扫远山，层叠轮廓似笼薄烟，漾出空濛悠远之态。近处长松郁茂，蓊然成林，掩映间茅舍静立，水泽清浅环伺，将山野间的凉寂闲适铺陈开来。\n笔墨枯湿浓淡相宜，以极简的皴染区分远近层次，将幽居避喧的隐逸意趣融于盈尺扇面。素净扇骨衬得水墨愈见清润雅致，观之如身临林泉，暑意尽散，尽显小品山水的隽永韵味。",[24,25,1260,29,107,34,7,177,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff80c793f4441e4eaa665a86bcb4a8be2.jpg",[],{"id":133283,"slug":133284,"title":93163,"dynasty":76,"author":257,"museum":316,"description":133285,"tags":133286,"thumbUrl":133287,"material":599,"size":600,"collection":139,"collections":133288,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":2504},236242,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236242","此扇以泥金笺为底，墨笔绘就山居丘林景致。远山层叠晕染，草木华滋蓊郁，近舍错落隐于繁荫之间，笔墨苍秀清润，将山居避暑的幽旷闲静氛围尽数铺展。一侧配书诗文，书画合璧，尽显文人雅玩的审美意趣，朴雅古拙的扇骨衬得这帧小品愈显雅致。虽无名款，亦能窥见彼时山水小品的典型风貌，是兼具赏玩与收藏价值的文房清玩。",[1260,24,25,29,7,177,107,34,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e78faae2ebc8efa888f479aad353905.jpg",[],{"id":133290,"slug":133291,"title":93163,"dynasty":76,"author":257,"museum":316,"description":133292,"tags":133293,"thumbUrl":133294,"material":599,"size":600,"collection":139,"collections":133295,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},236241,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236241","泥金扇底晕开暖雅底色，远山以淡墨轻勾晕染，烟岚浮于层峦间，晕出空濛悠远之意。丘壑间林木葱郁，山居屋舍隐现其中，似藏夏日幽凉意趣。布局疏密得宜，左侧铺陈山水实景，右侧留白落款虚实相映，尽显中式山水的空灵雅致。乌润扇骨与暖金扇面相映成趣，将林泉高致凝于盈尺扇面之间，开合间尽纳山水丘壑，融文人赏玩意趣与工艺精巧为一体，静赏便觉山居凉意扑面而来。",[1260,29,177,7,86,178,808,107],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe680122ea17ca0664a593a65a39a33a7.jpg",[],{"id":133297,"slug":133298,"title":93163,"dynasty":76,"author":257,"museum":316,"description":133299,"tags":133300,"thumbUrl":133301,"material":599,"size":600,"collection":139,"collections":133302,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},236240,"bi-shu-shan-zhuang-tu-li-zong-wan-shu-shi-cheng-shan-yi-ming-236240","金笺为底，墨色晕染间衬以浅淡青绿，层次婉转分明。远山轻烟弥散，黛色含晕，林泉之间屋舍亭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家东。”",[194,24,25,28,7,150,746,212,86],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e3c8b4c721bc0388f04c2e9130ae1f5.jpg","292.6x257.3厘米",[],{"id":134284,"slug":134285,"title":134286,"dynasty":18,"author":257,"museum":316,"description":58897,"tags":134287,"thumbUrl":134288,"material":599,"size":600,"collection":139,"collections":134289,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":94},231891,"nan-tong-yong-yi-ming-231891","男童俑",[22309,12818,5513,7,106,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ebc0c0322b9bac3e0ee65d4f469a7b2.jpg",[],{"id":134291,"slug":134292,"title":134293,"dynasty":302,"author":257,"museum":316,"description":30148,"tags":134294,"thumbUrl":134295,"material":599,"size":600,"collection":139,"collections":134296,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":4199},231890,"pu-sa-zhan-xiang-yi-ming-231890","菩萨站像",[260,106,7135,5513,7,1488,78724],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe11469f1201adb45f09a5cec5c6a536e.jpg",[],{"id":134298,"slug":134299,"title":134300,"dynasty":302,"author":257,"museum":316,"description":27801,"tags":134301,"thumbUrl":134302,"material":599,"size":600,"collection":139,"collections":134303,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":94},231467,"shuang-er-hua-ping-yi-ming-231467","双耳花瓶",[302,12818,67231,229,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46e5a8a70ecc0e40cdaaebf8e0dc2c67.jpg",[],{"id":134305,"slug":134306,"title":134307,"dynasty":302,"author":7943,"museum":316,"description":134308,"tags":134309,"thumbUrl":134310,"material":599,"size":600,"collection":139,"collections":134311,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":94},230963,"xie-sheng-hua-hui-ce-wang-yuan-230963","写生花卉册","王渊（公元13世纪-14世纪中叶），元代画家。字若水，号澹轩，一号虎林逸士，钱塘（今浙江杭州）人。工于花鸟、人物、山水。天历年间曾与唐棣在南京龙翔寺画过壁画，尤精于花鸟，堪称元代花鸟画巨擘。\n王渊水笔下的花鸟画，先是工笔重彩，专求黄荃风格画法，中年多是精工艳丽笔触，但流传作品极为少见。题材多以水墨花鸟竹石为多，墨色渲染，浓淡有致，以无彩胜于有彩，并于秀丽之中见得浑朴，勾勒与渲染这二种画法，各尽其妙，写实与写意都有天机溢发之感。他被誉为“元代的黄荃”，是“元代绝艺花鸟画家”。\n王渊的传世作品主要是立轴，画于至正三年（1343）的《花竹禽鸟图轴》（现藏在山西省博物馆）、至正四年的《竹石集禽图轴》（现藏上海博物馆）、《桃竹锦鸡图轴》（现藏北京故宫博物院）、以及《秋山行旅图轴》等四轴现藏在台北故宫博物院，手卷以《牡丹图卷》为佳，现藏北京故宫博物院。",[24,25,81,7,28,83,898,484,230,84],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5716efe6384104a79a3d1722cdf621ef.jpg",[],{"id":134313,"slug":134314,"title":134315,"dynasty":256,"author":257,"museum":316,"description":134316,"tags":134317,"thumbUrl":134318,"material":599,"size":600,"collection":139,"collections":134319,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},230813,"da-ban-nie-pan-jing-juan-yi-ming-230813","大般涅槃経巻","通篇小楷精整端雅，笔锋劲挺匀净，字字排布齐整，墨色沉凝古朴，尽显写经者抄录时的恭谨，尽显唐人写经的典型风貌。\n\n右侧护法神祇衣袂层叠晕染，宝冠璎珞精细富丽，手持法器庄重端严，设色古雅厚重，线条勾勒凝练有神，兼具宗教的肃穆与唐人绘画的丰润气度。\n\n整卷经文与造像合一，既有释典的庄严性，又带着中古宗教艺术的沉静美感，是宗教典籍与传统书画技艺结合的佳例，承载着悠远的宗教文化意涵。",[26,25,260,106,7,28,937,22428,86,212],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd1bc5fefdc466f2a79b176a6aa8c7b5.jpg",[],{"id":134321,"slug":134322,"title":134323,"dynasty":256,"author":257,"museum":316,"description":134324,"tags":134325,"thumbUrl":134327,"material":599,"size":600,"collection":139,"collections":134328,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":94},230747,"sui-bao-shi-yi-ming-230747","碎宝石","这些原石似被晚风撞落的星群，随性铺陈。钴蓝色泽的蓝宝石带着天然冰裂，如凝固的深海浪痕，晕开沉静邃远的蓝调；祖母绿裹挟着棉絮状内含物，将雨林幽翠凝于方寸；鸽血红宝石零星点缀，是暗夜里燃着的细碎焰火。通透的无色晶石似凝住的月光，暖调的黄玉晕开浅金柔光。\n\n没有刻意规整的排布，带着天然原石的松弛随性，将大地亿万年淬炼的绮色铺陈开来。每一块都带着独一份的肌理与光泽，藏着地质造物的隐秘浪漫，把深土之下的时光珍藏，静静晕开自然雕琢的温柔质感。",[8377,7,134326,134323,64],"宝石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fe621b8e45c3fbc5050658eb9c03f5d.jpg",[],{"id":134330,"slug":134331,"title":134332,"dynasty":76,"author":257,"museum":316,"description":134333,"tags":134334,"thumbUrl":134337,"material":599,"size":600,"collection":139,"collections":134338,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},230724,"huang-di-suo-er-xian-wen-guan-yi-ming-230724","黄地索耳弦文罐","此罐黄釉匀净莹润，如蜜似金，暖调釉色沉静雅致，尽显温润质感。圆融饱满的器身线条舒缓柔和，数道弦纹环绕腹身，以极简线条勾勒层次，平添内敛韵律。两侧索形双耳扭结如绳，朴拙灵动，为规整器型晕开几分山野朴趣。\n配套镂空金属盖錾刻缠枝纹样，细密精巧，冷硬金属与温润瓷釉碰撞出别致反差。器物将日常实用之质与审美意趣相融，素雅又藏巧思，尽显含蓄内敛的东方美学风骨。",[12818,7,134335,134336,34482,320,280],"弦纹","索耳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b75d01e6e4912571f3f436abf7a4e8c.jpg",[],{"id":134340,"slug":134341,"title":134342,"dynasty":76,"author":257,"museum":316,"description":92228,"tags":134343,"thumbUrl":134345,"material":599,"size":600,"collection":139,"collections":134346,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},230721,"ti-hong-long-wen-fang-sheng-he-yi-ming-230721","剔红龙纹方胜盒",[320,37774,92304,5513,334,134344,229,7703,7],"方胜形","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c910cb0553c3e76f8fe94c3e87f5bc5.jpg",[],{"id":134348,"slug":134349,"title":134350,"dynasty":256,"author":257,"museum":316,"description":27801,"tags":134351,"thumbUrl":134352,"material":599,"size":600,"collection":139,"collections":134353,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":49},230700,"cai-hong-bao-l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峻秀与雄浑。左侧墨笔题跋以工整小楷书就，详述关隘形胜与历史变迁，文图相契，既为军事地理的珍贵记录，亦不失传统舆图的艺术韵味。整幅作品将实用的舆图功能与古典绘画的审美融于一体，笔墨间藏着山河的壮阔与岁月的沉淀，尽显古人对地理空间的认知与艺术表达的巧思。",[23,24,7,27,104,86,178,212,29,7599,6928,1049],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15328f7cb4348578074f1e3fa8ed3264.jpg",[],{"id":137376,"slug":137377,"title":137378,"dynasty":99,"author":257,"museum":316,"description":137379,"tags":137380,"thumbUrl":137382,"material":123,"size":139,"collection":139,"collections":137383,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":94},216427,"xuan-da-shan-xi-san-zhen-tu-212-yi-ming-216427","宣大山西三镇图-212","青绿山峦层叠环抱，中央镇堡清晰标识，构图对称而富有空间层次。设色古朴雅致，以青绿晕染山峦，线条勾勒轮廓，兼具地理舆图的精准与传统绘画的审美意趣。左侧题跋文字与右侧图像相映成趣，既承载军事防御的地理信息，又通过山水意境的营造，展现明代舆图艺术的独特风貌。整幅作品将实用与美学巧妙融合，是研究当时边镇防御体系与艺术表现手法的珍贵实例，笔墨间流露着对边地山川与军事重镇的细致描摹。",[23,24,25,29,27,7,178,86,808,137381],"城塞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0999da4b359dca18abdae43a685ea779.jpg",[],{"id":137385,"slug":137386,"title":137387,"dynasty":99,"author":257,"museum":316,"description":137388,"tags":137389,"thumbUrl":137390,"material":123,"size":139,"collection":139,"collections":137391,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":94},216426,"xuan-da-shan-xi-san-zhen-tu-217-yi-ming-216426","宣大山西三镇图-217","画面图文并置，左页墨书古朴，详述边塞地理与防务脉络；右图以青绿设色晕染山峦，层叠错落间尽显雄浑气象。道路如蜿蜒丝带，串联起醒目的“右卫城”与星散的烽燧，驼马队伍点缀其间，似闻丝路驼铃与戍边号角隐隐交织。山石用简洁线条勾勒，青绿深浅相宜，既还原了边塞地貌的壮阔，又暗含文人画的雅致意趣。图文相契处，不仅是实用的舆图档案，更凝萃着明代边塞的历史温度——戍守的坚毅、往来的烟火，皆在笔墨间静静流淌，尽显那段岁月里边塞大地的壮阔与鲜活。",[23,24,7,27,28,29,1049,150,86,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bece2a89fa5cc5cec32825175f713a0.jpg",[],{"id":137393,"slug":137394,"title":137395,"dynasty":99,"author":257,"museum":316,"description":137396,"tags":137397,"thumbUrl":137398,"material":123,"size":139,"collection":139,"collections":137399,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":94},216425,"xuan-da-shan-xi-san-zhen-tu-219-yi-ming-216425","宣大山西三镇图-219","这幅图将舆图纪实与山水意趣相融。右侧以青绿晕染山峦，层叠间见丘壑之致，线条简练却勾勒出地形肌理；城邑标注清晰，周边防线与零星人马活动，生动再现边防态势。左侧题跋以工整笔墨详述地理沿革与军事布局，图文互证，兼具实用价值与文献意义。整体画风古朴雅致，墨色与青绿相映成趣，既恪守舆图的纪实性，又暗合传统山水画的意境营造，是窥见明代边防格局与古舆图艺术特质的珍贵载体。",[23,24,25,26,7,29,106,150,808,119],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4aed27399c1e83e6404f620ac32fc449.jpg",[],{"id":137401,"slug":137402,"title":137403,"dynasty":99,"author":257,"museum":316,"description":137404,"tags":137405,"thumbUrl":137407,"material":123,"size":139,"collection":139,"collections":137408,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":94},216424,"xuan-da-shan-xi-san-zhen-tu-215-yi-ming-216424","宣大山西三镇图-215","画面分左右两轴，左为墨书文字，右为青绿山水舆图。右图以淡彩晕染山峦，峰峦叠嶂间云雾轻笼，道路蜿蜒穿插，“守场堡”标注清晰醒目，兼具地理精度与写意韵味；左文行楷工整，墨色沉厚，记述当与边镇防务相关，字迹古朴流畅。图文相契，既展现边疆地理风貌，又将军事舆图的实用性与传统绘画的意境美融合，于严谨中见灵动，让疆域轮廓承载人文温度，折射出彼时边镇防御的历史语境，尽显古代舆图绘制的匠心巧思。",[23,24,25,27,7,29,178,137406,37],"山体","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7154088a9d845e12c1bbf67d17461790.jpg",[],{"id":137410,"slug":137411,"title":137412,"dynasty":99,"author":257,"museum":316,"description":137413,"tags":137414,"thumbUrl":137415,"material":123,"size":139,"collection":139,"collections":137416,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":94},216423,"xuan-da-shan-xi-san-zhen-tu-216-yi-ming-216423","宣大山西三镇图-216","青绿染就的峰峦如翠屏列峙，皴擦间显地形险厄。蜿蜒道路穿梭山谷，桥梁横架溪涧，关隘标注点睛，暗合军事防御的缜密布局。左侧蝇头小楷详述地理沿革与戍守要略，图文相契，既是实用边镇舆图，又具文人画雅致韵致。线条古朴简练，设色清雅沉静，边塞雄浑与绘图精细融于一纸，尽显明代舆图实用与审美兼备之妙，于笔墨间藏边地防务的深谋远虑。",[23,24,25,7,27,29,106,150,108,109,176,34,119,212,178],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe6c00de953b33f00d92dab7e51ce0213.jpg",[],{"id":137418,"slug":137419,"title":137420,"dynasty":99,"author":257,"museum":316,"description":137421,"tags":137422,"thumbUrl":137423,"material":123,"size":139,"collection":139,"collections":137424,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":94},216422,"xuan-da-shan-xi-san-zhen-tu-218-yi-ming-216422","宣大山西三镇图-218","画面左列墨笔题跋，详述堡寨沿革与地理形胜；右侧以青绿晕染山峦，层叠错落如翠嶂环列。中央“马坊堡”方城清晰，城垣勾勒简洁，与周遭山道、丘壑相映，既存舆图之实用精准，亦含山水之雅致韵致。青绿设色温润古朴，山石造型稚拙中见意趣，文字与图像互证，将军事要地的地理信息与传统绘画面貌融于一卷。于纪实中藏笔墨情味，在规制里见艺术巧思，尽显明代边塞舆图的独特风貌——既是戍边经略的载体，亦是笔墨传神的画卷。",[23,24,25,7,27,104,29,685,114,55035],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d07e162ef6f685c32f229279858e824.jpg",[],{"id":137426,"slug":137427,"title":137428,"dynasty":99,"author":257,"museum":316,"description":137429,"tags":137430,"thumbUrl":137431,"material":123,"size":139,"collection":139,"collections":137432,"showCount":48,"zanCount":48,"manualWeight":48,"mainColor":94},216421,"xuan-da-shan-xi-san-zhen-tu-220-yi-ming-216421","宣大山西三镇图-220","青绿晕染的山峦错落铺展，或浓或淡的蓝绿交织，似含边塞的苍茫与生机。纤细墨线勾勒出蜿蜒道路，串联起座座城塞与关隘，标注的地名框清晰规整，隐现边镇防御的缜密布局。\n\n这幅图将军事地理的实用精准与传统山水画的写意韵致相融，不刻意雕琢却于简淡中见功力——山川形态、道路走向、城防分布，皆在泛黄绢本上静静诉说明代边塞的战略格局。它既是承载历史信息的舆图，亦是流露艺术意趣的画作，实用与审美在此达成巧妙平衡，堪称边镇题材舆图中的珍贵遗存。",[23,24,7,27,29,107,119,175],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5670b98b51e91f01250c3623effcb017.jpg",[],{"id":137434,"slug":137435,"title":137436,"dynasty":99,"author":257,"museum":316,"description":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