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澹雅”。此册中的花鸟更是形神兼备，清新淡雅，具有新的风貌。",[24,92,26,76,93,94,95,96,97,32,98,99,100,101,102,7,30],"没骨","皴法","竹","石","花卉","兰草","苔草","红色花卉","黄色花卉","竹叶","竹笋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4377c657f826c18b3596050a5963db15.jpg",[],124,1,{"id":108,"slug":109,"title":110,"dynasty":46,"author":111,"museum":112,"description":113,"tags":114,"thumbUrl":122,"material":26,"size":60,"collection":38,"collections":123,"showCount":124,"zanCount":11,"manualWeight":11,"mainColor":41},219352,"ji-tu-yi-ming-219352","鸡图","佚名","台北故宫博物院","红冠劲挺的雄鸡立于侧，黑羽如缎，尾翎舒展若墨染；白羽带斑的母鸡低头轻啄，身旁雏鸡憨态可掬，或蹭母翼下，或伸颈欲食，亲子温情流淌于笔端。旁侧百合悄然绽放，淡粉花瓣与嫩绿枝叶点缀，添几分雅致。古绢底色沉敛，线条细劲精准，设色温润自然——雄鸡艳红与黑羽对比鲜明，母鸡素白与雏鸡嫩黄相映成趣。无繁复布景，却以细腻笔触勾勒鸡群生动情态，既有田园恬淡，又暗合“吉（鸡）祥和合（百合）”的美好期许，尽显明代工笔花鸟的雅致意趣与生活气息。",[115,24,52,25,26,116,117,118,119,120,96,121,7],"明代","绢本","花鸟画","公鸡","母鸡","小鸡","草丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf02b4d3eb9621cbc675af2bd1bf32f3.jpg",[38],59,{"id":126,"slug":127,"title":128,"dynasty":46,"author":129,"museum":130,"description":131,"tags":132,"thumbUrl":141,"material":142,"size":143,"collection":144,"collections":145,"showCount":147,"zanCount":106,"manualWeight":11,"mainColor":84},222225,"si-wan-shan-shui-tu-wan-gan-yan-yu-wen-bo-ren-222225","四万山水图-万竿烟雨","文伯仁","京都国立博物馆","明代中期吴派风格自形成以来盛极一时，他们的画法，上探北宋董巨，近追元代四家，与以往明代绘画所不同的是，吴派山水属于文人画体系，被称为“利家”画并为发展文人画做出了重大贡献，同时他们的画风为后世文人所推重直至今日。文伯仁，字德承，号五峰，作为吴派山水画家和文氏家族中重要的一员，“笔力清劲，布景奇兀，时以巧思发之能传家学，颇负出蓝之誉”，并善于学习古人，画功精湛，在他存世并不众多的作品中不难发觉元代王蒙与叔父文徵明的影子，而与此二人作品相较，比王蒙的山水少了高不可攀的险峻，比文徵明的山水多了鲜明的个人情趣。徐沁在名画录赞叹文伯仁的山水“横披大幅，层峦郁茂不在衡山之下。”\n《四万山水图》指的是四幅分别以“万壑松风”、“万竿烟雨”、“万顷晴波”、“万山飞雪”为题的画作的总称，是明代画家文伯仁为友人顾从义而画，作于文伯仁50岁时。各图上有明末艺苑的代表文人董其昌所题的画赞。文伯仁是明代苏州（江苏省吴县）文人画即吴派的中心人物文征明的外甥，据说其在文氏一门之中画技最为出色。文征明及其一门的画家喜爱描绘山泉林间闲游的文人，但文伯仁的山水画以清静、浅显、清楚的白描风格或淡彩为基调，以充满色彩感的画风为特色，为文人画开辟了新的境界。本图是嘉靖年间（1522～66年）吴派的代表作品之一。《四万山水图》描绘了文人的闲适，作品中大量使用了清劲的白描笔法，表现密度极高。",[23,24,76,71,133,94,134,135,7,121,93,46,136,137,57,138,72,139,140],"山水","烟雨","流水","传统","水墨山水","自然景观","笔墨","渲染","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2827fdbc7f7dd9a85fe05f339586423b.jpg","纸本墨笔","48X123cm","山水画精选",[144,146],"水墨画精选",54,{"id":149,"slug":150,"title":151,"dynasty":18,"author":152,"museum":48,"description":153,"tags":154,"thumbUrl":158,"material":60,"size":60,"collection":60,"collections":159,"showCount":160,"zanCount":11,"manualWeight":11,"mainColor":84},224474,"yu-zan-hua-wan-shou-ju-yu-sheng-224474","玉簪花万寿菊","余省","此作取景雅致，椭圆画幅将庭隅清趣拢于其中。玉簪花挺然舒展，紫瓣晕染出通透柔润的质感，垂坠的花穗尽显清雅柔婉之态；阔叶墨绿莹润，脉纹精细分明，衬出花枝秀逸。下方万寿菊娇俏点缀，细枝嫩叶灵动雅致，与玉簪花形成疏密错落的层次。\n\n设色温婉柔和，淡赭底色晕开古雅氛围，晕染兼具写实工致与写意韵致。题字落款雅致呼应画意，将花草舒展之态与清隽闲淡的意趣相融，尽显工笔花鸟的秀美细腻，观者仿若亲临小园，静赏幽花盛放的悠然生机。",[23,24,52,25,26,73,155,156,157,7],"玉簪花","万寿菊","叶片","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F750762adee6fd22e6a0e3c0df1eb893a.jpg",[],45,{"id":162,"slug":163,"title":164,"dynasty":18,"author":165,"museum":112,"description":166,"tags":167,"thumbUrl":174,"material":26,"size":175,"collection":60,"collections":176,"showCount":177,"zanCount":11,"manualWeight":11,"mainColor":84},222737,"xian-e-chang-chun-tu-dou-hua-lang-shi-ning-222737","仙萼长春图豆花","郎世宁","本册共十六开内容分别描绘牡丹、桃花、芍药、海棠玉兰、虞美人、蝴蝶花、黄刺玫牡丹、石竹、樱桃、罂粟、紫白丁香、百合花牡丹、翠竹牵牛、荷花慈姑花、豆花稷穗、鸡冠花、菊花等，其中有八开还画有鸟禽，整册内容与《石渠宝笈三编》著录之〈郎世宁画花卉册〉一致，对幅皆是空白，而最末一开有宋体书款「臣郎世宁恭画」，依据画风特色推测是郎世宁雍正时期的花鸟佳作。全册不仅设色精緻，构图手法也见新意。特别能于鸟禽形体姿态上有超乎传统的表现，是西法透视手法的精采成果。画中花鸟多处能够显示光影明暗，透过白色颜料提点高光的技巧也常见运用。整册画风都一再显示其与郎世宁雍正前期画风有关。",[23,51,24,52,53,26,25,168,169,73,170,171,172,7,57,173],"写实","中西合璧","豆花","麻雀","草地","飞鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf7cbebeb96400b2f7cc4f921366e047.jpg","宽28.4公分，高33.7公分",[],37,{"id":179,"slug":180,"title":181,"dynasty":46,"author":182,"museum":48,"description":183,"tags":184,"thumbUrl":188,"material":189,"size":190,"collection":60,"collections":191,"showCount":192,"zanCount":11,"manualWeight":11,"mainColor":84},237801,"hua-die-shan-wu-shi-pei-237801","花蝶扇","吴时培","此作以没骨法绘就，构图疏密相宜。左畔折枝错落，红果碎花点缀其间，晕染柔润鲜亮，尽显草木鲜活生机。中部草虫伏于阔叶之上，翅脉纹路勾勒细致，将虫豸之态摹写逼真。右侧双蝶振翅翩跹，灵动轻盈，仿佛携着微风掠过花间。\n\n设色清雅明丽，没骨晕染衬出花叶柔润质感，工写相融，既有写生的生动写实，又不失文人写意的澹澹雅致。题款与画面相映成趣，将花间逸趣凝于咫尺扇面，静中藏动，尽显悠然雅致的文人意趣。",[185,24,52,26,73,186,96,7,187],"扇面","蝴蝶","枝叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F237f267cd73fc030b9c293426b428408.jpg","未知","Xcm*Xcm",[],33,{"id":194,"slug":195,"title":196,"dynasty":197,"author":198,"museum":112,"description":199,"tags":200,"thumbUrl":206,"material":116,"size":207,"collection":60,"collections":208,"showCount":209,"zanCount":11,"manualWeight":11,"mainColor":41},231382,"shuang-song-tu-wu-zhen-231382","双松图","元","吴镇","全作的笔力雄劲，墨气沈厚，有一种平淡天真的韵致。\n两松平地直立，上顶天，下立地，几乎占据了整个画面。两树均挺拔茂盛、枝叶桠槎、形势奇古。左松树身中下部曲成弧形，卧于地，中部挺直、劲健，顶部突然探向右方；右松直立挺拔，上部一个近于直角的弯曲，伸向右，于左松一树枝的上方又一个近于直角的弯曲，然后冲向高空。这样两松空中交插，成为X形，一种挺拔、孤傲、相依相扶的形象展示于画面。两松枝叶间点缀以清溪茅舍、远山丛树，更显出双松的高大、雄伟。\n画中双树擎天而立，树后有一条蜿蜒的溪流渐渐地向后推延，几户房舍坐落在岸边，空间深邃。虽然这件画轴的画题是「双松图」，可是从画上两棵树的枝干看来，吴镇画的应该是桧树才对。画中桧树的枝纠结，仍然保存了李成、郭熙画树的风貌。树皮以长披麻皴来表现，笔法又和董源、巨然相似。坡岸多作矾头，也是董巨山水画的重要特色。",[24,52,76,93,71,133,201,202,203,204,205,7],"松树","山石","远山","树木","坡地","https:\u002F\u002Foss.chuangqi.store\u002F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heuvel van Montmartre met steengroeve","不详","梵高","文森特·威廉·梵高（Vincent Willem van Gogh，1853年3月30日—1890年7月29日），荷兰后印象派画家。代表作有《星月夜》、自画像系列、向日葵系列等。\n梵高出生于1853年3月30日荷兰乡村津德尔特的一个新教牧师家庭，早年的他做过职员和商行经纪人，还当过矿区的传教士最后他投身于绘画。他早期画风写实，受到荷兰传统绘画及法国写实主义画派的影响。1886年，他来到巴黎，结识印象派和新印象派画家，并接触到日本浮世绘的作品，视野的扩展使其画风巨变。1888年，来到法国南部小镇阿尔，创作《阿尔的吊桥》；同年与画家保罗·高更交往，但由于二人性格的冲突和观念的分歧，合作很快便告失败。此后，梵高的疯病（有人记载是“癫痫病”）时常发作，但神志清醒时他仍然坚持作画。1889年创作《星月夜》。1890年7月，梵高在精神错乱中开枪自杀，年仅37岁。",[218,219,220,221,222,223,54,224,225,172,226,227,228,7,229,204],"油画","后印象派","厚涂","山坡","风车","房屋","围栏","采石场","天空","小路","木栅栏","土地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F774e03ff0fe13bdf430a25b8a0496e9a.jpg","油画精选",[231],20,{"id":235,"slug":236,"title":237,"dynasty":18,"author":111,"museum":48,"description":238,"tags":239,"thumbUrl":246,"material":189,"size":190,"collection":60,"collections":247,"showCount":106,"zanCount":11,"manualWeight":11,"mainColor":41},261893,"wu-cai-shi-nv-shuang-ying-tu-bi-tong-yi-ming-261893","五彩仕女双婴图笔筒","笔筒： 用陶瓷、竹木、等制成的筒形插笔器具。笔筒是搁放毛笔的专用器物，据文献记载，它的材质有镏金、翡翠、紫檀和乌木，现在我们能够见到的传世器物，大多是用瓷或者是竹木制作的。具有收藏价值。",[240,241,242,26,54,243,244,173,245,7],"陶瓷","笔筒","五彩","仕女","婴孩","绿植","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce39e20099898db77ba691ca213d393e.jpg",[],{"id":249,"slug":250,"title":251,"dynasty":252,"author":253,"museum":254,"description":255,"tags":256,"thumbUrl":260,"material":60,"size":60,"collection":60,"collections":261,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":262},202939,"hua-hui-qing-ting-tu-zhou-chen-shi-ceng-202939","花卉蜻蜓图轴","近代","陈师曾","上海博物馆","这幅画写意传神，笔墨间透着盎然生机。橙红花卉明艳动人，叶片以墨绿相间的笔触勾勒，简练却形神兼备；棕榈叶用浓墨挥写，线条刚劲有力，与下方泼墨晕染的石块形成虚实对比。几只蜻蜓淡墨点染，姿态轻盈灵动，似欲栖于花间，为画面注入鲜活生趣。整体画风融合文人画的雅致与写生的真切，设色明快，笔墨洒脱，将自然之美凝于尺幅之间，尽显对生活与自然的细腻感知。",[72,26,73,257,258,7,139,259],"棕榈","蜻蜓","文人画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6aa10c0613d40d8b913af29227f7a53.jpg",[],"a99b8a",1777535727387]