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雍正三年（1725年）八月圆明园兴修一新之后，雍正皇帝经常在园中居住并在此办理公务，他明谕百官“每日办理政事与宫中无异”。这12幅行乐图展现了其在圆明园生活的各个场景，也表现了12个月的不同节令风俗。\n该幅为其中的三月赏桃",[23,24,29,28,76,30,77,78,79,80,7],"界画","楼阁","山水","桃花","树木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0feca8fa167788554a7fc5800090ce37.jpg","绢本，设色","纵188.2厘米，横102.2厘米",[63,85],"设色画精选",1764,14,{"id":89,"slug":90,"title":91,"dynasty":50,"author":92,"museum":93,"description":94,"tags":95,"thumbUrl":100,"material":39,"size":101,"collection":102,"collections":103,"showCount":104,"zanCount":105,"manualWeight":11,"mainColor":106},214253,"mu-niu-tu-li-chun-214253","牧牛图","李椿","美国克利夫兰艺术博物馆","牧牛图是宋代画家李椿的一幅代表作。这幅画作描绘了牧牛的生活场景。\n\n在这幅画作中，李椿巧妙地捕捉了牧牛的生活状态。他用浓墨重彩的画法，勾勒出了牧牛的身形。他还用细腻的线条勾勒出了牧牛的面容，让人感受到了牧牛的温顺和和蔼。\n\n此外，李椿在这幅画作中还描绘了牧牛周围的景色。他用色彩丰富的画法，描绘了牧牛周围的山川和河流。这些景色与牧牛的生活场景形成了鲜明的对比，让人感受到了自然与动物的和谐共存。\n\n总之，牧牛图是一幅精美的画作，描绘了牧牛的生活场景。它让我们感受到了宋代画家李椿对动物的喜爱之情，也让我们感受到了宋代文化的魅力。",[23,24,29,28,96,97,30,98,7,99],"牛","树","草地","宋代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95035fbb75855fef24415203e134b8ac.jpg","24.8x25.7","宋画精选",[102],1394,5,"BDBDBD",{"id":108,"slug":109,"title":110,"dynasty":71,"author":111,"museum":112,"description":113,"tags":114,"thumbUrl":119,"material":120,"size":121,"collection":121,"collections":122,"showCount":123,"zanCount":105,"manualWeight":11,"mainColor":106},214734,"hua-hui-ce-6-yun-shou-ping-214734","花卉册-6","恽寿平","私人收藏","恽寿平（1796-1873）是清代著名的画家，他擅长画花鸟，尤其是花卉。他的花卉册是他的代表作之一，包含了他对花卉的描绘和描写。\n\n恽寿平的花卉册以其精细的笔墨和精美的色彩著称，他善于捕捉花卉的细节和美感，并将其再现在画布上。他画的花卉通常都是生动传神，有时也带有一些象征意义。恽寿平还创作了许多花卉图谱，用来介绍各种花卉的特征和用途。\n\n恽寿平的花卉册不仅深受藏家的喜爱，也被认为是清代花卉画的杰出代表作之一。他的作品不仅为后人留下了宝贵的艺术瑰宝，而且也为我们展示了清代花卉画艺术的魅力。",[23,24,25,55,115,116,29,57,58,7,28,117,118],"册","没骨","草本植物","水墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa6add9c0b73e67c0dfd0de7e7d098a1.jpg","纸本,设色","",[],1228,{"id":125,"slug":126,"title":127,"dynasty":128,"author":129,"museum":130,"description":131,"tags":132,"thumbUrl":136,"material":137,"size":138,"collection":139,"collections":140,"showCount":141,"zanCount":105,"manualWeight":11,"mainColor":106},220034,"dong-zhuang-tu-ce-zhi-bei-gang-shen-zhou-220034","东庄图册之北港","明","沈周","南京博物院","东庄是沈周的好友吴宽的庄园。原作有24幅，明末后只存21幅。",[23,55,24,25,115,118,133,78,97,134,135,7],"皴法","荷","流水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15ce1469f2e7f5176c41428873c3177e.jpg","纸本","纵28.6厘米，横33厘米","山水画精选",[139,85],904,{"id":143,"slug":144,"title":145,"dynasty":50,"author":146,"museum":147,"description":148,"tags":149,"thumbUrl":156,"material":39,"size":157,"collection":63,"collections":158,"showCount":159,"zanCount":160,"manualWeight":11,"mainColor":45},216777,"xue-zhu-wen-qin-tu-huang-quan-216777","雪竹文禽图","黄筌","台北故宫博物院","在这幅「雪竹文禽」图中，画家将树石等主要实景置于幅左，而将江河与水鸭置于幅右。这种虚实对映的布局，不仅显示出南宋独特的审美趣味，也展现了自然生态活泼灵动的特质。画家绘以梅、竹，以及成对成双的游禽与飞鸟，不但点出了早春时序，更具有吉祥的祝幅之意。\n黄筌是五代后蜀的宫廷名画家，北宋时随着蜀主归宋后，便与其子黄居寀同入画院供职，对北宋初期花鸟画影响深远。黄筌喜用勾勒填彩，设色上也较为浓艳。本幅「雪竹文禽」的画风野逸简淡，以画风来看，可能不是黄筌真迹，而是南宋画院画家的作品。",[23,55,24,25,28,118,29,150,151,7,152,153,154,155],"竹","禽鸟","枯树","雪","孤石","枝干","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5f9706b1a724681c40f304326ac14e5.jpg","26.3 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陈淳应为58岁，此作亦为其是画风成熟之作。从其题跋可以得知陈淳游历数月，画作颇丰，认为此作为“草本”，可见其自觉并无刻意求工，描写大略而已。\n卷尾文彭题曰：“赵昌王友已无伦，更学徐熙更逼真。意到不论颜色似，笔端原有四时春。阅白阳杂花漫题。文彭。”充分体现了吴门花鸟画的文人雅趣，“意到不论颜色似”概括了文人写意的特征，而“漫题”也体现了题咏者的状态，反映出文人书画家的共同气质特点与审美追求。\n文人王穉登的题跋则突出了对陈淳花卉写生推崇与称赞。“写生贵在约略点染，天真烂如。不当以分葩计蕊为似，重丹叠翠为工。观此册陈道复先生所作，粉墨萧闲，意象自足，所谓千金骏骨，识者求之牝牡骊黄之外可也。”此段题跋强调了陈淳花卉写生最主要的特点，即约略点染，不求工细，而意象自足。\n卷尾的金农长跋也对陈淳“行笔绝无时蹊，设色亦未敷采炫目，画以意似而非以形似也”的风格进行梳理，论述了写意书写的源流。但这段题跋存在一些问题。其一，通篇书体较为拘谨，特别是每行末字，刻意缩减对齐，非常局促。其二，“后世临写纷纷，徒劳豪楮”中“豪”应为“毫”之误。此出自大文人之手，有些牵强。其三，“此册九叶，花草凡七，间以山水两帧。”所述并非此册，极有可能是将他处题跋移接此处所致。所以这段金农题字不足以为据，至于真伪原由的评断，是另外的话题。本文主要论及陈淳花卉写生的艺术特点，就不将此段金农的论述作为讨论的依据了。\n变化生动自然，是陈淳花卉写生的代表作。如果将此册置于陈淳传世花鸟画作品中做一纵向比对，可以发现其共性的特征集中体现在这件作品中，同时，这件作品还有一些不同于其他作品的独到之处，都统一在率意自足的书写风格之中。所以这件陈淳绘画风格成熟期的作品，总体来看，体现了陈淳如下几个方面的鲜明的艺术特点。",[23,24,25,57,115,247,118,29,58,169,7,275,276],"枝叶","兰草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F917a3d7d0165dfb34ce3f2d19087dabb.jpg","纸本设色","32.5×57.3厘米",[63,85],314,{"id":283,"slug":284,"title":285,"dynasty":258,"author":286,"museum":147,"description":287,"tags":288,"thumbUrl":301,"material":302,"size":303,"collection":102,"collections":304,"showCount":305,"zanCount":105,"manualWeight":11,"mainColor":106},221708,"hua-cao-mi-feng-qian-xuan-221708","花草蜜蜂","钱选","早晨披衣晨起，气温已升高，只有些微凉意。春天所剩只有两日，人生恨不得能大醉千百场。芳草随着渐行渐远的旅人连绵到天涯，柳丝百丈，也比不得旅人的愁闷那么长。花花朵朵已经没有了，但还有几分春色被蜜蜂藏起了蜂蜜里。\n烂醉恨无千百场：苏轼有词：百年里，浑教是醉，三万六千场。\n这首诗作于嘉泰元年（1201），作者时在山阴。",[23,24,55,29,28,289,290,7,57,25,291,292,293,58,294,295,296,297,298,299,300],"花草","蜜蜂","设色花鸟","工笔花鸟","元代绘画","昆虫","山石","传统绘画","工笔设色","花鸟题材","草木","蜂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bd7df0fb4cdfe9a940d95305f727f55.jpg","绢本","26.6x23cm",[102,63,85],301,{"id":307,"slug":308,"title":309,"dynasty":71,"author":310,"museum":311,"description":312,"tags":313,"thumbUrl":317,"material":121,"size":121,"collection":63,"collections":318,"showCount":319,"zanCount":237,"manualWeight":11,"mainColor":106},224364,"hua-hui-si-ping-zhi-yi-ju-lian-224364","花卉四屏之一","居廉","藏地不详","此作用笔兼工带写，艳红凌霄花晕染鲜活，明丽暖调点亮画面，虬曲藤蔓以枯笔勾勒，苍劲老辣尽显古拙质感。湖石以淡墨勾皴，空灵通透的孔洞颇具玲珑意趣，与柔蔓繁花形成刚柔对照。\n\n两只螳螂纤毫毕现，身形灵动写实，悄然栖于枝桠，暗藏盛夏幽丛间的野趣。画面疏密错落，花叶垂曳、顽石静立，草虫点缀出鲜活生机，将庭院小景的清幽雅致尽数铺展，尽显清丽脱俗的花鸟意韵。",[23,24,25,26,28,29,57,314,315,58,7,316,154],"藤蔓","叶子","螳螂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb303d0182d4e4c3f71398cf0140d09b1.jpg",[63,85],282,{"id":321,"slug":322,"title":323,"dynasty":50,"author":324,"museum":73,"description":325,"tags":326,"thumbUrl":330,"material":331,"size":332,"collection":102,"collections":333,"showCount":334,"zanCount":237,"manualWeight":11,"mainColor":45},220260,"song-xia-ting-qin-tu-zhao-meng-fu-220260","松下听琴图","赵孟頫","此作用青绿晕染铺展山水，层叠远山淡逸朦胧，坡岸苔点疏密错落，漾出幽寂林下氛围。几株古松虬曲苍劲，鳞皴老干垂挂松萝如翠帘轻垂，框出一方雅集天地。\n\n松下四人围坐，抚琴者垂目拨弦，听者或支颐凝思，或侧耳静聆，侍童恭立一旁，尽显文人雅聚的闲淡意趣。衣袂线条清隽简雅，暗合魏晋林下风流。题画诗与山水人物相映，笔墨间浸透知音相逢、寄怀林泉的雅兴，将丝竹之韵融在松风山色里，淡远悠长的文人情思溢满卷间。",[23,55,24,25,26,29,28,327,30,78,328,7,80,329],"松","琴","乐器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3759b8e137635ec8416cf0cc39860ba.jpg","设色,绢本","纵123.6厘米、横60.4厘米",[102],265,{"id":336,"slug":337,"title":338,"dynasty":128,"author":339,"museum":52,"description":340,"tags":341,"thumbUrl":346,"material":120,"size":347,"collection":139,"collections":348,"showCount":349,"zanCount":178,"manualWeight":11,"mainColor":106},214674,"san-jue-tu-yao-shou-214674","三绝图","姚绶","姚绶（1536年－1627年）是中国明朝时期著名的画家、书法家和诗人。他在明朝末年和清朝初年期间活跃，是中国古代四大书法家之一。姚绶的“三绝图册”是他的代表作之一，是他在晚年创作的一组绘画作品集。\n\n“三绝图册”共有三册，分别为“绝境图册”、“绝岭图册”和“绝川图册”。这三册作品均采用水墨画的方式，描绘了天山、岭川、峡谷等山水风光。姚绶的绘画风格具有浓郁的民族特色，笔墨简洁而凌厉，构图巧妙，色彩明快。这三册作品被认为是中国古代山水画的精品，被广泛收藏和展览。",[24,25,29,118,78,30,248,342,7,343,344,345],"草","渔乐","远山","水面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd490e9ed3930554b04863c0b5aa07e4.jpg","纵31.2 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横80.8cm",[85],137,{"id":521,"slug":522,"title":523,"dynasty":71,"author":524,"museum":52,"description":525,"tags":526,"thumbUrl":527,"material":39,"size":121,"collection":41,"collections":528,"showCount":529,"zanCount":11,"manualWeight":11,"mainColor":45},218250,"ying-xi-tu-luo-pin-218250","婴戏图","罗聘","孩子们被描绘成在一棵树下以不同的姿势玩耍，有非常不同的、诙谐的行为。",[24,25,29,28,30,186,97,218,187,188,98,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe10da7efee8c25f6e93f8c2460e80de8.jpg",[41],132,{"id":531,"slug":532,"title":533,"dynasty":71,"author":534,"museum":73,"description":535,"tags":536,"thumbUrl":537,"material":265,"size":538,"collection":63,"collections":539,"showCount":540,"zanCount":11,"manualWeight":11,"mainColor":106},218775,"lu-yan-tu-zhu-da-218775","芦雁图","朱耷","图绘6只芦雁在水际岸边飞、鸣、行、止的瞬间。芦雁的造型准确严谨，动、静的体态表现得出神入化。其背部的羽毛是先以淡墨晕染，趁湿在淡墨上点以浓墨，浓淡墨交融处显现出羽毛柔软细密的质感和厚重的量感。图中描绘山石的笔墨老辣娴熟，石上的青苔以卧笔横锋点染，纵横随意中不失章法，其苔点与芦雁身上的墨点在笔法上形成呼应，令全幅深得酣畅淋漓之趣。",[23,24,118,26,247,230,232,7,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe60dede01fc11a7c1a00978bff3e757b.jpg","纵221.5厘米，横114.2厘米",[63],129,{"id":542,"slug":543,"title":544,"dynasty":71,"author":19,"museum":311,"description":545,"tags":546,"thumbUrl":549,"material":550,"size":551,"collection":121,"collections":552,"showCount":553,"zanCount":11,"manualWeight":11,"mainColor":106},236741,"huang-ju-mao-die-wan-shan-yi-ming-236741","黄鞠猫蝶纨扇","这帧纨扇小品取右虚左实之构图，苔石隐于浅草花丛间，乌背白腹的狸奴踞坐其上，圆瞳灼灼，紧盯翩跹粉蝶，蓬松绒毛以晕染细笔勾绘，憨态灵动，将花猫窥蝶的凝神一瞬定格。\n\n左上花枝柔曼，粉花轻缀，没骨笔法晕染出淡冶花色，明丽雅致。侧旁题笔规整清雅，与画面相映成趣。\n\n整幅小品以清隽设色勾勒日常闲趣，将庭间小景的恬淡野趣尽数铺陈，温婉雅致的意趣浸透绢面，尽显小品画的悠然雅韵。",[24,25,55,547,29,28,548,514,60,172,7,80],"扇面","清代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a6235c2fe94225bf65dcfca3543ed3c.jpg","未知","Xcm*Xcm",[],119,{"id":555,"slug":556,"title":557,"dynasty":71,"author":558,"museum":73,"description":559,"tags":560,"thumbUrl":564,"material":465,"size":565,"collection":121,"collections":566,"showCount":553,"zanCount":11,"manualWeight":11,"mainColor":106},232890,"xie-yi-shan-shui-tu-zhou-hong-ren-232890","写意山水图轴","弘仁","据作者款题而知，此图是作者应“雄右”（王炜）之嘱托，为“旦先居士”（吕应昉）所绘。该图在设陈布势上取法倪瓒“一河两岸式”构图，中景画一片不着笔墨晕染的水域，水域的两岸分别绘起伏的山峦和空亭、秋木。整幅画面于简约疏旷的格调中表达出作者孤傲清高的情怀，堪称作者艺术成熟期的代表之作。",[23,24,118,26,247,133,25,78,561,80,187,135,562,563,7],"山峰","瀑布","亭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b8ebd02e1d7203160c9e5da77aedc77.jpg","纵133.1厘米，横62.7厘米",[],{"id":568,"slug":569,"title":570,"dynasty":258,"author":485,"museum":147,"description":571,"tags":572,"thumbUrl":575,"material":576,"size":577,"collection":139,"collections":578,"showCount":579,"zanCount":11,"manualWeight":11,"mainColor":106},220170,"song-lin-ting-zi-tu-ni-zan-220170","松林亭子图","此画写的是江南山庄的景色，平远为山水，较为隐约，近处为山坡，坡陀上山石横卧。中幅画有数棵穿天大树，大树下画有一亭子，座落在远山、近石之间。\n画面左上方有倪瓒于至正十四年（1354）的一段赠友人的题跋：“亭子长松下，幽人日暮归。清晨重来此，沐发向阳晞。至正十四年初冬，倪瓒为长卿茂异写松林亭子图，并诗其上。” 幅上有潘纯题。",[23,24,25,26,118,133,78,248,573,218,344,574,7,80],"亭子","水域","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ebd82fa0184f444978c623ab494f284.jpg","绢本,水墨","纵83.4厘米，横52.9厘米",[139],118,{"id":581,"slug":582,"title":583,"dynasty":128,"author":584,"museum":585,"description":586,"tags":587,"thumbUrl":590,"material":591,"size":592,"collection":121,"collections":593,"showCount":594,"zanCount":209,"manualWeight":11,"mainColor":45},222394,"si-ji-hua-niao-tu-qiu-lv-ji-222394","四季花鸟图-秋","吕纪","日本京都国立博物馆","吕纪（1429～1505），字廷振，号乐愚，鄞（今浙江宁波）人。明代画家。\n其花鸟初师边景昭，又学林良，并广泛师法唐宋诸家，所作有工笔重彩和水墨写意两种画法，前者描绘精工，色彩富丽，法度谨严；后者粗笔挥洒，随意点染，简练奔放，富有气势和动感。其山水宗法马远、夏圭，以大斧劈皴画山石，苍劲有力。人物亦法南宋院体，衣纹线条简练顿挫。初学边景昭工笔法，亦受林良水墨法影响，后临仿唐宋诸家名迹，遂自成一体，独步当代。其花鸟画风呈两种面貌，一作工笔重彩，精工富丽，多绘凤鹤、孔雀、鸳鸯之类，辅以树木坡石、滩渚流泉背景，既具法度，又富生气。另一类为水墨写意画，粗笔挥洒，简练奔放，接近林良的风格。他亦兼善人物、山水，宗法南宋马远、夏圭画法。他的花鸟画风在当时宫廷内外影响甚大，继承者不乏其人。\n明弘治年间，入值仁智殿，官至锦卫指挥使，是明代与边景昭、林良齐名的院体花鸟画代表画家。其绘画风格可分为两大类，一类是以水墨为主略淡彩，用笔较为豪纵，另一类则是设色浓丽，用和工致，具有富丽的宫廷装饰趣味。吕纪由水墨淡色画转为工笔重设色画，更直接的原因是为了适应不同皇帝的不同口味，具体说来就是弘治皇帝朱祐樘的欣赏口味不同于他的父辈成化皇帝朱见深，从而造成了吕纪多画凤凰、雉鸡、仙鹤、孔雀、鸳鸯之类，杂以花木草石，具有生气。工笔着色与水墨写意能，并善于将两体结合。吕纪初学唐宋各家和同时代的边景昭，后形成自己的风格。他的花鸟设色鲜艳，生气奕奕，被称为明代花鸟画第一家。据说吕纪在画作上常用寓意手法对皇帝劝谏，皇帝知其用心，曾说：“工执艺事以，谏吕纪有之。”其代表作品有《新春双雉图》《桂花山禽图》《残荷鹰鹭图》《秋鹭芙蓉图》《五德大吉图》 《狮头鹅图》等。\n吕纪，1477年生，鄞州（今浙江宁波）人。字廷振，号乐愚，弘治间（1488-1505）供事仁智殿，弘治间征入宫廷，为宫廷作画，供奉仁智殿，官锦衣卫指挥。擅画临古花鸟，初学边景昭，后研习唐宋诸家名作，继承两宋“院体”，以工笔重彩，又在水墨写意方面受林良影响。\n远宗南宋院体格，廷续了黄筌工整细致的画风及钩勒笔法，并予以发扬，多以凤凰、仙鹤、孔雀、鸳鸯之类鸣禽为题材，杂以浓郁花树，画面绚丽。亦作粗笔水墨写意者，笔势劲健奔放，与林良相近，与边景昭同为明代院体花鸟画中的临古派代表。传世作品有《桂菊山禽图》《榴花双莺图》《雪景翎毛图》《浴凫图》等。除画花鸟外，偶尔也画人物山水。他主要是以工整精丽的院体传统作画，造型准确，设色鲜艳。但也能画活泼生动兼工带写的花鸟画。他的画生动，笔墨清新，是当时与边景昭、林良齐名的花鸟名家。他作画时，常以寓意手法规谏皇帝，故明孝宗曾说：“工执艺事从谏，吕纪有之”。他是与边景昭、林良齐名的院体花鸟画代表作家。《狮头鹅图》，绢本，设色。纵191厘米，横104厘米。工笔画狮头鹅，侧身曲颈回顾古梅，鹅身洁白如玉，眼睛刻划有神，形象生动。古梅干枝苍劲，生机勃勃。树下衬以太湖石、月季花，石后有双勾竹隐露，色彩艳丽，衬托出狮头鹅之白身红冠。是明代院体花鸟画的杰作。款署“吕纪”。现藏辽宁省博物馆。\n《榴花双莺图》写石榴一枝，蘩花盛开，一对黄鹂栖于枝头，一上一下，鸣啼相应，神态活泼。工笔重彩，钩勒填色，绚丽多彩为明代中期院体画的典型风格。\n相比画家，吕纪的另一个身份更令人吃惊——历经明代成化、弘治、正德三代，官至锦衣卫指挥使(秘密警察头目)。吕纪的花鸟绘画，水墨淋漓，气势宏大，甚至是日本屏风画的来源之一。《柳荫双鸭图》和《幽涧双鹭图》曾在日本出版的《听松清鉴》中著录，郑振铎在上世纪四十年代遍访流传在海外的中国名画，并在其所编的《域外所藏中国名画》中收录。吕纪的两幅作品不仅是明代全景花鸟画的杰作，也是中国绘画影响日本绘画的证据代表作。",[23,24,28,29,57,97,7,345,588,169,589],"飞鸟","鸭子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1873779d421c2c6c0dad9edf14f98573.jpg","绢本设色","176.0×100.8",[],114,{"id":596,"slug":597,"title":598,"dynasty":71,"author":367,"museum":73,"description":599,"tags":600,"thumbUrl":602,"material":465,"size":432,"collection":121,"collections":603,"showCount":604,"zanCount":209,"manualWeight":11,"mainColor":106},233730,"tian-zhu-shui-xian-tu-zhou-wu-chang-shuo-233730","天竺水仙图轴","此图又名《群仙祝寿》。图绘天竺、水仙。构图颇具匠心，水仙顺坡生长取斜势，而参差错落的天竺直、斜之姿兼备，使画面富于变化，情趣盎然。水仙的叶片以墨笔勾线，石绿填色，浓厚的色彩增添了鲜活的生机；高挑的天竺则以写实手法点染而成，其艳丽的嫣红色与水仙的绿色形成冷暖色调的对比，色彩明亮却不俗艳。此作是吴昌硕花卉画的代表作之一。\n天竺、水仙均有长寿之意，且谐“诸仙”之音，是寿意画的常用题材。范湖居士即周闲（1820-1875年），字存伯，一字小园，号范湖居士，浙江秀水（今嘉兴）人。晚清上海重要画家，精于水墨花卉，与任熊、任颐、吴昌硕等相友善。图题“拟范湖居士”，可知此图有借鉴周氏之处。",[24,25,26,57,247,29,118,601,217,7],"天竺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e0176a3a4253556702b5d4630221776.jpg",[],112,{"id":606,"slug":607,"title":608,"dynasty":71,"author":609,"museum":311,"description":610,"tags":611,"thumbUrl":612,"material":302,"size":613,"collection":121,"collections":614,"showCount":615,"zanCount":178,"manualWeight":11,"mainColor":45},222701,"hua-hu-die-tu-jin-yao-222701","花蝴蝶图","金钥","此作用笔工致秀润，设色清雅柔和。灵石皴染朴拙，野卉自石畔抽茎挺生，淡紫碎花垂缀梢头，圆叶绿丛铺陈其下，野趣盎然。数只蛱蝶翅纹斑斓鲜活，或栖于花枝、或振翅翩跹，将蝶之灵动与花之柔婉相融无间。画面右上角题诗配字，笔墨隽秀，书画相映成趣，晕染出悠然闲适的文人情致。整体构图错落舒展，将郊野一隅的幽微生机勾勒动人，把小品花鸟的雅致意趣尽数铺陈，尽显清和隽永的审美意韵。",[23,24,25,26,28,29,57,60,172,33,7,190],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9952c196199673acf5700bc014e2bd29.jpg","30x75.",[],110,{"id":617,"slug":618,"title":619,"dynasty":71,"author":620,"museum":147,"description":621,"tags":622,"thumbUrl":624,"material":39,"size":625,"collection":63,"collections":626,"showCount":627,"zanCount":209,"manualWeight":11,"mainColor":45},218778,"si-rui-qing-deng-tu-jiang-ting-xi-218778","四瑞庆登图","蒋廷锡","蒋廷锡（西元一六六九－一七三二年），江苏常熟人。字扬孙，号酉君，又号西谷。官至文华殿大学士，工画花卉草虫，以逸笔写生，没骨花鸟画继承恽寿平风格。\n画两棵高梁结满穗粒，并点缀有白头翁、菊花和泉石。画法承恽氏之风，虽用笔工致，但不板滞，兼有写生之趣。此时蒋氏五十五岁，调任礼部侍郎，同年又调任户部。蒋氏鲜少在画上落款处加官职，此图以端正楷书写上礼部右侍郎等字，应是应制之作。而四瑞写各种祥瑞事物，应是称颂雍正皇帝继承帝位是顺天应民之意。",[24,29,28,57,26,173,588,623,7,441,190],"高粱","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff73b7e62a8dadfcb098962fa2d8a6e8a.jpg","185.2x87.2cm",[63],106,{"id":629,"slug":630,"title":631,"dynasty":128,"author":19,"museum":147,"description":632,"tags":633,"thumbUrl":638,"material":39,"size":639,"collection":85,"collections":640,"showCount":641,"zanCount":11,"manualWeight":11,"mainColor":45},219353,"hua-niao-tu-xing-hua-shuang-ya-yi-ming-219353","花鸟图-杏花双鸭","此幅绘柳岸池塘，杏花繁茂，双燕翻飞，翠鸟窥机、二鸭嬉戏。",[24,29,28,57,634,635,636,588,345,7,637],"杏花","双鸭","柳树","枝条","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd08be92aa3800553c043da2d21b1ba09.jpg","161.5x80.1",[85],103,{"id":643,"slug":644,"title":645,"dynasty":71,"author":367,"museum":311,"description":646,"tags":647,"thumbUrl":648,"material":121,"size":121,"collection":121,"collections":649,"showCount":650,"zanCount":11,"manualWeight":11,"mainColor":106},235404,"mu-dan-zhou-wu-chang-shuo-235404","牡丹轴","此作虚实相生，右上角题款与左下花木湖石遥相呼应。牡丹以阔笔泼色，胭脂点染花瓣，浓艳厚重，带着苍浑的金石意趣，柔艳花姿里暗蕴雄强骨力。叶片焦墨挥写，线条老辣苍劲，与牡丹柔色形成强烈反差，更衬花之秾艳。\n\n湖石以淡墨晕染，焦墨提点轮廓，朴拙古雅。藤蔓缠绕穿插，填补留白让层次愈显丰满。题字带着篆隶笔意，与画境浑然相融，将篆刻的苍茫意趣尽数融入画笔，跳出牡丹富贵柔媚的陈套，化为疏野苍劲的文人风骨，纵横恣肆间不失雅致，尽显雄强古茂的写意格调。",[24,25,26,55,29,118,247,57,169,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57e01c9ee92e8c23d37723f245dada53.jpg",[],101,{"id":652,"slug":653,"title":654,"dynasty":50,"author":655,"museum":147,"description":656,"tags":657,"thumbUrl":660,"material":137,"size":661,"collection":121,"collections":662,"showCount":650,"zanCount":209,"manualWeight":11,"mainColor":45},231401,"xi-yuan-ya-ji-tu-liu-song-nian-231401","西园雅集图","刘松年","宋刘松年西园雅集卷绘宋代雅士高僧苏轼、黄庭坚、米芾、圆通大师等盛会于王诜西园。十六人分四组：王诜、蔡肇和李之仪围观苏轼写书法；秦观听陈景元弹阮；王钦臣观米芾题石；苏辙、黄庭坚、晁补之、张耒、郑靖老观李公麟画陶潜归去来图；刘泾与圆通大师谈无生论。西园雅集世传多个版本。\n西园为北宋驸马都尉王诜之第，当代文人墨客多雅集于此。元丰初，王诜曾邀同苏轼、苏辙、黄庭坚、米芾、蔡肇、李之仪、李公麟、晁补之、张耒、秦观、刘泾、陈景元、王钦臣、郑嘉会、圆通大师（日本渡宋僧大江定基）十六人游园。苏轼是宋代著名诗人、文学家、书画家。京中文人学士围绕在苏轼周围，拥戴他为文坛盟主。史称“西园雅集”，众人认为可与晋代王羲之“兰亭集会”相比。",[23,24,25,56,28,29,133,30,78,187,135,97,218,248,7,563,329,658,659,172],"饮酒","笔墨纸砚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0ec0fd785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鸳鸯造型精巧，色墨交融，栩栩如生。 岸边画一枝老柳，笔墨老辣。 右下角，渚石上诞生了几朵野花，色彩淡雅，分外妖娆。",[23,24,25,28,29,57,670,671,135,7,672],"寒柳","鸳鸯","杂草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F164801a49616e2eaf0f52e7357700d20.jpg","纵60cm,横85cm",[63,85],99,{"id":678,"slug":679,"title":523,"dynasty":128,"author":680,"museum":681,"description":682,"tags":683,"thumbUrl":687,"material":39,"size":121,"collection":41,"collections":688,"showCount":689,"zanCount":178,"manualWeight":11,"mainColor":45},219555,"ying-xi-tu-you-qiu-219555","尤求","大英博物馆","孩子们骑着竹马，拉着彩色的战车，在松木庭院的树荫下拿着中国的盖子，敲打着锣鼓，仿佛在模仿国王或王子出征。孩子们张开的脸是相似的，在他们的衣服上使用了沉重、笨拙的笔触，与尤秋的传统笔触相差甚远。",[23,24,25,55,29,28,30,186,248,684,685,686,7],"竹马","灯笼","鼓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8800e97a0f44aa56d05b931855ed98b.jpg",[41,85],97,{"id":691,"slug":692,"title":693,"dynasty":71,"author":19,"museum":147,"description":694,"tags":695,"thumbUrl":699,"material":39,"size":700,"collection":63,"collections":701,"showCount":702,"zanCount":209,"manualWeight":11,"mainColor":106},218818,"fu-gui-ji-qing-tu-yi-ming-218818","富贵吉庆图","这幅画是在七色牡丹花下画了一对公鸡和母鸡接近小鸡的场景。牡丹的画法是恽代英式的，鸡的形状也很准确，采用的是略带西方色彩的凹版画法，所以这幅画应该是清代宫廷画家的作品。",[24,29,28,57,696,697,698,169,7,289],"公鸡","母鸡","雏鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F87b682bea290156c24b7bd4517051447.jpg","138.5x69cm",[63],96,{"id":704,"slug":705,"title":706,"dynasty":50,"author":707,"museum":147,"description":708,"tags":709,"thumbUrl":710,"material":302,"size":711,"collection":102,"collections":712,"showCount":713,"zanCount":237,"manualWeight":11,"mainColor":45},221579,"zhi-ai-tu-li-tang-221579","炙艾图","李唐","《炙艾图》，又叫做《村医图》，是南宋著名画家李唐的传世作品;收藏于台北故宫博物院。《村医图》为一幅风俗人物画，描述走方郎中为村民治病的情形。作品通过对灸艾治疗这一紧张情节的朴实无华的具体描绘，反映了当时农民的困苦生活，有小中见大的寓意。\n《炙艾图》除了真实的记录一名中国古代村医用中医灸法为病人治病的情景 ，同时也充分体现了当时人民生活的现状。画中表现了一位医生正在给病人针灸，画面上的人物表情各异，栩栩如生，表现出画家对生活的细致观察和体验，也体现了画家的一种人文主义关怀，表达了作者对当时下层劳动人民的同情。这幅《炙艾图》既是一幅古代绘画珍品，也是传统艾灸治病的真实写照，为我们了解宋代中医灸法治病提供了宝贵而形象的资料。",[23,55,24,25,28,29,30,152,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9bb7dc93dedae7fb05e015e0366dc9fc.jpg","纵68．8厘米，横58．7厘米",[102,41,85],91,{"id":715,"slug":716,"title":717,"dynasty":71,"author":310,"museum":311,"description":718,"tags":719,"thumbUrl":720,"material":121,"size":121,"collection":121,"collections":721,"showCount":722,"zanCount":178,"manualWeight":11,"mainColor":106},238999,"fu-gui-bai-tou-tu-zhou-ju-lian-238999","富贵白头图轴","此作用湖石撑起画面骨架，瘦漏透皱，空灵奇崛。牡丹攒簇于石畔，粉娇黄雅、紫柔朱艳，花瓣晕染柔润饱满，枝叶疏密错落，尽显盛放之态。\n\n两只白头翁静立石巅，亲昵相依，另有蛱蝶逐花蹁跹，满幅皆是融融春意。设色明丽却不甜俗，没骨技法将花叶的娇柔鲜活尽致展现，湖石以勾勒皴擦带出嶙峋质感，工写相宜。\n\n祥瑞意趣藏在鲜活景致中，将春日生机与美好祈愿揉合，笔底含情，把灵秀雅致凝于尺幅间。",[24,55,26,28,29,57,169,173,60,7,289],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc5e8dafcd23c0f7abfb2e6f9f962f77.jpg",[],90,{"id":724,"slug":725,"title":726,"dynasty":71,"author":727,"museum":147,"description":728,"tags":729,"thumbUrl":730,"material":120,"size":731,"collection":63,"collections":732,"showCount":733,"zanCount":178,"manualWeight":11,"mainColor":106},218805,"hua-niao-quan-shi-tu-dai-hong-218805","花鸟泉石图","戴洪","作者戴洪，生死时年藉贯均不详。高宗乾隆时，任职内廷画院供奉。擅长山水、花鸟画。他的画，以笔路纤细，着色秾丽见长，曾和程志道、金昆、孙佑等人，合画清明上河图，精美绝伦，深蒙乾隆赞赏。偶尔也画水墨山水，用笔虽较开放，但仍不脱细谨作风。",[24,29,28,26,57,173,172,7,218,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc83a526f4a08022e9761839fce88641.jpg","185x66.3cm",[63],89,{"id":735,"slug":736,"title":737,"dynasty":128,"author":584,"museum":147,"description":738,"tags":739,"thumbUrl":742,"material":39,"size":743,"collection":63,"collections":744,"showCount":733,"zanCount":209,"manualWeight":11,"mainColor":45},218790,"hua-hui-ling-mao-tu-lv-ji-218790","花卉翎毛图","吕纪（约 1429-1505），字廷振，浙江鄞县人。花鸟初学边文进（15 世纪），后又广摹唐宋名家，艺事益能精进。明孝宗弘治（1488-1505）间与林良（约1424-1500 后）同值仁智殿， 任锦衣卫指挥使。\n本幅画春暖花开时节，杏花临水绽放，柳树迎风摇曳， 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兰花，只有头； 浅玉晶莹剔透，争奇斗艳。 风格：甲午春日、法式铁桥笔、南苹果神拳。",[23,24,28,29,57,1184,1185,169,7,171],"孔雀","玉兰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4e016bbc82fb27fdb86c5d508ffaae3.jpg","34.98X60",[],44,{"id":1191,"slug":1192,"title":1193,"dynasty":258,"author":772,"museum":681,"description":1194,"tags":1195,"thumbUrl":1196,"material":39,"size":121,"collection":139,"collections":1197,"showCount":1189,"zanCount":11,"manualWeight":11,"mainColor":45},219779,"shan-zhong-guan-shu-tu-er-sheng-mao-219779","山中观书图(二)","盛懋（生卒年未详），字子昭。父洪，临安（今杭州）人，寓魏塘，业画。懋承家学，善画人物、山水、花鸟。早年并得画家陈琳指点，画山石多用批麻皴或解索皴，笔法精整，设色明丽。主要代表作有《秋林高士图》轴（台湾故宫博物院藏）、《秋江待渡图》轴（北京故宫博物院藏）、《沧江横笛图》轴（南京博物院藏）、《溪山清夏图》轴（台湾故宫博物院藏）和《松石图》轴（北京故宫博物院藏）等。",[23,24,25,26,29,78,30,97,218,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5ec8a9ca384d405f22ee92e8e1f18d52.jpg",[139],{"id":1199,"slug":1200,"title":1201,"dynasty":50,"author":19,"museum":147,"description":1202,"tags":1203,"thumbUrl":1207,"material":39,"size":1208,"collection":102,"collections":1209,"showCount":1189,"zanCount":11,"manualWeight":11,"mainColor":106},219233,"qiu-tang-fu-yan-tu-yi-ming-219233","秋塘凫雁图","松枝如墨笔皴染，苍劲枝干斜倚塘边，松针细密如丝，织着秋的清寒。几只凫雁散落在岸石上：有的敛翅蜷身，似枕着午后秋光小憩；有的侧颈理羽，绒羽软意与石面凉硬相映成趣。塘水静如镜，淡褐水面漾着若有若无的烟霭，把远天晕成朦胧色块，连风都放缓了脚步。\n\n笔墨简淡却藏极致细腻：每根松针带秋的劲挺，每片羽翎裹塘边静气，连岸石纹理都浸着湿润凉意。这方圆景里，秋意非萧瑟，而是生灵与自然的温柔相拥——宋人把对天地万物的深情，凝在一笔一划、一禽一木的静谧中，让千年后的我们，仍能触到那份清旷与安然。",[23,55,24,29,28,547,1204,80,1205,32,7,1206],"凫雁","池塘","秋景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F512ca8a7e13d31ef689e673f06c54768.jpg","24.8x25.2cm",[102,63],{"id":1211,"slug":1212,"title":1213,"dynasty":128,"author":1214,"museum":147,"description":1215,"tags":1216,"thumbUrl":1217,"material":29,"size":1218,"collection":63,"collections":1219,"showCount":1220,"zanCount":11,"manualWeight":11,"mainColor":106},222180,"hua-niao-shan-mian-lu-zhi-222180","花鸟扇面","陆治","陆治（西元一四九六－一五七六年），江苏吴县人，字叔平，号包山子。倜傥好义，以教友著称于乡里。诗文书画并佳。曾和文征明、祝允明一起作画吟诗。画的名声和文征明一样好。\n这幅用淡墨干笔，画丛山叠树，渔父鼓舟前进，一面洗脚，二人在高坡上坐着似在观看瀑布。用色淡雅而有变化。画成于陆治七十三岁。陆治有诗，曾自比「桃源中人」，以喻其隐居状况。\n此画在笔法与构图，均受元代王蒙花溪渔隐图影响，颇有自况意味",[23,24,547,29,57,231,173,7,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe186c518a951a238ca279262f34bd2f5.jpg","纵31厘米、横61厘米",[63,85],43,{"id":1222,"slug":1223,"title":1224,"dynasty":71,"author":1225,"museum":1226,"description":1227,"tags":1228,"thumbUrl":1229,"material":137,"size":121,"collection":63,"collections":1230,"showCount":1220,"zanCount":11,"manualWeight":11,"mainColor":45},220338,"mu-dan-tu-gao-feng-han-220338","牡丹图","高凤翰","旅顺博物馆","高凤翰(1683~1749)胶州大行高氏二股十一世，扬州八怪之一。清代画家、书法家、篆刻家。又名翰，字西园，号南村，又号南阜、云阜，别号因地、因时、因病等40多个，晚因病风痹，用左手作书画，又号尚左生。汉族，山东胶州市三里河街道办事处三里河村人。雍正初，以诸生荐得官，为歙县县丞，署绩溪知县，罢归。性豪迈不羁，精艺术，画山水花鸟俱工，工诗，尤嗜砚，藏砚千，皆自为铭词手镌之。有《砚史》，《南阜集》。",[23,24,25,26,118,29,247,133,169,7,394],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce1b1aa6b6e297e6d9b9727a35d9d796.jpg",[63],{"id":1232,"slug":1233,"title":1234,"dynasty":71,"author":1235,"museum":147,"description":1236,"tags":1237,"thumbUrl":1238,"material":120,"size":1239,"collection":63,"collections":1240,"showCount":1220,"zanCount":209,"manualWeight":11,"mainColor":106},219651,"dong-li-xiu-se-tu-yu-sheng-219651","东篱秀色图","余省","以没骨晕染绘就秋菊数本，黄紫菊瓣蓬松柔润，敷色雅致清妍，毫无艳俗之感。叶片以淡赭勾筋、绿墨晕染，枯荣交叠，将秋霜侵染后的清隽姿态尽显。坡石细草点缀其间，衬出幽寂清旷的篱边秋境。\n\n整幅画作兼工带写，写生精准又饱含文人写意悠然，配搭题咏书画合璧，将菊花凌霜自持的君子风骨尽融笔底，诠释出东篱赏菊的古典雅韵，尽显秋日花绘的雅致格调。",[24,28,29,57,928,7,342,394,190],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F85c50a6857276b799ebb1f6a3c6622e6.jpg","84.3x67.8",[63],{"id":1242,"slug":1243,"title":1244,"dynasty":128,"author":1245,"museum":147,"description":1246,"tags":1247,"thumbUrl":1249,"material":118,"size":1250,"collection":492,"collections":1251,"showCount":1220,"zanCount":11,"manualWeight":11,"mainColor":106},219296,"shi-jia-mu-ni-fu-zhou-ding-yun-peng-219296","释迦牟尼佛轴","丁云鹏","此帧画法相庄严的释迦牟尼佛，其双手结禅定印，结跏趺坐于娑罗树下。通幅全用墨笔钩染，不着颜色。人物衣纹线条圆润流畅，释迦牟尼佛身后的老树盘结，树叶或以墨点，或用钩勒，墨色虽有深浅的变化，但已具装饰性。全作笔法生动而富变化，别有一种古拙浑厚的意趣。此帧款云：「佛子丁云鹏敬写」，但未署年款。根据它的画风特色与幅上两则邹之麟的题识，推测此画当成于1606年以后，约为丁氏六十余岁之作。",[24,25,26,27,30,1248,118,406,7,342,190],"白描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd79db6107aefbfd5dd16156dfd05f3f4.jpg","156.8x53.1",[492],{"id":1253,"slug":1254,"title":1255,"dynasty":128,"author":339,"museum":52,"description":340,"tags":1256,"thumbUrl":1263,"material":120,"size":347,"collection":121,"collections":1264,"showCount":1220,"zanCount":209,"manualWeight":11,"mainColor":106},214665,"san-jue-tu-7-yao-shou-214665","三绝图-7",[24,29,1257,78,57,248,406,98,7,1258,588,477,790,1259,1260,1261,1262],"青绿","兔子","坡地","小景","设色山水","花鸟草虫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa54f0685222a43fdbe009095cf200829.jpg",[],{"id":1266,"slug":1267,"title":1268,"dynasty":128,"author":937,"museum":311,"description":1269,"tags":1270,"thumbUrl":1271,"material":121,"size":121,"collection":121,"collections":1272,"showCount":1273,"zanCount":178,"manualWeight":11,"mainColor":45},228487,"kong-que-shuang-qi-tu-lin-liang-228487","孔雀双栖图","以水墨晕染禽鸟神姿，雄雀身姿舒展，尾羽以浓淡墨色递变，将翎羽华美的肌理尽皆铺展，纤毫毕现又不失写意疏朗。雌雀静立石台，憨态温婉，一动一静，恰似郊林里的闲趣日常。\n\n背景竹枝以阔笔挥就，竹叶苍劲有锋芒，枯石野草信笔点染，野逸之态尽显。整幅以墨代彩，摒弃敷色浓艳，依托干湿浓淡的层次变化，将院体花鸟的精致法度与文人写意的随性相融，勾勒出清寂悠然的林间一隅，尽显水墨花鸟的雅致意趣。",[23,24,118,247,26,57,1184,150,7,342],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e88008dd1be325e91ec4e4e03a5df8e.jpg",[],41,{"id":1275,"slug":1276,"title":975,"dynasty":258,"author":415,"museum":147,"description":976,"tags":1277,"thumbUrl":1280,"material":991,"size":981,"collection":139,"collections":1281,"showCount":1273,"zanCount":11,"manualWeight":11,"mainColor":45},221836,"han-jiang-lu-yan-zhou-wang-yuan-221836",[23,24,25,26,28,29,118,1278,232,1279,7,151,588],"芦雁","江","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcea1feefdf4bd8b3e2a362c9f20c1525.jpg",[139,492],{"id":1283,"slug":1284,"title":1285,"dynasty":71,"author":1286,"museum":147,"description":1287,"tags":1288,"thumbUrl":1290,"material":29,"size":1291,"collection":41,"collections":1292,"showCount":1273,"zanCount":11,"manualWeight":11,"mainColor":106},219894,"fang-guan-xiu-hua-luo-han-tu-xu-yang-219894","仿贯休画罗汉图","徐扬","苍松虬枝凝霜，松针攒簇自带古拙寒意。画面分两处铺陈意趣：上方罗汉展卷沉读，侍童敛神研墨，案几陈设清雅，尽显禅房读经的静谧悠然。下方罗汉斜倚松干，捻珠垂眸，似在神游禅境。\n\n衣纹勾勒劲挺流畅，浓艳衣色与枯淡山石松枝相映成趣。淡墨皴擦山石，晕染出嶙峋肌理，人物神态灵动入微，将世外清修的雅寂禅意铺展开来，笔底藏着古意传承，静穆里暗淌悠然文心。",[24,25,55,26,29,476,27,30,248,7,1289],"器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20de6f165137428706a16cb3088a0ff5.jpg","128.5x54.3",[41],{"id":1294,"slug":1295,"title":1296,"dynasty":71,"author":1297,"museum":311,"description":1298,"tags":1299,"thumbUrl":1300,"material":121,"size":121,"collection":139,"collections":1301,"showCount":1302,"zanCount":11,"manualWeight":11,"mainColor":45},239026,"gao-jian-hu-xiang-qiu-lu-tu-zhou-gao-jian-239026","高简湖乡秋露图轴","高简","高简（1634-1707年）字澹游，号旅云，自号一云山人，江苏苏州人。能诗，工山水，摹法元人，甚为简澹，而布置深稳，风味清巧可爱。平生小品最多，好画梅花书屋图，冷隽可珍。卒年七十四。传世作品有《春山积翠图》、《江乡初夏图》、《寒林诗思图》",[24,25,26,118,133,78,203,32,563,407,187,406,7,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb57d860f9cf257f2f01248ac8831f242.jpg",[139,85],40,{"id":1304,"slug":1305,"title":1306,"dynasty":71,"author":1307,"museum":311,"description":1308,"tags":1309,"thumbUrl":1311,"material":121,"size":121,"collection":63,"collections":1312,"showCount":1302,"zanCount":209,"manualWeight":11,"mainColor":106},238274,"hua-qia-xuan-yuan-tu-ce-huang-yue-238274","化洽翾蜎图册","黄钺","黄钺（1750年9月5日-—1841年8月16日），字左田，又名左君，号壹斋、左庶子，安徽芜湖人，清朝大臣，历仕乾隆、嘉庆、道光三朝。是著名的教育家、画家、艺术评论家。\n黄钺师法韩愈、苏轼、黄庭坚三人。 [5] 著有《壹斋集》40卷，其中《奏御集》2卷，杂篇6卷，《萧、汤二老遗诗合编》1卷，《画品》1卷。工诗文、书画，所绘山水，有萧云从余韵，“久邀睿赏，与富阳首相。国称董（浩）黄（钺）二家”，宫内名画，多为其鉴定真伪。诗词有苏东坡风韵，年九十一岁失明，自号“盲左”仍吟诗作画，故乡风情，吟咏殆尽，所作《于湖竹枝词》66首，亦诗亦史，富有深厚乡情。宋子才有“太白脱靴”，“山谷返棹”两图，石刻在太平府尊经阁内。《志》谓“子才七世孙，元太平路经历景阳刻”。嘉庆十七年（1812），黄钺在作此图时也注为元景阳刻。后觉有误，自责捉笔：“承讹袭谬，未暇深考。顷友人拓赠二纸，始知其谬，愧赧无已，爰记以诗，以志吾荒陋焉”。虚怀若谷，难能可贵。\n道光五年（1825），黄钺76岁，请求归休。宣宗“温旨慰留”。次年，又申前请，获准荣归。道光二十一年六月三十日申时（即1841年8月16日15时至17时）在芜湖家中逝世，享年九十二岁。宣宗悼惜，追封为太子太保衔，入祀贤良祠，按尚书条例抚恤，谥号“勤敏”。命史馆立传，赐祭葬，树石碑，葬于当涂南褐山下。同年，奉旨入芜湖乡贤祠。 [3]\n清代乾隆、嘉庆、道光年间，当涂出了一位赫赫有名的内阁尚书、军机大臣。黄钺，字左田，号左君，又号壹斋、左盲，生于乾隆十五年（1750年），卒于道光二十一年（1841年）。因其一生敏而好学，著述甚多，又“执掌皖南北书院十载”，对当地文化、教育做出了重要贡献。\n乾隆三十八年（1773年）十月，年仅23岁的黄钺在太平府学政使院参加岁试。安徽提督学政朱筠阅其卷，以为“奇才异能”，称道不止。朱筠在离开当涂回京都时，特地将这位年轻人带入京城应试，虽未中试，但得以在《四库全书》馆做誉录工作，因之学识大进。乾隆五十三年（1788年），黄钺考中举人，五十五年中进士，授户部主事。当时权臣和坤主管户部，因二人意见相左，借故请假回家，协助安徽巡抚李世杰在芜湖赭山谪翠轩创建中江书院，招员授业。嘉庆四年（1799年），仁宗亲政，黄钺奉命进京加封为“懋勤殿行走”。嘉庆九年（1804年），提升为“赞善，入直南书房”。嘉庆十年，出任山西学政，又特旨任湖北、山东、顺天等地的乡试主考官，后又兼任山西、山东学政，准予密折奏事。嘉庆十五年（1810年），迁侍讲学士，十八年擢升内阁学士，十九年升任户部侍郎，不久，又调任礼部侍郎。嘉庆二十四年（1819年），升任礼部尚书，并“赐紫禁城骑马肩舆入直，加封太子少保衔”。次年，升会试主考官。道光元年（1821年），宣宗亲政，封其为军机大臣，不久，又调任户部尚书，参与大典事宜，从事“京察议叙”。道光三年，宣宗“赐宴玉澜堂”，并给功臣绘像，黄钺是当时朝廷15名老臣之一。道光五年，黄钺已75岁，请求归休，宣宗又“温旨慰留”。次年，又申前请，始获准归乡。黄钺在朝廷历时27年。\n黄钺一生为封建统治阶级“矢勤矢慎”，但他笔耕不辍，在学术上也很有造诣。著有《壹斋集》四十卷、《壹斋诗集》三十六卷、《韩诗增注正讹》十一卷、《萧汤二老遗诗合编》二卷、《奏御集》二卷，另有《画友录》、《泛浆录》、《游黄山记》、《两朝恩赉记》、《二十四画品》等著作。他善画山水花鸟，尤长画梅，初学王 ，晚学王原祁，与“四王”末流董邦达并称山水画家。他的画，笔墨苍厚，他的字，既有书卷气，也有台阁气。他的诗，别具一格，很有气势。曾作的《花卉图》、《端阳佳景图》、《高冈长松图》等，无论青绿山水和水墨山水都很有特色。\n黄钺在绘画艺术上经过多年的实践和探索，将自己积累的经验进行理论概括，撰成画学专著《二十四画品》一书。《二十四画品》是仿照唐司空图撰写的中国古代文集约名著《二十四诗品》的体例而写成的。书中运用四言韵语，把各种绘画艺术风格概括为：一气韵，二神妙，三高古，四苍润，五沉雄，六冲和，七淡远，八补拙，九超脱，十奇辟，十一纵横，十二淋漓，十三荒寒，十四清旷，十五性灵，十六圆浑，十七幽邃，十八明净，十九健拔，二十简洁，二十一精谨，二十二隽爽，二十三空灵，二十四韶秀。整部著作文词典雅，清丽可诵，表现了栩栩如生的艺术形象。\n黄钺对谢朓、李白、黄庭坚十分崇拜，曾多次游览青山和采石矶。他颂扬谢朓“谢公爱青山，结宇恣啸咏”；在《咏李翰林》诗中讴歌李白：“仙骨埋青山，草木发灵异。”到采石矶“高怀吊古”，“掩英雄之泪，吟供奉之诗”。在他作的《采石矶赋》一文中，除了历数在这里发生的许多惊天动地的事件和英雄人物外，还特地为李白而感叹，说：“白也不群，宗之潇洒，着宫锦而扬帆，共兰舟而持 。旁若无人，歌清四野，当此之时，何其壮也！”黄钺又诗云：“平轩遥瞰一湖开，闻说涪翁守郡来。当日到官才九日，未应便起读书台。”该诗也附注曰：“赭山有滴翠轩，相传为涪翁读书处。李之仪跋山谷二词：‘鲁直请无为、当涂，而得当涂，犹蹭蹬一年方到官，既到九日而罢，又数日乃去。’“\n道光十一年（1831年），长江发生水患，回到家乡的黄钺 积极倡兴赈济，带头捐献俸银千两。道光十三年，濒临江淮的州县又遭水灾，黄钺又“捐百金助赈”，以救乡民。次年，当涂、芜湖一带饥荒，米珠薪桂，人民生计困难，黄钺又与王泽、许耕余等发动有田富户及绅士14家，按田交谷600担，兴办“丰备义仓”12座，当义仓上梁即将落成时，黄钺以诗记其事道：“成城缘众志，图匮在年丰。”并在“丰备义仓”的旁边建立私塾，招收蒙童，普及地方教育事业。\n道光十六年，88岁已不能认字，但仍吟诗咏物，所作《于湖竹枝词》66首，亦诗亦史，深入浅出，富有深厚的爱乡之情。",[24,29,57,115,1310,502,315,7,342,294,154],"枸杞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77c58126e2ccbab6b27ba717f63b9702.jpg",[63,85],{"id":1314,"slug":1315,"title":1316,"dynasty":50,"author":19,"museum":147,"description":1317,"tags":1318,"thumbUrl":1321,"material":39,"size":1322,"collection":102,"collections":1323,"showCount":1324,"zanCount":11,"manualWeight":11,"mainColor":45},220385,"wu-kuan-xing-lin-xi-chi-tu-yi-ming-220385","无款杏林鸂鶒图","上方行书“乐意”圆融雍容，点破画中真趣。下方小景绘江岸荒寒，枯木虬曲倚傍顽石，疏枝如篆，幽篁错落，晕染出冬日萧索野致。滩涂浅水间，一对鸂鶒相偎理羽，亲昵悠然，为清寂画面晕开温柔暖意。\n\n整幅以淡墨轻色铺陈，极简构图却藏天人妙趣，将林泉幽寂与禽鸟温情相融，用荒寒之境托举欣然乐意，尽显宋画以小景见天地的雅致审美，于冷澹笔墨里，晕染出宋人藏于山水间的幽微意趣，冷寂中暗淌脉脉生机。",[23,24,25,29,28,394,190,57,1319,1320,7,32,218],"杏树","水鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd38691268d61502131b8aa44711cc88f.jpg","37.3x49.8",[102],39,{"id":1326,"slug":1327,"title":1328,"dynasty":71,"author":403,"museum":311,"description":1329,"tags":1330,"thumbUrl":1332,"material":121,"size":121,"collection":121,"collections":1333,"showCount":1334,"zanCount":11,"manualWeight":11,"mainColor":106},224177,"tao-tan-yu-ya-hua-yan-224177","桃潭浴鸭","暖红桃枝垂曳入水，柔丝轻拂春水，将烂漫春色揉进涟漪。浴鸭憨态可掬，翎毛晕染细腻蓬松，俯身在清波中理羽，把春日闲静慵懒尽数绘出。\n\n整幅画虚实相生，艳而不俗的花色，和淡墨晕开的汀草灵石相映，兼工带写间既有精妙写实，又具疏朗雅致。笔意秀逸清新，将水畔清和的春日温柔晕染开来，把闲淡生机藏在每一处细节，尽显灵动雅致的文人意趣。",[23,24,29,57,28,26,79,589,32,7,342,1331,118,168],"柳枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c66d85b5a377c609d50d01fb40a230f.jpg",[],37,{"id":1336,"slug":1337,"title":1338,"dynasty":128,"author":1339,"museum":20,"description":1340,"tags":1341,"thumbUrl":1343,"material":120,"size":1344,"collection":41,"collections":1345,"showCount":1346,"zanCount":11,"manualWeight":11,"mainColor":106},219969,"cong-gui-zhai-tu-wen-zheng-ming-219969","丛桂斋图","文徵明","本图乃文征明为祝贺同乡郑子充考中进士而作。古时，科考多在八月桂花盛开之时举行，所以人们也将科举及第称为“折桂”。画卷中表现的是子充自家庭园，他正靠在书斋墙边，似乎正全神贯注地看着风景。透过窗户，还能看到一个装满了卷轴的柜子，可见其对艺术的鉴赏。",[23,24,25,56,118,133,78,97,1342,563,7,488,394,763,190],"桂树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d9f9610b44a8cc096102b26bc0ab20b.jpg","31.6x56.2",[41],34,{"id":1348,"slug":1349,"title":1350,"dynasty":128,"author":473,"museum":52,"description":1351,"tags":1352,"thumbUrl":1353,"material":265,"size":121,"collection":121,"collections":1354,"showCount":1346,"zanCount":11,"manualWeight":11,"mainColor":45},214657,"qiu-xing-ba-jing-tu-ce-2-dong-qi-chang-214657","秋兴八景图册-2","此册描绘苏州到镇江一带的山水景色，或仿古，或写景，笔法虽然以师古人为主，但具有不少个性色彩。采取以颜色直接勾勒、渲染、皴擦等“没骨法”，又连用水墨，干湿兼施，层次分明。落笔细润清雅，色彩明亮秀丽。画笔较为谨严，从中可以品味出他学巨然、赵令穰、赵孟頫、黄公望等人的痕迹，但从整体来看，还是他独特画风的不同表现。\n款署“庚申（1620年）九月重九前一日书，是月写设色小景八幅，可当秋兴八首，玄宰”，为其66岁时的精心之作。",[55,24,25,115,118,29,133,1248,30,97,7,917,1206,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F883a53c2374ee28565293f083f1f9beb.jpg",[],{"id":1356,"slug":1357,"title":1358,"dynasty":71,"author":1359,"museum":112,"description":1360,"tags":1361,"thumbUrl":1364,"material":120,"size":121,"collection":121,"collections":1365,"showCount":1346,"zanCount":11,"manualWeight":11,"mainColor":106},214604,"fang-gu-shan-shui-ce-1-wang-hui-214604","仿古山水册-1","王翚","王翚（1768年－1849年）是清代著名的画家，他出生于江苏省南京市，是清代名门望族，他的祖父王恭是清代名将王莽的儿子。王翚早年曾在父亲的教导下学习书法和绘画，后来又师从著名画家黄庭坚学习。\n\n王翚擅长画山水，他的作品《仿古山水册》是他的代表作之一。这本册子包含了王翚的许多优秀作品，其中包括了他的山水画、人物画、花鸟画等，作品风格秀丽自然，富有感染力。《仿古山水册》被誉为王翚代表作之一，在当时颇受欢迎。\n\n王翚的画风受到了清代著名画家黄庭坚的影响，但他也在此基础上创造出了自己独特的画风。他善于运用墨色，擅长表现山水的秀美和雄伟，并融入了自己的个人特色。王翚的画作经常带有浓郁的文化气息，富有哲理性和艺术性。\n\n总的来说，王翚的《仿古山水册》是一部优秀的山水画集，值得一看。",[24,25,115,118,133,1362,78,80,262,7,1082,344,1363,152,345],"仿古","近景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf4fe7e77be9de98b8486a5ac52b3d32.jpg",[],{"id":1367,"slug":1368,"title":1369,"dynasty":71,"author":1359,"museum":311,"description":1370,"tags":1371,"thumbUrl":1375,"material":121,"size":121,"collection":121,"collections":1376,"showCount":1377,"zanCount":11,"manualWeight":11,"mainColor":106},237585,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237585","王翚仿古山水册","王翚（1632-1717），字石谷，臞樵，号乌目山人，耕烟散人，又号耕烟外史，剑门樵客，清晖老人，室名清晖阁，江苏常熟人。王翚祖上几代均染指丹青。四世祖王伯臣擅长花鸟，师崔白画风，祖父王载仕山水花鸟皆擅，父亲王云客专攻山水，画风秀雅。王翚幼喜丹青，十六岁时拜同乡张珂为师，后入王鉴、王时敏之门，遍临他们所藏宋、元名迹，在承袭传统的基础上，又外师造化，逐渐形成了华滋清逸的画风，当时的名公巨卿、文人学士争相交之。六十岁时以布衣征召供奉内廷，主持绘制康熙《南巡图》，被赐“山水清晖”，为清初“虞山派”领袖。著有《清晖画跋》，辑有《清晖赠言》、《清晖赠贻尺牍》，与恽寿平合著《画筌评》。",[25,24,118,133,1372,1362,78,203,32,97,152,187,488,7,1373,917,1374],"册页","云雾","村落","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6e1a7ac5676d946e121ae4810deb4f1.jpg",[],31,{"id":1379,"slug":1380,"title":1381,"dynasty":71,"author":1382,"museum":147,"description":1383,"tags":1384,"thumbUrl":1386,"material":991,"size":1387,"collection":121,"collections":1388,"showCount":1377,"zanCount":209,"manualWeight":11,"mainColor":106},224573,"qing-qian-long-ke-si-hua-hui-gua-ping-san-zhou-qing-ren-224573","清乾隆缂丝花卉挂屏（三）轴","清人","花卉册在本色地上缂织茶花水仙、玉兰海棠、牡丹、碧桃芝竹、百合剪春罗、荷花蜻蜓、踯躅、芝兰、秋海棠、剪秋纱、蝴蝶花、梅花等各色花卉，每开均缂织而成，无着笔处。画幅采用平缂、构缂、木梳戗、长短戗、凤尾戗和掼缂等缂织技法，缂工细致，润色自然，描画不求形似，具有简逸风格的文人花鸟画风。",[23,1385,26,29,28,58,60,171,315,7,57],"缂丝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd5222c3323292451a6bbb293a2c5953d.jpg","每开纵41厘米，横42厘米",[],{"id":1390,"slug":1391,"title":1392,"dynasty":71,"author":1393,"museum":311,"description":1394,"tags":1395,"thumbUrl":1398,"material":121,"size":121,"collection":121,"collections":1399,"showCount":1377,"zanCount":11,"manualWeight":11,"mainColor":106},224157,"hua-gao-zong-yu-bi-qiu-hua-shi-zhou-zhang-ruo-ai-224157","画高宗御笔秋花诗轴","张若霭","将对自然的喜爱带入生活，呈现在庭园中，成为小中现大的世界，正是本幅主体。\n作于乾隆十一年（1746）秋七月，画内廷台阁花园景致。\n台阁以界画绘制，具透视感。\n但与花卉相较却偏小，并不合真实比例，应是为强调群芳争妍的盛况而做此安排。\n园中鸡冠、秋葵、雁来红、菊、红蓼、凤仙等怒放，一片缤纷灿烂，展现明媚秋色。\n【名称】清 张若霭 画高宗御笔秋花诗 【年代】清代 【简介】台北故宫博物院。\n张若霭（171-1746），字晴岚，号景采，又号炼雪道人、晴岚居士，蕴真阁，梅花纳，炼雪道人，藕得书屋，佳梦轩等。\n安徽桐城人。\n张若霭有家学，祖父张英、父亲张廷玉均为雍正、乾隆朝大学士。\n雍正十一 年（172年）癸丑科殿试金榜中二甲一名进士，未散馆特授编修，后帝亲授内阁学士、礼部侍郎，入直南书房。\n官至礼部尚书。\n曾参与《石渠宝笈》的编辑工作，乾隆十一年（1746年）随帝西巡，因病回京，不久卒。\n谥文僖。\n有《岁寒三友图》、《仿王元章疏影寒香图》传世。\n张若霭善书，工画花竹、禽虫，深得王糓祥、周之冕笔意。",[23,24,29,28,76,77,135,1396,218,7,1397,80],"秋花","瓦顶建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63628092ed57c5738e2fb917c30694a2.jpg",[],{"id":1401,"slug":1402,"title":1403,"dynasty":71,"author":1286,"museum":147,"description":1404,"tags":1405,"thumbUrl":1406,"material":1407,"size":1408,"collection":139,"collections":1409,"showCount":1410,"zanCount":11,"manualWeight":11,"mainColor":106},222821,"chi-song-huang-shi-er-xian-tu-zhou-xu-yang-222821","赤松黄石二仙图轴","绘赤松一板凳，粗壮笔真，松枝弯曲自然，松针繁多清晰；黄石耸立，形状奇异；地面翠竹、杂草生机勃勃。",[23,24,26,29,28,248,218,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F053720c8ce76759a8f675e7ff855123d.jpg","设色 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横38.3厘米",[],26,{"id":1499,"slug":1500,"title":1501,"dynasty":71,"author":183,"museum":73,"description":1502,"tags":1503,"thumbUrl":1506,"material":120,"size":1507,"collection":41,"collections":1508,"showCount":1497,"zanCount":178,"manualWeight":11,"mainColor":106},219211,"bing-xi-tu-jin-ting-biao-219211","冰戏图","冬季严寒萧瑟，景物单调，但是对于调皮贪玩的小孩来说依然不乏游戏项目。宫廷画家金廷标就为我们展现了这种一幅场景。十个小伙伴来到结冰的池塘边，胆大的几个先下到了冰面上，可是太滑了，一不小心就摔了个仰面朝天，想再站出来也不容易，只能尽力支撑着。而岸上的同伴则嬉笑着，跃跃欲试。\n金廷标是清乾隆时期最著名的宫廷画家之一，以人物画见长。他笔下的风俗人物质朴自然，贴近生活，情态生动，令观者心生亲切之感。",[23,24,29,28,30,186,1504,80,1505,188,7,741,189],"冰面","台阶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb6864bf5a01739f77580c7a573b3b20.jpg","纵121厘米，横64.8厘米",[41],{"id":1510,"slug":1511,"title":1512,"dynasty":71,"author":1513,"museum":73,"description":1514,"tags":1515,"thumbUrl":1517,"material":137,"size":121,"collection":63,"collections":1518,"showCount":44,"zanCount":11,"manualWeight":11,"mainColor":106},237345,"liu-e-zhou-lu-hui-237345","柳鹅轴","陆恢","陆恢（1851—1920），清末民初著名画家。原名友恢，一名友奎，字廉夫，号狷叟，一字狷盫，自号破佛盫主人，原籍江苏吴江，居吴县（今江苏苏州）。",[24,25,26,548,29,118,168,57,636,1516,345,232,7],"鹅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bfeaabf9316dbd974dad4d28dbb93e0.jpg",[63],{"id":1520,"slug":1521,"title":1522,"dynasty":71,"author":1523,"museum":73,"description":1524,"tags":1525,"thumbUrl":1526,"material":1527,"size":1528,"collection":121,"collections":1529,"showCount":44,"zanCount":209,"manualWeight":11,"mainColor":106},233217,"kong-shan-jie-wu-tu-zhou-cha-shi-biao-233217","空山结屋图轴","查士标","查士标作为明代的遗民画家，持消极遁世的人生观。他在怡情于山水间结交了许多隐士。此图是他68岁时画赠好友玉峰道长的精心之作。构图注重远、中、近三景间物象聚、散的呼应统一关系。近、中景因表现杂木、小桥、独舟、孤亭等细碎物象而为“散状”。远景厚实的山体聚成石壁，它的整体性凝聚了散落的近、中景；而散落的近、中景又打破了远景的平整、呆板，活跃了画面。山石的形体，先以直线勾出轮廓，再以侧锋作疏朗而清晰的竖式皴擦，然后以清淡古朴的赭石等色晕染。树叶的表现方法丰富，或以长短线条表现，或以笔尖戳点，其灵活多变的形态，令本为点景的树木成为全画中不可或缺的一部分。",[24,55,26,118,29,78,133,203,488,80,7,187,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec4469afa6f7c931f51956a8040ea8a7.jpg","纸本，淡设色","纵98.7厘米，横53.3厘米",[],{"id":1531,"slug":1532,"title":1533,"dynasty":71,"author":1534,"museum":311,"description":1535,"tags":1536,"thumbUrl":1540,"material":121,"size":121,"collection":121,"collections":1541,"showCount":44,"zanCount":11,"manualWeight":11,"mainColor":106},224588,"mo-song-yuan-hua-liu-xia-xiong-ji-zhou-zou-yi-gui-224588","橅宋苑画榴下雄鸡轴","邹一桂","此作用色明妍雅致，雄鸡独立石上，红冠华羽，昂首睨视，尽显轩昂神气。榴花似火缀于枝桠，与素白百合、娇柔萱花相映，浓烈与清柔交织，层次丰盈。灵透湖石立旁，皴秀古雅，衬得花木禽鸟更见鲜活生机。\n\n工笔绘就却无板滞之感，禽鸟羽毛晕染细腻毫微，花枝俯仰有情，尽显精工雅致。搭配题诗，将雄鸡傲岸品格融于笔端，物性文思相合，构图疏密得宜，静雅鲜活相融，铺展出祥瑞清和的悠然意境，尽显雅致雍容的花鸟意趣。",[23,24,25,26,28,29,57,1537,1538,1539,7,476],"雄鸡","石榴花","百合","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7c4db89d3a16251c308996ad3f0f3d35.jpg",[],{"id":1543,"slug":1544,"title":1545,"dynasty":128,"author":1043,"museum":73,"description":1546,"tags":1547,"thumbUrl":1551,"material":1552,"size":1553,"collection":121,"collections":1554,"showCount":1555,"zanCount":11,"manualWeight":11,"mainColor":106},233830,"san-shu-tu-juan-zhu-zhan-ji-233830","三鼠图卷","该画卷由三件画作组成，分别为：苦瓜鼠图（纸本墨笔）、菖蒲鼠荔图（绢本设色）、食荔图。卷末有明宪宗朱见深御制题跋。此卷现藏于北京故宫博物院，钤明末宋荦、清乾隆、嘉庆、宣统等藏印。\n虽然同为一卷画，但《苦瓜鼠图》与《菖蒲鼠荔图》《食荔图》的风格有很大的不同。《苦瓜鼠图》用笔爽朗，逸笔草草，与朱瞻基《武侯高卧图卷》（北京故宫博物院藏）中的墨竹、丛草以及《松云荷雀图卷》中的荷叶、兰草和寿石的笔法一致。而《菖蒲鼠荔图》和《食荔图》则工整秀逸，笔法精到。画中老鼠偷食苦瓜及红荔饶有趣味，前者将并不为人待见的老鼠的憨态与顽皮神态鲜活地表现出来，正如韩昂在《图绘宝鉴续纂》中评朱瞻基画艺所说：“万几之暇，留神词翰，于图画之作，随意所至，尤极精妙” ；后者所写 “荔枝” 有语带双关之意，“红荔” 与 “红利” 谐音，而 “荔枝” 又有 “一本万利” 之义，故老鼠啃食荔枝，具有吉祥寓意，其画中的内涵，已然超越了画作本身。",[24,25,56,28,29,1548,1549,1550,315,7,190],"鼠","荔枝","葡萄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb37524d5d18f707fb2aabe2b8bb52ec5.jpg","纸本墨笔、绢本设色","纵28.2，横 38.5 厘米",[],24,{"id":1557,"slug":1558,"title":1559,"dynasty":242,"author":1560,"museum":244,"description":1561,"tags":1562,"thumbUrl":1564,"material":121,"size":121,"collection":121,"collections":1565,"showCount":1555,"zanCount":11,"manualWeight":11,"mainColor":106},220542,"xi-yi-xu-bei-hong-220542","洗衣","徐悲鸿","此作用淡墨留白晕染出水乡柔波，岸滩以焦墨枯笔勾勒，尽显糙实质感。一坐一蹲的浣衣女子是画面焦点，线条兼具速写的爽利与国画的凝练，将日常劳作的松弛情态自然铺陈。白衣女子垂首静望，黑衣妇人俯身搓揉衣物，发髻妥帖、身姿鲜活，没有刻意修饰，尽是江南水乡寻常的烟火意趣。\n\n右上角题字与画面呼应，书画相融，带着质朴的人文温度。画作跳出古典仕女的范式，以写实笔触聚焦平凡世相，将日常劳作晕染成诗意的生活切片，晕开沉静温婉的东方韵味，把最朴素的日常，绘就成动人的生活图景。",[24,25,118,29,30,1563,7],"写实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F538ee49cf9ef15f0e4bcc69f5a8326d3.jpg",[],{"id":1567,"slug":1568,"title":1569,"dynasty":128,"author":1570,"museum":311,"description":1571,"tags":1572,"thumbUrl":1574,"material":550,"size":551,"collection":121,"collections":1575,"showCount":1576,"zanCount":209,"manualWeight":11,"mainColor":106},235727,"hua-niao-ce-tan-zhi-yi-235727","花鸟册","谈志伊","谈志伊，字公望，号学山，一字思重，无锡人，明代画家。",[1573,24,118,29,1372,1248,1428,7,342,190],"明代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7486c9fe29cdba9dfe51b4efdeb60d3.jpg",[],22,{"id":1578,"slug":1579,"title":1580,"dynasty":71,"author":19,"museum":1581,"description":1582,"tags":1583,"thumbUrl":1585,"material":39,"size":121,"collection":63,"collections":1586,"showCount":1576,"zanCount":11,"manualWeight":11,"mainColor":45},219093,"shuang-jiu-tu-yi-ming-219093","双鸠图","耶鲁大学艺术博物馆","画面以双鸠为核心，一深一浅依偎石畔，羽色层次细腻晕染，情态亲昵自然，似私语般流露温情。旁侧藤蔓缠绕，白花疏落点缀，修长竹叶与带红果的细枝交织，添了几分野趣生机。背景素雅褐调铺陈，更衬出景物的鲜活质感。笔墨兼具工致与写意，花鸟造型精准传神，枝叶脉络清晰可辨，却又不失灵动韵致。整体氛围静谧清幽，似能嗅到林间草木气息，传递出自然生趣与闲适之美，尽显清代花鸟画对细节刻画与意境营造的精妙追求。",[24,55,25,26,28,29,57,173,218,7,58,1584,502],"野草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3bb3bdbdc369d3adf586d2124f7bea8f.jpg",[63],{"id":1588,"slug":1589,"title":1590,"dynasty":71,"author":1591,"museum":311,"description":1592,"tags":1593,"thumbUrl":1594,"material":550,"size":551,"collection":139,"collections":1595,"showCount":1596,"zanCount":11,"manualWeight":11,"mainColor":106},237479,"shan-shui-tu-ce-yao-song-237479","山水图册","姚宋","姚宋（1648—1721），字雨金，一作雨京，号野梅。安徽新安（今安徽歙县）人。清代画家。\n姚宋寓居芜湖。擅长山水画，其初学弘仁，后期广学诸家，成为新安派画家之一。姚宋所画人物、花鸟、鱼虫、兰竹、无不工致。",[24,25,115,118,78,133,763,190,203,32,97,187,488,563,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F386dd09a026bd7288f1b27e4adf58aca.jpg",[139],21,{"id":1598,"slug":1599,"title":1600,"dynasty":128,"author":1601,"museum":311,"description":1602,"tags":1603,"thumbUrl":1604,"material":121,"size":121,"collection":139,"collections":1605,"showCount":1596,"zanCount":11,"manualWeight":11,"mainColor":106},237095,"shan-shui-zhou-xu-hong-ze-237095","山水轴","徐弘泽","徐弘泽，字润卿，号春门，自号所浪老人，浙江嘉兴人，明嘉靖间书画名家，书法从赴孟俯取途，晚爱张伯雨，遂与姚绶颉颃，画出入元，明诸大家，与李晔，陈继儒相埒。",[24,26,29,78,406,7,563,30,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb88b84f122c9d61a2d5bc9fc317e6025.jpg",[139],{"id":1607,"slug":1608,"title":1609,"dynasty":128,"author":1610,"museum":73,"description":1611,"tags":1612,"thumbUrl":1614,"material":1615,"size":1616,"collection":121,"collections":1617,"showCount":1618,"zanCount":11,"manualWeight":11,"mainColor":106},233913,"gui-zi-xiang-yuan-tu-zhou-xiang-yuan-bian-233913","桂子香园图轴","项元汴","本幅墨笔，上方自题：”园同三五夜，香并一枝芬。项元汴戏为客写桂枝香园图，并题二美交胜，两间造化生物之妙有如此者吾不得而知亦无得而言。请客手眼无隐乎尔。“钦”墨林山人“”檇李“等印。\n项元汴（1524—1590年），明嘉兴（今浙江省嘉兴）人，字子京，号墨林山人，别号香岩居士、鸳鸯湖长、退密斋主人，收藏家、画家。富藏书画等古名物，在明代私家收藏中堪称巨擘。精鉴赏。常见主要印记有“项元汴印”、“子京”、“檇李项氏世家珍玩”、“神品”等。",[24,25,26,118,763,394,190,1613,150,7,342],"桂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d180f3eaa8b34b9f6e6327b9d5e9f1a.jpg","纸本 ，墨笔","纵104.5cm，横34.8cm",[],20,{"id":1620,"slug":1621,"title":1622,"dynasty":71,"author":1623,"museum":311,"description":1624,"tags":1625,"thumbUrl":1629,"material":121,"size":121,"collection":121,"collections":1630,"showCount":1618,"zanCount":11,"manualWeight":11,"mainColor":45},230211,"qian-long-huang-di-xi-xiang-tu-zhou-ding-guan-peng-230211","乾隆皇帝洗象图轴","丁观鹏","《乾隆皇帝洗象图》是清代画家 创作的纸本设色画，现藏于 。\n此图绘乾隆皇帝行乐生活的一个场面。\n画中乾隆扮作普贤菩萨，高坐莲座。\n侍者扮作玉女、金童及天王，分立两旁。\n几位僧侣仆人正在洗刷一头白象，准备搭上毛毡锦垫，以供“菩萨”骑用。\n画下三位僧人，一位正在清扫，另二位正在传接经书，欲呈献皇帝。\n此图设色艳丽，气氛和谐。\n此图中的弘历乾隆帝和大象占据画幅的中心主要位置，起到突出主题的作用。\n画幅上端坡行堤岸，左右两侧各有二棵苍松，尤其是左侧两棵巨松，树干粗壮，交叉曲直向上，枝叶茂密，乾隆在巨松荫下观看洗象。\n画幅下端似一片丘陵地带，山岗亘连，花草丛生，还画有二位长老。\n弘历坐在宝椅上，身着一身佛装。\n作者自识：“乾隆十五年六月臣了观鹏恭绘。\n”下钤“臣观鹏”、“恭画”二印；画面上方钤有“乾隆御览之宝”一印。\n该图取材于佛教故事，表现普贤菩萨观看诸圣徒为其坐骑白象洗刷的情景。\n乾隆皇帝受佛学大师三世章嘉活佛的影响，数十年倾心于佛学研习。\n他为了表示对佛教的信仰，不仅大建佛寺，译佛经，造法器及写经自修，而且还将自己比喻成佛教中菩萨的化身，罩上一层神秘的宗教光环。\n他命宫廷画家或画佛喇嘛，绘制了多幅他扮作菩萨的画像，此图便是其中之一。\n此图画于乾隆十五年（175年），时弘历（即乾隆帝）4岁。\n此画将乾隆喻作法力无边、救苦渡难的菩萨， 其主旨不言而喻。\n图中人物面部以西法绘成，富有写实感，具有肖像画性质。\n画法很细致，当出自供奉宫廷的意大利画家郎世宁之手。\n弘历端坐宝位上，人物造型明显大于其他人物，神态肃穆。\n面部以西洋技法，立体感较强，故从风格和水平来看，乾隆像当出自郎世宁的手笔。\n至于其他人物和景致，均为丁氏所绘制，如人物造型的今张、奇古，及屈曲颤动的线条等。\n构图也是中国传统形式。\n总体来看，此画绘制精细，色泽华丽，中西合壁。\n画面取云雾缥缈、山泉粼粼、木石山花骨秀清逸之处为背景，突出仙界气氛。\n人物衣褶皆用战笔流水描，宛转卷曲，古拙奇趣。\n人物面部用淡色晕染，富有体积感，尤其乾隆的面部，更具有写实的意味。\n研究员李湜：此图在设景布势上富于机巧，以曲水为脉，将树石、惠草连成一体，同时也将众多的人物圈聚在一起，进而突出了乾隆皇帝的主体位置。\n图中人物的衣纹勾线瘦挺颤掣，曲转顿挫，富于动感，它不仅丰富了画面的视觉效果，同时，也准确地勾勒出不同状态下人物的各种形体变化。\n全图设色艳丽，富有装饰感，带有 高贵典雅的特征。\n丁观鹏，生卒年不详，顺天（今北京）人。\n雍正时供奉内廷。\n擅画道释、人物和山水，画学同宗丁云鹏，有出蓝之誉。\n画风工整细致。\n传世作品有《仿顾恺之洛神图》《弘历洗象图》《乞巧图》。",[23,24,25,26,28,29,30,1626,1627,1628,78,80,7],"兽","大象","虎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa997e0e055cd600a62b3aec5fc5facab.jpg",[],{"id":1632,"slug":1633,"title":1634,"dynasty":71,"author":19,"museum":73,"description":1635,"tags":1636,"thumbUrl":1642,"material":1643,"size":1644,"collection":121,"collections":1645,"showCount":1618,"zanCount":209,"manualWeight":11,"mainColor":106},223366,"guang-xu-nian-jian-bai-duan-di-guang-xiu-san-yang-kai-tai-gua-ping-xin-yi-ming-223366","光绪年间白缎地广绣三阳开泰挂屏心","此挂屏心是在白色缎地上施五彩绣。画面中一轮红日高挂，草木葱郁，山石玲珑，3只羊嬉戏于湖边草地上，9只瑞鸟飞鸣栖息于花间树梢，展现出一派春光明媚、万物滋生的美好景象。作品采用了洒插针、辫子股针、扭针、刻鳞针、打籽针和风车针等针法，针工细密，有较强的立体感。三只羊形态各异，刻画逼真，羊身上用辫子股针绣成一圈圈凸起的圈线，颇具毛绒感。画面施以浅驼、驼、古铜、沉香、灰、驼黄、黄、绿、蓝、石青和大红等色，色彩艳而不俗，富于装饰性，充分体现了广绣独特的风格。\n此挂屏心的主题以“羊”与“阳”的谐音寓意“三阳开泰”，作为新年伊始的祝福。此为广绣的杰作。",[23,548,1637,1638,29,1639,1626,588,97,1097,1640,7,98,289,1641],"广绣","刺绣","羊","太阳","挂屏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7ff1a6d481f46a46864196ab03a7f3b.jpg","屏心","高67厘米，宽52厘米",[],{"id":1647,"slug":1648,"title":1649,"dynasty":128,"author":999,"museum":112,"description":1650,"tags":1651,"thumbUrl":1653,"material":39,"size":1654,"collection":121,"collections":1655,"showCount":1618,"zanCount":11,"manualWeight":11,"mainColor":106},220220,"hua-niao-cao-chong-xie-sheng-ce-gu-huai-shuang-qi-chen-hong-shou-220220","花鸟草虫写生册-古槐双栖","陈洪绶的绘画，尤其是他以之驰誉艺坛的双勾设色花鸟画，其特点有三，一是造型的古拙，二是色彩的古艳，三是线条的寓迟涩于劲挺，既厚重且圆润。",[23,55,24,25,115,29,28,1652,173,342,217,7,58,57],"古槐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa01e695edfc2fd300f23a10ec0be2930.jpg","21.5×16cm",[],{"id":1657,"slug":1658,"title":91,"dynasty":50,"author":19,"museum":1659,"description":1660,"tags":1661,"thumbUrl":1662,"material":39,"size":121,"collection":63,"collections":1663,"showCount":1618,"zanCount":11,"manualWeight":11,"mainColor":45},219261,"mu-niu-tu-yi-ming-219261","奈良国立博物馆","近景处，牧童束发短衣，执绳牵挽，牛犊低首啃青，蹄下草石错落，野趣盎然。远山含黛，云气轻笼，几株松影点缀坡岸，右上角枯枝疏梅，添得清寂。笔墨简淡却意韵悠长：牧童衣纹用线简练传神，牛身墨色晕染浑厚，山水以淡墨渲染出空濛之境。绢本的古雅色泽，更衬出田园生活的静谧悠然。右上角题字与钤印，融诗画于一体，尽显宋人“以物寄情”的审美意趣——不刻意雕琢，却于寻常景致中藏着对自然与生活的深情观照。",[23,55,24,29,26,28,30,96,78,344,80,7,98],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb37ea1289e3fa5c09c47ae388263d40f.jpg",[63],{"id":1665,"slug":1666,"title":1667,"dynasty":71,"author":19,"museum":311,"description":1668,"tags":1669,"thumbUrl":1670,"material":39,"size":121,"collection":121,"collections":1671,"showCount":1618,"zanCount":11,"manualWeight":11,"mainColor":45},216700,"hong-lou-meng-fu-tu-ce-21-yi-ming-216700","红楼梦赋图册-21","亭榭半敞，粉帘轻垂，温柔勾连起内外景致。亭中二人对坐案前，案上器物雅致，似正叙谈品物，衣饰纹样细腻入微；亭外侍女持器侍立，身姿恭谨，与阶下花木、石景相映成趣。画面以淡雅色调铺陈，绿栏粉幕、鲜妍花草交织出古典闺阁的娴静气息。笔触工细，帘上花纹、石畔细草、人物神情皆含温婉韵致，仿佛将红楼梦中从容雅致的日常定格，让观者窥见旧时闺阁里一段清宁时光，感受那份藏于细节中的古典诗意。",[23,24,29,28,115,30,815,77,563,7,289],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a1e036fdb42a86e193d00710ae2287e.jpg",[],{"id":1673,"slug":1674,"title":1675,"dynasty":71,"author":1676,"museum":311,"description":1677,"tags":1678,"thumbUrl":1679,"material":121,"size":121,"collection":121,"collections":1680,"showCount":1681,"zanCount":209,"manualWeight":11,"mainColor":106},235781,"yu-shan-zhu-xian-he-bi-ce-fang-ju-ran-xiao-jing-ce-ye-yang-jin-235781","虞山诸贤合璧册-仿巨然小景册页","杨晋","此作用淡墨晕染出空山新雨的清润意境，远山含黛隐于烟岚之间，层崖间飞瀑直下，暗合“树杪百重泉”的诗意。山坳溪流转折，苍松错落成林，溪侧茅舍孑立，野趣横生。\n画师以松秀苍雅的笔意追摹巨然，水墨皴染间元气淋漓，将山雨初歇后的空濛静穆铺陈开来，不见艳色，却把江南山野的湿润生机与文人幽居的逸趣融于尺幅。观之便如身临幽谷，似能听见泉鸣溪淙，呼吸到林间清润的空气，尽揽山居悠然诗意。",[24,25,115,118,133,476,78,562,1082,80,563,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73ca409c904227b12e2f2e2c545a309b.jpg",[],19,{"id":1683,"slug":1684,"title":1685,"dynasty":71,"author":165,"museum":311,"description":1686,"tags":1687,"thumbUrl":1689,"material":82,"size":1690,"collection":121,"collections":1691,"showCount":1681,"zanCount":11,"manualWeight":11,"mainColor":106},234988,"hua-hui-ling-mao-ping-6-ren-yi-234988","花卉翎毛屏6","任颐(1839-1896)，初名润，字伯年，一字次远，号小楼(亦作晓楼)，萧山城厢镇人。其父善画肖像，任颐自幼随之习画。人物、山水、花卉、翎毛等均有扎实功底，尤以人物画见长，他在十余岁时即能勾勒出来访者容貌，使人见其画如见其人。\n咸丰十一年(1861)，太平军占领杭州、绍兴，任颐即投笔从戎，参加太平军，掌军旗，为前驱。同治二年(1863)，太平军撤离浙江，任留居家乡；次年，移居宁波，得到任熊、任薰悉心指导。同治七年(1868)春，随任薰去苏州，是年冬，转至上海定居。从此，任颐步入新兴的上海画派之列。\n任颐画路宽拓，所画人物具有独特的风韵，更以描写风俗人情、民间传说和神话故事中人物见长，如《女娲》、《钟 馗》、《八仙》、《群仙祝寿》等作品，将艺术与现实巧妙地容贯于画面。其人物肖像画既有深厚的传统基础，又注重写生，每次外出，备有速写本，随时勾录。寓居上海后，以卖画为生，创作甚富。《钟馗》、《关河一望萧索》、《苏武牧羊》、《野塘雨后》和《三友图》等为其代表作。且其参用画意的书法亦奇惊不凡，光绪二十二年(1896)逝世。\n任伯年因是浙江山阴人，故画面署款多写山阴任颐。儿时随父学画，十四岁到上海，在扇庄当学徒，后以卖画为生。所画题材，极为广泛，人物、花鸟、山水、走兽无不精妙。他的画用笔用墨，丰富多变，构图新巧，创造了一种清新流畅的独特风格，在正统派外别树一帜。\n任颐是近代杰出画家。字伯年，号小楼，浙江山阴人，因此他的画署款多写山阴任颐。任伯年的绘画题材广泛，人物、肖像、山水、花卉、禽鸟无不擅长。用笔用墨，丰富多变，构图新巧，主题突出，疏中有密，虚实相间，浓淡相生，富有诗情画意，清新流畅是他的独特风格。任伯年的主要成就是在于人物画和花鸟画方面，往往寥寥数笔，便能把人物整个神态表现出来，着墨不多而意境深远。其线条简练沉着，有力潇洒。他常画钟馗，他笔下的钟馗心胸磊落、不怕鬼，不信邪。他的花鸟画，总是把花与鸟连在一起，禽鸟显得很突出，花卉有时只作背景，整个画面充满了诗的意境。",[24,29,57,740,1688,7,155,58,247],"紫藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F732c0e22aa12b2b03e6b6fb61ec195a1.jpg","149 x 61 cm",[],{"id":1693,"slug":1694,"title":1695,"dynasty":71,"author":1696,"museum":73,"description":1697,"tags":1698,"thumbUrl":1699,"material":302,"size":121,"collection":121,"collections":1700,"showCount":1681,"zanCount":11,"manualWeight":11,"mainColor":106},234111,"hua-hong-li-jiao-shi-ming-qin-shi-yi-juan-zhang-zong-cang-234111","画弘历蕉石鸣琴诗意卷","张宗苍","张宗苍（1686-1756），字默存，江苏苏州人，画家。师承清代娄东画派的传人黄鼎。擅山水画，代表作有《吴中十六景》。\n公元1751年，乾隆皇帝南巡，张宗苍进献了画册《吴中十六景》，深得乾隆皇帝的欣赏，后来进入清宫廷画院供奉，为宫廷作画，是乾隆时期一位重要的宫廷画家。清代宫廷绘画在清代绘画史上有着重要的地位，特别是乾隆时期，设立了如意馆广收人才，创作了很多纪实、历史故事、宗教及装饰题材的作品，具有特殊的历史与艺术价值，在乾隆一朝的宫廷画家中，张宗苍是很重要的一位。张宗苍的山水画，画风苍劲，用笔沉着。山石皴法多以干笔积累，林木之间使用淡墨，干笔和皴擦的手法相结合，表现出了深远的意境和深厚的气韵，一洗宫廷画院惯有的甜熟柔媚的习气，特别被乾隆皇帝所喜爱\u2028 《石渠宝笈》收录了他的116幅作品，很多作品上都有乾隆皇帝的题诗。 初以主簿理河工事。善画，山水出黄鼎之门，用笔沈著，山石皴法多以乾笔积累，林木间亦用淡墨，乾擦凑合，神气颇觉葱蔚可观。乾隆十六年（一七五一）高宗南巡，以吴中十六景画册进呈，称旨。命入都祗候内廷。十九年（一七五四）授户部主事。年七十一卒於家。",[24,25,56,29,78,563,80,7,488,204,190,394,763,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b204362fe8e043dbf4856d2c360dfbc.jpg",[],{"id":1702,"slug":1703,"title":1704,"dynasty":128,"author":1705,"museum":73,"description":1706,"tags":1707,"thumbUrl":1708,"material":1709,"size":1710,"collection":492,"collections":1711,"showCount":1712,"zanCount":11,"manualWeight":11,"mainColor":106},236415,"shu-yi-lan-shi-zhou-shu-yi-236415","叔伊兰石轴","叔伊","周天球题跋：“待雪香非浅，临风意自多。周天球题。”作者钤印：“句吴人”朱文圆印、“参军大夫”朱文方印。 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评其为“画有南北宗，至石谷而合焉”。康熙三十年（1691年）由宋骏业之荐，上京主持《康熙南巡图》的一系列制作。南巡图绘毕，曾获当时皇太子胤礽接见，赐座、赐食，并赐“山水清晖”四字。归里之后，求画者甚众。所作多为仿古，功力较深，但有时过于圆熟或伤于刻露，而丘壑尤少变化，晚年于简练中求苍浑，为论者所重；偶写花卉，秀隽有致。平生艺论，多在《清晖赠言》。\n王翚从学弟子甚多，是“虞山派”的创始人。王翚与王时敏、王鉴、王原祁合称“四王”，又与吴历，恽寿平合称“四王吴恽”或“清六家”。",[24,25,26,118,133,78,150,406,7,488,204],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F690627240bef20eafb2805e2c71c81c4.jpg","128.4x55.4公分",[139],17,{"id":1763,"slug":1764,"title":1765,"dynasty":128,"author":1766,"museum":311,"description":1767,"tags":1768,"thumbUrl":1770,"material":550,"size":551,"collection":121,"collections":1771,"showCount":1761,"zanCount":11,"manualWeight":11,"mainColor":106},236694,"mei-que-tu-shan-ye-wang-zhong-li-236694","梅雀图扇页","王中立","王中立（公元16－17世纪初），活动于十七世纪，明代画家，字振之、彦强，号子正、子和、玄洲、玄洲生，吴县今江苏苏州人。善画花鸟，笔力苍老，钩写兼用，设色绚丽，造型生动，颇有生意。\n师法陈淳，画风似鲁治、王谷祥，为吴派画家之一。",[24,547,29,57,790,1769,7,28,190],"雀","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82bef6d53dcfb50ede47d8bc6f59ecde.jpg",[],{"id":1773,"slug":1774,"title":1775,"dynasty":71,"author":1138,"museum":311,"description":1776,"tags":1777,"thumbUrl":1779,"material":550,"size":551,"collection":121,"collections":1780,"showCount":1761,"zanCount":11,"manualWeight":11,"mainColor":106},235516,"yuan-ji-shan-shui-tu-ce-shi-tao-235516","原济山水图册","石涛（1642年－1708年）明末清初著名画家，原姓朱，名若极，广西桂林人，小字阿长，别号很多，如大涤子、清湘老人、苦瓜和尚、瞎尊者，法号有元济、原济等，明靖江王朱亨嘉之子，与弘仁、髡残、朱耷合称“明末四僧”。\n石涛是中国绘画史上一位十分重要的人物，他既是绘画实践的探索者、革新者，又是艺术理论家。\n他幼年遭变后出家为僧，驻锡于安徽宣城敬亭山广教寺，后半世云游，以卖画为业。早年山水师法宋元诸家，画风疏秀明洁，晚年用笔纵肆，墨法淋漓，格法多变，尤精册页小品；花卉潇洒隽朗，天真烂漫，清气袭人；人物生拙古朴，别具一格。工书法，能诗文。存世作品有《石涛罗汉百开册页》《搜尽奇峰打草稿图》《山水清音图》《竹石图》等。著有《苦瓜和尚画语录》。名言有“一画论”、“搜尽奇峰打草稿”、“笔墨当随时代”等。",[55,24,25,115,118,133,78,135,7,97,1778,190],"屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71841c15cb618845d5db6ccb80c74caa.jpg",[],{"id":1782,"slug":1783,"title":1784,"dynasty":71,"author":1297,"museum":311,"description":1785,"tags":1786,"thumbUrl":1787,"material":121,"size":121,"collection":121,"collections":1788,"showCount":1761,"zanCount":11,"manualWeight":11,"mainColor":45},234104,"you-qin-tu-juan-gao-jian-234104","友琴图卷","高简（1634-1707年）字澹游，号旅云，自号一云山人，江苏苏州人。能诗，工山水，摹法元人，甚为简澹，而布置深稳，风味清巧可爱。平生小品最多，好画梅花书屋图，冷隽可珍。卒年七十四。传世作品有《春山积翠图》、《江乡初夏图》、《寒林诗思图》。",[24,25,56,29,28,30,329,80,7,78,190],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F051dd69d7eed026eefb3c1986d1adcae.jpg",[],{"id":1790,"slug":1791,"title":1792,"dynasty":71,"author":72,"museum":73,"description":1793,"tags":1794,"thumbUrl":1800,"material":82,"size":1801,"collection":121,"collections":1802,"showCount":1761,"zanCount":11,"manualWeight":11,"mainColor":106},222790,"hua-niao-ce-ye-10-lang-shi-ning-222790","花鸟册页10","此图册分别描绘了牡丹、兰花、罂粟、萱草、荷花、梅花等艳丽多姿的花卉和体态生动的蝶、鸟。构图上取法中国传统花鸟画的格局，以虚托实，注重对所绘物象的突出。在表现技法上，则充分发挥了欧洲绘画注重明暗及透视的特点，以工致细腻的笔触，刻画出花瓣、叶片以及鸟雀的羽毛质感和体积感，呈现出与传统的中国花鸟画迥然不同的艺术风貌。这种“中西合璧”的画风成为清代宫廷绘画艺术的一大特色，受到了清皇室的青睐。",[23,55,24,25,1372,28,29,1795,1563,57,1796,741,315,7,33,1797,1798,1799],"中西合璧","鸢尾花","光影","透视","重彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F26cf8023c1a700d7d63d7c95b0ee1172.jpg","纵32.6厘米，横28.6厘米",[],{"id":1804,"slug":1805,"title":1806,"dynasty":71,"author":19,"museum":147,"description":1807,"tags":1808,"thumbUrl":1809,"material":39,"size":121,"collection":121,"collections":1810,"showCount":1761,"zanCount":11,"manualWeight":11,"mainColor":106},215203,"sheng-ping-le-shi-tu-ce-1-yi-ming-215203","升平乐事图册-1","升平乐事图册是一部描绘升平乐事的图册，它是一部描述清朝时期升平乐事的图册。升平乐事是一种演出形式，通常在清朝皇帝登基或加冕时举行。这部图册记录了当时的升平乐事，包括演出的服装、舞蹈、音乐和道具等细节。",[24,55,29,28,115,30,150,563,453,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F884a1788ca020f7ea6d8cca8ffaf7686.jpg",[],{"id":1812,"slug":1813,"title":1814,"dynasty":227,"author":19,"museum":311,"description":1815,"tags":1816,"thumbUrl":1819,"material":550,"size":551,"collection":121,"collections":1820,"showCount":1821,"zanCount":11,"manualWeight":11,"mainColor":1751},252943,"shi-guan-yin-pu-sa-xiang-tou-yi-ming-252943","石观音菩萨像头","这尊造像质地莹润温白，面相丰腴柔婉，眉眼似弯月轻垂，眼睑敛合间流露出沉静恬和的笑意，将菩萨俯瞰世间的慈悲温柔尽数藏在神情里。残存的发髻依稀可见当时造艺的精巧，线条舒展圆融，褪去厚重，尽显空灵俊逸的气韵。工匠以极简的刀工勾勒出东方神性的温婉庄严，把佛教清净无染的意境融于柔和面容之间，含蓄典雅的气韵静静流淌，将悲悯与安宁凝固于此方寸之间。",[1817,7,27,30,1818],"雕刻","隋代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00898fbfdcc842224002ed21acd10dfb.jpg",[],16,{"id":1823,"slug":1824,"title":1825,"dynasty":71,"author":1826,"museum":311,"description":1827,"tags":1828,"thumbUrl":1829,"material":121,"size":121,"collection":139,"collections":1830,"showCount":1821,"zanCount":11,"manualWeight":11,"mainColor":106},239049,"fang-lu-tai-shan-shui-zhou-qin-bing-wen-239049","仿麓台山水轴","秦炳文","秦炳文（一八O三至一八七三），字砚云，号谊亭，江苏无锡人。道光二十年（1840）举人，官户部主事。三上春闱，留京八载，尝一返里，挈子俱北。寄情诗酒，广交游，精鉴赏，所藏皆精品。画擅山水，初师王鉴，后宗黄公望、吴镇，臻其胜境。",[24,25,26,118,29,78,133,97,7,135,358,248,406],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa567e23e75cf5399eb1383b55b03c067.jpg",[139],{"id":1832,"slug":1833,"title":1834,"dynasty":71,"author":165,"museum":311,"description":1686,"tags":1835,"thumbUrl":1836,"material":82,"size":1690,"collection":121,"collections":1837,"showCount":1821,"zanCount":11,"manualWeight":11,"mainColor":106},234991,"hua-hui-ling-mao-ping-9-ren-yi-234991","花卉翎毛屏9",[24,55,29,57,26,150,173,7,58,168],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e398d440e6634b38d0ec5b78aced894.jpg",[],{"id":1839,"slug":1840,"title":1841,"dynasty":71,"author":1842,"museum":73,"description":1843,"tags":1844,"thumbUrl":1845,"material":82,"size":1846,"collection":121,"collections":1847,"showCount":1821,"zanCount":11,"manualWeight":11,"mainColor":106},234332,"tian-bao-jiu-ru-tu-zhou-fang-cong-234332","天保九如图轴","方琮","此幅是作者根据《诗经•小雅•天保》：“天保定尔，以莫不兴。如山如阜，如冈如陵，如川之方至，以莫不增……如月之恒，如日之升，如南山之寿，不骞不崩，如松柏之茂，无不尔或承”的诗意所绘。图绘高山流水、旭日东升、屋内主人手持如意正接受众人拜贺的情景。本幅意在宣扬臣子祝颂君主及君主“敬天保民”的统治理念。作者以山冈、松树、如意、桃、鹤等被赋予长寿吉祥之意的景物为主人营造了一个可居可游的人间仙境。构图取景深远，画风归属清初“四王”中王原祁所引领的“娄东派”一路。山石树木以干笔枯墨或汁绿色皴擦渲染，墨与色交织，表现出深远的意境和深厚的气韵。此画为乾隆皇帝所赏识，被清内府收藏。",[24,26,29,78,133,203,32,562,187,563,97,488,7,1373],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a999bd621af7ba79747ed64ff6decf0.jpg","纵146.4厘米，横50.5厘米",[],{"id":1849,"slug":1850,"title":1851,"dynasty":50,"author":19,"museum":311,"description":1852,"tags":1853,"thumbUrl":1855,"material":121,"size":121,"collection":121,"collections":1856,"showCount":1821,"zanCount":11,"manualWeight":11,"mainColor":106},227905,"qiu-ting-ying-xi-tu-ye-yi-ming-227905","秋庭婴戏图页","《秋庭婴戏》是24年7月1日 出版的图书 出版社: 上海书画出版社; 第1版 (24年7月1日) 丛书名: 国宝在线 平装: 4页 开本: 8开 ISBN: 78672664 条形码: 978786726648 尺寸: 29.8 22.4 .6 cm 重量: 281 g 这套丛书按绘画题材、风格技法等要素重新进行分类，将中国画史上的国宝级名作聚于一堂，放大至原寸，为学画者提供了下真迹一等的范本。\n本书对书中收入的每一幅名画进行了详尽的介绍与分析，部分局部放大，叙述这些流传千年的国宝背后的故事，并插入与之相关的其他名画的照片与材料，为广大喜爱中国艺术的读者提供了丰富的欣赏素材和参考资料。\n欣赏和学习中国画，离不开对画史上经典名作的了解。\n中国画的历史源远流长，由于种种原因，古代流传至今的绘画名作非但数量十分稀少，而且散佚于世界各地。\n缘于此，我们编辑了这套《国宝在线》丛书，按绘画题材、风格技法等要素重新进行分类，将中国画史上的国宝级名作聚于一堂，精心印制，并尽量放大至原寸，为学画者提供了下真迹一等的范本。\n此外，我们还对书中收入的每一幅名画进行了详尽的介绍与分析，叙述这些流传千年的国宝背后的故事，并插入与之相关的其他名画的照片与材料，为广大喜爱中国艺术的读者提供了丰富的欣赏素材和参考资料。\n书评 婴戏题材在唐代便已出现，时间当与仕女画相差无几，但数量不多，技法也远未发展成熟。\n据《宣和画谱》记载，唐代著名人物画家张萱善旦画人物……又能写婴儿，此尤为难。\n盖婴儿形貌、态度自是一家，要于大小岁数间，定其面目髫稚。\n世之画者，不失之于身小而貌壮，则失之于似妇人。\n又贵贱气调与骨法，尤须各别。\n事实上，婴孩的画法脱胎于成人，因此，早期一些不成功的婴戏画中往往会具有一小大人的特征，铅华未洗，尚不能表现出儿童稚气天真的特质。\n正如唐代人物画的兴盛与其成教化，助人伦的辅政功能不可分割一样，宋代婴戏题材画之所以流行也同样有其社会背景。\n宋代重文治，虽然对外一直积弱不振，但内部局势却相对较为稳定。\n农业生产不断增长，城市经济日渐繁荣，工商业发达，人口集中。\n市民阶层迅速壮大并逐渐形成一支可以影响画坛趣味的力量。\n绘画从主要服务于宗教及贵族阶层的利益，转而开始考虑普通群众的需求。\n人物画的题材中，道释及帝王肖像一统天下的局面被打破，表现市井平民生活的风俗画开始兴盛，这其中便包括以孩童嬉戏为主要表现内容的婴戏题材画。\n当时的观念认为，儿童可以消灾解难，会带来吉祥幸福。\n例如，北宋熙宁年间京师久旱，皇帝便让京师的儿童祈雨；南宋时期，除夕时在皇宫里，呈王女童驱傩，装六丁、六甲、六神之类一等等。\n因此，宋代社会对儿童事业颇为重视，当时的京城中设有官办的慈心幼局类似于今天的幼儿园或孤儿院，还出现了私人的儿科大夫和儿童药房等。\n显然，这种社会时尚在当时的文艺创作中不能不有所反映，就绘画而言，可以说婴戏画正是在这样的背景下发展起来的。\n著名的瓷器孩儿枕也出现于这一时期。\n一 在宋代，擅作婴戏题材的画家已有相当的人数，如勾龙爽、刘宗道、杜孩儿、苏汉臣、徐世荣等。\n其中以苏汉臣最为著名，流传下来的作品也最多，以 收藏的《秋庭婴戏图》最引人观注。\n他的成就，从后世作婴戏图者多托名于之便可见一斑。\n杜孩儿，顾名思义，因擅画婴儿而得名，《画继》说他在政和间，其笔盛行，而不遭遇，流落辇下。\n画院众工，必转求之，以应宫禁之须。\n《画继》还记载：刘宗道，京师人。\n作《照盆孩儿》，以水指影，影亦相指，形影自分。\n每作一扇，必画数百本，然后出货，即日流布，实恐他人传模之先也。\n由此可见婴戏画在当时流行风靡的程度。\n又据《图绘宝鉴》所云：勾龙爽，蜀人。\n好丹青，喜为古衣冠，多作质野不媚之状。\n尤善婴孩，得其态度。\n国初为翰林待诏。\n徐世荣，画界画，兼工婴儿。\n然而，遗憾的是这些画家的作品均已失传，我们只能通过前人的寥寥数语来想像他们的风貌了。\n宋代的画坛还有一些精通人物、山水、花鸟的全能画家，如李嵩、刘松年等，他们也画过一些婴戏题材作品，而且都极为精妙。\n我们知道，宋人作画重视写生，宋代画家在再现客观世界的能力方面较之前代画家取得了长足的进步。\n因此，尽管总体而言人物画的地位远逊于晋唐，但画家的技能不仅不逊于前辈，通常还有过之而无不及。\n婴戏画便是很能说明问题的例子。\n宋代画家很好地解决了前代在画孩童时常出现的问题，他们已能够驾轻就熟地表现儿童那种特有的体貌和神态了。\n这种技术上的进步与宋代婴戏题材的流行可以说是一种互为因果的关系。\n婴戏题材除了在两宋较为兴盛外，明、清以及民国时期也十分常见，这也和其时代的经济、文化繁荣息息相关。\n然而，像宋代那样有大批一流画家参与婴戏题材创作的情况却不复再现，作品也殊难和宋画相媲美。\n纵观历朝历代的人物画，婴戏题材并不占有十分重要的地位，但却不可或缺。\n由于婴戏画反映的是生活中美好、祥和的一面，为广大群众所喜闻乐见，因此常成为表现节日里吉庆欢愉的吉祥画，而在近代，这一题材则逐渐转化成祈求安康、丰乐的年画而进入寻常百姓家了。\n宋 苏汉臣 秋庭婴戏图 轴 绢本 宋 苏汉臣 秋庭婴戏图 轴 局部 宋 苏汉臣 秋庭婴戏图 轴 局部 宋 苏汉臣 秋庭婴戏图 轴 局部 宋 苏汉臣 秋庭婴戏图 轴 局部 宋 苏汉臣 秋庭婴戏图 轴 局部 宋 苏汉臣 婴戏图 页 绢本 宋 苏汉臣 婴戏图 页 绢本 宋 佚名 冬日婴戏图 轴 绢本 宋 佚名 冬日婴戏图 轴 局部 宋 佚名 冬日婴戏图 轴 局部 宋 李嵩 货郎 图 卷 绢本 宋 李嵩 货郎图 卷 局部 宋 李嵩 货郎图 卷 局部 宋 李嵩 市担婴戏图 宋 李嵩 骷髅幻戏图 页 绢本 宋 李嵩 骷髅幻戏图 页 局部 宋 佚名 狸奴婴戏图 页 绢本 宋 佚名 荷亭婴戏图 页 绢本 宋 佚名 荷亭婴戏图 页 局部 宋 佚名 秋庭婴戏图 页 绢本 宋 佚名 秋庭婴戏图 页 绢本 宋 佚名 秋庭婴戏图 页 局部 宋 佚名 蕉阴击球图 页 绢本 宋 佚名 蕉阴击球图 页 局部 宋 佚名 百子嬉春图 页 绢本 宋 佚名 端阳婴戏图 页 绢本 元 佚名 杂技戏孩图 元 佚名 货郎图 轴 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浜松图屏风-第一屏","这幅以金箔为底，晕染出柔婉的烟云水色，垂柳枝条袅袅垂落，拂过细劲勾勒的粼粼水波。群鸟灵动错落，或栖于柳梢私语，或掠波振翅，或静立汀渚理羽，将幽寂水岸的春日生机尽数铺陈。墨色苍润的汀渚点缀浅滩，华贵金底晕开朦胧柔美的氛围感，工细的笔致揉合写意的松弛，将雅致闲静的水岸意趣，揉进富丽又清寂的和风意境里，静中藏动，尽显幽闲雅致的东方意韵。",[23,55,29,28,1914,57,588,636,1097,32,7,98],"金箔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0de117802efd0cb25b10b9881d05f169.jpg",[],{"id":1918,"slug":1919,"title":1920,"dynasty":258,"author":1921,"museum":1922,"description":1923,"tags":1924,"thumbUrl":1925,"material":265,"size":121,"collection":41,"collections":1926,"showCount":87,"zanCount":209,"manualWeight":11,"mainColor":106},219690,"xian-zi-he-shang-ke-weng-219690","蚬子和尚","可翁","日本东京国立博物馆","这幅画以极简水墨写就，淡墨铺陈出空寂浅滩，右上角老干垂藤以枯笔皴擦，大片留白衬出清寂禅意。作者以写意笔法勾勒人物，寥寥数笔便将和尚的自在情态尽显无遗：赤脚立在滩涂，手抬拭目似正临水观照，肩挎渔捞，身形简括却神完气足。\n\n笔墨枯湿浓淡相生，舍去繁缛细节，以空灵淡远的意境传递出禅者物我相融的自在心境，简淡之中藏着超脱世俗的禅机雅趣，尽显禅画以形写神、简而意丰的美学意趣。",[24,25,118,26,30,97,7,27,247],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F05ee01580bb91979022abf804ecfce07.jpg",[41],{"id":1928,"slug":1929,"title":1930,"dynasty":50,"author":19,"museum":73,"description":1931,"tags":1932,"thumbUrl":1933,"material":302,"size":1934,"collection":121,"collections":1935,"showCount":1936,"zanCount":11,"manualWeight":11,"mainColor":45},234027,"qiu-ting-xi-ying-tu-ye-yi-ming-234027","秋庭戏婴图页","此轴画风活泼清丽，表现庭院中，两孩在湖石花丛下嬉戏，用笔极为细致，精到而刚劲。设色艳丽，与画面气氛浑然一体，信息传达恰到好处。画的左上方有几行题跋，但非原画所有，旧传此画是汉臣之作，但仅就画面来说，其布局匀称得体，用笔熟练老到，确为功力颇深之人的作品。特别是两孩瞳如点漆，炯炯有神，堪称“点睛”妙笔。\n苏汉臣还擅画货郎担和婴儿嬉戏之景，情态生动，能成功地表现出儿童的形象及其游戏时天真活泼的情趣，且笔法简洁劲利，色彩明丽典雅。宋人画儿童题材，起于宋初。以儿童生活为题材的画家有刘宗道、杜孩儿等，但他们都极少有流传下来的作品。这幅苏汉臣的《秋庭戏婴图》就是此类作品的代表。\n赏析：《秋庭戏婴图》无款印，描绘的是两个儿童在花下嬉戏的情景。左上方有清高宗手书的七言绝句一首：“庭院秋声落枣红，拾来旋转戏儿童；丹青讵止传神诩，寓意原存相让风。”在庭院静谧、幽美的一角，满脸稚气的姐弟二人正围着小圆凳，聚精会神地玩推枣磨的游戏。头顶一绺黑发的男童全神贯注，沉浸其中，动作笨拙却逗人喜爱。旁边头梳发卷的姐姐，正用手指轻轻指点，张口露齿，仿佛欲叮嘱些什么。不远处的圆凳上、草地上，还散置着转盘、小佛塔、铙钹等精致的玩具。与姐弟玩兴正浓的推枣游戏对比，更能突显出孩童们喜新厌旧的天性，揭示出孩子们稚气未脱、天真烂漫的童心世界。\n背景部分，笋状的太湖石高高耸立，造型坚实挺拔，周围则簇拥着盛开的芙蓉花与雏菊，这样的布局，不仅冲淡了湖石的阳刚之气，也充分点出秋天的节令。画中姐弟俩所玩的枣子是中国北方的作物，在当时的江南并不生产。加上全画的描写，极端细腻、写实，符合北宋末期的宫廷院画特质。而且，徽宗素来喜欢搜集太湖石，所以即使此图无款印，也能据此推测出此画应该是北宋徽宗宣和画院时期的作品。图中两个儿童只占画面左下角的一小块位置，作为背景点缀的花石却很高大，成为全图最为醒目的标志。\n花石的高大反衬出了儿童的幼小，而四周丢弃的玩具则显示出儿童的天真本性。这种突出的对比在这幅画中到处可见。作者运用线条的功力深厚，使线条富于轻重、长短、转折、顿挫的变化。弟弟的上衣，运用了硬而碎的线条，表现出了布料的质感；姐姐的纱裙，行笔流畅圆润，虽用重色，却给人以薄到透明的感觉，使纱衣有了流动感。画湖石皴染结合，石质显得坚厚湿润而有立体感。花卉皆勾勒精劲，设色艳丽，展示了作者在这方面的高深造诣。仔细观察画中人物的发式、衣着，都是锦装玉琢，一看即知是官宦人家的子弟。\n顾炳在《历代名公画谱》中曾说：“汉臣制作极工，其写婴儿，着色鲜润，体度如生，熟玩之不啻相与言笑者，可谓神矣。”由此可见，苏汉臣的绘画具有造型精准、典雅妍丽的宫廷绘画本质。",[55,24,25,1372,547,28,29,30,186,80,7,189],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d40fc2e963083256e5593789d80158d.jpg","47x86cm",[],13,{"id":1938,"slug":1939,"title":1940,"dynasty":258,"author":1941,"museum":1942,"description":1943,"tags":1944,"thumbUrl":1945,"material":1946,"size":1947,"collection":121,"collections":1948,"showCount":1936,"zanCount":209,"manualWeight":11,"mainColor":121},220658,"you-ting-yuan-xiu-tu-tao-xuan-220658","幽亭远岫图","陶铉","香港中文大学文物馆","《幽亭远岫图》为陶铉现存仅知的作品，画幅左上方有陶氏款识，说明是至正五年（1345）为友人王迪简所绘。陶铉生平仅元代夏文彦《图绘宝鉴》中有简短记载，谓陶氏号菊村 ，金陵人，山水画法学自五代北宋间的李成。\n\n此幅为元代流行的平远构图，乃来自李成作品中常见的低平荒野样式。近景有树竹数株，挺然直立；河岸低平曲折，将观者视线引向层层后退的中远景。陶铉以精简的枯笔干墨，擦出山石的结体轮廓，兼以苔点、墨染增加山头与石脚层次感的画法，让人联想到元四家之一的倪瓒。上海博物馆所藏倪瓒《六君子图》与此幅同样绘于至正五年，亦是以秀润的隔江山色替换李成的萧瑟荒原，但倪瓒的作品仍保留运用前人笔法（如董源披麻皴）的痕迹，而陶铉的作品则未见借用特定前人的笔法。\n\n此画上方另有清人高士奇对陶铉与受画者王迪简的简评。王迪简，字庭吉，号蕺隐，为元初的南宋遗民。元代戴表元曾于《蕺隐记》中记述王迪简隐居于蕺山南侧，其居所人迹罕至，半里之内为空阔的郊原，故视野辽阔，周边景致可一览无遗。虽然在现存文献中未见有陶铉与王迪简交往的具体资料，但《幽亭远岫图》的画面，却与《蕺隐记》中描绘的王迪简隐居环境相吻合。\n\n元朝以异族入主中国，士人纷纷因不愿仕进或不得荐举，而选择避世隐居，从而出现许多以隐居为题的文学与绘画作品。 《幽亭远岫图》无疑亦可视为此类与隐逸题材相关的作品。",[23,24,55,26,118,133,78,563,97,150,7,32,344],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcaa811f1b0d64254a434b2a8336e41e4.jpg","水墨,纸本,立轴","画心：58×31.7厘米 装裱：199.5×50.5厘米",[],{"id":1950,"slug":1951,"title":1952,"dynasty":71,"author":1953,"museum":311,"description":1954,"tags":1955,"thumbUrl":1957,"material":550,"size":551,"collection":121,"collections":1958,"showCount":194,"zanCount":11,"manualWeight":11,"mainColor":45},235367,"hua-wu-ping-zhai-he-jia-huan-tu-zhou-ren-yu-235367","画吴平斋合家欢图轴","任预","任预（1853年—1901年），一名豫，字立凡，浙江萧山人，晚清著名海派画家，为早期海派大师任熊之子，山水、人物、花鸟，无所不精。在“四任”（任熊、任薰、任颐、任预）中，最为年轻。\n任熊逝世时，任预仅四岁，笔墨初无师承，尽变任氏宗派。得赵之谦指授，亦善治印。",[548,24,29,28,30,1184,1956,762,80,7,188],"鹿","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff216d27bc62b04c304bb7261d2bcd4a2.jpg",[],{"id":1960,"slug":1961,"title":1962,"dynasty":258,"author":19,"museum":147,"description":1963,"tags":1964,"thumbUrl":1965,"material":39,"size":1966,"collection":63,"collections":1967,"showCount":194,"zanCount":11,"manualWeight":11,"mainColor":45},232262,"xing-e-tu-yi-ming-232262","杏鹅图","描绘水滨双鹅，旁有两棵柳、杏，飞燕穿梭柳叶之间，柳阴下斜出几枝杏花。从绘画内容及布局看来，它像是明院体大幅花鸟画的构图，画柳干之皴纹，有仿吕纪之笔意，画鹅则似林良写禽之趣，应是结合林良、吕纪影响之作。",[24,25,55,26,29,118,28,133,1516,1319,80,7,672],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55c57300cc263debb9b3f1259bef7939.jpg","142.8x81.4厘米",[63],{"id":1969,"slug":1970,"title":1971,"dynasty":128,"author":1972,"museum":311,"description":1973,"tags":1974,"thumbUrl":1975,"material":121,"size":121,"collection":121,"collections":1976,"showCount":194,"zanCount":11,"manualWeight":11,"mainColor":45},228428,"chu-shan-qiu-ji-tu-zhou-lan-ying-228428","楚山秋霁图轴","蓝瑛","危峰穿破流云，干湿浓淡的墨色皴擦出岩体质感，云雾轻笼半山，将丘壑裁作数重，虚实相生间铺展出山林深邃意境。山腰隐现山居屋舍，斜松探入烟霭，丹黄枝叶点染浓浓秋意。\n\n山麓飞瀑漱石汇成浅溪，策杖行人于危桥上徐行，野趣悠然自生。整画兼得元人写意简淡与宋人丘壑之实，晕染清润，烘托出秋霁初晴的空濛澄澈。简淡笔墨里藏着朴茂苍劲，将楚山秋日的高旷明洁尽藏尺幅间，尽显浙派晚期山水苍劲秀润的独特风貌。",[23,24,25,26,29,118,133,78,97,248,187,30,77,7,1373,1206],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ee7d130be7372a1498bcb77806080ed.jpg",[],{"id":1978,"slug":1979,"title":1980,"dynasty":71,"author":1981,"museum":73,"description":1982,"tags":1983,"thumbUrl":1987,"material":121,"size":1988,"collection":121,"collections":1989,"showCount":194,"zanCount":11,"manualWeight":11,"mainColor":106},223216,"geng-zhi-tu-ce-jiao-bing-zhen-223216","耕织图册","焦秉贞","《御制耕织图》又名《佩文斋耕织图》，不分卷，清圣祖玄烨题诗，焦秉贞绘图，朱圭、梅玉凤镌刻，清康熙三十五年（1696年）内府刊本。耕图、织图各23幅，共计46幅图。每页34.7cm×27.7cm。图框24.4cm×24.4cm。四周单边。册页装。\n《耕织图》以江南农村生产为题材，系统地描绘了粮食生产从浸种到入仓，蚕桑生产从浴蚕到剪帛的具体操作过程，每图配有康熙皇帝御题七言诗一首，以表述其对农夫织女寒苦生活的感念。\n《耕织图》是中国农桑生产最早的成套图像资料，它的绘写渊源可上溯至南宋，绘者为楼璹。楼璹在宋高宗时期任於潜（今浙江省临安市）县令时，深感农夫、蚕妇之辛苦，即作耕、织二图诗来描绘农桑生产的各个环节。《耕织图》成为后人研究宋代农业生产技术最珍贵的形象资料。南宋嘉定三年（1210年），楼璹之孙楼洪、楼深等以石刻之传于后世，南宋理熙元年（1237年）有汪纲木刻复制本。宋以后关于本书的记载已不多见，较著名的有南宋刘松年编绘的《耕织图》，元代程棨的《耕织图》45幅。明代初年编辑的《永乐大典》曾收《耕织图》，已失传。明天顺六年（1462年）有仿刻宋刻之摹本，虽失传，但日本延宝四年（1676年）京都狩野永纳曾据此版翻刻，今均以狩野永纳本《耕织图》作楼璹本《耕织图》之代表。\n清康熙二十八年（1689年）康熙帝南巡时，江南士子进献藏书甚丰，其中有“宋公重加考订，诸梓以传”的《耕织图》。康熙帝即命焦秉贞据原意另绘耕图、织图各23幅，并附有皇帝本人的七言绝句及序文。绘画内容略有变动，耕图增加“初秧”、“祭神”二图，织图删去“下蚕”、“喂蚕”、“一眠”三图，增加“染色”、“成衣”二图，图序亦有变换。宋、清《耕织图》的布景与人物活动大同小异，但焦图画中的风俗易为清代，所绘更为工细纤丽，在技法上还参用了西洋焦点透视法。\n《耕织图》初印于康熙三十五年（1696年），后又出现了很多不同版本，木刻本、绘本、石刻本、墨本、石印本均行于世。如康熙年间的康熙三十八年（1699年）张鹏翮刻本，康熙五十一年（1712年）内府刻本，雍亲王胤禛绢底彩绘本，康熙五十三年（1714年）歙县汪希古恭摹刻48块墨板，宫廷绘白描本等，乾隆年间的康熙、雍正、乾隆三帝题诗刊本，清内府刻《授时通考》本，袖珍彩绘本，乾隆四年（1739年）清内府图为木刻、诗为石刻的经折装本，乾隆三十四年（1769年）北京刻朱墨套印本，杨大章彩绘本，乾隆三十四年（1769年）高宗命画院据元代程棨本临摹之《耕织图》，石刻嵌在皇家清漪园延赏斋左右廊壁的拓本，乾隆三十五年（1770年）徽州守臣摹刻的墨版。此外，还有嘉庆十三年（1808年）《耕织图诗》补刊本，同治十一年（1872年）刊本，光绪五年（1879年）上海点石斋《御制耕织图》石印本，光绪十一年（1885年）上海文瑞楼本，光绪十二年（1886年）上海点石斋石印本。民国时期也有多种版本，较著名的为武进陶兰泉刊本；日本、朝鲜、琉球等国亦有《耕织图》的摹本、翻刻本。\n《耕织图》不但版本众多，版式等也不尽相同，如上文下图本，左图右文本，版框带有龙纹的装饰本，袖珍刻本，木刻填色本，书中序文、诗文前后玺印朱色钤印本，前后玺印为刊版墨印本等。",[24,25,1372,28,29,76,30,1984,488,7,1985,1986],"织机","纺织","劳作","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bac5db85afd5f566ac05862b663b2ad.jpg","34.7cm×27.7cm",[],{"id":1991,"slug":1992,"title":1993,"dynasty":71,"author":1994,"museum":73,"description":1995,"tags":1996,"thumbUrl":1997,"material":465,"size":121,"collection":121,"collections":1998,"showCount":1999,"zanCount":11,"manualWeight":11,"mainColor":106},237185,"shan-shui-ce-sun-yi-237185","山水册","孙逸","孙逸(1604—约1658) ，字无逸，号疎林，亦号石禅，明朝末清朝初海阳（今安徽休宁）人，与萧云从齐名，合称孙萧，与弘仁、汪之瑞、查士标为新安派四大家；字仲举。",[55,24,25,115,29,133,78,203,32,97,152,248,7,477],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F964fa9306cfae7607af1e90144e6216e.jpg",[],11,{"id":2001,"slug":2002,"title":2003,"dynasty":128,"author":2004,"museum":311,"description":2005,"tags":2006,"thumbUrl":2007,"material":121,"size":121,"collection":121,"collections":2008,"showCount":1999,"zanCount":11,"manualWeight":11,"mainColor":106},236023,"ren-wu-tu-ce-ri-mu-qing-yin-wen-nan-shou-mao-weng-236023","人物图册－日暮清音","文柟寿茂翁","林下棕柯亭亭，二人席地闲坐，一人信手拨弦，一人凝神静听，嶙峋湖石点染幽寂氛围。设色清浅简淡，人物意态萧散悠然，尽显雅聚之趣。\n\n左侧行书题诗与画境呼应，笔致隽秀舒展，诗画相映，将春日访隐、醉心丝竹，伴山涧鸟语的林下闲情铺展开来，尽显文人耽于林泉、寄情雅事的审美意趣，笔墨极简却余韵悠长，勾勒出世外幽居的恬淡雅致。",[24,25,115,29,118,30,97,7,394],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a14f29adc119af4109370028b561400.jpg",[],{"id":2010,"slug":2011,"title":2012,"dynasty":71,"author":19,"museum":311,"description":2013,"tags":2014,"thumbUrl":2016,"material":550,"size":551,"collection":121,"collections":2017,"showCount":1999,"zanCount":11,"manualWeight":11,"mainColor":106},234419,"xiao-zhen-xian-huang-hou-xiang-zhou-yi-ming-234419","孝贞显皇后像轴","此作工笔细腻雅致，设色明丽沉静。画面题字呼应氛围，女主端坐于玲珑湖石之上，宝蓝色旗装织就规整团花，镶边纹饰精巧细致，尽显华贵体面，头饰簪花清雅温婉，将端庄柔静的仪态尽显无遗。衬景青竹挺秀清逸，暗喻品性高洁，牡丹姹紫嫣红烘托出雍容气度，朱栏细草点缀出雅致庭院氛围。整作将写实肖像与雅致园景相融，既如实还原宫廷贵妇人的容仪风貌，又借景传情，尽显清代宫廷工笔肖像画的精妙气韵。",[24,29,28,26,30,150,169,7,58,188,2015],"服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc231832387681e17f5dec348824df6bf.jpg",[],{"id":2019,"slug":2020,"title":2021,"dynasty":128,"author":1245,"museum":355,"description":2022,"tags":2023,"thumbUrl":2027,"material":137,"size":2028,"collection":139,"collections":2029,"showCount":1999,"zanCount":11,"manualWeight":11,"mainColor":45},222382,"yi-shou-zun-zhe-xiang-ding-yun-peng-222382","益寿尊者像","丁云鹏是中国明代画家，于1547年出生，字南羽，号圣华居士，安徽休宁人。\n天启五年（1625）尚在作《白马驭经图》，瓒子，詹景凤门人。工书法，学钟繇、王羲之。画善白描人物、山水、佛像，无不精妙。白描酷似李公麟，设色学钱选。丝发之间而眉睫意态毕具，非笔端有神通者不能也。兼工山水、花卉。中年用笔细秀，略近文征明、仇英画法，晚年风格朴厚苍劲，自成一家。 [1] 供奉内廷十余年。与董其昌、詹景凤诸人交游，故流传作品多有董其昌、陈继儒等人的题赞。董其昌赠以印章，曰毫生馆。其得意之作，尝一用之。万历八年（1580）作江南春扇，天启元年（1621）作伙溪渔隐图。\n其画以人物、佛道最负盛名,论者谓,在明末人物画家中，丁云鹏与陈洪绶、崔子忠成鼎足之势。早年人物画工整秀雅，晚期趋于沉着古朴，前后变化可从存世的《媛挡熊图》及《三教图》（均藏故宫博物院）中窥知一斑。山水画也有一定造诣，在师法宋元基础上,自具风格。早期隽秀,晚期古拙，以平整为法。亦能作兰草，有《楚泽流芳图》（故宫博物院）存世。后世流传他的作品，有不少是伪作。而台北故宫博物院所藏钱选《卢同烹茶图》实为丁云鹏手笔。丁云鹏生活于雕板、制墨业发达的徽州，还为书刊画了不少插画，对于新安木刻画的发展起到了一定作用。\n丁云鹏是仇英之后最著名的人物画家，他工给的笔法不下仇英，而高古文雅似又过之。他最擅长的是佛教题材，佛祖、菩萨、罗汉在他笔下既栩栩如生，又庄严肃穆。此帧李公麟《维摩演教图》画人物五十三，动物数头，趁具法器、峰峦堂宇、树石祥云，皆精密工给，非费一两月之功不能为此。董其昌与丁云鹏为挚交，曾题丁氏所绘《五像观音图卷》云：“丁南羽写此时，在吾松为顾光禄正心所馆，年三十馀，故极工妙。自后不复能事，多老年漫应。”",[23,24,25,55,26,1248,28,118,30,27,248,218,7,33,31,2024,2025,2026],"尊者","念珠","长袍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ae92872a9b1d7917f96a1cd18188de0.jpg","52.8x117.8",[139,492],{"id":2031,"slug":2032,"title":2033,"dynasty":71,"author":2034,"museum":73,"description":2035,"tags":2036,"thumbUrl":2039,"material":121,"size":121,"collection":121,"collections":2040,"showCount":2041,"zanCount":11,"manualWeight":11,"mainColor":45},239151,"ku-mu-shuang-ma-zhou-zhang-mu-239151","枯木双马轴","张穆","此作用笔苍劲老辣，古木虬曲皲裂，枯桠斜出，尽现岁月摧折的荒寒之态。下方双马相映成趣，卧马抬首亲昵蹭触，立马垂首呼应，神态温驯灵动。以水墨晕染出骏马皮毛蓬松的质感，将其膘肥体健描摹入微，写实功力尽显。\n\n画面搭配残墙疏竹与坡石点缀，烘托出萧寂清冷的幽澹意境，将鞍马写生的传神意趣与枯木山水的荒疏雅致相融，尽显静谧空寂的氛围感，是兼具笔墨意趣与写生功力的精妙之作。",[55,24,25,26,118,133,2037,2038,1626,218,7],"枯木","马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49598c324ef7b67fd933a8197f8fbf65.jpg",[],10,{"id":2043,"slug":2044,"title":1993,"dynasty":71,"author":2045,"museum":311,"description":2046,"tags":2047,"thumbUrl":2048,"material":121,"size":121,"collection":121,"collections":2049,"showCount":2041,"zanCount":11,"manualWeight":11,"mainColor":106},238144,"shan-shui-ce-yun-xi-238144","允禧","允禧字谦斋，号紫琼，亦作紫噊，别号紫琼崖道人、春浮居士等。康熙皇帝二十一子。善书画，该图层次分明，笔法老到，颇具文人画之风韵。",[24,29,118,133,115,203,32,1373,488,80,917,477,7,902],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24f3ef880ac7f04f143208f381793708.jpg",[],{"id":2051,"slug":2052,"title":2053,"dynasty":128,"author":2054,"museum":311,"description":2055,"tags":2056,"thumbUrl":2058,"material":121,"size":121,"collection":121,"collections":2059,"showCount":2041,"zanCount":11,"manualWeight":11,"mainColor":106},235696,"gu-mu-xiu-huang-tu-zhou-yang-ming-shi-235696","古木修篁图轴","杨明时","此作用笔清逸简淡，枯笔写出古木躯干，皴擦结合尽显虬曲苍劲，浓墨点苔更添岁月沧桑，缠绕藤蔓令幽寂野趣顿生。旁侧修篁挺秀，中锋挥写竹叶错落有致，与古木刚柔相济。湖石以淡墨勾勒皴擦，线条简括却见嶙峋质感，和木竹相映成趣。\n\n右上角题字清雅隽秀，书画相融无间，整体萧散空灵，尽显文人画悠然出尘的意境，寄寓着文人幽栖林泉、静悟禅机的襟怀。",[24,118,247,133,2057,150,7,342,26,914],"古木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda6985e6ff713d0856313e172b7d0d7a.jpg",[],{"id":2061,"slug":2062,"title":2063,"dynasty":71,"author":1359,"museum":311,"description":2064,"tags":2065,"thumbUrl":2066,"material":121,"size":121,"collection":121,"collections":2067,"showCount":2041,"zanCount":11,"manualWeight":11,"mainColor":106},235102,"huai-yin-tu-ce-wang-hui-235102","槐隐图册","此作用淡墨写就幽居闲意，古槐虬曲苍劲，主干皴擦出斑驳老态，羽状细叶以浓墨点簇，疏密错落间尽显灵动生机。左侧矮墙茅屋半掩于槐荫之下，墙面晕染出岁月漫漶的质感，墙垣顺着坡势蜿蜒，与浅草顽石相融，铺陈出山野幽居的僻静底色。题款小字清雅疏朗，和画面淡远禅意两相呼应。全画布景极简，以疏淡笔墨传递静穆安然的林下之风，将文人归园栖隐的雅趣藏于留白皴擦之中，简淡间意蕴悠长。",[24,118,115,133,406,262,98,7,190],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8078c1312dce3ff7506f835fc6f08d03.jpg",[],{"id":2069,"slug":2070,"title":2071,"dynasty":50,"author":19,"museum":311,"description":2072,"tags":2073,"thumbUrl":2077,"material":121,"size":121,"collection":121,"collections":2078,"showCount":2041,"zanCount":11,"manualWeight":11,"mainColor":106},227868,"li-gong-lin-kuan-zui-seng-tu-juan-yi-ming-227868","李公麟款醉僧图卷","此作用笔清劲秀逸，白描绘松阴下醉僧安坐，童子躬身侍弄，二仆携酒趋前，将怀素酣醉欲书的放旷神态暗蕴于简淡画面中，人物情态鲜活宛然。\n卷中题跋络绎，行书大字苍劲疏朗，长卷书法纵逸洒脱，与画作意趣呼应相合，全卷鉴印琳琅，书画合璧，尽显宋人的尚意风雅，笔墨间流转着颠僧醉后挥毫的疏狂意气，把禅意与文人情致融为一体，尽显古雅悠然的旧时艺坛意趣。",[23,55,24,25,56,1248,118,30,80,7,658,2074,2075,394,763,2076,190,817],"文人","僧人","篆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F683a9ddc056efb94f95ef1ed88605b69.jpg",[],{"id":2080,"slug":2081,"title":2082,"dynasty":128,"author":2083,"museum":147,"description":2084,"tags":2085,"thumbUrl":2086,"material":121,"size":2087,"collection":121,"collections":2088,"showCount":2041,"zanCount":11,"manualWeight":11,"mainColor":106},222219,"dou-ji-zhu-lang-222219","斗鸡","朱朗","朱朗[明]字子朗，号青（一作清）溪，苏州（今江苏苏州）人。\n师文征明称入室。今文笔毕肖，凡有所作多托征明名，故世知之者少。有客遣童子将币于朗求征明赝本，童子误送文宅，致主人意。征明笑而受之，曰：“我画真征仲卿当假子朗可乎？”一时传以为笑。朗多作青绿山水，峰岫皴法不清，树无摇动之势，板刻之病恐不免耳。《画史会要》、《苏州府志》、《吴县志》、《无声诗史》、《明画录》、《珊瑚网》",[23,24,25,547,118,57,380,218,7,190,247],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4bbb2831a3ef1bdfad4dd42c78422ec8.jpg","33x56.7厘米",[],{"id":2090,"slug":2091,"title":2092,"dynasty":242,"author":2093,"museum":1454,"description":2094,"tags":2095,"thumbUrl":2098,"material":121,"size":121,"collection":121,"collections":2099,"showCount":2041,"zanCount":11,"manualWeight":11,"mainColor":106},220458,"shi-men-guan-liang-220458","石门","关良","关良，字良公，广东番禺人。长于中国画、油画。1917 年入日本川端画学校学习油画，1918-1923 年于太平洋美术学校学习油画。1923 年回国，任上海美术专科学校教授。参加过北伐战争，任政治部艺术股长。三十至四十年代辗转于广州、上海、重庆等地的艺术院校任教，并于名山大川旅行写生。曾任浙江美术学院教授、上海中国画院画师。著有《关良艺事随谈》、《关良回忆录》。出版《关良京戏人物水墨画》、《关良油画集》等。",[24,29,78,2096,135,563,2097,97,7],"峭壁","船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff0ebef99d6af837be20ccb7bdc022a25.jpg",[],{"id":2101,"slug":2102,"title":2103,"dynasty":128,"author":2104,"museum":311,"description":2105,"tags":2106,"thumbUrl":2107,"material":550,"size":551,"collection":121,"collections":2108,"showCount":2109,"zanCount":11,"manualWeight":11,"mainColor":106},237967,"shan-shui-shan-ye-sun-zhi-237967","山水扇页","孙枝","孙枝（公元16-17世纪初，生卒年不详），明代画家。字叔达、微之，号华林、华林居士，吴县（今江苏苏州）人。工书善画，长于山水，师法文征明，明姜绍书《无声诗史》谓其“石树葱秀，毫素间有洒然出尘之致，亦吴中佳手也”。所作山水意境幽深，风格秀整。花卉、人物亦佳，曾学唐寅而气韵笔力不逮。为吴门派画家之一。其画法出自文征明，石树葱秀，毫素间有洒然出麈之致。花卉、人物亦佳，人物且注重大型画面如画卷移居图。北京故宫博物院藏有其所作九龙山居图卷，盖学唐寅而不及者。",[24,25,547,78,118,133,203,32,97,152,187,407,7,135,358,344,1363],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F547b5fb35dd83eb1ff533e6308387920.jpg",[],9,{"id":2111,"slug":2112,"title":2113,"dynasty":128,"author":2114,"museum":311,"description":2115,"tags":2116,"thumbUrl":2117,"material":550,"size":551,"collection":121,"collections":2118,"showCount":2109,"zanCount":11,"manualWeight":11,"mainColor":106},237401,"ren-wu-shan-mian-yuan-shang-tong-237401","人物扇面","袁尚统","岁朝，是指一岁之始，此时一元复始，万象更新，历代画家作岁朝图含有元旦开笔、预祝一年万事吉利之意。图绘山村一隅，诸多孩童在院中敲锣、打鼓、放鞭炮，尽情嬉戏玩乐，屋内三位长者同桌对饮，观看儿童嬉耍。树石勾勒填色后皴擦，远山以花青淡淡涂染，笔法稳健苍老，画风质朴古拙。丙申为清顺治十三年（1656年），袁尚统时年87岁。",[547,118,30,78,636,7,345,247,133,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5c842323a65a9c09b0ef7f45ca83926.jpg",[],{"id":2120,"slug":2121,"title":2122,"dynasty":128,"author":271,"museum":73,"description":2123,"tags":2124,"thumbUrl":2126,"material":2127,"size":2128,"collection":121,"collections":2129,"showCount":2109,"zanCount":11,"manualWeight":11,"mainColor":106},233135,"ming-ren-xi-shan-sheng-jing-he-bi-ce-zi-wei-cun-ye-chen-chun-233135","明人西山胜景合壁册-紫薇村页","此册又名《明人西山胜景书画合璧册》（见《故宫博物馆藏文物珍品大系：吴门绘画》），著录于《墨缘汇观》，合题跋共计十四页，依次为：刘钰《踞湖山图》、沈周《茶磨屿图》、《新郭图》（对页陈淳题诗一首）、唐寅《越来溪图》、《行春桥图》、《饶稼桥图》（对页自题诗一首）、文徵明《横塘图》、《石湖图》（对页自题诗一首）和陈淳《桃花坞图》、《紫薇村图》，后页徐朗白题。\n颇为吊诡的是这套册页似乎从未完整发表过，就目前所见，《中国古代书画目录》是分开著录，其中刘钰一页、唐寅《饶稼桥图》以及四页题诗都未著录，而《中国古代书画图目》则只选印了沈周和陈淳的四页。《文徵明精品集》发表了两画及一页题诗，《唐寅绘画集》也只发表了《越来溪图》、《行春桥图》两页，《故宫博物馆藏文物珍品大系：吴门绘画》刊印了沈周、文徵明、唐寅各两页，陈淳《桃花坞图》一页，略去了四页题跋。刘钰《踞湖山图》、唐寅《饶稼桥图》及另外三页题跋始终未见，其中或有伪作吧（文徵明的两页画曾于去年苏博特展展出，未见图录，不知是否有完整发表）。但学术乃天下之公器，国内许多博物馆的出版态度素来可恶，很多作品在各类出版物中情况不一，往往“有头无尾”，以致研究一件作品需“东拼西凑”。\n吴门诸家歌咏、描绘吴中名胜之风颇盛，与平日游踪所及和地域意识渐起有关，留存于世的风景名胜图极多，甚至祝寿、官员离任，也以吴中风景图册为赠。值得注意的是，此册中沈周、文徵明、唐寅、陈淳的作品都是早年笔，集三代才人妙墨，想来这套作品的收藏者花了不少心思。末页崇祯五年徐朗白题云：“我朝画法变宋化元，正嘉间吴中诸先进一时杰出、擅采争奇，直使静庵而下皆瞠乎其后矣，此十册俱西山胜景，首为完庵次石田次六如衡山白阳，景虽未尽，人已才难，不特片羽之吉光抑且狐裘之集腋也。什袭见珍，援毫见重。”并题一歌，语涉浮夸无足取。",[24,25,115,118,763,78,77,80,7,204,2125,190],"岸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29457c5afef79185ae2c06064d9f37a5.jpg","纸本 ，设色","纵22.8cm，横33.2cm",[],{"id":2131,"slug":2132,"title":2133,"dynasty":71,"author":2134,"museum":112,"description":2135,"tags":2136,"thumbUrl":2137,"material":120,"size":121,"collection":121,"collections":2138,"showCount":2109,"zanCount":11,"manualWeight":11,"mainColor":106},215021,"fang-gu-shan-shui-ce-9-wang-jian-215021","仿古山水册-9","王鉴","王鉴（1669-1725）是清朝时期著名的画家，以其精湛的仿古山水画而闻名。王鉴出生于江苏省，自幼便对绘画有着浓厚的兴趣。他从小就开始学习绘画，后来在北京的私塾深造，并在考试中取得了优异的成绩。\n\n王鉴的仿古山水画以其精细的笔法和优美的构图而著称。他的画作经常使用细腻的线条和深浅不一的色彩来表现山水的美感。王鉴的作品常常充满了沉静、凝重的气氛，能够让人感受到中国古代山水画的韵味。\n\n王鉴的仿古山水画在当时广受欢迎，并且被广泛收藏和传承。他的画作经常被收录在仿古山水册中，并被视为中国古代山水画的经典之作。王鉴的画风对后代画家也产生了深远的影响，被认为是清朝时期仿古山水画的代表人物之一。",[24,25,115,29,78,133,135,407,80,488,187,232,7,2125],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01a24b1956f09fca82af136b3260eb23.jpg",[],{"id":2140,"slug":2141,"title":2142,"dynasty":71,"author":2143,"museum":311,"description":2144,"tags":2145,"thumbUrl":2146,"material":121,"size":121,"collection":121,"collections":2147,"showCount":2148,"zanCount":11,"manualWeight":11,"mainColor":106},238257,"yan-shan-ba-jing-tu-ce-zhang-ruo-cheng-238257","燕山八景图册","张若澄","此作以诗画合璧之形呈现胜景。左侧绘关山之景，危岩层叠巍峨，细笔勾勒皴擦尽显山石肌理，淡赭晕染出峰峦苍润气色。河谷烟波澹澹，岸边村舍戍楼错落，藏于林泉之间，既绘出雄奇关隘形胜，又晕染出山野闲淡意趣。\n\n右侧行书题诗笔致清劲舒展，诗意与画境呼应凭添怀古幽思。整幅册页清雅隽秀，将实景纪实与文人笔墨意趣相融，于尺幅之间尽揽关隘灵秀与雄浑，尽显实景山水的精妙意韵。",[24,29,78,133,115,394,763,190,203,32,80,358,187,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86eabbee580fde46912ec31bc46f9834.jpg",[],8,{"id":2150,"slug":2151,"title":1993,"dynasty":71,"author":2152,"museum":73,"description":2153,"tags":2154,"thumbUrl":2155,"material":121,"size":121,"collection":121,"collections":2156,"showCount":2148,"zanCount":11,"manualWeight":11,"mainColor":106},234797,"shan-shui-ce-dong-bang-da-234797","董邦达","董邦达生于康熙三十八年(1699年)，字孚存，号东山，又号非闻，浙江富阳人。他幼年家贫，致力于学，于雍正元年(1723年)被选拔为贡生。后赴京应试，屡试不第，落魄在京，期间得刑部尚书励廷仪赏识。几经周折，他终于雍正十一年中进士，被授庶吉士。“文臣画家”是董邦达的重要身份。\n乾隆二年(1737年)，董邦达被授编修一职，先后参与编修《石渠宝笈》《秘殿珠林》二书初编以及《西清古鉴》《明史纲目》《皇清文颖》《盘山新志》《热河志》诸书。乾隆三年，任陕西乡试考官，上疏官卷量少，建议用民卷补充，以便朝廷招贤纳才。不久，升任右中允，再迁侍读学士。乾隆十二年，受命入直南书房，擢升为内阁学士。乾隆十五年，迁任侍郎，历任职于户、工、吏诸部，官至礼部尚书。乾隆三十四年(1769年)卒，谥文恪。\n董邦达长于诗，且书画俱精，尤善山水。其画用笔深得古人之法，山水上窥五代董源、巨然及元黄公望，近学明人董其昌，论者称之“古今三董相承”。邱雯对三董相承有过深入阐述：董源山水写南京一带的浑厚华滋，董其昌山水写松江一带的清润宁和，董邦达山水写富春、杭州一带的秀远疏放。董邦达继承董其昌的高雅审美意识，追求山水的自然、自由、可观、可赏、可游、可居，以寄托文人的自由理想，在作品中体现为书卷气以及“和平中正”的审美取向，儒家一贯追求的清、真、雅成为其绘画的重要特征。\n董邦达广习历代名家技艺，除吸收董巨皴法及黄公望浅绛画法，还受“清初四王”影响颇深。但与“四王”不同的是，他更加重视绘画的生气，作品既能迎合皇帝喜爱的盛世升平气象，又有文人画家所追求的幽远意境。其画作中年秀润，晚年苍浑，用笔在不生不熟之间，绝无狂废之态。尤其晚年之作沉雄朴茂，极具生拙野逸之趣，所呈现的文人意趣，继承南宗笔墨的野逸疏放，与董源、董其昌异曲同工。他将文人逸气带入宫廷，与清代宫廷职业画家的工丽装饰明显不同，成为当时宫廷中雅文化的代表。\n董邦达为官35年，深得乾隆皇帝厚爱。他70岁时得乾隆钦赐“紫禁城骑马”。他以年老多病请辞引归，乾隆说：“礼部事不繁，给假安心调治，不必解任。”他不久病逝，乾隆赐其祭葬，并亲自撰写碑文，在文中悲叹：“呜呼！眷文学侍从之劳，松楸影；著老成典型之望，琬琰流辉。裕及后昆，承兹休命。”\n乾隆帝对董邦达的山水画推崇有加。董邦达作品大幅寻丈、小幅寸许，不下数百，许多都“上邀宸眷”，蒙赐御题。乾隆曾赞扬其山水画激发了自己的诗兴，感叹道：“为他山水幽佳处，往往寻题趣有余。”乾隆在评价画坛时弊以及董氏艺术时称：“吾于达也无间然，丰不觉繁俭不欠。前称北苑后香光，艺林都被卿家占。”将董邦达看作画理上的无间知己，谓其山水繁简皆佳、运转自如，认为其笔墨独到，可与画史上最具权威的“南宗”大师北苑(董源)、香光(董其昌)齐驱，可见其山水画在宫廷中地位之高。",[24,118,133,115,78,80,7,358],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce2cbd2f9a840d4ee8c3bb84f2bf2aad.jpg",[],{"id":2158,"slug":2159,"title":2160,"dynasty":71,"author":2161,"museum":311,"description":2162,"tags":2163,"thumbUrl":2164,"material":465,"size":121,"collection":121,"collections":2165,"showCount":2148,"zanCount":11,"manualWeight":11,"mainColor":106},234284,"hua-guo-ce-wang-yun-234284","花果册","王云","王云，字汉藻，号清痴，一字雯庵，号竹里，江苏高邮人。斌子。楼台、人物近似仇英，康熙时驰名江、淮。写意山水，得沈周遗意。于朝，圣祖赏逾等。",[24,25,115,29,28,172,315,7,190],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3165df89097c747392b9de862f31771.jpg",[],{"id":2167,"slug":2168,"title":2169,"dynasty":128,"author":2170,"museum":73,"description":2171,"tags":2172,"thumbUrl":2174,"material":465,"size":2175,"collection":121,"collections":2176,"showCount":2148,"zanCount":11,"manualWeight":11,"mainColor":106},234156,"san-you-tu-wen-zheng-ming-234156","三友图","文徴明","此手卷画兰、菊、竹三段，各有文氏亲笔题咏。用笔写意，简率之中见生动秀逸之致，墨色清润淡雅，显示了诗、书、画结合的笔墨境界。中国传统文化以拟人化的手法，通过褒扬兰、菊、竹的自然属性而歌颂或表彰文人的道德品质，体现了中国花卉画的特殊功能。\n壬寅为明嘉靖二十一年（1542年），文徵明时年73岁。",[23,24,25,56,118,763,394,914,247,150,2173,928,7,190],"兰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe51a77fcfc66d27d311c294bfae0f646.jpg","纵26.1厘米，横475.5厘米",[],{"id":2178,"slug":2179,"title":2180,"dynasty":128,"author":271,"museum":73,"description":2123,"tags":2181,"thumbUrl":2182,"material":2127,"size":2128,"collection":121,"collections":2183,"showCount":2148,"zanCount":11,"manualWeight":11,"mainColor":106},233134,"ming-ren-xi-shan-sheng-jing-he-bi-ce-tao-hua-wu-ye-chen-chun-233134","明人西山胜景合壁册-桃花坞页",[24,25,115,763,118,78,80,7,79,1082],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1625054511cd74fa7d87587b64b1b6f.jpg",[],{"id":2185,"slug":2186,"title":2187,"dynasty":50,"author":92,"museum":311,"description":2188,"tags":2189,"thumbUrl":2190,"material":121,"size":121,"collection":121,"collections":2191,"showCount":2148,"zanCount":11,"manualWeight":11,"mainColor":106},227971,"fang-mu-tu-ye-li-chun-227971","放牧图页","虬曲老树枝叶扶苏，浓荫之下牧童闲坐，垂首专注把玩手边小物，全然沉浸在郊野的松弛意趣之中。浅滩溪岸，老牛垂首缓步涉水，皮毛厚重写实、肌理鲜活细腻，憨态小牛亦步亦趋紧随其后，灵动稚态尽显。\n\n整幅小品疏密得宜，设色浅淡柔和，以精妙工笔描摹物象形神，将乡野放牧的日常闲景铺陈得鲜活动人，既以细致笔触还原郊野生灵的自然情态，又晕染出田园牧歌式的悠然氛围，把乡野间的闲散温情凝于尺幅间，于平淡日常中尽显雅致隽永的宋画意韵。",[23,55,24,29,28,1372,96,30,97,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1e3f18c16b1455c2e6e91367d1f9459.jpg",[],{"id":2193,"slug":2194,"title":2195,"dynasty":71,"author":72,"museum":73,"description":1793,"tags":2196,"thumbUrl":2199,"material":82,"size":1801,"collection":121,"collections":2200,"showCount":2148,"zanCount":209,"manualWeight":11,"mainColor":106},222789,"hua-niao-ce-ye-09-lang-shi-ning-222789","花鸟册页09",[23,55,24,25,1372,28,29,1795,1563,2197,57,58,7,275,861,2198],"细腻","鸡冠花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73c3e2ee11b27dd75906effcdda8e37d.jpg",[],{"id":2202,"slug":2203,"title":2204,"dynasty":71,"author":2205,"museum":52,"description":2206,"tags":2207,"thumbUrl":2209,"material":39,"size":2210,"collection":121,"collections":2211,"showCount":2148,"zanCount":11,"manualWeight":11,"mainColor":106},219842,"shan-shui-tu-ce-5-xie-sun-219842","山水图册-5","谢荪","本册图绘乡间野外平常小景,笔墨秀雅,造境清幽.谢荪(生卒年未详),清代画家.字缃酉,又字天令,常住南京.擅长画山水、花卉,与龚贤、樊圻齐名,为“金陵八家”之一.写心。",[24,25,115,29,133,78,135,7,80,2208],"田","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F661de97df87d7f5aa241a7fc9bbf810e.jpg","14.2x19.2",[],{"id":2213,"slug":2214,"title":2215,"dynasty":71,"author":2216,"museum":311,"description":2217,"tags":2218,"thumbUrl":2219,"material":121,"size":121,"collection":121,"collections":2220,"showCount":2221,"zanCount":11,"manualWeight":11,"mainColor":106},239416,"fang-gu-shan-shui-ping-qin-zu-yong-239416","仿古山水屏","秦祖永","此作用淡墨晕染山峦，似覆薄雪，浅赭留白铺就清寒山野底色。枯木虬劲萧疏，错落村居隐于山石林麓间，行旅身影点缀溪桥山道，让空寂冬景暗蕴烟火生机。\n\n笔墨简淡秀润，以干笔皴擦勾勒山石肌理，脱却繁缛雕琢，尽显文人画雅逸格调。题诗与雪景画意呼应，以仿古笔法写冬日山居，既有古雅意趣，又自出机杼，将清寒冷寂的山野氛围与悠然乡居意趣相融，意境清寂出尘。",[24,29,133,1362,26,78,203,32,563,97,488,917,2038,30,152,7,248],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9243e182898ce097ba5078d7a41d8150.jpg",[],7,{"id":2223,"slug":2224,"title":2225,"dynasty":71,"author":1676,"museum":311,"description":2226,"tags":2227,"thumbUrl":2228,"material":121,"size":121,"collection":121,"collections":2229,"showCount":2221,"zanCount":11,"manualWeight":11,"mainColor":106},237877,"yang-jin-fang-gu-shan-shui-ce-yang-jin-237877","杨晋仿古山水册","杨晋 （1644－1728），字子和，一字子鹤，号西亭，自号谷林樵客、鹤道人，又署野鹤，江苏常熟人。山水为王翚入室弟子，尝与绘圣祖南巡图颇精。晚年每多率笔，未免苍而不润，神气便少。然农村景物则颇工，尤长画牛，多写意，夕阳芳草，郊牧之风宛然在目，兼及人物写真，花鸟草虫。每侍翚出游，翚作图凡有人物、舆轿、驼、马、牛、羊等皆命补之。又尝摹内府所藏名迹，作副本进御。卒年八十五。\n杨晋是清代宫廷画家，以画界画见长，他能恰到好处地发挥传统工笔界画的特长，把人工建筑的楼阁台榭及人物举止和天然山水景色紧密结合起来，在结构上作了极好的剪裁，满而不闷，画风细致明秀、娟丽清新，层次过渡非常自然。《石谷骑牛图》绘石谷悠然骑于牛背之上，神态安详平和，状写简逸传神。石谷即清代大画家王翚，也是杨晋的老师。",[24,25,115,118,133,1362,78,203,97,407,358,1082,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F02e91f0bc7b811b87878217c1b5bff2b.jpg",[],{"id":2231,"slug":2232,"title":2233,"dynasty":128,"author":2234,"museum":311,"description":2235,"tags":2236,"thumbUrl":2237,"material":550,"size":551,"collection":121,"collections":2238,"showCount":2221,"zanCount":11,"manualWeight":11,"mainColor":106},237837,"shan-shui-shan-xiang-sheng-mo-237837","山水扇","项圣谟","项圣谟，初字逸，后字孔彰，号易庵，别号有胥山樵、存存居士、醉风人、大酉山人、莲塘居士、烟波钓徒、松涛散仙、逸叟、狂吟客、鸳湖钓叟、不夜楼中士等等，浙江嘉兴人。",[24,547,118,133,78,80,7,263,477,190],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F062ad21da55ac0ffed439d1a3a048337.jpg",[],{"id":2240,"slug":2241,"title":2242,"dynasty":71,"author":1523,"museum":73,"description":2243,"tags":2244,"thumbUrl":2245,"material":137,"size":121,"collection":121,"collections":2246,"showCount":2221,"zanCount":11,"manualWeight":11,"mainColor":106},237215,"shu-hua-he-bi-ce-cha-shi-biao-237215","书画合壁册","查士标（1615-1698），字二瞻，一号梅壑散人，懒老。安徽休宁人。他是明诸生，入清后不应举，工研书画。他的书法以行书、草书见长，书出米、董，上追颜真卿，颇得精要。时称米、董再生，名重天下。行笔俊逸豪放、神韵深邃。他的绘画亦是气韵高逸，查士标常常在画上自题拟云林笔意、仿倪云林法等，而懒标之号亦从倪云林懒瓒之称而来，可谓是风神遥接。晚年画益超迈，直窥元人之奥。凡应酬临池挥洒，必於深夜，不以为苦。八十馀尚童颜。卒年八十四，著有《种书堂遗稿》等。",[25,115,118,78,763,152,154,96,406,7,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28036d56a8fc62b1f1ccc963059652c0.jpg",[],{"id":2248,"slug":2249,"title":2250,"dynasty":71,"author":2251,"museum":311,"description":2252,"tags":2253,"thumbUrl":2256,"material":550,"size":551,"collection":121,"collections":2257,"showCount":2221,"zanCount":11,"manualWeight":11,"mainColor":106},236414,"hua-huang-hong-xian-cai-sang-tu-xiang-ce-yu-yuan-236414","画黄红先采桑图像册","虞沅","虞沅（生卒年不详），字畹之，海虞画苑略作浣之，或作翰之， 江都（今江苏扬州）人，居常熟。善画，亲炙王翚，颇得趋向。山水著笔落墨不多，其浑沦劲挺之致，亦是专家。花卉翎毛钩染妍雅，赋色荷花得古人逸法。",[24,29,28,115,30,97,7,98,2254,2255],"篮子","桑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe5360a1d0283c9bf6d7f9dafd9816b6d.jpg",[],{"id":2259,"slug":2260,"title":1993,"dynasty":71,"author":2261,"museum":311,"description":2262,"tags":2263,"thumbUrl":2264,"material":121,"size":121,"collection":121,"collections":2265,"showCount":2221,"zanCount":11,"manualWeight":11,"mainColor":106},235334,"shan-shui-ce-wen-dian-235334","文点","此作用笔松秀简淡，以水墨写就林泉幽居之景。左侧怪石嶙峋、茂林匝地，围合出静谧茅舍，屋内有人凭窗闲坐，静享林间清趣。竹篱轻隔院落，稚童缓步空庭，更添悠然生机。远景苍松下，负手行者缓步林间，衬得山野愈加深幽。\n\n全幅无浓艳敷色，仅以淡墨勾勒皴擦，萧疏淡远的氛围里，铺陈出文人幽居日常的恬然隐逸，藏着寄情山水、安闲自适的林下雅意，尽显中式文人画独有的清寂淡远之美。",[24,25,115,118,78,97,7,488,30,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F439e6fe608aad922cdc6827d484baa80.jpg",[],{"id":2267,"slug":2268,"title":2269,"dynasty":128,"author":812,"museum":73,"description":2270,"tags":2271,"thumbUrl":2272,"material":2273,"size":2274,"collection":121,"collections":2275,"showCount":2221,"zanCount":11,"manualWeight":11,"mainColor":106},233708,"yi-an-tu-juan-tang-yin-233708","毅庵图卷","此以别号图为题材。图中描绘了松竹清幽、蕉石雅洁的庭院，茅屋中，一高士欹坐执麈，作遐观之状。笔墨苍润挺秀，设色清雅明丽。此高士乃文徵明三十年前砚友朱秉忠，别号毅庵，秉志高洁，为人清简，是一位优游林泉、笃爱诗书的隐士。",[24,25,56,118,29,763,394,133,78,30,80,218,488,7,2074],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7603e5376692e6fa453279e5f734de65.jpg","纸本 设色","纵30.7厘米 横112.8厘米",[],{"id":2277,"slug":2278,"title":2279,"dynasty":50,"author":19,"museum":311,"description":2280,"tags":2281,"thumbUrl":2282,"material":121,"size":121,"collection":121,"collections":2283,"showCount":2221,"zanCount":11,"manualWeight":11,"mainColor":106},227346,"ming-liu-ji-zao-ce-shi-er-zhen-yi-ming-227346","名流集藻册十二帧","此《宋名流集藻册》为“蝴蝶装”形制，共十二帧。每帧有清乾隆皇帝的御笔题诗，与画意相对应，抒其感悟和评论，画页裱边的上端附有题签。依照《石渠宝笈续编》著录的顺序是，一开“燕文贵，纳凉观瀑”；二开“赵伯骕，碧山绀宇”；三开“萧照，丹林诗思”；四开“李迪，鸡雏待饲”；五开“苏汉臣，蕉阴击球”；六开“李迪，无花果图”；七开“刘松年，山馆读书”；八开“梁楷，三高游赏”；九开“梁楷，秋柳双鸦”，十开“陈宗训，秋庭戏婴”；十一开“鲁宗贵，玲峰鹁鸽”；十二开“陈可久，春溪水族”。\n\n“蝴蝶装”书籍装帧形式之一。始于唐末,盛行于北宋。其装订方法是将每页从中缝把有文字的两个半页对折,背面空白处在外,然后把这样对折的一叠散页用一张纸从前包到后面,并将各页折口处牢牢地粘连在这张纸上,以免脱落,这样就形成了蝴蝶装的书。其所以得名,是因为书册打开后左右对称,犹如蝴蝶展开双翅,因而称为“蝴蝶装”,或“蝶装”。",[23,24,25,115,547,118,29,28,78,563,7,80,30,394,190],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ca49fdb98c3f08c2121cc90ba0a38f2.jpg",[],{"id":2285,"slug":2286,"title":2287,"dynasty":71,"author":2205,"museum":52,"description":2206,"tags":2288,"thumbUrl":2289,"material":39,"size":2210,"collection":121,"collections":2290,"showCount":2221,"zanCount":11,"manualWeight":11,"mainColor":106},219844,"shan-shui-tu-ce-3-xie-sun-219844","山水图册-3",[24,25,115,118,29,133,78,187,135,154,588,406,488,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F894f4e4e75e6cb0b82c2f6114e520119.jpg",[],{"id":2292,"slug":2293,"title":2294,"dynasty":128,"author":2295,"museum":52,"description":2296,"tags":2297,"thumbUrl":2298,"material":265,"size":2299,"collection":121,"collections":2300,"showCount":2221,"zanCount":11,"manualWeight":11,"mainColor":106},219790,"za-hua-ce-1-guo-xu-219790","杂画册-1","郭诩","郭诩（1456—1532），字仁弘，号清狂道人，江西泰和人。工书画，善山水，尝遍历名山，曰“岂必谱也，画在是矣。”同时江夏吴伟、北海杜堇、姑苏沈周俱以画名，莫不延颈原交，天下竟传清狂画，风之百金。有贵人欲多得诩画，诩瞠目数屋梁不对。固索，辄跮跖狂趋，叫奡跳号去。弘治（一四八八至一五零五）中徵天中善画者，应诏京师。宸濠召与语，辄辞谢之。往依王守仁献画题诗所见志。又善杂画，信手作人物，辄有奇趣。七十三岁尚作磨镜图。他的作品传世不多，八开《杂画册》现藏上海博物馆，《琵琶行》图轴藏北京故宫博物院。",[24,25,55,118,29,1248,28,30,186,1428,7,1505,190,394],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F326ce106b4ca0f3560143aa5811eb670.jpg","纵28.5 厘米 横46.5 厘米",[],{"id":2302,"slug":2303,"title":2304,"dynasty":128,"author":2305,"museum":681,"description":2306,"tags":2307,"thumbUrl":2308,"material":120,"size":2309,"collection":121,"collections":2310,"showCount":2221,"zanCount":11,"manualWeight":11,"mainColor":106},217872,"zhou-li-yuan-shang-kuan-shen-ce-liu-hu-yu-kun-217872","周栎园上款什册(六)","胡玉昆","右侧疏竹数竿，枝叶错落间墨色有层次，尽显清劲之姿；旁立嶙峋山石，皴法简括，纹理苍古，似载岁月痕迹。左侧书法行草相间，笔力遒劲，墨韵流转，与画作相映成趣。整体画风简淡空灵，竹石相依处文气氤氲。于极简景致中藏幽深意趣，仿佛竹间风过有声，石上苔痕隐现，尽显文人画逸致——以朴素之笔写胸中丘壑，静谧里透着生机，朴素中见出真味，文墨与丹青共生的雅韵，似能漫出纸面，引观者入那清寂又生动的文人世界。",[24,25,115,118,218,7,394,763,133],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc56c4ff5950321ec98c5429ef0a507e7.jpg","24.7x32.3cm",[],{"id":2312,"slug":2313,"title":2314,"dynasty":71,"author":19,"museum":311,"description":2315,"tags":2316,"thumbUrl":2318,"material":121,"size":121,"collection":121,"collections":2319,"showCount":160,"zanCount":11,"manualWeight":11,"mainColor":106},238814,"dong-gao-lv-xuan-shao-jing-ce-yi-ming-238814","董诰律宣韶景册","此作以淡墨晕染铺就寒山雪境，远山层叠留白覆雪，岩岫苔点簇簇，暗衬积雪清润空寂。近岸枯木虬枝错落，寒林萧疏却暗含待春的生机，山坳隐见茅舍寺塔，曲水沿山逶迤，悠悠漾开山野空寂意趣。\n\n画师以勾勒皴擦写就山石肌理，淡墨晕染区分雪色虚实，留白见巧，不着艳色，全凭水墨层次拉开远近景深，将空山初雪的静谧清寒尽数铺展，晕出冬雪将过、春信悄临的澹澹诗意，尽显文人山水寄情林泉，静悟岁序轮转的清雅意韵。",[24,25,118,133,115,190,78,902,203,97,152,7,2317,563],"小路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2501cf60e869162a2c68158d198d7d86.jpg",[],{"id":2321,"slug":2322,"title":2323,"dynasty":71,"author":2324,"museum":311,"description":2325,"tags":2326,"thumbUrl":2327,"material":121,"size":121,"collection":121,"collections":2328,"showCount":160,"zanCount":11,"manualWeight":11,"mainColor":106},238102,"hong-wu-shan-shui-ce-hong-wu-238102","弘旿山水册","弘旿","爱新觉罗·弘旿（1743-1811），清朝宗室、画家。字卓亭，号恕斋，一号醉迂，别号瑶华道人，又号一如居士。康熙帝爱新觉罗·玄烨孙，爱新觉罗·胤秘第二子。封固山贝子，两次缘事革退，复赏封奉恩将军。能诗，工书、画，以三绝称。弘旿工画，师董邦达，自署瑶华道人，名与紫琼道人胤禧并。论者称其“山水得董、黄之妙谛。”永珠既夺爵 [1] ，以弘旿孙绵勋袭贝子。子孙递降，以镇国公世袭。\n观其传世作品，似受董邦达影响为多。此卷笔墨秀润，细皴密擦，林麓滃郁华滋，功力不浅。卷末落“臣”字款，又自称“恭绘”，可见是进御之作。《石渠宝笈》著录弘旿画计有三十多件，内府收藏的估计还有不少。可见弘旿作画之勤，亦可见乾隆对这位同宗兄弟笔墨的赞许。但从流传的弘旿作品看，此卷却是其中极为精彩的一幅，且保存完好，值得珍视。",[24,25,115,29,133,78,97,488,7,135,344,190],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57ae4ebbb954d15b31de4e3dc84191b9.jpg",[],{"id":2330,"slug":2331,"title":2332,"dynasty":258,"author":19,"museum":147,"description":2333,"tags":2334,"thumbUrl":2335,"material":39,"size":121,"collection":121,"collections":2336,"showCount":160,"zanCount":11,"manualWeight":11,"mainColor":45},218188,"ying-zhen-xiang-zhou-2-yi-ming-218188","应真像轴-2","苍松虬干垂覆，老僧安坐石上。宽袍墨线流转，浓淡晕染显布料柔皱。手持细长物什，指尖似牵一缕轻丝，眼神淡然却藏专注。面部刻画细腻，皱纹沉淀岁月沉静。背景远山朦胧，近石嶙峋，松针如簇，与悠然神态相映，营造清寂禅意。笔墨简淡却意蕴深长，松风似拂过，禅心与自然相融，静穆中透着生命的平和深邃。",[24,26,27,30,29,28,248,7,190],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b2cac5a2c9b812e758d779e24b23c4a.jpg",[],{"id":2338,"slug":2339,"title":2340,"dynasty":71,"author":2134,"museum":112,"description":2135,"tags":2341,"thumbUrl":2342,"material":120,"size":121,"collection":121,"collections":2343,"showCount":160,"zanCount":11,"manualWeight":11,"mainColor":106},215011,"fang-gu-shan-shui-ce-18-wang-jian-215011","仿古山水册-18",[23,24,118,133,115,1362,78,203,32,80,488,187,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdea1f1d04c899beded523c5226c8bb98.jpg",[],{"id":2345,"slug":2346,"title":2233,"dynasty":128,"author":2347,"museum":311,"description":2348,"tags":2349,"thumbUrl":2350,"material":550,"size":551,"collection":121,"collections":2351,"showCount":105,"zanCount":11,"manualWeight":11,"mainColor":106},238936,"shan-shui-shan-yun-qi-xun-238936","恽启巽","恽启巽（1629—1686）明末清初诗文家。字符介，又字符理，号平江。武进（今常州市区）人。恽厥初孙。清康熙十二年（1673）进士，官内阁中书。朝廷在《敕封内阁中书恽启巽》里称其“温醇著誉，恪谨持躬，质有其文，撰述分劳于两制，才堪称职，丝纶贲宠于重霄”。重孝养不重科名，侍母燕尝亭榭间，网鱼斸笋献之高堂，良辰令节得欢颜，以为乐，遂不愿仕。卒葬常州政门外丰西乡三里庵（今青龙三里村）。著有《平江诗文集》、《西江游草》等。",[24,25,547,118,133,78,203,32,97,1863,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa3c41b41a851ea62605e5e7c279b33e.jpg",[],{"id":2353,"slug":2354,"title":1590,"dynasty":71,"author":1591,"museum":311,"description":1592,"tags":2355,"thumbUrl":2356,"material":550,"size":551,"collection":121,"collections":2357,"showCount":105,"zanCount":11,"manualWeight":11,"mainColor":106},237489,"shan-shui-tu-ce-yao-song-237489",[24,25,115,118,763,394,133,78,97,1863,7,190],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe023f2a9a93cca5c7cfe68ec2346be42.jpg",[],{"id":2359,"slug":2360,"title":1993,"dynasty":128,"author":2361,"museum":311,"description":2362,"tags":2363,"thumbUrl":2364,"material":121,"size":121,"collection":121,"collections":2365,"showCount":105,"zanCount":11,"manualWeight":11,"mainColor":106},235826,"shan-shui-ce-li-liu-fang-235826","李流芳","此作笔墨简率松灵，枯木虬枝或苍劲挺拔，或柔婉舒展，柳丝轻曳漾开幽淡逸趣。坡石以淡墨晕染，留白衬出空濛幽寂之境，茅舍隐于林隅，愈发衬出山野清宁。\n诗画相融，随性点染间尽得萧散出尘的林下风致，以极简构图传递静穆淡远的文人情思，笔墨带着疏朗雅致的文人意趣，不刻意雕琢却意韵悠长，尽显寄心林泉的隐逸襟怀。",[55,24,25,115,118,133,78,97,218,7,1863],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1e466953c256a2680a68a00e9f2bea8.jpg",[],{"id":2367,"slug":2368,"title":2369,"dynasty":71,"author":2134,"museum":311,"description":2370,"tags":2371,"thumbUrl":2372,"material":121,"size":121,"collection":121,"collections":2373,"showCount":105,"zanCount":11,"manualWeight":11,"mainColor":106},235775,"qing-chu-liu-da-jia-ji-ce-shan-shui-ye-wang-jian-235775","清初六大家集册-山水页","此作以淡墨铺就江南山居，层峦叠嶂缓缓铺陈，坡岸蜿蜒勾连散落村居，虚实相生间漾开幽寂清宁的氛围。笔墨以干笔皴擦写山峦肌理，披麻皴淡晕出丘壑温润质感，墨色清润苍秀，兼得元人萧散简远与苍浑沉厚。林间枝桠疏朗有致，衬出林泉静谧。\n\n题诗与山水浑然相融，点破涧水幽鸣、尘意尽褪的意境，观之恍若身临无人林泉，俗念皆消。全作画简意丰，平和静穆之中藏着文人画独有的清空之韵，将江南丘壑的雅致与隐逸襟怀相融，尽显淡远深秀的文人山水意趣。",[24,118,133,78,97,488,7,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17f82ad621b27ff4881bea84eff05f49.jpg",[],{"id":2375,"slug":2376,"title":2103,"dynasty":128,"author":2377,"museum":311,"description":2378,"tags":2379,"thumbUrl":2380,"material":550,"size":551,"collection":121,"collections":2381,"showCount":105,"zanCount":11,"manualWeight":11,"mainColor":45},234710,"shan-shui-shan-ye-jiang-song-234710","蒋嵩","蒋嵩 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2532,"thumbUrl":2533,"material":550,"size":551,"collection":121,"collections":2534,"showCount":1169,"zanCount":11,"manualWeight":11,"mainColor":106},235744,"fang-gu-shan-shui-ce-xue-xuan-235744","仿古山水册","薛宣","薛宣（生卒年不详），字赣君，东海郡郯县（今山东省郯城县）人。西汉丞相，汉宣帝刘询的女婿。\n精通律法，起家廷尉书佐、都船狱吏，出任不其县丞、乐浪郡丞。举茂才出身，出任宛句县令，迁长安令，颇有政绩。汉成帝时期，历任御史中丞、临淮陈留二郡太守、左冯翊、少府卿、御史大夫，赏罚分明，威德并施，功劳卓著，迎娶敬武长公主。鸿嘉元年（前20年），出任御史大夫，代替张禹出任丞相，册封高阳侯。永始二年（前15年），办理邛成太后丧事不周，辞去丞相之职。\n汉哀帝时，免为庶人，最终在家中去世。",[24,25,115,118,476,133,78,80,588,406,7,32],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cb5b48bdc12a3463299fb45e47efb83.jpg",[],{"id":2536,"slug":2537,"title":1993,"dynasty":71,"author":2538,"museum":311,"description":2539,"tags":2540,"thumbUrl":2541,"material":550,"size":551,"collection":121,"collections":2542,"showCount":1169,"zanCount":11,"manualWeight":11,"mainColor":106},235547,"shan-shui-ce-zhu-chang-235547","祝昌","祝昌[清]字山嘲，安徽广德人（一作安徽舒城人），居新安（今安徽歙县），又客汉上。顺治六年（一六四九）进士（清朝书画家笔录误入道光朝）。山水学渐江，后学元季诸家，画多逸致。性孤介，遇不以礼，虽饼金不售。《国[清]朝画徵录、图绘宝鉴续纂》",[24,25,115,118,133,190,78,97,563,344,7,135],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F843e839f60ed60a8135e60fbc8b1f273.jpg",[],{"id":2544,"slug":2545,"title":2546,"dynasty":71,"author":2547,"museum":73,"description":2548,"tags":2549,"thumbUrl":2550,"material":465,"size":121,"collection":121,"collections":2551,"showCount":1169,"zanCount":11,"manualWeight":11,"mainColor":106},234761,"huang-shan-tu-ce-jiang-zhu-234761","黄山图册","江注","江注（1626～1685），字允凝，号若米舫。一些美术画论和辞典称其又字允冰，徽州歙县桃源坞人，僧渐江之侄，能诗善画，著有《允凝诗草》，幼从渐江学画，意境幽僻，用笔清劲，笔墨苍古，清远冷峻，常年隐于黄山，曾陪伴弘仁在黄山纪游写生，搜胜穷幽，颇得渐江真传，与姚宋、祝昌、吴定并称为“渐江四弟子”。\n江注《黄山图册》册页五十帧，现收藏于故宫博物院。由于渐江亲授，在绘画思想和风格上“酷肖弘仁”。他常和渐江结伴出游，一样痴迷黄山，有“渐公坐文殊台上吹笛，江允凝倚歌和之，发音嘹亮，上彻云表”之故事。",[24,118,133,115,763,190,78,203,562,80,7,477],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15de5c14cfee2513bb6859d3c8b3a998.jpg",[],{"id":2553,"slug":2554,"title":2546,"dynasty":71,"author":2547,"museum":73,"description":2548,"tags":2555,"thumbUrl":2556,"material":465,"size":121,"collection":121,"collections":2557,"showCount":1169,"zanCount":11,"manualWeight":11,"mainColor":106},234727,"huang-shan-tu-ce-jiang-zhu-234727",[24,25,115,118,78,133,763,190,203,248,358,7,30,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b81180db610e9dfeceedc52f9b19832.jpg",[],{"id":2559,"slug":2560,"title":2103,"dynasty":71,"author":2561,"museum":311,"description":2562,"tags":2563,"thumbUrl":2564,"material":121,"size":121,"collection":121,"collections":2565,"showCount":1169,"zanCount":11,"manualWeight":11,"mainColor":106},234487,"shan-shui-shan-ye-qi-zhi-jia-234487","祁豸佳","祁豸佳（1594-1683），字止群，号雪瓢，山阴（今浙江绍兴）人。彪佳弟。天启七年（1627年）举人，仕吏部司务。明亡后，当局礼聘，却之，与董玚、王雨谦、陈洪绶、罗坤等结“云门十子”社，日与老衲蒲团相对，谈世外烟霞。甲申（1644）后，隐梅市卖画代耕。书学董其昌，而乏其秀韵。山水宗董源、惠崇、沈周等，善仿诸家山水，尤爱用巨然法，气势淋漓，笔力挺拔。间作花卉，亦多逸致，诗文词皆有致，至于歌、弈、图章，百戏俱善。",[24,25,547,78,118,133,203,97,488,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8457ee10726267d3b4cba5be0ae9fae4.jpg",[],{"id":2567,"slug":2568,"title":2569,"dynasty":50,"author":19,"museum":73,"description":2570,"tags":2571,"thumbUrl":2574,"material":302,"size":2575,"collection":121,"collections":2576,"showCount":1169,"zanCount":11,"manualWeight":11,"mainColor":106},234024,"liu-tang-du-shu-tu-ye-yi-ming-234024","柳堂读书图页","画湖岸风光，院落间散落着小屋和房屋，四周苍松翠柳环绕。 书生专心在室内学习，孩子们在户外陪伴。 栅栏坡度平缓，碎石散落，草丛稀疏。 对岸，丛林幽幽，溪水蜿蜒。 作者构图细腻、浓密、准确，笔法细腻，工笔结合，意境幽远，耐人寻味，是一幅南宋工笔画。",[55,24,25,1372,28,29,133,78,1142,2572,80,248,7,477,2573,488],"堂屋","岸边","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc481b25a3679ee33cbd86de2c03f2959.jpg","22.5x24.4厘米",[],{"id":2578,"slug":2579,"title":2580,"dynasty":71,"author":19,"museum":311,"description":2581,"tags":2582,"thumbUrl":2583,"material":550,"size":551,"collection":121,"collections":2584,"showCount":1169,"zanCount":11,"manualWeight":11,"mainColor":45},230342,"cao-tang-tu-yi-ming-230342","草堂图","此作以淡墨晕染出幽寂山居之景，草堂临水而设，主人凭榻安坐，尽显林下幽居的松弛散淡。山石以简笔皴擦，淡墨晕渍出层叠肌理，林木或以细笔点叶、或以浓墨醒梢，清润苍郁。\n\n画面以草堂为中心，环拥松石溪谷，高墙小径掩映于林麓间，将幽闭的山居氛围铺陈开来。整幅笔墨简净萧疏，不事繁饰，以极简排布勾勒出文人理想中的林泉高致，把出世幽栖的隐逸意趣藏于尺幅之间，尽显静穆淡远的文人山水意境。",[23,24,118,133,190,78,358,80,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5bc825ed05822b45e25334949d452cf0.jpg",[],{"id":2586,"slug":2587,"title":2588,"dynasty":18,"author":19,"museum":311,"description":2589,"tags":2590,"thumbUrl":2593,"material":550,"size":551,"collection":121,"collections":2594,"showCount":1169,"zanCount":11,"manualWeight":11,"mainColor":106},225473,"fu-shi-hui-231-yi-ming-225473","浮世绘231","浮世绘，也就是日本的风俗画，版画。它是日本江户时代（1603～1867年间，也叫德川幕府时代）兴起的一种独特的民族艺术，是典型的花街柳巷艺术。主要描绘人们日常生活、风景和演剧。浮世绘常被认为专指彩色印刷的木版画（日语称为锦绘），但事实上也有手绘的作品。\n从其绘画素材看，70%以上内容是妓画（暂称为“美人画”）和伎画（暂称为“艺人画”），也就是说，作品主角是娼妓和艺伎，女性，裸体，性感美，色情是其标志性特征。用现代艺术眼光看，可算“人体绘画艺术”，其中的大胆的性爱题材引起注意，成为古代东方一种人本主义的新研究方向。在日本，存在着对这类作品的争议，也有的认为是乐而不淫，肯定其价值。\n浮世绘的艺术渊源，一来自绘画，师承了中国的“春画”，房中术绘画也；二来自文学，浸染了“浮世草子”（草子：小说），西鹤《好色一代女》、《好色一代男》和近松《曾根崎情死》、《情死天网岛》等等，是文学“浮世写”直接彰显，主题和题材无非色情和妓女（当然，文学价值与作品题材并非正比例关系）。\n因此，“浮世绘”是一个绘画艺术的专有名词，有其特定的内涵外延。印象派大师如德加等也受到浮世绘的感染，模仿当时日本的出口商品的包装的风格创作了不少绘画。近现代西方人体绘画艺术借鉴了日本“浮世绘”主题和技法，这是积极的方面，有着艺术审美的价值。\n望文生义的理解“浮世绘”，想当然的以为就是关于尘世风俗的绘画，类似于《清明上河图》那种风俗画。再扩大到文学领域运用这个专有名词，泛化为关于尘世风俗的描写，则偏离约定俗成的语义越来越远，差不多等于是错别字了。搞绘画的人很难接受这样的定义，日本人当诧异一个日本词汇出口到中国以后居然发生了那么大的歧义。",[2591,29,2592,815,218,97,7,30,2015,33],"浮世绘","木刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce57dc0d1736a8f9c9826d76917de86f.jpg",[],{"id":2596,"slug":2597,"title":2598,"dynasty":128,"author":2480,"museum":311,"description":2481,"tags":2599,"thumbUrl":2600,"material":137,"size":121,"collection":121,"collections":2601,"showCount":1169,"zanCount":11,"manualWeight":11,"mainColor":1751},217178,"shui-hu-quan-tu-19-du-jin-217178","水浒全图-19",[24,25,115,1248,30,1428,7,329],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1dd4ca75a48d5487977b06f06487abd.jpg",[],{"id":2603,"slug":2604,"title":2605,"dynasty":128,"author":2606,"museum":147,"description":2607,"tags":2608,"thumbUrl":2609,"material":39,"size":2610,"collection":121,"collections":2611,"showCount":1169,"zanCount":11,"manualWeight":11,"mainColor":106},216765,"jiu-lao-tu-2-huang-biao-216765","九老图-2","黄彪","这是黄震泉仿宋刘松年九老图而成的，要有相似的造型和人物，虽然排列的树石略显单薄轻巧，傅彩清新飘逸之外，也不失为仿制的传世佳品。",[24,29,28,30,327,79,7,80,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feac9d07d531292637b5a520179a892c5.jpg","27.2x193",[],{"id":2613,"slug":2614,"title":2615,"dynasty":71,"author":19,"museum":112,"description":2616,"tags":2617,"thumbUrl":2618,"material":120,"size":121,"collection":121,"collections":2619,"showCount":1169,"zanCount":11,"manualWeight":11,"mainColor":106},216241,"shi-quan-tu-ce-3-yi-ming-216241","十犬图册-3","此图册为乾隆时期的宫廷画家所绘，表现猎犬“守则有威，出则有获”，“骨相多奇，仪表可嘉”的主题。画法工整，具有一定的程式。对开有内廷侍臣陈邦彦、王图炳、励廷仪、张廷玉、蒋廷锡、张照、薄海等书写的《山海经》及晋傅休奕的《走狗赋》、唐杜甫的《天狗赋》等诗赋。",[23,24,25,115,28,29,1738,1626,80,98,7,477],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c1b5553a0dc5a3b64847b7c48e378c0.jpg",[],{"id":2621,"slug":2622,"title":2623,"dynasty":71,"author":389,"museum":311,"description":2624,"tags":2625,"thumbUrl":2628,"material":121,"size":121,"collection":121,"collections":2629,"showCount":178,"zanCount":11,"manualWeight":11,"mainColor":106},238843,"hua-gui-yu-ji-dian-tu-ce-dong-gao-238843","画归余纪典图册","此作以淡墨轻皴铺展乡野春景，笔致松秀温润。鳞次水田顺着田埂铺陈，行人缓行于阡陌，将郊野烟火气晕开。茅庐依古木而建，檐下稚童嬉闹，篱边碎花点染春意，悄然勾勒出春耕将歇的村居日常。\n\n全作以浅绛轻敷晕染山霭林色，不见浓艳，却将春日融融暖意浸透纸面。题识小字清雅端丽，与画境浑然相融，如一卷浅吟的田家诗，把江南乡居的恬然自足铺陈开来，尽显文人写意的清雅意趣，淡而弥真，将郊野闲适的春日意韵缓缓晕散，余韵悠长。",[24,29,115,78,80,488,2626,135,30,2627,7],"田地","荷花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0ad00727a045c0dc41e992a061cac817.jpg",[],{"id":2631,"slug":2632,"title":2633,"dynasty":71,"author":2152,"museum":311,"description":2634,"tags":2635,"thumbUrl":2636,"material":121,"size":121,"collection":121,"collections":2637,"showCount":178,"zanCount":11,"manualWeight":11,"mainColor":106},238740,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238740","画弘历拟古诗意图册","此作用淡墨绘就水乡村居小景，屋舍静掩林间，白衣高士彳亍阶前，水岸疏林错落，板桥卧波连起汀洲。笔致松秀温婉，全以水墨皴擦晕染，不施浓艳设色，构图疏朗空阔，留白衬出乡野幽寂闲静之态。\n\n画面呼应题咏诗意，将文人幽栖林下的恬然意趣融于尺幅之间，把拟古诗中隐逸澹远的意绪具象铺展，诗画合璧，尽显清寂萧散的文人山水审美意趣，是意境淡远的雅致小品。",[24,25,115,118,133,187,135,80,488,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed036f22173363c02c721b163c6a0d24.jpg",[],{"id":2639,"slug":2640,"title":2496,"dynasty":71,"author":2497,"museum":311,"description":2641,"tags":2642,"thumbUrl":2643,"material":121,"size":121,"collection":121,"collections":2644,"showCount"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