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厘米 横31.5 厘米",[39],901,6,"BDBDBD",{"id":67,"slug":68,"title":69,"dynasty":18,"author":70,"museum":20,"description":71,"tags":72,"thumbUrl":79,"material":80,"size":81,"collection":82,"collections":83,"showCount":84,"zanCount":85,"manualWeight":11,"mainColor":65},224526,"ku-mu-zhu-shi-tu-juan-shi-tao-224526","枯木竹石图卷","石涛","石涛（1642一约1707），清代画家、中国画一代宗师。法名原济，一作元济。本姓朱，名若极。字石涛，又号苦瓜和尚、大涤子、清湘陈人等。广西全州人，晚年定居扬州。明靖江王后裔，幼年遭变后出家为僧，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《搜尽奇峰打草稿图》《山水清音图》《竹石图》等。",[23,25,52,26,54,73,74,57,7,75,76,77,78,58],"皴法","枯木","山水","松","书法","行书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4e40f18081971367110555976691d9e.jpg","纸本墨笔","纵23.5厘米，横213.5厘米","水墨画精选",[82],845,3,{"id":87,"slug":88,"title":89,"dynasty":90,"author":91,"museum":92,"description":93,"tags":94,"thumbUrl":102,"material":37,"size":103,"collection":104,"collections":105,"showCount":106,"zanCount":107,"manualWeight":11,"mainColor":43},218529,"shi-nv-tu-zhou-wen-ju-218529","仕女图","五代十国","周文矩","台北故宫博物院","这幅画表现的是一个在桐荫的女人与一个奴隶贩子在栅栏上摊开她的画卷。画中没有名字，而衣服的图案，僵硬曲折，与文姬的风格相去甚远，很可能是后来的收藏家擅自给它起了个名字，所以才有了这个标题",[23,25,28,27,95,96,97,29,98,30,99,7,100,101],"人物","美人","猫","蝴蝶","花卉","服饰","立轴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb332ba757d3b97ebad0f1f7b7982c84e.jpg","180.9x102.1","人物画精选",[104],820,11,{"id":109,"slug":110,"title":111,"dynasty":18,"author":112,"museum":20,"description":113,"tags":114,"thumbUrl":116,"material":117,"size":118,"collection":39,"collections":119,"showCount":120,"zanCount":85,"manualWeight":11,"mainColor":65},220050,"zhu-shi-tu-zheng-ban-qiao-220050","竹石图","郑板桥","郑板桥(1693-1765)，原名郑燮，字克柔，号理庵，又号板桥，人称板桥先生，江苏兴化人，祖籍苏州。康熙秀才，雍正十年举人，乾隆元年(1736年)进士。官山东范县、潍县县令，政绩显著，后客居扬州，以卖画为生，为扬州八怪重要代表人物。郑板桥一生只画兰、竹、石，自称四时不谢之兰，百节长青之竹，万古不败之石，千秋不变之人。其诗书画，世称三绝，是清代比较有代表性的文人画家。",[23,25,52,101,54,115,78,58,57,7],"写意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb724f394a4ef707b4419ea206b3dbdac.jpg","纸本","",[39],528,{"id":122,"slug":123,"title":111,"dynasty":124,"author":125,"museum":126,"description":127,"tags":128,"thumbUrl":129,"material":130,"size":131,"collection":39,"collections":132,"showCount":133,"zanCount":134,"manualWeight":11,"mainColor":43},214307,"zhu-shi-tu-li-kan-214307","元","李衎","北京故宫博物院","这幅画中的竹子被整齐而优雅地画上了双色的轮廓，显示了大自然在春天的重生，老竹子旁边有两棵新竹子，让人想起雨后发芽的春笋。山坡上的悬崖被涂成漂亮的厚重的黑色，以突出形成的角落，岩石后面的小竹子和野树增加了多样性。",[23,24,25,52,101,54,73,57,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe05faafdaaa730a5ac24d211025a2689.jpg","纸本,设色","185.5x153.7",[39],456,2,{"id":136,"slug":137,"title":138,"dynasty":18,"author":70,"museum":49,"description":139,"tags":140,"thumbUrl":144,"material":130,"size":145,"collection":104,"collections":146,"showCount":148,"zanCount":149,"manualWeight":11,"mainColor":65},220358,"xi-yuan-ya-ji-tu-juan-shi-tao-220358","西园雅集图卷","此长图景物繁复。庭园中芳草如茵，劲松盘根虬曲，柳树成荫，石桥流水，曲径通幽，清溪深处翠荫茂密，处处雅静怡人。此图布局严密，繁而不乱，密而不塞。通过作者苦心经营，将诸多不同人物、树木、山石、草木、花木及一些陈设，巧妙地统一在这幅长卷中。全卷结构井然有序，运思精妙，布局停匀。通卷虽不留空白，而疏密有致。\n全图共写人物24人，神态不一，衣着各异，人物组合有疏有密，却与空间的景物浑然一体。人物形象均以墨线勾写，几乎全为白描，设色淡雅，衣纹等看似信笔率意而成，实则深具功力，笔笔送到。人物形象逼真生动，有的造形略有夸张。总体来说，此画用笔淋漓纵率之中显得工致缜密，沉着痛快，墨色浓淡得宜。人物俱用细笔，所谓一种“细笔石涛”，精气逼人。山石、松木、芭蕉等，均在工写之间，形象精到，而又意趣动人。故此画不但是石涛的代表作，更是清代人物画发展中的精品。",[23,24,25,52,26,28,73,95,75,141,142,30,7,143],"小桥","流水","桌子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38f5d3c589f09a558783d6079a9170b7.jpg","纵36.5厘米，横328厘米",[104,147],"设色画精选",443,5,{"id":151,"slug":152,"title":153,"dynasty":90,"author":154,"museum":49,"description":155,"tags":156,"thumbUrl":159,"material":160,"size":161,"collection":39,"collections":162,"showCount":163,"zanCount":85,"manualWeight":11,"mainColor":164},220365,"xue-zhu-tu-xu-xi-220365","雪竹图","徐熙","描绘江南雪后严寒中的枯木竹石。石后三竿粗竹挺拔苍劲，其旁有弯曲和折断了的竹竿，又有一些细嫩丛杂的小竹参差其间，更觉情趣盎然、生机勃勃。此图无款识。画中大石右侧的竹竿上，有篆书体倒写“此竹价重黄金百两”八字。此画以线条墨色为主，工整精微而写实，构图新颖，层次丰富，为五代的佳作。",[23,90,25,24,52,157,27,54,57,7,30,158],"落墨法","雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff22b918bbfe1d12ce62c14f33a7c8f3a.jpg","绢本,水墨","纵151.1厘米，横99.2厘米",[39],436,"37474F",{"id":166,"slug":167,"title":168,"dynasty":124,"author":125,"museum":126,"description":169,"tags":170,"thumbUrl":172,"material":60,"size":173,"collection":39,"collections":174,"showCount":175,"zanCount":134,"manualWeight":11,"mainColor":65},214583,"si-qing-tu-li-kan-214583","四清图","它原本是一个长卷，但在明朝中期被分成了两卷。此副是故宫博物院的部分，即后卷。兰、竹、石、梧被称为四清，比喻君子的高贵品格。虽然枝叶茂密，但笔触优雅简洁，墨色自然多变。",[23,24,25,52,26,54,78,58,27,73,57,7,171],"孤石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb3499d343c9e9aef13f39fb8034bcc7.jpg","35.6x359.8",[39],394,{"id":177,"slug":178,"title":179,"dynasty":90,"author":180,"museum":92,"description":181,"tags":182,"thumbUrl":183,"material":37,"size":184,"collection":39,"collections":185,"showCount":186,"zanCount":85,"manualWeight":11,"mainColor":43},216758,"zhu-shi-jin-jiu-tu-huang-ju-cai-216758","竹石锦鸠图","黄居寀","古木巨石旁，荆竹丛生，一弯溪水潺湲流过。一群斑鸠悠闲地在此休憩：有的展翅翱翔，有的在树枝上梳理羽毛作日光浴，有的低首翘尾地站在溪旁饮水，有的站在巨石上，摆出鞠躬、鼓颈的姿势，向下方的斑鸠“咕－咕－咕－”地鸣唱示好。\n斑鸠俗称“粉鸟”，因为颈部羽色黑底白点有若珍珠，因此也名为“珠颈斑鸠”或“锦鸠”。斑鸠们平常多栖息在空旷的平野或树林，但因生性机敏，接近相当不易。在这幅作品里，画家以精妙的画笔捕捉这一幕斑鸠群集的画面，至为难得。此外，纵横乖张的古树枝丫、浓淡对比强烈的斑驳巨石、虚渺无际的溪畔，更为这幕自然增添不少奇幻诡谲的气氛。",[23,25,52,35,27,28,57,7,29,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb10bc776e6b793817d89e43e76fbdf3.jpg","23.6 x 45.7公分",[39],343,{"id":188,"slug":189,"title":190,"dynasty":191,"author":192,"museum":49,"description":193,"tags":194,"thumbUrl":201,"material":130,"size":118,"collection":202,"collections":203,"showCount":204,"zanCount":205,"manualWeight":11,"mainColor":65},214656,"qiu-xing-ba-jing-tu-ce-dong-qi-chang-214656","秋兴八景图册","明","董其昌","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。",[25,52,53,28,73,78,77,58,75,195,196,30,7,197,198,199,200],"山","水","云雾","远山","近石","树木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffefa769413df82271d17a82b2ee80653.jpg","山水画精选",[202],333,4,{"id":207,"slug":208,"title":209,"dynasty":210,"author":211,"museum":212,"description":213,"tags":214,"thumbUrl":219,"material":37,"size":220,"collection":221,"collections":222,"showCount":223,"zanCount":224,"manualWeight":11,"mainColor":43},220073,"xue-jing-shan-shui-tu-fan-kuan-220073","雪景山水图","宋","范宽","大英博物馆","范宽（约950—约1032），又名中正，字中立，陕西华原（今陕西铜川耀州区）人，宋代绘画大师。因为性情宽厚豁达，时人称之为“宽”，遂以范宽自名。范宽、董源、李成，并称“北宋三大家”。艺术成就使得范宽与李成齐名，并称“李范”，又与同为华原人的柳公权合称“柳范”。\n初学李成，后感悟“与其师于人者，未若师诸造化”，遂隐居终南、太华，对景造意，写山真骨，自成一家。其画峰峦浑厚端庄，气势壮阔伟岸，令人有雄奇险峻之感。用笔强健有力，皴多雨点、豆瓣、钉头，山顶好作密林，常于水边置大石巨岩，屋宇笼染黑色。作雪景亦妙。\n存世作品有《谿山行旅图》《雪山萧寺图》《雪景寒林图》等。\n2004年，美国《生活》杂志将范宽评为“上一千年对人类最有影响的百大人物”第59位。",[23,24,25,52,26,75,215,73,54,28,195,7,30,216,217,158,218],"雪景","枯树","松树","山峦","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54eeadf145b59befb0339a43d1468bb6.jpg","31.6X422","宋画精选",[221,202],315,1,{"id":226,"slug":227,"title":228,"dynasty":191,"author":229,"museum":230,"description":231,"tags":232,"thumbUrl":233,"material":234,"size":235,"collection":118,"collections":236,"showCount":237,"zanCount":11,"manualWeight":11,"mainColor":65},221985,"shan-shui-li-zhou-wen-zheng-ming-221985","山水立轴","文徴明","美国纳尔逊阿特金斯艺术博物馆","文征明（文徵明）（1470-1559），初名壁，字征明（徵明），四十二岁起以字行，更字征仲，因先世衡山人，故号衡山居士，世称“文衡山”，停云生。长州（今江苏苏州吴县）人，曾官翰林待诏。生于明宣宗成化六年，卒于明世宗嘉靖三十八年，年九十岁。文受业于吴宽，学书于李应祯，学画于沈周。擅长诗文书画，为“吴中三家”之一。在书法上，早年受其父知友吴宽的影响写苏体，后受他岳父李应祯的影响，学宋元的笔法较多。小楷师法晋唐，力趋健劲。文征明功力深厚，楷书法度严谨，不仅深得《黄庭经》、《乐毅论》之诣，更多地则是采用欧阳询的笔意和体势，但在用笔上又更加削劲、挺健。明·谢在杭《五杂俎·卷七》称赞文征明小楷：“无真正楷书，即钟、王所传《荐季直表》、《乐毅论》皆带行笔。洎唐《九成宫》、《多宝塔》等碑，始字画谨严，而偏肥偏瘦之病，犹然不免。至本朝文征仲先生始极意结构，疏密匀称，位置适宜。如八面观音，色相具足。于书苑中亦盖代之一人也。”他的大字有黄庭坚笔意，苍秀摆宕，骨韵兼擅。与祝允明、王宠并重当时。",[23,25,75,195,196,30,54,115,101,117,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee332f86c87306407e318e216c5c719a.jpg","绢本","169×97cm",[],313,{"id":239,"slug":240,"title":241,"dynasty":210,"author":242,"museum":92,"description":243,"tags":244,"thumbUrl":252,"material":60,"size":118,"collection":221,"collections":253,"showCount":254,"zanCount":134,"manualWeight":11,"mainColor":43},220194,"song-xi-qing-tiao-tu-ma-yuan-220194","松溪清眺图","马远","马远，祖籍河中（今山西永济），“靖康之变”北宋灭亡后，马远的祖父马兴祖随着宋高宗赵构南渡，因此马远是在南宋的都城临安（今浙江杭州）出生长大的。他的生卒和详细经历，很难查考。曾为南宋光宗、宁宗两朝（约1190年－1224年）的画院待诏。",[23,24,25,52,54,245,73,246,76,247,195,248,249,196,7,200,250,251],"山水画","边角构图","溪","亭","远峰","溪流","岩石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf758ab459e20e424815729b0992857f.jpg",[221,202],302,{"id":256,"slug":257,"title":258,"dynasty":191,"author":192,"museum":212,"description":259,"tags":260,"thumbUrl":262,"material":60,"size":263,"collection":202,"collections":264,"showCount":265,"zanCount":11,"manualWeight":11,"mainColor":65},219732,"quan-shi-qing-song-tu-dong-qi-chang-219732","泉石青松图","以淡墨晕染层叠山峦，留白铺就出空寂清灵的幽远氛围。近景苍松虬曲古拙，扎根嶙峋怪石，枝干舒展自带灵动生机。中景幽谷藏村居，流泉蜿蜒穿林而过，山林郁秀空灵。\n\n以干笔皴擦勾勒山石肌理，淡墨晕出山岚氤氲，笔墨简淡却意蕴悠长，尽显文人画萧散简远之趣。题诗与画面浑然相融，诗画一体，寄寓着林泉高致的隐逸情怀，整体格调清润雅致，将笔墨意趣与山水意境相融，尽显通透疏朗的超然意态，是文人山水的绝佳范本。",[23,25,52,54,73,101,75,195,7,76,30,261],"泉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed6f3dc782262e9a048daaa49bede99f.jpg","纵95.2横41.1厘米",[202,82],248,{"id":267,"slug":268,"title":269,"dynasty":124,"author":270,"museum":49,"description":271,"tags":272,"thumbUrl":273,"material":54,"size":118,"collection":82,"collections":274,"showCount":275,"zanCount":85,"manualWeight":11,"mainColor":43},219738,"zhu-pu-tu-wu-zhen-219738","竹谱图","吴镇","此作用淡墨铺就底色，开篇幽草伴湖石，渐入修竹成林。竹竿劲挺如君子立世，以浓墨撇写竹叶，错落生姿，或迎风欹斜，或垂梢含露，墨色干湿浓淡交织，层次分明。后半段湖石渐耸，竹影疏密掩映，尽显野逸之趣。\n\n左侧题笔与画境相融，以书入画，笔墨老辣苍润，将隐逸林下的清寂意韵藏于一笔一划中，简淡之间尽是萧散出尘的林下风神，把竹之孤高与文人风骨晕染在卷幅里。",[23,25,54,26,57,7,73,77,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fda3c704a7c558d314bd1858ec21db613.jpg",[82],246,{"id":277,"slug":278,"title":279,"dynasty":18,"author":112,"museum":20,"description":280,"tags":281,"thumbUrl":283,"material":284,"size":118,"collection":39,"collections":285,"showCount":286,"zanCount":205,"manualWeight":11,"mainColor":65},223300,"zhu-shi-tu-zhou-1-zheng-ban-qiao-223300","竹石图轴1","郑板桥（1693年－1766年），原名郑燮，字克柔，号理庵，又号板桥，人称板桥先生，江苏兴化人，祖籍苏州。清代书画家、文学家。\n康熙秀才，雍正十年举人，乾隆元年（1736年）进士。官山东范县、潍县县令，政绩显著，后客居扬州，以卖画为生，为“扬州八怪”重要代表人物。\n郑板桥一生只画兰、竹、石，自称“四时不谢之兰，百节长青之竹，万古不败之石，千秋不变之人”。其诗书画，世称“三绝”，是清代比较有代表性的文人画家。代表作品有《修竹新篁图》《清光留照图》《兰竹芳馨图》《甘谷菊泉图》《丛兰荆棘图》等，著有《郑板桥集》。\n郑板桥书法，用隶体掺入行楷，自称“六分半书”，人称“板桥体”。其画，多以兰草竹石为主，兰竹几成其心灵的郑板桥的书法艺术，在中国书法史上是独树一帜的。\n由他23岁写的《小楷欧阳修《秋声赋》和30岁写的《小楷范质诗》推知，板桥早年学书从欧阳询人手。其字体工整秀劲，但略显拘谨：这与当时书坛盛行匀整秀媚的馆阁体，并以此作为科举取士的标准字体有关。对此，郑板桥曾说：“蝇头小楷太匀停，长恐工书损性灵。”在他40岁中进士以后就很少再写了。郑板桥书法最被称道的是“六分半书”，即以“汉八分”（隶书的一种）杂人楷、行、草而独创一格的“板桥体”。\n“六分半”书，是郑板桥对自己独创性书法的一种谐谑称谓。隶书中有一种笔画多波磔的“八分书”，所谓“六分半”，其意大体是隶书，但掺杂了楷，行、篆、草等别的书体。《行书曹操诗》轴（如同，现藏扬州博物馆）可视为“六分半”体的代表作。此件写曹操《观沧海》诗，幅面很大，平均每宇有10平方厘米以上，字体隶意颇浓，兼有篆和楷；形体扁长相间，宅势以方正为主而略有摆宕。拙朴扩悍，恰与曹诗雄伟阔大的风格相似。郑板桥曾在《赠潘桐冈》诗中称道自己的书法：“吾曹笔阵凌云烟，扫空氛翳铺青天。一行两行书数字，南箕北斗排星躔。”\n郑板桥书法作品的章法也很有特色，他能将大小、长短、方圆、肥瘦、疏密错落穿插，如“乱石铺街”，纵放中含着规矩。看似随笔挥洒，整体观之却产生跳跃灵动的节奏感。如作于乾隆二十七年的《行书论书》横幅，时已七十高龄，乃晚年佳作。大意是说苏东坡喜用宣城诸葛氏齐锋笔，写起来十分如意，后来改用别的笔，就手心不相应。板桥自己喜用泰州邓氏羊毫笔，写起来婉转飞动，无不如意。于是把泰州邓氏羊毫比作宣城诸葛齐锋，最后说：“予何敢妄拟东坡?而用笔作书皆爱肥不爱瘦，亦坡之意也。”整幅作品结字大大小小，笔划粗粗细细，态势欹欹斜斜，点画、提按、使转如乐行于耳，鸟飞于空，鱼游于水，在一种态情任意的节律中显露着骨力和神采：清人何绍基说他的字“间以兰竹意致，尤为别]趣”。从这件作晶的章法、结体和笔画，不准看出他“波磔奇古形翩翩”的兰竹娄神。\n郑板桥出身于书香门第，康熙末年中秀才，雍正十年中举人，乾隆元年中进士，五十岁起先后任山东范县、潍县知县计十二年。“得志加泽于民”的思想，使得他在仕途对连年灾荒的平民百姓采取了“开仓赈贷”“捐廉代输”等举措，这引起了贪官污吏、恶豪劣绅的不满，被贬官。之后，他靠卖画维持生活。郑板桥的一生，经历了坎坷，饱尝了酸甜苦辣，看透了世态炎凉，他敢于把这一切都糅进他的作品中。郑板桥的题画诗已摆脱传统单纯的以诗就画或以画就诗的窠臼，他每画必题以诗，有题必佳，达到“画状画之像”“诗发难画之意”，诗画映照，无限拓展画面的广度，郑板桥的题画诗是关注现实生活的，有着深刻的思想内容，他以如枪似剑的文字，针砭时弊，正如他在《兰竹石图》中云：“要有掀天揭地之文，震电惊雷之字，呵神骂鬼之谈，无古无今之画，固不在寻常蹊径中也。\n①瘦劲竹子画：郑板桥画竹，“神似坡公，多不乱，少不疏，脱尽时习，秀劲绝伦”。《清代学者像传》说他一生的三分之二岁月都在为竹传神写影，自己曾有诗写道：“四十年来画竹枝，日间挥写夜间思，冗繁削尽留清瘦，画到生时是熟时”。后来他说：“凡吾画竹，无所师承，多得于纸窗粉壁日光月影中耳”。他通过观察和艺术创作的实践，提炼出“眼中之竹”、“胸中之竹”、“手中之竹”的理论。“眼中之竹”是自然实景，是对自然的观察和从中体验画意；“胸中之竹”是艺术创作时的构思；“手中之竹”是艺术创作的实现。他把主观与客观、现象与想象、真实与艺术有机地融为一体，创造了师承自然，而又高于自然的境界。\n自然之竹是客观存在的，画家看到眼里的竹已经和自然之竹有所区别了，然后要进行加工、主观处理，形成胸中之竹，这就是所说的意在笔先，等落到纸上，转化为手中之竹，“手中之竹”说的是画家所创出的一个“第二自然”，胸中之竹和手中之竹都是眼中之竹的升华，概括说就是画家把眼睛看到的客观形象，经过大脑的意象处理，最终经过技术加工物化为典型的艺术形象，是艺术创作的过程。\n当郑板桥任山东潍县知县，曾作过一幅画《潍县署中画竹呈年伯包大中丞括》，画中的竹子不再是自然竹子的“再现”，这诗题，不再是无感而发的诗题，透过画和诗，使人们联想到了板桥的人品，他身为知县，从衙斋萧萧的竹声，联想到百姓困苦疾声，说明他心中装着百姓，情感链系在百姓身上。这时画中的竹叶有了形象的扩展，郑板桥开仓赈贷，救济灾民的场景一幕幕地浮现在人们脑海里，“凝固的瞬间”在观众的脑海里变成了无限延续的故事，好似极富感染力的小说、影片那样，扣人心弦，发人深思。寥寥几笔竹叶，简练几句诗题，让人倍感作品中蕴藏着的深刻的思想、浓浓的情意。再有几幅是郑板桥被贬官后离开潍县，三头毛驴一车书，两袖清风而去，临行前后作的画，其一画竹图题云：“乌纱掷去不为官，囊囊萧萧两袖寒，写取一枝清瘦竹，秋风江上竹渔竿”，借竹抒发了他弃官为民、淡泊名利、享受人生的平静心态，其二《竹石图》画幅上三两枝瘦劲的竹子，从石缝中挺然后立，坚韧不拔，遇风不倒，郑板桥借竹抒发了自己洒脱、豁达的胸臆，表达了勇敢面对现实，绝不屈服于挫折的人品，竹子被人格化了，此时，“诗是无形画，画是有形诗”。类似的还有《墨竹图》《竹图》，这几幅墨竹图，都是借竹子抒发他遭贬官后，越发洒脱。郑板桥所画竹子和题画诗，大多是借竹缘情，托物言志，抒发了“衙斋卧听萧萧竹，疑是民间疾苦声”的情怀，表现出“立根原在乱岩中，任尔东西南北风”的坚劲，表达出“写取一枝清瘦竹，乌纱掷去不为官”的气节和气概，凡竹子的高风亮节，坚贞正直，高雅豪迈等气韵，都被他表现得淋漓尽致。这正是郑板桥作品不同于传统花鸟画之处，不同于前人之处。传统的兰竹大多数表现为欣赏性的、娱乐性的主题，画面主要追求自然形象的真与美、绘画技能的高与低、笔墨运用的娴熟与雅俗，而到了郑板桥的笔下，除了达到这些技能技巧外，题画诗还赋予这题材新的思想内容和深邃意境，使花鸟画亦能产生思想性、抒情性，给人以深刻的感受。\n郑板桥画竹独特，画石亦如此。自然界再无情的石头在他笔下也活了，如《柱石图》中的石头，这也是前人画中常用题材，但很少把它作为主体形象来表现的。而郑板桥在画幅中央别具一格地画了一块孤立的峰石，却有直冲云霄的气概，四周皆空没有背景。画上四句七言诗：“谁与荒斋伴寂寥，一枝柱石上云霄，挺然直是陶元亮，五斗何能折我腰。”诗点破了画题，一下子将石头与人品结合到一块儿，可谓“画不足而题足之，画无声而诗声之。诗画互相为用，开后人无数法门。”板桥借挺然坚劲的石头，赞美陶渊明。板桥赞美他刚直不阿、品格高尚的人格，同时似乎也有吐露他自己同样遭遇及气度的意思。画中的石头代表了人物形象，蕴藏着刚直不阿、气宇轩昂的品质，使人感到，此处画石头比画人更有意味，更能揭示深刻含义。\n③兰花图：郑板桥还有很多以兰花为主题的画，也表现了一些新的内容，借题画诗发挥，寓意对各种各样事物的看法。如：有的借兰花特征，透溢出做人胜不骄、败不馁，持平常心态的胸臆，题画诗云：“兰花与竹本相关，总在青山绿水间，霜雪不凋春不艳，笑人红紫作客顽。”由兰花让人产生联想，做人要像兰花一样幽静、持久、清香，不浮不躁，不争艳。咫尺画幅，拓展无限之大，意境深邃。又如：有的借一丛丛兰花，夹着一些荆棘的自然现象，抒君子能宽容小人之大度的气质。《荆棘丛兰石图》题画诗云：“不容荆棘不成兰，外道天魔冷眼看，看到鱼龙都混杂，方知佛法浩漫漫。”另一幅《荆棘丛兰石图》题云：“满幅皆君子，其后以荆棘终之何也？盖君子能容纳小人，无小人亦不能成君子，故棘中之兰，其花更硕茂矣。”板桥匠心独运，兰花中穿插几枝荆棘，画兰花与荆棘共存，表达了遇有小人，虚怀若谷、和睦共处，“历经磨练，方成英雄”的宽宏大量之胸怀，读画者亦受益匪浅。越读越感简单的植物具有高深的意境，乐趣无穷。纵观郑板桥笔下所画的兰竹石，细品题画诗，我们不难看出，他喜画兰竹石的缘由，正如他所云：“四时不谢之兰，百节长青之竹，万古不败之石，千秋不变之人”，而“为四美也”。“有兰有竹有石，有节有香有骨”。在他眼中，兰竹石，能代表人坚贞不屈，正直无私，坚韧不拔，心地光明，品格高洁等品格，因而其题画诗的字字句句，托物言志，意境深远。\n④题画诗：题画诗在他笔下，除了在内容上有思想性，抒情性以外，在形式上还更具有艺术性、趣味性。题画诗能充分体现“书画同源”“用笔同法”的艺术趣味，而传统画家的题款跋文，大多题于画的空白处，与画面起平衡作用，但“扬州八怪”的题款已脱传统国画以及“文人画”题款、题诗的窠臼，特别是郑板桥将书法与画糅合在一起，还成了共同表现形象的特殊手法，彼此关系不分割。如《兰石图》，郑板桥别具匠心地将诗句用书法的形式，真草隶篆融为一体，大大小小，东倒西歪，犹如“乱石铺街”地题于石壁上，代替了画石所需的皴法，产生了节奏美、韵律美，又恰到好外地表现了石头的立体感、肌理美，比单纯用皴法表现立体感更具有意趣。这倒成了不可或缺的表现方法，既深刻揭示兰花特征，寓意高尚人品的意境美，又有书法艺术替代皴法的艺术美。让人在观画时既享受到画境、诗境的意境美，又能享受到书法艺术的形式美，沉浸在诗情画意中。另在许多兰竹石的画幅上，他题诗的形式变化多端，不守成规，不拘一格，自然成趣，达到书佳、行款得体，画亦随之增色。所谓行款得体，即是视画面的实际，进行构思，讲究构图的形式美，因而他将题画诗或长题于侧，或短题于上下，或纵题、或横题、或斜题、或贯穿于兰竹之间、藤叶之间，断断续续地题，观其形态，参差错落，疏密有致。是书也是题，是画也是诗，是诗也是画，欣赏每幅画中题画诗，既是绝妙的书法再现，也是将书画相映成趣的综合艺术，书题与画面有机地交融在一起，构成了统一的诗情画意，给人以综合的完美的艺术享受。\n郑板桥情系百姓，与民同忧。乾隆六年（1741年）春，因科举及第考中进士的郑板桥被派往山东范县任县令，开始了他长达12年的官宦生涯。他为官力求简肃，视排衙喝道之类的礼仪为桎梏。为察看民情、访问疾苦，他常不坐轿子，不许鸣锣开道，不许打“回避”“肃静”的牌子，身着便服，脚穿草鞋到乡下察访。即便夜间去查巡，也仅差一人提着写有“板桥”二字的灯笼引路。因为他常常微服“陇上闲眠看耦耕”，以致“几回大府来相问”，竟找不到他的人影子。\n对于百姓的疾苦，他时时刻刻都挂在心上。他一生善于画竹，尤其善于据竹写诗。在潍县任县令时，他的顶头上司、山东巡抚包括向他索求书画，他画了拿手的竹子，并在上面题诗一首：“衙斋卧听萧萧竹，疑是民间疾苦声。些小吾曹州县吏，一枝一叶总关情。”\n乾隆十一年（1746年），郑板桥调署潍县，在潍县任上七年，竟有五年发生旱蝗水灾，生民涂炭，哀鸿遍野。他一面向朝廷据实禀报灾情，请求赈济；一面以工代赈，兴修城池道路，招收远近饥民赴工就食，并责令邑中大户轮流在道边开厂煮粥，供妇孺耄耋充饥。同时，责令囤积居奇者迅速将积粟按通常价格卖给饥民。他自己也节衣缩食，为饥民捐出官俸。在最危急之时，他毅然决定打开官仓放粮。乾隆十七年（1752年），他愤然辞官，回到故乡江苏兴化定居",[23,25,52,101,54,57,7,282,77,58],"兰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a5e3849c804728833e287d5719d8957.jpg","白纸本",[39,82],236,{"id":288,"slug":289,"title":290,"dynasty":124,"author":291,"museum":92,"description":292,"tags":293,"thumbUrl":294,"material":60,"size":295,"collection":202,"collections":296,"showCount":286,"zanCount":134,"manualWeight":11,"mainColor":65},220787,"jiang-ting-shan-se-zhou-ni-zan-220787","江亭山色轴","倪瓒","倪云林 《江亭山色》于2012年核定为重要古物，所绘的内容有山峦、陂陀、树木、茅亭，其结构萧散，是倪云林特意为外游时相识的一位友人焕伯高士留别而绘。\n款识：焕伯高士嗜古尚义於友道於医学尤精隐居养亲不求知於也余过娄江踰月与仆甚相好戏写江亭山色并作长歌以留别二月廿五日瓒。\n题签：倪云林山水真迹。玉带砚斋藏。\n释文：娄江之东天宇宽。左瞰青海阴漫漫，樱桃花落杂飞霰。桃李欲动春风寒，我去松陵自子月。忽惊归雁鸣江干，风吹归心如乱丝。不能奋飞身羽翰。身羽翰，度春水。胡蝶忽然梦千里，剥剥啄啄闻叩门。推枕倒裳为君起，持杯劝我径饮之。有酒如渑胡不喜，看朱成碧纷醉眼。碧草春波暎疏绮，醉吐胸中之磊块。一笑濡豪烂盈纸，白鸥明处白云生。历历青山镜光里，翡翠鵁鶄满兰芷。壬子。\n倪瓒的书法也是极具传统功力与个人特色的。他的书法受褚遂良影响较大，有些点画如“戈”法明显是褚体之法，写的十分妩媚。其书法还掺杂了隶书与六朝写经的风格，这可能与他信奉道教熟悉经体有关，从而使他的书法具有一种仙风道骨的古意与洒脱。他题画有时飘逸草率，多有连笔，如北京故宫藏《竹枝图》。有些写的则工工整整，一笔不苟，如《江亭山色图》、《容膝斋图》，书体为小楷，楷中含隶，毫无泄怠，极见功力。字数如此多的小楷题画，在其画作中极少见。\n倪云林的画乍一看为其荒疏感到意外，多看了则觉单调，几乎千篇一律，皆是疏林坡岸，浅水遥岭，但是自然的反应了他的内心，也反应了他的修养。倪云林《江亭山色》典型的“云林皴法”，且款题甚长，书法精妙，堪称倪云林一生山水画的代表作。",[25,52,101,54,75,248,30,57,7,73,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fadb42f2a048eafcf667755bea02ad618.jpg","94.7x43.7",[202,82],{"id":298,"slug":299,"title":300,"dynasty":18,"author":301,"museum":20,"description":302,"tags":303,"thumbUrl":306,"material":307,"size":308,"collection":202,"collections":309,"showCount":310,"zanCount":134,"manualWeight":11,"mainColor":65},222620,"shan-shui-tu-juan-1-gong-xian-222620","山水图卷-1","龚贤","全图为长卷形式，重山复岫横向展开，绵延起伏，用平远构图。山石短笔皴擦，树木以横竖排点画出，整卷结构缜密，气韵苍莽，幻景与实境交融，可观、可游、可居，“引人着胜地”。后纸行书长题，论及学道、读书、性情、嗜好，表达了画家对待艺术和生活的态度，兹录如下：\n“画于众技中最末。及读杜老诗，有云：刘侯天机精，好画入骨髓。世固有好画而入骨髓者矣！余能画，似不好画，非不好画也，无可好之画也。曾见唐、宋、元、明初诸家真迹，亦何尝不坐卧其下，寝食其中乎？问之好画者，曰：士生天地间，学道为上，养气读书次之，即游名山川、出交贤豪长者皆不可少，余力则工词赋、书画、棋琴。夫天生万物，惟人独秀，人之所以异于草木瓦砾者，以有性情，有性情便有嗜好，一无嗜好，惟恣饮啖，何异马牛而襟裾也。不能追禽而之踪，便当居一小楼，如宗少文张图绘于四壁，抚弦动操则众山皆响。前贤之好画往往如是，乌能悉数！余此卷借从心中肇造，云雾、丘壑、屋宇、舟船、梯凳、溪径，要不背理，使后之玩者可登可涉、可止可安，虽曰幻境，然自道眼观之，同一实境也。引人著胜地，岂独酒哉！戊辰秋杪半亩龚贤画并题。”\n下钤“龚贤”朱文印、“钟山野老”白文印。鉴藏印有“虚斋秘玩”等七方。戊辰为康熙二十七年（1688年），龚贤71岁。",[23,24,25,52,26,54,73,75,195,7,30,304,305,250,248],"云","瀑布","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa47f0e3c3d0ffbbbc50ccb661ca0951c.jpg","纸本，墨笔","纵28.8厘米，横404.1厘米",[202,82],229,{"id":312,"slug":313,"title":111,"dynasty":18,"author":112,"museum":126,"description":314,"tags":315,"thumbUrl":316,"material":307,"size":317,"collection":118,"collections":318,"showCount":319,"zanCount":11,"manualWeight":11,"mainColor":65},234675,"zhu-shi-tu-zheng-ban-qiao-234675","郑燮所画之竹，形象千姿百态，笔墨变化多端。同样是数竿竹枝，却有新竹、驼竹、凤竹、晴竹、盆景之竹、庭院之竹、山野之竹、水乡之竹的区别，并呈现各自不同的情态，给人以美的感受。画面上翠竹两竿，瘦劲挺拔，枝叶偃仰，萧疏清逸。竹枝下有山石及竹笋数支，恰当衬托出春竹之勃发郁茂，颇富自然之趣。其言将竹笋与鲥鱼相佐，又创美食之竹，新颖别致，独具匠心。",[25,54,115,73,78,58,101,57,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7c732c7221c80d6d805a69736b50619.jpg","纵120厘米，横59.7厘米",[],228,{"id":321,"slug":322,"title":323,"dynasty":124,"author":324,"museum":92,"description":325,"tags":326,"thumbUrl":327,"material":160,"size":328,"collection":147,"collections":329,"showCount":330,"zanCount":134,"manualWeight":11,"mainColor":43},219414,"ke-mu-zhu-shi-zhou-zhao-meng-fu-219414","窠木竹石轴","赵孟頫","枯木枝干如篆籀盘曲，老而弥坚；新竹嫩梢似行草舒展，清劲秀逸。墨叶撇捺带笔意，坡石皴染见骨力，淡墨晕染出朴拙纹理，与劲竹枯树相映成趣。全图不施华彩，仅以水墨浓淡干湿，写尽草木石的情态。赵孟頫以书入画，将文人笔墨修养融入物象，简率构图里藏着对生命枯荣的静观，清寂中透出坚守——竹之劲节、石之沉稳、木之苍劲，皆是文人品格的投射，于宋元画坛间，绽放出文人画的清雅风骨。",[25,52,24,101,54,216,57,7,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F355b183f4da0c687b3cba7d72789da7c.jpg","纵99.4厘米，横48.2厘米",[147],221,{"id":332,"slug":333,"title":334,"dynasty":18,"author":70,"museum":20,"description":335,"tags":336,"thumbUrl":337,"material":118,"size":118,"collection":118,"collections":338,"showCount":339,"zanCount":134,"manualWeight":11,"mainColor":65},234169,"yuan-ji-song-zhu-shi-tu-juan-shi-tao-234169","原济松竹石图卷","原济(1642—1707年)，俗姓朱，名若极，广西全州(今全县)人，明宗室靖江王后裔。明亡之际出家为僧，僧名原济，号石涛、清湘老人、苦瓜和尚等。他最擅画山水，兼擅花竹、人物等。所绘山水之景苍润雄浑，风格新奇，笔墨淋漓酣畅，墨气浓润，笔意苍逸，手法变幻无穷，独成一家。在绘画理论上贡献卓著。他主张“笔墨当随时代”和“借古以开今”，强调对大自然要有真切的艺术感受，在艺术创作时要“我自用我法”，反对泥古不化。",[23,25,54,26,73,76,57,7,77,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa7a026c786782c5ee0e249a5786dafbd.jpg",[],199,{"id":341,"slug":342,"title":343,"dynasty":18,"author":344,"museum":92,"description":345,"tags":346,"thumbUrl":354,"material":355,"size":356,"collection":118,"collections":357,"showCount":358,"zanCount":224,"manualWeight":11,"mainColor":65},232816,"mo-chou-ying-xi-yuan-ya-ji-tu-ding-guan-peng-232816","摹仇英西园雅集图","丁观鹏","丁观鹏在乾隆朝曾绘制大量摹古作品，然其仿制的对象有许多已被证实为明代商业伪作，此即一例。此幅底本目前仍藏台北故宫博物院，全幅以白描画成，由其较为修长瘦弱的造型判断，很接近尤求的白描风格，这类白描作品在苏州片伪古书画作品中常被冠以仇英之名。乾隆皇帝在此底本题诗表示「底须著色求形肖」，也成为此摹作用力之处。丁观鹏摹作在构图上保留原图，然在人物、家具与植物部分施彩，如吴派之淡雅，然更为明亮。亭子屋顶结构、柱子、湖石等，则具有西洋素描般的渐层光影效果，整幅作品可说是明代商业白描风格、吴派风格与外来西洋画法的结合。",[25,52,101,347,28,27,95,248,30,7,348,349,350,351,58,77,78,352,353],"临摹","栏杆","桌案","文人","聚会","庭院","芭蕉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1229909206e7c4c7bdb804c648b9f594.jpg","绢本设色","95.1×43.9cm",[],195,{"id":360,"slug":361,"title":362,"dynasty":18,"author":363,"museum":364,"description":365,"tags":366,"thumbUrl":370,"material":130,"size":371,"collection":147,"collections":372,"showCount":358,"zanCount":224,"manualWeight":11,"mainColor":65},220000,"shan-shui-hua-han-shi-hou-yi-ri-hua-yu-xi-tian-mao-she-wang-shi-min-220000","山水画-寒食后一日画于西田茅舍","王时敏","天津博物馆","王时敏出身于仕宦之家，祖父王锡爵是万历内阁首辅大臣。由于父亲王衡早逝，而他又是独子，自小就是和祖父生活在一起。《国朝画征录》记载，王锡爵极为喜爱这个孙子，专心培养他的“好古之心”。王时敏在董其昌和陈继儒等的辅导下，绘技大进。董其昌把他视为南宗画派的不二继承人，“可备传灯一宗，真源嫡派”。王时敏受祖荫出仕后担任尚宝丞和太常寺少卿等官，降清后作为明朝的遗民，退隐山野，专心绘事。他继承和扩大了南宗画派影响，发展了清代绘画的笔墨，创建了著名的娄东画派，成为当时艺术界不可撼动的泰斗，被视为清代正统画派的开山鼻祖。",[25,52,54,28,73,75,195,7,200,367,197,368,369],"屋舍","小径","传统山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74a4fe667946ab4386529b843dc33e21.jpg","22.5x27.5",[147],{"id":374,"slug":375,"title":376,"dynasty":191,"author":377,"museum":378,"description":379,"tags":380,"thumbUrl":382,"material":37,"size":118,"collection":104,"collections":383,"showCount":384,"zanCount":224,"manualWeight":11,"mainColor":65},214853,"lan-ting-sheng-jing-tu-qian-gong-214853","兰亭胜景图","钱贡","美国大都会艺术博物馆","钱贡（1235年～1314年）是明朝时期的画家，他的作品《兰亭胜景图》被认为是明朝画家中最杰出的作品之一。《兰亭胜景图》是一幅巨幅山水画，画面中描绘了兰亭序中所描述的风景。画中的山水景色优美，山峦起伏，水流潺潺，树木葱茏，景致十分优美。钱贡使用了自然色彩，并运用了很多技巧来表现山水的细节和神韵。此外，他还使用了大量的线条来勾勒出画面中的山峰、岩石和树木，使得画面更加立体。《兰亭胜景图》是钱贡最著名的作品，被认为是明朝画家中最杰出的作品之一。",[23,25,52,26,54,28,27,73,75,95,248,141,142,200,7,77,381],"雅集","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9efdffc694b35b2a9fe0995728b86130.jpg",[104],193,{"id":386,"slug":387,"title":388,"dynasty":18,"author":389,"museum":390,"description":391,"tags":392,"thumbUrl":396,"material":37,"size":397,"collection":104,"collections":398,"showCount":399,"zanCount":134,"manualWeight":11,"mainColor":43},220442,"chun-ye-yan-tao-li-yuan-tu-lv-huan-cheng-220442","春夜宴桃李园图","吕焕成","旅顺博物馆","此图与吕焕成的传世作品《春山听阮图》（现藏旅顺博物馆）、《西溪图》（上海博物馆）的画法相类似，勾皴挺拔秀劲，人物生动细劲，意境幽深，既有“北宗”画法的崇高峻美，也有“南宗”画法的秀润笔致。\n此幅绘李白春夜宴桃李园故事，人物刻画生动，桃园布置幽雅，桃树夭夭，灼灼其华，湖石玲珑，远山壮美。用笔细劲，敷色精诣，吕吉文做为清初吴门画派领军人物，此作名不虚传。",[23,25,52,101,27,28,95,75,393,7,394,395,30],"桃花","宴乐","饮酒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25b1cce1cef029536624dbe6f4f8c3e5.jpg","199X96cm",[104,147],174,{"id":401,"slug":402,"title":403,"dynasty":210,"author":404,"museum":20,"description":405,"tags":406,"thumbUrl":412,"material":37,"size":118,"collection":221,"collections":413,"showCount":414,"zanCount":11,"manualWeight":11,"mainColor":43},218943,"yuan-lu-tu-yi-yuan-ji-218943","猿鹿图","易元吉","古木虬枝盘曲，浓荫层叠如盖，数只猿猴或攀附枝桠眺望，或倒挂垂藤嬉戏，或蹲踞树间理毛，神态各异，毛发细劲蓬松，尽显野趣生机。树下小鹿昂首抬望，似与枝头猿猴遥遥呼应，动静相生间，溢出山林的清寂悠然。\n\n笔墨工细灵动，树木皴染结合，叶片层叠有致；猿鹿造型精准，细节刻画入微，可见对自然生灵的深察。绢本色调温润古朴，衬出宋画雅致意境，仿佛林间风动，猿啼鹿鸣隐约可闻，将山野悠然意趣凝于尺幅，尽显自然之美与生命之趣。",[23,24,25,52,407,28,27,408,409,30,7,410,411],"扇面","猿","鹿","枝叶","兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ef6adf05faacf36a9500267f5a38228.jpg",[221],168,{"id":416,"slug":417,"title":418,"dynasty":210,"author":419,"museum":92,"description":420,"tags":421,"thumbUrl":428,"material":37,"size":118,"collection":221,"collections":429,"showCount":430,"zanCount":85,"manualWeight":11,"mainColor":43},220204,"bo-gu-tu-yi-ming-220204","博古图","佚名","博古是杂画的一种，后人将图画在器物上，形成装饰的工艺品，泛称“博古”。如“博古图”加上花卉、果品作为点缀而完成画幅的叫“花博古”。 北宋大观宋徽宗命大臣编绘宣和殿所藏古器，修成《宣和博古图》三十卷。后人因此将绘有瓷、铜、玉、石等古代器物的图画，叫做“博古图”，有时以花卉、果品等装饰点缀。“博古图”有博古通今、崇尚儒雅之寓意，常用于书香门第或官宦人家的宅第装饰，这也造成了其在艺术品投资领域中不俗的地位。",[23,25,52,28,27,95,76,7,56,422,423,352,424,350,349,425,426,427],"古物","器物","孩童","古玩","平台","花木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e71958042d8dd75fd60dcfa63880052.jpg",[221,104],164,{"id":432,"slug":433,"title":434,"dynasty":210,"author":435,"museum":92,"description":436,"tags":437,"thumbUrl":445,"material":284,"size":446,"collection":447,"collections":448,"showCount":449,"zanCount":85,"manualWeight":11,"mainColor":450},221272,"song-feng-ge-shi-huang-ting-jian-221272","松风阁诗","黄庭坚","松风阁在湖北省鄂州市之西的西山灵泉寺附近，海拔160多米，古称樊山，是当年孙权讲武修文、宴饮祭天的地方。宋徽宗崇宁元年（1102）九月，黄庭坚与朋友游鄂城樊山，途经松林间一座亭阁，在此过夜，听松涛而成韵。",[23,77,78,58,76,261,195,438,439,440,441,442,443,7,444],"川","野僧","寒溪","坡道","夜","雨","楼阁","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42961cbb5e0e34b9ca3df7fc4aa599c5.jpg","纵32．8厘米 横219．2厘米","书法精选",[447],161,"F48FB1",{"id":452,"slug":453,"title":454,"dynasty":124,"author":455,"museum":378,"description":456,"tags":457,"thumbUrl":458,"material":459,"size":460,"collection":202,"collections":461,"showCount":462,"zanCount":224,"manualWeight":11,"mainColor":65},221735,"shan-shui-zhu-shi-tu-quan-juan-zhao-yuan-221735","山水竹石图全卷","赵原","赵原（约1325—1374），元末明初画家。生卒年不详。本名元，入明后因避朱元璋讳而改作原，字善长，号丹林。莒城（今山东莒县人，一作东平(今属山东)人，寓居苏州(今江苏苏州)。善诗文书画，擅山水。明太祖洪武（1368-1398）间征至中书令。洪武五年（1372）在昆陵作听松图，此顷被征至京图往贤着功名者像，应对忤旨，被杀。明洪武初奉诏入宫，因所画不称旨而被杀。\n关于赵原的师承说法不一，最经常的说法是王维和董源。也有说他师法董源、王蒙或米芾、高克恭。善用枯笔浓墨，作品多作浅绛山水，笔墨圆劲秀逸。亦长于画竹，画法多变，有龙角、凤尾、金错刀之称。兼能竹石，当时在平江一带负盛誉。有《合溪草堂图》、《晴川送客图》、《溪亭送客图》、《陆羽烹茶图》等传世。",[23,25,52,26,54,73,75,57,7,77,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70809230f2fb9e519270ac51b851cbf5.jpg","纸本水墨","纵25.7厘米，横380厘米",[202,82],156,{"id":464,"slug":465,"title":466,"dynasty":124,"author":270,"museum":467,"description":468,"tags":469,"thumbUrl":470,"material":117,"size":471,"collection":82,"collections":472,"showCount":462,"zanCount":224,"manualWeight":11,"mainColor":43},220777,"ku-mu-zhu-shi-tu-wu-zhen-220777","枯木竹石图","浙江省博物馆","元吴镇所绘的《枯木竹石图》画的山中古木竹石， 藏巧于拙。近处古木枝桠遒劲，非常古雅清逸；石头尖峭如削。在构图上的确鬼斧神工,技高一筹。另外,此图在设色用笔上也足能代表吴镇的风格。枯木竹石图在好几个朝代都有画家的画作，也是中国山水画的常用名词。是作者以枯木（以物）抒情的一种表现手法，图中画的是扭曲干枯的枯树，挣扎着向外伸展，表现了作者坚硬顽强的性格，怪石与枯木皆用清淡、空灵、松散的笔墨似勾似擦，虽笔墨不多，却与其傲岸豪放的性格相一致，抒写了作者胸中的磊落不平。\n吴镇十八九岁开始学画，年轻时游历杭州，吴兴，饱览太湖风光。开眼界，长见识，大自然的真山真水，启迪了他创作灵感。其工诗文书法，绘画题材多为渔父、古木、竹石之类，善画山水、梅花。草书学巩光，山水师法董源、巨然而又独出机杼，以雄强笔法辅以丰富墨法，自有一种苍茫沉郁、古厚纯朴之气。精写竹，师李衎，晚年则专写墨竹。墨竹宗文同，为文同后又一大家。善于用墨，淋漓雄厚，为元人之冠。兼工墨花，亦能写真。同以竹掩其画，镇以画掩其竹。其画虽势不能夺，唯以佳纸笔投之，欣然就几，随所欲为，乃可得也。诗词风格简劲奇拔，感情真挚，常以比兴自吐胸臆，接近陶潜诗风，外示平淡而内实郁愤。书法能结合王羲之和怀素之长而自具面目。每作画往往题诗文于其上，或行或草，墨沈淋漓，诗、书、画相映成趣，时人号为“三绝”。其画风对明清山水画的发展，有较大影响。他与王蒙、黄公望、倪瓒齐名，并称为元四家。\n吴镇画山水喜用湿墨，其实吴镇未尝不善用干墨，在吴镇传世几十余幅墨竹中，几乎全是用干墨画的，均取得了良好的效果。之所以吴镇在山水画中多用湿墨，这与吴镇欲借山水画表达的境界有极大的关系。北宋山水画追求一种可游、可居之景，用笔用墨都服从于山水真实体感的表达；而元人则以山水为媒，追求一种有我之景，笔墨除用表现形体外，更是充作了情感流露的媒介。在元四家中吴、倪均以画水著称，倪喜用干墨，吴则喜用湿墨。倪用干墨草草点染，创造一种荒芜、澹泊之境；吴则用湿墨，渲染出一种凄清、静穆之境。细观吴镇每一幅山水画，都给人以“水墨淋漓幛犹湿”的感觉。无论是山、树、水，还是船、渔父、房屋，无论是近景，还是远景，均如淋浴在水中，从而更使远方景物有千里之遥，营造了一种凄清、幽旷、寂寥的艺术氛围。",[23,24,25,54,73,115,74,57,7,282],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5797621a7b1b78697492ac6ae81f2540.jpg","纵103.3厘米 横33.3厘米",[82,473],"竹石精选",{"id":475,"slug":476,"title":477,"dynasty":18,"author":70,"museum":20,"description":478,"tags":479,"thumbUrl":480,"material":118,"size":118,"collection":118,"collections":481,"showCount":482,"zanCount":224,"manualWeight":11,"mainColor":65},228994,"zhu-shi-zhen-ji-tu-shi-tao-228994","竹石真迹图","此作用水墨写意绘就幽境。以淋漓淡墨勾皴巨石轮廓，留白为体，枯笔侧锋扫出苍涩纹理，朴拙雄浑间尽显嶙峋风骨。几竿新竹斜倚石畔，中锋写干清劲挺拔，竹叶以焦墨挥写，聚散错落，偃仰有态，尽显萧疏清逸之致。左下角兰草柔婉，与竹石刚健相映成趣。\n\n整幅画以少胜多，墨色干湿浓淡层次丰盈，笔意纵恣洒脱，将竹之劲节、石之沉稳融于尺幅之间，寄寓文人劲节自持的襟怀，尽显以形写意、天人合一的审美意趣，是水墨小品中的隽秀之作。",[23,24,25,54,115,57,7,58,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37275658c9a76d23ae4cf87b6f96f432.jpg",[],140,{"id":484,"slug":485,"title":486,"dynasty":18,"author":487,"museum":20,"description":488,"tags":489,"thumbUrl":491,"material":492,"size":493,"collection":118,"collections":494,"showCount":495,"zanCount":224,"manualWeight":11,"mainColor":65},222629,"ju-shi-yan-nian-tu-zhou-huang-shan-shou-222629","菊石延年图轴","黄山寿","绘秋日中菊花绽放，三种色彩，争相斗艳，蓝色湖石穿插其中。画上题诗“飘飘神采濯枝秀，不食烟火何妨瘦，精气有余骨相坚，餐英尚且能益寿”。黄山寿，原名曜，字旭初，晚清画家，工人物、山水，善墨龙等",[23,25,52,101,28,27,490,7,35],"菊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F017d9351b72d2e389bc0b7cd7ce8fbed.jpg","纸本，设色","131X67cm",[],136,{"id":497,"slug":498,"title":499,"dynasty":18,"author":500,"museum":92,"description":501,"tags":502,"thumbUrl":509,"material":37,"size":510,"collection":39,"collections":511,"showCount":512,"zanCount":205,"manualWeight":11,"mainColor":65},218854,"san-yang-kai-tai-tu-lang-shi-ning-218854","三羊开泰图","郎世宁","其画风中融合特殊中西笔触，尤其是运用写实画派光影透视技巧，郎氏画作特别讨喜尤受皇帝欣赏。\n三羊开泰用于岁首祝福时，人们也常用“三羊”来代替“三阳”，把“三阳开泰”写成“三羊开泰”，乃取其谐音而已。根据泰卦的释义，“三阳开泰”的引申意思，则有好运即将降临之意。\n拿“三羊”来代替“三阳”，除了“羊”与“阳”两字谐音而外，也还有寓有更隐蔽的深层的文化含义。",[23,503,25,27,28,504,505,506,411,56,57,7,507,508,101],"清代","中西合璧","写实","羊","草地","植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4b031b067e2d9172399a90dab58307e.jpg","横60厘米 纵98厘米",[39],135,{"id":514,"slug":515,"title":516,"dynasty":191,"author":419,"museum":20,"description":517,"tags":518,"thumbUrl":521,"material":28,"size":118,"collection":147,"collections":522,"showCount":523,"zanCount":224,"manualWeight":11,"mainColor":43},219904,"cha-mei-san-qin-tu-yi-ming-219904","茶梅三禽图","画面章法错落，斜出的花枝贯穿画面，山茶如烈焰点染绢素，梅花似堆雪缀于枝桠，红白相映，撞色鲜活亮眼。\n\n枝上双禽依偎理羽，姿态闲静安适；石畔绶带鸟垂首啄饮，灵动生趣。湖石、幽竹与冰姿玉骨的水仙铺陈下景，衬出花木禽鸟的清隽雅致。\n\n设色妍丽不失清雅，工笔勾勒禽鸟羽毛、花瓣脉络，晕染柔和自然，写意绘就湖竹野趣，将隆冬时节的盎然生机定格，尽显院体花鸟雅致隽永的东方意趣，藏着岁末清和的鲜活生机。",[23,25,24,27,28,35,56,519,57,7,520,196],"鸟","草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bbd5614909282f3d3a425af305ca027.jpg",[147],134,{"id":525,"slug":526,"title":527,"dynasty":18,"author":528,"museum":20,"description":529,"tags":530,"thumbUrl":539,"material":118,"size":118,"collection":118,"collections":540,"showCount":541,"zanCount":224,"manualWeight":11,"mainColor":65},233905,"hua-hui-shan-shui-ce-yun-shou-ping-233905","花卉山水册","恽寿平","恽寿平（1633-1690年），初名格，后以字行，又字正叔，别号南田，一号白云外史、云溪外史、东园客、巢枫客、草衣生、横山樵者。江苏武进人。清代著名画家。与“四王”、吴历并称“清初六大家”。其父恽日初诗文杰出，为“复社”中人。叔父恽向（道生）为著名山水画家，自创一派。恽寿平是清朝初期最享盛名的花鸟画家。其画作多写生，人称“写生正派”；更以徐崇嗣为宗，兼取各家之长，极大的发展了没骨画。所画花卉，很少勾勒，以水墨着色渲染，用笔含蓄，画法工整，明丽简洁，天趣盎然。恽寿平不仅画作出众，风格独具，而且兼工诗书，题句清丽流畅，诗格脱俗超逸，为“昆陵六逸”之冠。恽南田《山水花卉册》八帧，其中包括山水，花鸟及情景兼容的人物，攘括了恽南田所有的画种。画中有退耕堂藏印。退耕堂为徐世昌的室名。\n恽寿平一生坎坷，饱经困苦，他幼年聪颖玲利，遭遇战乱，与兄皆被俘，与父亲失散，后遇灵隐寺方丈相救，才得以与家人团聚，归家后，发奋读书学画。经刻苦钻研，于古文、诗词、书画无不精擅。他崇尚气节，誓不应科举，少时的忧患，留下深深的创痛，一生未尝忘情。却在绘画上取得了很高的成就；恽南田曾致书王（翚）说：“格于山水，终难打破一字关，曰‘窘’，良由为古人规矩法度所束缚耳。”又说：“君独步矣！吾不为第二手也”。于是恽寿平转攻花鸟，以后山水不过偶而为之。可见其艺术抱负。《山水花卉册》中的山水，取黄公望笔法，于荒率中见秀润，尖毫勾皴，浓墨点树、高旷清淡，浸润宋元诸家，吸取王蒙、二米等人之长，渐脱刻极。40岁左右作品最为精采，如43岁的《山水花鸟册》，技法灵活多变，表达各家风貌准确，艺术已臻成熟。他的花鸟画成就最为突出，取法徐崇嗣的没骨法，他的没骨花卉，揉合了黄（筌）、徐（熙）两派技法，既重视写生，力求形似，“每画一花，必折是花插之瓶中，极力描摹，得其生香活色而后已。”又强调“与花传神”。力去华靡，追求“ 澹雅”。此册中的花鸟更是形神兼备，清新淡雅，具有新的风貌。",[25,531,28,54,73,57,7,99,532,58,533,534,535,536,537,538,31],"没骨","兰草","苔草","红色花卉","黄色花卉","竹叶","竹笋","石块","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4377c657f826c18b3596050a5963db15.jpg",[],124,{"id":543,"slug":544,"title":545,"dynasty":18,"author":546,"museum":20,"description":547,"tags":548,"thumbUrl":549,"material":118,"size":118,"collection":39,"collections":550,"showCount":551,"zanCount":224,"manualWeight":11,"mainColor":65},236461,"zhu-shi-tu-zhou-zhu-da-236461","竹石图轴","朱耷","朱耷（1626—1705年），明宗室宁献王朱权后裔，封藩南昌，遂为江西南昌人，谱名统『0137』，小名耷。清顺治五年（1648年）落发为僧，法名传綮。一生字、号、别号甚多，有个山、驴屋驴、人屋等。康熙二十三年（1684年）始号八大山人。坎坷的命运影响着他的人生观及艺术思想，其绘画作品多寄托着对清王朝的痛恨，及对明王朝的眷恋之情。他的山水画在宗法元黄公望平淡天真和明董其昌润泽秀逸的基础上形成了自己古拙奇特、劲拔荒率的艺术风格。其花鸟画在参照明代沈周、徐渭等文人画法的同时，又融入自己强烈的主观意识，注重鱼、虫、禽等物象的人格化表现，以象征手法表达隐晦的寓意。借此表达自己作为明皇族后裔，百般无奈的感慨之情。他与同为明遗民画家的石涛、弘仁、髡残合称“清初四僧”。书法宗王献之、颜真卿，淳朴圆润，自成一格。朱耷中晚年，在书画作品款署中多使用“八大山人”。",[25,52,101,54,115,57,7,58,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8f836ef9cd8492d7bd9c07df16cc664.jpg",[39,82],123,{"id":553,"slug":554,"title":555,"dynasty":210,"author":242,"museum":556,"description":557,"tags":558,"thumbUrl":559,"material":37,"size":560,"collection":221,"collections":561,"showCount":551,"zanCount":11,"manualWeight":11,"mainColor":43},220071,"lin-xia-qing-yan-tu-ma-yuan-220071","林下清宴图","私人收藏","此作用笔苍劲老辣，斧劈皴勾勒山石棱角，峭拔硬朗的峰峦隐没在空濛烟霭之中，虚实相生晕染出幽渺的层次感。近岸古木虬枝舒展，汀渚蜿蜒柔缓，和远山形成刚柔对照。江头扁舟静泊，云岫深处藏着古寺，留白的烟岚晕开天地，把林下幽寂的清旷意境铺陈开来。\n整幅画以淡墨晕染出空寂冷逸的氛围，将林泉高致的雅趣藏于山水间，尽显悠然超脱的林下风流，暗合文人寄情林泉、清宴忘忧的隐逸襟怀。",[23,24,25,52,75,54,28,73,195,30,248,197,95,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59ac221a46ecf53a5c3c912cd524c59d.jpg","104.7 x 101.4",[221],{"id":563,"slug":564,"title":565,"dynasty":210,"author":566,"museum":567,"description":568,"tags":569,"thumbUrl":575,"material":37,"size":576,"collection":202,"collections":577,"showCount":578,"zanCount":11,"manualWeight":11,"mainColor":43},220123,"han-shan-xue-ji-tu-guo-xi-220123","寒山雪霁图","郭熙","圣路易斯艺术博物馆","郭熙(1023年--约1085年)，字淳夫、河阳(今河南温县)人，北宋绘画大师。宋神宗熙宁元年(1068年)奉诏入图画院，初为“艺学”，后任翰林待诏直长。宋神宗赵顼深爱其画，曾“一殿专皆熙作”。王安石变法时新立中书、门下两省和枢密院、玉堂等墙上壁画。皆为其所作。郭熙擅画山水，无师承，早年风格较工巧，后取法李成，画艺大进，到晚年落笔益壮，能自放胸臆 ，炉火纯青。其画论有《林泉高致》，提出高远、深远、平远“三远法”。画山石多用“卷云”或“鬼脸”皴；画树枝如蟹爪下垂，笔势雄健，水墨明洁。传世作品有《早春图》(台北故宫博物院藏)、 《窠石平远图》 (北京故宫博物院藏)，以及《树色干远图》《早春图》《关山春雪图》《山林图》《秋山行旅图》《幽谷图》等。",[23,25,24,101,73,54,28,75,195,158,216,570,571,95,572,7,30,573,305,574],"小屋","孤舟","马","船","石阶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c60aecd1eeb13e336efcac40bcc130b.jpg","147.6x78.1",[202],121,{"id":580,"slug":581,"title":582,"dynasty":124,"author":270,"museum":49,"description":583,"tags":584,"thumbUrl":585,"material":586,"size":587,"collection":82,"collections":588,"showCount":589,"zanCount":224,"manualWeight":11,"mainColor":450},220776,"song-shi-tu-zhou-wu-zhen-220776","松石图轴","元代绘画中，文人画占据画坛主流。因元代未设画院，除少数专业画家直接服务于宫廷外，大都是身居高位的士大夫画家和在野的文人画家。他们的创作比较自由，多表现自身的生活环境、情趣和理想。山水、枯木、竹石、梅兰等题材大量出现，直接反映社会生活的人物画减少。作品强调文学性和笔墨韵味，重视以书法用笔入画和诗、书、画的三结合。在创作思想上继承北宋末年文同、苏轼、米芾等人的文人画理论，提倡遗貌求神，以简逸为上，追求古意和士气，重视主观意兴的抒发。与宋代院体画的刻意求工、注重形似大相径庭，形成鲜明的时代风貌，也有力地推动了后世文人画的蓬勃发展。在元代短短90余年内，画坛名家辈出，其中以赵孟頫、钱选、高克恭、王渊等和号称元四家的黄公望、吴镇、倪瓒、王蒙最负盛名。\n《松石图》凸现在视野中心的只是一棵松树，然而他画的不是直立挺拔的苍松，而是一株干如弯弓，枝干倒长的怪松，它巍然挺立，雄视万物，表现出一种世俗难以羁绊、常人难以匹敌的气慨。它的孤傲、不同凡俗正是吴镇抗怀孤德个性的自喻。\n国家文物鉴定委员会委员、国家文物局文物鉴定资格审核委员、故宫博物院研究员杨臣彬，徐邦达先生入室大弟子,精擅古书画鉴定。上世纪八十年代在民间收藏中发现吴镇《松石图》。《松石图》名款为“梅花道人墨戏”，铃印“梅花庵”、“嘉兴吴镇仲圭书画记”，系清宫旧藏之物。一古松的枝杆横卧上方，松下有湖石水草，构图呈上下两段，留出大片空白，各自为阵且互有联系。用浓墨在树石上点苔，浓重厚密。树石用笔倔强刚劲而不张扬外露，多用中锋，沉着老到，得古松苍劲之质，古松虽老，但无枯涩之感，干淡的用笔不失腴润，墨法鲜活，鲜嫩的水草和斑驳粗重的古松形成鲜明对比。",[23,24,25,52,101,54,73,76,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5441b5aa161a241633f08c79149ce2db.jpg","纸本,墨笔","122.44x46cm",[82,473],119,{"id":591,"slug":592,"title":593,"dynasty":210,"author":594,"museum":20,"description":595,"tags":596,"thumbUrl":599,"material":234,"size":600,"collection":118,"collections":601,"showCount":602,"zanCount":85,"manualWeight":11,"mainColor":43},232879,"li-nu-xian-qu-tu-juan-liang-kai-232879","狸奴闲趣图卷","梁楷","宋代画坛，因为有皇家画院的支持和倡导，各类题材的国画大多崇尚描摹精微、细致逼真的画风。这种风格将我国古代工笔画推向了顶峰，也长久以来占据主流地位。但物极必反，严整的工笔画到达极致，必定会走向散乱的写意。这一方面，梁楷可谓是我国古代写意画的开山祖师。\n梁楷是南宋著名画家，师从贾师古。贾师古以师法吴道子的写实工笔著称，而梁楷能在其基础上更胜一筹，青出于蓝。梁楷曾在宁宗朝的画院供职，他继承吴道子写实技法的画风，无疑是非常受皇帝青睐的。他常常奉皇帝诏令，画了许多细腻严整的工笔画。\n这一时期的梁楷已经享有盛名，人们见到他精妙的画作，“无不敬服”。比如《狸奴闲趣图卷》里面的猫，形态各异细腻活泼，通体的毛都纤毫毕现。更不必说周围逼真的山石、花草、蝴蝶，刻画之精细，给人如在目前之感。",[23,25,24,26,28,27,97,57,597,598,7,520,411],"花","蝶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F980cc771075692f3c9ed45d7b13dcd33.jpg","33.2x185.4厘米",[],118,{"id":604,"slug":605,"title":606,"dynasty":210,"author":242,"museum":607,"description":608,"tags":609,"thumbUrl":611,"material":355,"size":612,"collection":221,"collections":613,"showCount":614,"zanCount":11,"manualWeight":11,"mainColor":43},221528,"lin-he-jing-mei-hua-tu-ma-yuan-221528","林和靖梅花图","日本京都国立博物馆","孤山已无吟诗处，\n西湖仍有处处枝。\n疏影高士横卧看，\n红日半斜香风迟。",[23,25,52,54,28,27,73,95,75,56,610,7,57],"明月","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbcda8f28fa7dbe93178e2179ff242a9b.jpg","24.5×38.6cm",[221,39,82],114,{"id":616,"slug":617,"title":618,"dynasty":191,"author":619,"museum":92,"description":620,"tags":621,"thumbUrl":623,"material":130,"size":624,"collection":104,"collections":625,"showCount":614,"zanCount":224,"manualWeight":11,"mainColor":43},219385,"xi-yuan-ya-ji-tu-cheng-zhong-jian-219385","西园雅集图","程仲坚","此幅是众多描绘“西园雅集”图画中明代画家所作的一幅，风格近仇英、文徵明，谨细处又似尤求。",[25,28,27,101,95,75,248,76,7,622,353,58],"桥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44ead328f10838a1cb7f0ad0266a9ac3.jpg","117.4 x 39.6cm",[104],{"id":627,"slug":628,"title":629,"dynasty":18,"author":48,"museum":49,"description":50,"tags":630,"thumbUrl":631,"material":60,"size":61,"collection":118,"collections":632,"showCount":614,"zanCount":224,"manualWeight":11,"mainColor":65},214688,"mei-hua-zhu-shi-tu-ce-1-wang-shi-shen-214688","梅花竹石图册-1",[25,52,53,54,78,58,56,57,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b9c33e7f7afa822865810bf8fc4aaad.jpg",[],{"id":634,"slug":635,"title":111,"dynasty":18,"author":636,"museum":20,"description":637,"tags":638,"thumbUrl":639,"material":117,"size":640,"collection":39,"collections":641,"showCount":642,"zanCount":11,"manualWeight":11,"mainColor":65},224228,"zhu-shi-tu-wu-chang-shuo-224228","吴昌硕","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。”吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。\n清道光二十四年（1844年）8月1日，生于浙江省孝丰县鄣吴村（今湖州市安吉县）一个读书人家。幼时随父读书，后就学于邻村私塾。10余岁时喜刻印章，其父加以指点，初入门径。\n咸丰十年（1860年）太平军与清军战于浙西，全家避乱于荒山野谷中，弟妹先后死于饥馑。后又与家人失散，替人做短工、打杂度日，先后在湖北、安徽等地流亡数年。\n同治四年（1865年），中秀才。是年，海上先辈名家任薰与周闲合作，为吴昌硕绘画像。\n同治八年（1869年），赴杭州，就学于诂经精舍，从名儒俞樾习小学及辞章。编成《朴巢印存》。\n同治十一年（1872年），赴上海，得以认识高邕之。\n光绪六年（1880年），寓吴云（平斋）两礨轩，以《篆云楼印存》请教，吴云为之删削，更名为《削觚庐印存》。识吴秋农、金心兰、顾茶村、胡三桥、方子昕等。与杨岘（见山）结为朋友。\n光绪八年（1882年），居苏州。友人荐作小吏以维持生计。与虞山沈石友结为朋友。\n光绪九年（1883年），在沪识任伯年。任伯年为作《芜菁亭长小像》。\n光绪十三年（1887年），至沪，任伯年为作《棕荫纳凉图》。\n光绪十五年（1889年），在苏州。时伯年来访，为之作《酸寒尉像》，自题诗。施旭臣、谭复堂为《缶庐诗》作序。\n光绪十六年（1890年），居上海。识吴大澄。\n光绪十八年（1892年），任伯年又为作《蕉荫纳凉图》。\n光绪十九年（1893年），在上海编选壬辰年以前所作诗三卷刊行，题名《缶庐诗》。\n光绪二十（1894年），在北京以诗及印谱赠翁同龢。中日战争爆发，参佐吴大澄戎幕，北上抗日，兵败继续为吴大澄戎幕。\n光绪二十一年（1895年），任伯年为作《棕荫忆旧图》、《山海关从军图》。十一月，任伯年病殁沪上，作诗哭之并撰联。\n光绪二十五年（1899年）十一月，得丁葆元保举，任安东县令，一月即辞去。\n致力书画\n光绪二十六年（1900年），日本河井仙郎投之于门下。\n光绪二十九年（1903年），自订润格。编选壬寅以前所作诗为《缶庐诗》第四卷，连同前刊三卷，又《别存》一卷合为一册。\n光绪三十年（1904年），移居桂和坊19号，名其斋曰“癖斯堂”。赵子云（赵云壑）投门下。\n光绪三十五年（1909年），在沪加入上海豫园书画善会。\n民国元年（1912年），至杭州与西泠诸友宴集。始以字行。\n民国二年（1913年），西泠印社成立，任社长。秋，梅兰芳来会。与王一亭结为至交。王一亭在上海商界、金融界推介吴昌硕的书画金石艺术，使其名声大振。\n民国三年（1914年），王一亭为吴昌硕在六三园举办生平第一次个展，使吴派艺术开始为日本艺界所了解和推崇。上海书画协会成立，任会长。\n民国四年（1915年），上海“题襟馆书画会”推先生为名誉会长。\n民国六年（1917年），吴昌硕继配施氏夫人在上海去世。\n民国九年（1920年），日本长崎首次展出其书画，东京文求堂继刊《吴昌硕画谱》，长崎双树园刊行《吴昌硕画帖》。诸乐三列为门弟子。\n民国十年（1921年），赴杭西泠印社宴集。《汉三老碑》被日商购去，与西泠同仁奔走呼吁，作画义卖，终募款八千大洋将碑赎回。日本朝仓文夫为范铜像。\n民国十二年（1923年），潘天寿由诸闻韵引见来谒，撰联以赠。门弟子陈师曾去世。\n民国十四年（1925年），沙孟海由王贤引列为门弟子。为已逝师友周闲遗作《花卉长卷》作引首并题。\n民国十六年（1927年）十一月二十九日，逝于上海寓所。\n民国二十二年（1933年）十一月，迁葬于浙江余杭县塘栖附近超山报慈寺西侧山麓宋梅亭畔。\n\n篆刻:\n少年时他因受其父熏陶，即喜作书，印刻。楷书始学颜鲁公，继学钟元常；隶书学汉石刻；篆学石鼓文，用笔之法初受邓石如，赵之谦等人影响，以后在临写《石鼓》中融汇变通。行书得黄庭坚、王铎笔势之欹侧，黄道周之章法，个中又受北碑书风及篆籀用笔之影响，大起大落，遒润峻险。\n吴昌硕篆刻从“浙派”入手，后专攻汉印，也受邓石如、吴让之、赵之谦等人影响，善于留白，或对角欹斜，气象峥嵘，构图块面体积感极强。刀融于笔，篆刻雄而媚、拙而朴、丑而美、古而今、变而正。上取鼎彝，下挹秦汉，以“出锋钝角”的刻刀，将钱松、吴攘之切、冲两种刀法相结合治印。\n吴昌硕在继承前人冲刀法和切刀法优秀成果的基础上，融诸家之长，在大量的篆刻创作实践中，不断探索，将冲刀和切刀两种刀法融合在一起，形成了自己的冲切结合的刀法。这种刀法灵活多变，或冲中带切，或切中带冲，甚至切中带削……这种多变的刀法，把冲刀的猛利、挺劲、爽快与切刀的含蓄、浑朴融为一体，将书意和刀意表现得淋漓尽致，使他的篆刻刀法雄浑朴茂中寓秀逸的个性化特点凸现了出来。他与厉良玉、赵之谦并称“新浙派”的三位代表人物。\n残缺刀法是吴昌硕篆刻创作中的一种常用手法。我们知道，秦汉古印大多因年深日久，水土的浸蚀，自然的风化，印面及文字线条失去了原先的平整和光洁，变得残缺不全。恰恰是这些残缺给我们以古朴、含蓄、浑厚、苍拙等特殊的审美效果，这是自然的造化使然。吴昌硕善于巧夺天工，在传统的冲、切刀法的基础上，辅之以敲、击、凿、磨或借用砂石、鞋底、钉头等，极大地丰富了篆刻艺术的表现手法，并创造性地将篆刻艺术中刀石效果产生的金石味，上升到残缺美的审美新境界。\n主要篆刻作品：《寿山老坑巧色雕狮钮》《作了天下事》《读遍千古书》《好学为福》《黑青田》《一月安东令》《湖州安吉县》《泰山残石楼》《园丁生于梅洞长于竹洞》《暴书》《千寻竹斋》《千寻竹斋》3刻《吴俊卿信印日利长寿》《安吉吴俊章》《雷浚》《鲜鲜霜中菊》《归仁里民》。\n\n绘画:\n绘画的题材以花卉为主，亦偶作山水。前期得到任颐指点，后又参用赵之谦画法，并博采徐渭、八大、石涛和扬州八怪诸家之长，兼用篆、隶、狂草笔意入画，色酣墨饱，雄健古拙，亦创新貌。其作品重整体，尚气势，认为“奔放处不离法度，精微处照顾气魄”，富有金石气。讲求用笔、施墨、敷彩、题款、钤印等的疏密轻重，配合得宜。 吴昌硕自言：“我平生得力之处在于能以作书之法作画。”\n他以篆笔写梅兰，狂草作葡萄。所作花卉木石，笔力老辣，气势雄强，布局新颖，构图也近书印的章法布白，喜取“之”字和“女”字格局，或作对角斜势。用色上似赵之谦，喜用浓丽对比的颜色，尤善用西洋红，色泽浓艳。\n吴昌硕因以“草篆书”入画，状物不求写实，形成了影响近现代中国画坛的直抒胸襟，酣畅淋漓的“大写意”笔墨形式。\n他酷爱梅花，以写大篆和草书笔法为之，墨梅、红梅兼有，画红梅水分及色彩调和恰到好处，红紫相间，笔墨酣畅。又喜作兰花，喜以或浓或淡的墨色和用篆书笔法画成，刚劲有力。画竹竿以淡墨轻抹，叶以浓墨点出，疏密相间，富有变化，或伴以松、梅、石等，成为“双清”或“三友”。菊花也是他经常入画的题材，伴以岩石，或插以高而瘦的古瓶，与菊花情状相映成趣。菊花多作黄色，亦或作墨菊和红菊。墨菊以焦墨画出，菊叶以大笔泼洒，浓淡相间。\n晚年较多画牡丹，以鲜艳的胭脂红设色，含有较多水分，再以茂密的枝叶相衬，生气蓬勃。荷花、水仙、松柏也是经常入画的题材。\n菜蔬果品如竹笋、青菜、葫芦、南瓜、桃子、枇杷、石榴等也一一入画，极富生活气息。推崇周闲果蔬风格，作品色墨并用，浑厚苍劲，对于近世花鸟画影响深远。\n主要绘画作品：《天竹花卉》《紫藤图》《墨荷图》《五月枇杷图》《杏花图》《花卉十二屏风》《梅花》《花卉四屏》《牡丹》《兰石图》《松石图》《花卉》2幅《紫藤图》《杂画册（之—、二）》《依样》《天香露图》《杞菊延年》《泥盆菊草图》《牡丹图》《牡丹水仙图》《大富贵》《佛像图》《富贵神仙图》《红梅图》2幅《蔷薇芦桔图》《秋艳图》《三千年结实》《人物》《三千年结实之桃》《神仙福寿》《石梅》《石竹图》《松梅图》《岁寒交图》《桃实图》《瓜果》《灯下观书》《姑苏丝画图》等。\n①金石气息：吴昌硕绘画艺术的第一大特色是有金石气息。所谓金石气息，指的就是钟鼎上所铸的金文与刻在石碑上的文字所具有的味道。人们常说谁谁的画作有金石气息，其实这种评论标准都是从吴昌硕的绘画风格出现以后才有的。比如，人们在谈到徐青藤、八大山人时，就从来没有听说过评价他们的画作有金石气息。\n②笔力雄浑：吴昌硕绘画艺术的第二大特色是笔力雄浑。所谓笔力雄浑，指的就是其画作中的笔触朴拙、苍茫、老辣，极具浑圆、雄强的力量感。人们常说吴昌硕绘画的气息很厚、很重，按照书画圈儿里人的说法就是“笔头子”很大。所谓“笔头子”很大，并不是说他用的毛笔很大，而指他笔下的气息非常浑厚，一笔下去，浑金璞玉，力透纸背，又意蕴丰富、气象万千。\n③设色浓丽：吴昌硕绘画艺术的第三大特色是设色浓丽。过去人们总是说中国画不能搞那么多颜色，用太多颜色容易俗气。不过，张俊东却指出，吴昌硕绘画的用墨就特别浓，设色也特别大胆，特别鲜艳和浓丽。比如，吴昌硕画过很多牡丹，很多都是大红大紫的，但是却不会让人觉得俗气，而且非常有文人的那种风骨。所以张俊东认为，中国画设色的关键不在多少，而在谁来用以及怎么去用。\n④富于变化:吴昌硕绘画艺术的第四大特色是笔法和墨法富于变化。这里边又体现在几个方面。张俊东举例介绍说，比如吴昌硕在画菊花时，可以将一朵菊花无论是正面的，侧面的，静态的，动态的，都能画得非常丰富。\n\n书法:\n吴昌硕的楷书，始学颜鲁公，隶习汉代石刻，篆学石鼓文。行书学黄庭坚、王铎。\n吴昌硕书法作品，以篆书、行草为主，晚年所书隶书，结体变长，取纵势，用笔雄浑、饱满，具有篆书痕迹，将篆、隶溶为一体，形成独特面貌。\n吴昌硕的隶书遍临《汉祀三公山碑》《张迁碑》《嵩山石刻》《石门颂》等汉碑。中年以后，博览众多金石原件及拓本，选择石鼓文为主要临摹对象。数十年间，反复钻研，故所作石鼓文凝练遒劲，风格独特。60岁后所书尤精，圆熟精悍。喜将石鼓文字集语书写对联。晚年以篆隶笔法作草书，笔势奔腾，苍劲雄浑，不拘成法。\n\n诗文:\n吴昌硕善作诗文，苦吟数十年，未尝间断。其诗文，奇崛古朴，用典较多，不甚通俗。但有些绝句纯用白描手法，活泼自然，接近口语，具有明丽俊逸的特点，风格上与民歌很相近。有些绝句则活泼自然，接近口语，时含有讽刺意味，抒发生活实感。所作题画诗寄托深远，颇有浪漫主义气息；评论前人书画，尤多独到见地。早年所作五古，有一部分含有讽刺意味，揭露了当时黑暗社会某些不平现象。他的散文作品写得不多，大都是序跋、考证和题画小品之类，写的都很朴质淳厚，平易近人。题画小品中尤多精心之作。发抒生活实感，鞭挞丑恶现象，颇能以少胜多；读时依稀与作者一灯相对，娓娓而谈，意味非常深长。",[23,25,52,101,54,57,7,77,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F28ace95061fde7ae66bb96ebc63b2458.jpg","34.5x138.3cm",[39,147],113,{"id":644,"slug":645,"title":646,"dynasty":191,"author":647,"museum":92,"description":648,"tags":649,"thumbUrl":653,"material":37,"size":654,"collection":147,"collections":655,"showCount":656,"zanCount":11,"manualWeight":11,"mainColor":65},219463,"zhu-bao-ping-an-tu-lu-zhi-219463","竹报平安图","陆治","湖石朴拙矗立，青竹斜曳，叶叶清劲如裁，凌霄花攀缠绽蓝，晕染出柔润鲜活。三只鹌鹑姿态各异，或低首啄食细草，或两两偎依小憩，羽色晕染细腻，绒毛细密宛然。另有枯残秋叶秋意澹澹，衬出庭中一隅的幽寂生机。\n\n此作工写相融，设色雅致恬淡，淡赭底晕开古雅氛围。以幽竹暗合平安意涵，将清秋闲景揉入温润期许，笔致秀逸静美，尽显写生的雅致风神。",[24,25,52,101,28,27,57,7,519,650,651,652,58],"藤蔓","枯叶","杂草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F776f1def841c12e7af55aa92f83b859e.jpg","117.9x43.1",[147],112,{"id":658,"slug":659,"title":660,"dynasty":191,"author":192,"museum":126,"description":661,"tags":662,"thumbUrl":664,"material":117,"size":665,"collection":202,"collections":666,"showCount":667,"zanCount":224,"manualWeight":11,"mainColor":65},220918,"shan-shui-ce-dong-qi-chang-220918","山水册","《仿古山水图》册，明，董其昌绘，8开，纸本，墨笔6开，设色2开，每开纵42cm，横29.6cm，北京故宫博物院藏。\n\n此册画于“戊午”（明万历四十六年，1618年），董其昌时年64岁。墨笔六开，构图缜密，笔笔精到；设色二开，格调高远，艳而不俗，皆极经意之品。从鉴藏印可知，此册为董氏传与其子董祖源珍藏，又经王时敏赏鉴，故应是真笔无疑，可作鉴定之样本。",[23,25,54,73,53,77,78,58,75,195,196,30,7,171,663,304,142],"房屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3477349258756401379299bbf5a6cf8a.jpg","纵26.4cm，横16cm",[202,82],108,{"id":669,"slug":670,"title":545,"dynasty":18,"author":528,"museum":92,"description":671,"tags":672,"thumbUrl":673,"material":284,"size":674,"collection":82,"collections":675,"showCount":676,"zanCount":11,"manualWeight":11,"mainColor":450},220994,"zhu-shi-tu-zhou-yun-shou-ping-220994","图绘湖石一块，呈山字型耸立，边缘以浓墨点缀，棱角坚锐；后侧的一丛竹子杆直修长，以没骨法淡墨绘竹叶微微右倾，似敷上一层薄薄的寒霜；地面杂草数丛，霜后渐以枯败。虽为深秋初冬之时，但画面错落有致，清新自然。",[23,25,101,54,57,7,520,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a1acd4f20c3b94cb797c72d0233bd11.jpg","141x74cm",[82,473],106,{"id":678,"slug":679,"title":680,"dynasty":18,"author":636,"museum":20,"description":681,"tags":682,"thumbUrl":683,"material":118,"size":118,"collection":118,"collections":684,"showCount":685,"zanCount":224,"manualWeight":11,"mainColor":65},235233,"ju-shi-zhou-wu-chang-shuo-235233","菊石轴","此作用笔雄老苍劲，以篆籀之法入画，将金石意趣融于绘事。左侧狂草长题与右侧花木山石虚实相映，通篇气机贯通。泼墨写石，干湿浓墨晕染出嶙峋朴拙之态，淡墨勾菊瓣、浓墨点枝叶，尽显菊花清隽凌霜之姿；下方牡丹设色秾丽饱满，艳而不俗，与寒菊形成雅艳对照。\n\n诗画互衬，借黄英、牡丹寄寓疏狂高逸的襟怀，将文人意趣与世俗审美相融，尽显晚年沉郁浑朴的大写意风骨。",[25,52,101,24,28,54,115,490,7,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84ca9fe70ff6300da429378a633361f7.jpg",[],103,{"id":687,"slug":688,"title":689,"dynasty":124,"author":690,"museum":49,"description":691,"tags":692,"thumbUrl":693,"material":60,"size":694,"collection":39,"collections":695,"showCount":685,"zanCount":11,"manualWeight":11,"mainColor":65},218762,"zhu-shi-ji-qin-tu-wang-yuan-218762","竹石集禽图","王渊","王渊（生卒年不详），字若水，号澹轩，钱塘（今浙江杭州）人。元代后期职业画家，擅画水墨花鸟、竹石、山水等。\n此图又名《花竹禽雀图》，以墨笔描绘园中禽雀栖息翱翔的场景。画面以一雄一雌的两禽为主体，雄禽立于湖石之上，炯炯有神，展现出胸部美丽斑斓的羽毛；辞禽于湖石下仰头回眸。在石后杜鹃盛开、竹枝生长，竹稍鸟群或栖息欲飞、或翻飞腾跃。\n技法上，王渊充分发挥墨彩的效果，通过运用浓淡枯湿的不同墨色，将水墨皴染和细笔勾勒等多种手法相结合，生动写实地表现出湖石、花朵、竹枝、禽鸟的不同质感，呈现出禽鸟的丰富神态，绘画细腻写实，是元代水墨画中的典型作品。",[23,25,24,52,101,54,27,58,57,7,29,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5497a6ceb9b1d521898be3b33cd857fc.jpg","纵137.5 厘米，横59.4 厘米",[39],{"id":697,"slug":698,"title":699,"dynasty":18,"author":546,"museum":20,"description":700,"tags":701,"thumbUrl":703,"material":118,"size":118,"collection":118,"collections":704,"showCount":705,"zanCount":11,"manualWeight":11,"mainColor":43},231002,"song-shi-mu-dan-zhu-da-231002","松石牡丹","苍松顶天立地，老干皴朴嶙峋，松针如戟排布，笔意极简却自带虬劲孤傲之势。玲珑湖石以泼墨晕染，虚实间尽显奇崛冷逸。柔婉牡丹隐于松石缝隙，淡粉轻敷，娇柔花姿与枯硬松石形成强烈反差，艳而不俗，静吐幽芳。\n\n整幅画作以寥寥笔墨勾勒冷寂孤高的格调，将沉郁心境寄于物象，于简淡笔触中藏着磅礴生命张力，把物我合一的禅意融于松石花影之间，静穆里带着疏旷风骨，尽显冷逸疏朗的独特意趣，寥寥数笔便写尽出世孤高的襟怀。",[23,24,25,52,101,54,28,115,76,7,702],"牡丹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9ec2733997ab825ea604ee9dbe4626d.jpg",[],102,{"id":707,"slug":708,"title":709,"dynasty":124,"author":270,"museum":92,"description":710,"tags":711,"thumbUrl":712,"material":284,"size":713,"collection":82,"collections":714,"showCount":705,"zanCount":11,"manualWeight":11,"mainColor":43},220781,"zhu-shi-tu-ye-wu-zhen-220781","竹石图页","吴镇师承方面，于董源、巨然所得最多。其实董源、巨然并不是文人画家，但由于他们生活在江南，表现江南山川，创造了平淡天真、苍茫浑厚的山水画风，恰到好处地表现了山川之气韵，这种气韵正是宋代以后文人画家所梦寐以求的。从米芾开始，董巨画风开始受到青睐，延及赵孟頫、元四家，董巨画风大受推崇，整个元代山水画坛大多以董巨为依归，力求韵外之致。吴镇对董巨是下过很深的功夫的，他自己说：“董源画《寒林重汀图》，笔法苍劲，世所罕见，因观其真迹，摹其万一。”",[23,24,25,54,73,53,57,7,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefe30f4d3ae723c1fb823e512d8473ef.jpg","本幅 90.6x42.5公分、全幅 61.3公分",[82,473],{"id":716,"slug":717,"title":718,"dynasty":18,"author":636,"museum":20,"description":719,"tags":720,"thumbUrl":722,"material":723,"size":724,"collection":118,"collections":725,"showCount":726,"zanCount":224,"manualWeight":11,"mainColor":65},235133,"ju-shi-tu-zhou-wu-chang-shuo-235133","菊石图轴","吴昌硕（1844年8月1日—1927年11月29日），初名俊，又名俊卿，字昌硕，又署仓石、苍石，多别号，常见者有仓硕、老苍、老缶、苦铁、大聋、缶道人、石尊者等。浙江省孝丰县鄣吴村（今湖州市安吉县）人。晚清民国时期著名国画家、书法家、篆刻家，“后海派”代表，杭州西泠印社首任社长，与厉良玉、赵之谦并称“新浙派”的三位代表人物，与任伯年、蒲华、虚谷合称为“清末海派四大家”。\n他集“诗、书、画、印”为一身，融金石书画为一炉，被誉为“石鼓篆书第一人”、“文人画最后的高峰”。在绘画、书法、篆刻上都是旗帜性人物，在诗文、金石等方面均有很高的造诣。正如北京大学教授、引碑入草开创者李志敏所说：“与同时代艺术大家比，吴昌硕是承前启后、比较全面的一位巨匠。” 吴昌硕热心提携后进，齐白石、王一亭、潘天寿、陈半丁、赵云壑、王个簃、沙孟海等均得其指授。 1927年11月29日，吴昌硕逝于上海寓所。\n吴昌硕作品集有《吴昌硕画集》《吴昌硕作品集》《苦铁碎金》《缶庐近墨》《吴苍石印谱》《缶庐印存》等，诗作集有《缶庐集》。",[25,101,35,115,28,490,7,721],"栅栏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee122e684142d4f2b96c49a249c633f3.jpg","未知","Xcm*Xcm",[],100,{"id":728,"slug":729,"title":730,"dynasty":191,"author":192,"museum":126,"description":731,"tags":732,"thumbUrl":733,"material":307,"size":734,"collection":202,"collections":735,"showCount":736,"zanCount":224,"manualWeight":11,"mainColor":65},220908,"mo-juan-chuan-yi-tu-dong-qi-chang-220908","《墨卷传衣图》","《董其昌墨卷传衣图轴》是明代画家董其昌创作的一幅水墨画。\n本幅自识：“己丑南宫墨卷五策，为好事者所藏，得岸上人袖以示予。\n风檐仓卒，书道殊劣，何烦碧纱笼袭之三十五年也。",[23,25,54,101,73,75,30,663,7,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62a079cbefa1eeb6917c512cd94e24bd.jpg","纵101.5厘米，横46.3厘米",[202,147],99,{"id":738,"slug":739,"title":740,"dynasty":18,"author":741,"museum":742,"description":743,"tags":744,"thumbUrl":746,"material":60,"size":747,"collection":202,"collections":748,"showCount":736,"zanCount":11,"manualWeight":11,"mainColor":65},218109,"xin-an-yi-yun-ce-jian-jiang-hua-he-hong-ren-218109","新安逸韵册(渐江画壑)","弘仁","香港中文大学文物馆","郑旼的 《新安逸韵图册》 是他的代表作之一，也是他的最后一部作品。这本书由三卷组成，收录了郑旼创作的大量诗歌、书法作品和图画。《新安逸韵图册》的内容丰富，涵盖了许多不同的题材，如自然风光、人物生活、历史故事等。\n\n郑旼在 《新安逸韵图册》 中结合了文字、图画和韵律，创造出了一种独特的艺术形式。他的诗歌融合了中国传统的五言绝句和七言律诗的形式，并加入了自己的创新和个人风格。郑旼的书法作品也颇具特色，他善于运用自然的笔法，使字体看起来更加流畅和优美。\n\n郑旼的 《新安逸韵图册》 被认为是一部杰出的艺术作品，对中国的文学、艺术和文化发展都产生了重要的影响。它不仅是郑旼的代表作，也是中国文学史上的一座里程",[25,52,53,54,73,75,195,7,200,198,197,171,745],"老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F026f3ed0fcf766add4fd6fec99669fa3.jpg","30.6x20.7cm",[202],{"id":750,"slug":751,"title":752,"dynasty":191,"author":753,"museum":126,"description":754,"tags":755,"thumbUrl":760,"material":761,"size":762,"collection":118,"collections":763,"showCount":764,"zanCount":85,"manualWeight":11,"mainColor":43},233748,"yu-dong-xian-yuan-tu-zhou-chou-ying-233748","玉洞仙源图轴","仇英","画面奇峰峻岭，苍松翠柏，琼楼水阁，溶洞流溪，云烟缥缈其间，山壑或隐或现。溪水潺湲的溶洞前，一隐士临流盘膝，停琴静坐，侍童们忙着煮茶、端盘、陈设古玩，俨然人间仙境。这类隐逸题材作品十分多见，而仇英在幽美宁静的意境中表现了一种明快的情调，健康的意趣，在同类作品中颇具特色。\n作品取景宏阔，结构严整，层次清晰，布局有序，景物繁杂而不拥塞，人物虽小但刻画精细，位置突出，反映出画家在驾驭复杂场景、安排主从次序方面精深的造诣。此图用大青绿设色，细劲的线条勾勒轮廓，浓艳的石青石绿渲染山石，同时融以细密的皴法，追求色调的和谐，在宗法南宋青绿山水大家赵伯驹的基础上有所变化，代表了仇英青绿山水的典型画风。",[25,52,101,28,27,756,75,95,444,141,142,217,757,197,758,248,759,304,200,7,30],"青绿","山洞","山石","建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F705c7a9ce596ceca751a614dbc006b66.jpg","绢本，设色","纵169厘米，横65.5厘米",[],98,{"id":766,"slug":767,"title":768,"dynasty":210,"author":769,"museum":770,"description":771,"tags":772,"thumbUrl":774,"material":459,"size":775,"collection":118,"collections":776,"showCount":777,"zanCount":134,"manualWeight":11,"mainColor":65},221396,"bai-lian-she-tu-quan-juan-zhang-ji-221396","白莲社图全卷","张激","辽宁省博物馆","该画运用连环画的形式，描绘了东晋元兴年间，高僧惠远在庐山东林寺同18位贤士建白莲社专修净土法门，并与陆修静、陶渊明、谢灵运相善故事。\n全卷主要描绘了经筵会讲、金像赞佛、笺经校义三个情节，全图共分八段，绘高僧名士19人，僮仆12，采用的是李公麟开创的白描手法，树和山石的线条极富质感，枝叶多用尖笔鹰爪法，苍劲挺秀。人物淡墨须眉，浓墨点睛，神采毕现。图中还画了虎、豹、驯鹿等动物，并表现了驯服怡悦的神态，突出了高僧文士们的神秘生活状态，画作整体表现出清淡、高洁、幽雅的风格。",[23,25,26,55,54,773,95,75,30,7,142,248,622,58],"宗教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedeaf58a1fb7e1565730651e19bdb961.jpg","纵34.9厘米，横848.8厘米",[],97,{"id":779,"slug":780,"title":781,"dynasty":191,"author":782,"museum":20,"description":783,"tags":784,"thumbUrl":785,"material":118,"size":118,"collection":118,"collections":786,"showCount":787,"zanCount":224,"manualWeight":11,"mainColor":65},234215,"chen-qin-zhu-lan-ju-shi-juan-chen-qin-234215","陈芹竹兰菊石卷","陈芹","陈芹，生于1515年，卒年不详。字子野，号横崖，上元（南京）人，为安南国（越南）王后代，永乐年间来中国避战乱。擅长绘画，山水花卉竹枝均能，传世作品有《为佩庭作竹石图》（现藏故宫博物院）、《修篁文石图》（现藏南京博物馆）等。工书法，师钟繇，二王，尤善章草。《自书诗》行书册古雅畅达，妍媚洒脱，含章草意态。",[23,24,25,52,26,54,78,77,57,282,490,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb05f0ec9be94c42d09d7d995a4450e60.jpg",[],95,{"id":789,"slug":790,"title":791,"dynasty":210,"author":792,"museum":20,"description":793,"tags":794,"thumbUrl":795,"material":118,"size":118,"collection":104,"collections":796,"showCount":797,"zanCount":11,"manualWeight":11,"mainColor":164},228895,"bai-miao-fo-xiang-di-san-zun-zhe-li-gong-lin-228895","白描佛像第三尊者","李公麟","此作用笔兼具铁线之刚劲与游丝之柔韧，行云流水般勾勒出尊者清癯沧桑的风骨。眉峰微蹙垂目凝神，仿佛正于幽林静悟禅机，沉静淡然的禅意溢于眉眼之间。衣褶线条随体态利落转折，纱罗布料的垂坠轻薄之感呼之欲出，将静坐的松弛动态尽显。旁侧挺劲棕榈与层叠奇石，以淡墨轻擦晕染，寥寥数笔铺陈出空山幽寂的林下氛围。整幅以白描立骨，不施浓艳敷色，尽显素雅古拙的韵致，将禅家内敛沉静的气度融于笔墨，尽显清雅文人意趣。",[23,25,52,101,55,773,95,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01b0cb0ff09215be2d518fb581eea61d.jpg",[104],92,{"id":799,"slug":800,"title":801,"dynasty":124,"author":125,"museum":126,"description":802,"tags":803,"thumbUrl":804,"material":37,"size":805,"collection":39,"collections":806,"showCount":807,"zanCount":224,"manualWeight":11,"mainColor":43},220342,"mu-yu-zhu-tu-li-kan-220342","沐雨竹图","自宋以来，梅、兰、竹、菊被士大夫称为“四君子”，象征“清高”“幽洁”“虚心”“隐逸”“气节”等精神品格。当社会危机、民族危机严重时，一些知识分子无力抗争，在孤愤与绝望中把情感寄托于笔墨，通过高度净化了的形式，表现这几种植物的品性，以喻君子的傲骨和高风。入元以后，“四君子”画不但更为兴盛，而且在思想情感的表现上更加丰富和深刻，笔墨情趣也更加讲究。特别是墨竹，用笔单纯简洁、挥洒自由，具有书法的意态，引起了士大夫的强烈兴趣。",[25,52,101,54,27,57,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcead2e46dbd68e83194ae99afee9827.jpg","纵111.5厘米，横55 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由此可见画家的绘制初衷和生活情趣。",[23,25,52,53,54,28,75,35,57,7,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba6888d1d28a0071d48ff437e6713a55.jpg",[],89,{"id":819,"slug":820,"title":821,"dynasty":18,"author":822,"museum":92,"description":823,"tags":824,"thumbUrl":825,"material":117,"size":118,"collection":202,"collections":826,"showCount":827,"zanCount":11,"manualWeight":11,"mainColor":65},237200,"shan-shui-zhu-shi-ce-wang-hui-237200","山水竹石册","王翚","王翚（1632-1717），子石谷，号耕烟散人，清晖主人等，江苏常熟人。幼即嗜画，年二十师事王鉴，复经王鉴引荐，师王时敏。王时敏尽出家藏，与之临摹，相与参究，他的摹古能力在清六家中首屈一指。除擅长山水之外，偶亦画花鸟竹石。王翚在艺术实践中能排除门户之见，综合南北之长，汲取诸家技法，冶为一炉，形成自家风格。他的作品章法变化多，墨笔和青绿皆精，山石树法清润秀雅，风格清逸秀丽。王翚60岁时奉康熙帝诏赴京师，任绘制《康熙南巡图》主笔。历经六年，完成了12卷总长达半华里的历史巨作。康熙帝赐“山水清晖”四字。遂自号“清晖主人”。从此“声名震海内”，追随者甚众，为“虞山派”之开山祖，有“画圣”之誉。",[25,52,53,54,73,75,57,7,142,200,305],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62b1714e7de95ce32a4f24548178bde6.jpg",[202,82],86,{"id":829,"slug":830,"title":831,"dynasty":210,"author":242,"museum":92,"description":832,"tags":833,"thumbUrl":835,"material":761,"size":836,"collection":221,"collections":837,"showCount":827,"zanCount":11,"manualWeight":11,"mainColor":43},221527,"ban-qiao-ta-xue-tu-ma-yuan-221527","板桥踏雪图","为第六次南巡携行的作品，御题诗纪年“甲辰”，应作于闰三月间回銮途经的扬州一带。题诗末两句的“题者能画复能诗，蒙古岂无人中玉”，所指即为右方题诗者伯颜不花。他正是约十日前乾隆皇帝品题《古壑云松》一图的作者，故有“题者能画复能诗”之句。\n此画左下角“河中马远”出于后添，观察画中岩块造型、人物轮廓、衣褶勾勒习惯、树木出枝角度等部分，应出自明代马轼（活动于十五世纪前、中期）手笔。此作也确实表现出马远绘画的风格特色，难怪乾隆皇帝视之为马远佳作。",[23,25,52,245,101,54,73,28,195,7,30,141,95,572,834,158],"古道","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff64c80c128d68b8d7648d74f28226a8.jpg","纵99cm，横59.1cm",[221,202,82],{"id":839,"slug":840,"title":841,"dynasty":191,"author":842,"museum":126,"description":843,"tags":844,"thumbUrl":847,"material":761,"size":848,"collection":104,"collections":849,"showCount":850,"zanCount":11,"manualWeight":11,"mainColor":43},222404,"shu-xia-du-shu-tu-zhou-hui-wu-wei-222404","树下读书图轴绘","吴伟","画面内容表现的是传统的隐逸耕读题材，一位中年文士耕牧之余在树下休憩，展卷读书，自得其乐。明中期以后政治日益腐败，科举仕途之路充满了不确定性，因此不少文人产生了遁世思想，选择远离官场的闲适生活。吴伟一生两度出入宫廷，对官场和民间都有着深刻的体会，此类题材多次出现在他的笔下。此作用笔潇洒劲健，多以侧锋运笔，锋芒毕露。",[25,24,52,101,54,28,95,75,30,7,29,845,846,73,57],"水面","读书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F55d957810554b12e18958dc85525c172.jpg","纵168厘米，横105厘米",[104,82],85,{"id":852,"slug":853,"title":854,"dynasty":18,"author":855,"museum":20,"description":856,"tags":857,"thumbUrl":858,"material":118,"size":118,"collection":118,"collections":859,"showCount":860,"zanCount":11,"manualWeight":11,"mainColor":43},230220,"zhu-lin-qi-xian-tu-yu-ling-230220","竹林七贤图","俞龄","茂林修竹围出一方幽隐天地，清溪穿林而过，山石错落间，贤士们各寻幽趣：或凭栏低语，或临流浣漱，或围坐弈棋，或卧于松石间静听竹涛。淡墨写竹虚实相生，将林下清寂晕染开来，人物衣袂飘然，神态闲散疏朗，尽显放旷超脱的魏晋风神。\n\n整幅画面疏密相宜，把林泉高致与雅集之乐相融，笔墨简淡却意韵悠长，将先贤寄身丘壑、不逐尘俗的襟怀凝于绢素，让千年前的林下风流历历在目。",[23,25,52,28,27,95,75,57,7,395],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00aacaf067d0373a0657f73de52f1401.jpg",[],84,{"id":862,"slug":863,"title":680,"dynasty":18,"author":636,"museum":20,"description":719,"tags":864,"thumbUrl":866,"material":723,"size":724,"collection":118,"collections":867,"showCount":868,"zanCount":11,"manualWeight":11,"mainColor":65},235448,"ju-shi-zhou-wu-chang-shuo-235448",[24,25,52,101,28,54,35,490,7,865,78,58],"篆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f37afbc0963a70bb464cc5b3b11d679.jpg",[],82,{"id":870,"slug":871,"title":872,"dynasty":124,"author":291,"museum":92,"description":873,"tags":874,"thumbUrl":875,"material":876,"size":877,"collection":202,"collections":878,"showCount":879,"zanCount":11,"manualWeight":11,"mainColor":65},220786,"song-lin-ting-zi-zhou-ni-zan-220786","松林亭子轴","《松林亭子图》为倪瓒54岁时所作，画上落款时间为至正十四年（1354）初冬。在1354年前后，倪瓒的生活因元末社会动荡而发生一系列变化。“至正八年（1348）台州黄岩方国珍起义，至正十一年红巾军起义，十三年张士诚起兵泰州⋯⋯至正十二年，元军与红巾军在太湖流域大战，无锡、苏州等地处于战火硝烟之中，倪瓒避兵于甫里南渚陆玄素家。”元政府的苛捐杂税没有因为战争而消减，反而有愈演愈烈之势。朱德润在《平江路问弭盗策》中叙述了当时赋税的繁重：“科征之际，枷系满屋，鞭挞盈道，直至生民困苦，饥寒迫身。至于酒课、盐课、税课，比之国之初增至十倍。”倪瓒本人也于至正六年（1346）在《馀不溪咏并续》中叹道：“余既为农畎亩，身依稼穑。复而政繁，奔走州里。”倪瓒在兄长去世后，田亩赋税的豁免权随之消失，加之对生活品质的追求，用度豪奢，重赋剥削，也逐渐品尝到生活的重压。于是，在战火与课税中，倪瓒选择变卖田产，弃家逃避兵火之灾。\n《松林亭子图》，现藏于台北故宫博物院，绢本墨画，纵83.4厘米，横52.9厘米，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。”倪瓒的跋文交代了创作的时间，受画者，以及创作的主题。",[23,25,52,101,54,73,75,248,76,30,7,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F154da39d40c4ed54cede808d8b666499.jpg","绢","276x74.5cm",[202,82],80,{"id":881,"slug":882,"title":883,"dynasty":210,"author":419,"museum":92,"description":884,"tags":885,"thumbUrl":887,"material":37,"size":888,"collection":221,"collections":889,"showCount":890,"zanCount":224,"manualWeight":11,"mainColor":43},220217,"zhu-shi-shuang-lu-tu-yi-ming-220217","竹石双鹭图","整幅画面以留白营造幽远意境，右下拳石嶙峋，丛竹攒簇，墨色苍润，枝叶带风自含山野清趣。两只白鹭一动一静，一者振翅掠空，翎羽舒展灵动，一者徐行浅滩，身姿安然闲适，动静相映，愈发衬出水面空寂无波。\n\n淡墨轻勾汀渚细草，浅染出水泽清浅之态，赭色绢底晕开初夏郊塘的温润氛围。笔致秀雅清润，不施浓艳，以极简物象铺陈出悠远禅意，将塘间幽寂之美收揽尺幅，观之如临静塘，暑意尽散，尽显雅致空灵的宋人意趣。",[23,25,24,52,27,28,35,57,7,886,29,58],"鹭鸟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2bf49cc778c3c4eb41b7d150d5f1c280.jpg","31.4x28.1",[221],78,{"id":892,"slug":893,"title":894,"dynasty":124,"auth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中，这三只羊是象征着繁荣的重要元素，也是艺术家用来传达历史意义和文化价值的重要工具。",[25,24,897,27,28,506,56,57,7,411],"元代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F102a2a7077a6eff7a42cc886854ac759.jpg","163.5x100cm",[39],77,{"id":903,"slug":904,"title":905,"dynasty":124,"author":324,"museum":92,"description":906,"tags":907,"thumbUrl":908,"material":234,"size":909,"collection":118,"collections":910,"showCount":911,"zanCount":224,"manualWeight":11,"mainColor":65},231340,"zhu-shi-tu-yuan-dai-ji-jin-zhi-yi-zhao-meng-fu-231340","竹石图－元代集锦之一","此幅赵孟頫《枯木竹石》画中书法的笔法，比之于其它常见的名件，本件在画石的“飞白法”，由于画石是都用中锋的圆笔，犹如“玉箸篆”的笔画，行笔安稳，并无强烈的快速感，显不出“飞白法”。这也兼见于画枯木条的笔法。画竹为新篁，出锋锐利如新硎发刃，从“结叶”的方法如“燕尾”、如“个”，及棘条圆体感，比之于其它备件，如同为台北故宫藏大德三年（1299己亥，为杨安甫作）的《疏林秀石》最为接近。本件《枯木竹石》款：“子昂为成之作”，书风与印记：“赵子昂印”，也是相同。真品应无疑义。因此，本件可定为1299年作。就元代论，画竹尚是注重生态，若比之于同时期的李衍（1244年-1320年），赵孟頫如“燕尾”、如“个”的竹叶结组，重视笔趣远高于自然生态。更由于纸张稍熟，吸墨性不强，对岩石的渲染加强了块面感与浑厚的端重。吴升《大观录》记此画：“竹则掩翠稍寒，柯则若虬蟠形古，气韵奕奕。”安仪周：“水墨作怪石平坡，细竹棘革，笔墨气韵兼美。”是对整体画作气息的描述。\n存世的赵孟頫“古木竹石”这一类题材尚多。横向发展的兰竹画，存世的几件作品，都是“中央为准”，两旁再布置。这一当门的大石，也正是“石如飞白”的标志。大有一石当关，昂扬于天地之间。这从前举台北故宫藏《疏林秀石》（《宋元集绘册》第四开）；《无款竹木》（《宋元集绘册》第十一开）；北京故宫藏《秀石疏林》；克利夫兰馆的《竹石幽兰》（为善夫），再加以本件《枯木竹石》均是如出一辙的布局。即使换成是轴装直件，以北京故宫藏《古林竹石》，中央立石最为标准。至若台北故宫《窠木竹石》；王己干旧藏《枯树竹石》，画中立石都可做如此观。这种同样的布局，一再出现，意味着什么呢？或许这是庭园、郊野一角的即景？\n就竹的题材，从赵孟頫的题款常写道“为口口作”，表示元代以来，画家常用之以为投赠。这因笔砚间，画竹画兰便利。对于“竹”的意识，赵孟頫在他的《松雪斋集》《修竹赋》：“虚其心实其节，贯四时而不改柯易叶。则吾以是观君子之德。”表意是相当传统。画竹配上的“石”，赵孟頫的诗文里，未见有所指示。再以虞集咏《子昂竹石》：“数尺琅开近玉阶，连昌宫苑少人来。庚庚苍石如人立，恐有题名上紫苔。”的“庚庚苍石如人立”，“庚庚”是坚强，也将石拟人化，还是与“观君子之德”相同了。",[25,52,54,73,57,7,171,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fb050c2489317ffbfaa32479f5913e8.jpg","纵99．4厘米，横48．2厘米",[],75,{"id":913,"slug":914,"title":915,"dynasty":191,"author":192,"museum":92,"description":916,"tags":917,"thumbUrl":918,"material":459,"size":919,"collection":202,"collections":920,"showCount":911,"zanCount":11,"manualWeight":11,"mainColor":65},220944,"shi-deng-fei-liu-zhou-dong-qi-chang-220944","石磴飞流轴","石磴飞流图是董其昌72岁时游昆山玉峰山途中在船上所画，此时他刚辞去南京礼部尚书回乡。这幅作品为董氏艺术成熟期的作品，虽不是他一生众多画作中最重要之作，但却是“以笔墨精妙论山水不及画”的笔墨论实践之作。\n董其昌自22岁学画，到中年时期与陈继儒联手反对“吴门”末学之俗，开创并打造儒雅的松江画派，“与古人血战”，临仿了大量古画后，在晚年更加注重笔墨表现，注重内心表达。他用极高的书法造诣，以“南宗”自诩，追求“一超直入如来地”之境，把绘画视为笔墨游戏。",[23,25,52,101,54,73,77,78,75,7,142,217,200,171,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fda8d74c54c52559b8ba3589a42552e.jpg","147.1×55.8cm",[202,82],{"id":922,"slug":923,"title":924,"dynasty":191,"author":925,"museum":20,"description":926,"tags":927,"thumbUrl":928,"material":723,"size":724,"collection":118,"collections":929,"showCount":930,"zanCount":11,"manualWeight":11,"mainColor":43},234705,"lan-ying-sun-di-he-hua-zhu-shi-shan-ye-lan-ying-234705","蓝瑛、孙杕合画竹石扇页","蓝瑛","蓝瑛（1585-1664），一说（1585-约1666），明代杰出画家，字田叔，号蝶叟，晚号石头陀、山公、万篆阿主者、西湖研民，又号东郭老农，所居榜额曰“城曲茅堂” ，钱塘（今浙江杭州）人，是浙派后期代表画家之一。\n工书善画，长于山水、花鸟、梅竹，尤以山水著名。其山水法宗宋元，又能自成一家。师画家沈周，落笔秀润，临摹唐、宋、元诸家，师黄公望尤为致力。晚年笔力蓊苍劲，气象峻嶒，与文征明、沈周并重。作品有：《秋山红叶图》《江皋话古图》《白云红树图》《松岳高秋图》《苍岩嘉树图》等，其画派在晚明影响甚大，传其画法者甚多。",[25,52,407,54,73,57,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F119a1b06275fa3ac945a043c4ba8219d.jpg",[],74,{"id":932,"slug":933,"title":934,"dynasty":191,"author":935,"museum":126,"description":936,"tags":937,"thumbUrl":938,"material":939,"size":940,"collection":39,"collections":941,"showCount":930,"zanCount":11,"manualWeight":11,"mainColor":450},222444,"kong-que-tu-zhou-lin-liang-222444","孔雀图轴","林良","图绘雌雄孔雀一双，立于石上，旁有修竹数竿。\n孔雀是自然界鸟类中羽毛色彩最为绚丽的一种，是生活在南方的禽鸟，古代在北方除去皇宫御苑几乎无人能够豢养，寻常百姓更是无缘得见，因此这一题材本身即透露出宫廷气息。\n与众多以工笔重彩表现孔雀的作品相比，林良此作纯用水墨，用笔粗简，仅在孔雀的头颈和尾羽处作精致的勾勒，充分发挥了“墨分五色”的丰富变化，使黑白的水墨也产生出缤纷绚丽的夺目效果。伴以竹石为背景，愈增添了清雅野逸的意趣。",[23,25,52,101,54,115,35,33,57,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fec841a14c5d417972a86639dc89581e2.jpg","绢本，墨笔","纵155.3厘米，横78厘米",[39,82],{"id":943,"slug":944,"title":945,"dynasty":210,"author":946,"museum":947,"description":948,"tags":949,"thumbUrl":950,"material":761,"size":951,"collection":221,"collections":952,"showCount":930,"zanCount":224,"manualWeight":11,"mainColor":43},221680,"song-shan-xing-lv-tu-li-shan-221680","松杉行旅图","李山","美国弗瑞尔美术馆","图中一排劲松顶天立地，犹如一天然屏嶂，背景雪山寒雾之中，隐现雪竹、庭院、溪流，立意别出心裁，技法有北宋李成画风的迹象。",[23,24,25,52,101,54,73,75,76,7,95,141],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93a9d7a7b39ad254c492ab8c13f18c80.jpg","163.6*107.2CM",[221,202,82],{"id":954,"slug":955,"title":956,"dynasty":124,"author":957,"museum":92,"description":958,"tags":959,"thumbUrl":961,"material":130,"size":962,"collection":104,"collections":963,"showCount":930,"zanCount":11,"manualWeight":11,"mainColor":65},216952,"mi-tuo-fo-xiang-zhang-wo-216952","弥陀佛像","张渥","这幅弥勒佛烧香招蝠是竹园二年的张渥题写的，不是真迹，更接近明末人物画家的风格。",[25,52,28,27,773,95,216,353,7,143,960,58],"书籍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4241a4efd980f7cd16dde56a1e854820.jpg","87.5x30.4",[104],{"id":965,"slug":966,"title":967,"dynasty":210,"author":792,"museum":556,"description":968,"tags":969,"thumbUrl":970,"material":60,"size":971,"collection":39,"collections":972,"showCount":973,"zanCount":11,"manualWeight":11,"mainColor":450},218998,"xuan-ya-le-ma-tu-li-gong-lin-218998","悬崖勒马图","墨线如铁线缠枝，于素绢上勾勒出悬崖边的瞬间张力。骏马昂首奋蹄，鬃毛飞扬间似有嘶鸣溢出，前蹄悬于虚空的刹那，被笔锋精准定格。牵马者衣袂飘举，身姿微倾间与马同承风势，腕间缰绳若有若无，却牵住满幅屏息时刻。悬崖皴擦淡远，衬得人马动态愈显鲜明。宋画雅致不止静穆，更在这动中藏定的禅意——勒马非止控身，更是收心。素绢留白恰是心绪回旋余地，墨色浓淡间，见画者以线塑魂的功力，亦见宋代文人对“止”与“悟”的哲思，笔端藏锋，意韵悠长。",[24,25,52,101,55,54,572,95,57,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff787966bf24640bcbb1304f1af0dc9ca.jpg","纵44.7横24.8cm",[39],73,{"id":975,"slug":976,"title":977,"dynasty":18,"author":546,"museum":20,"description":978,"tags":979,"thumbUrl":982,"material":983,"size":118,"collection":118,"collections":984,"showCount":985,"zanCount":11,"manualWeight":11,"mainColor":65},234129,"hua-hui-tu-juan-zhu-da-234129","花卉图卷","清代初期的中国画坛活跃着弘仁、髡残、朱耷、石涛四位僧人画家，画史上合称“四僧”。他们的绘画在继承传统的基础上，大胆创新，主张师法自然造化，与当时画坛正统风格相距甚远，具有鲜明的艺术风格。在这四人当中尤以朱耷的人生与艺术最具传奇色彩。\n朱耷（1626—1705），江西南昌人，为明江西宁献王朱权的九世孙。明亡后出家为僧，法名传綮，曾经使用的号有很多，最为著名的则是在他弃僧还俗后使用的“八大山人”。\n朱耷的绘画以水墨为多，用笔恣意纵横，浑厚酣畅，花鸟画成就突出。他在学习陈淳、徐渭等前代写意大家的同时，在绘画实践中逐渐突出用笔奇峭，构图险怪，造型夸张的特点，形成了强烈的个人风格，对后世的写意花鸟画发展产生了深远的影响。在他的花鸟画作品中，现收藏于天津博物馆的《河上花图》可谓精品中的精品。",[23,25,54,26,115,57,282,7,597,980,520,981],"果实","蜂巢","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F488c99931bac41583c1af07fdb126a07.jpg","纸本，水墨",[],72,{"id":987,"slug":988,"title":989,"dynasty":18,"author":48,"museum":49,"description":50,"tags":990,"thumbUrl":991,"material":60,"size":61,"collection":118,"collections":992,"showCount":985,"zanCount":224,"manualWeight":11,"mainColor":65},214675,"mei-hua-zhu-shi-tu-ce-12-wang-shi-shen-214675","梅花竹石图册-12",[25,52,53,54,115,56,7,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F93ec7eecf547d551a2e8aa111aaf5500.jpg",[],{"id":994,"slug":995,"title":996,"dynasty":191,"author":997,"museum":126,"description":998,"tags":999,"thumbUrl":1000,"material":307,"size":1001,"collection":39,"collections":1002,"showCount":1003,"zanCount":11,"manualWeight":11,"mainColor":65},221894,"mei-shi-tu-zhou-chen-hong-shou-221894","梅石图轴","陈洪绶","本幅署款“老蓮洪綬畫于柳莊”。钤“蓮白衣”。\n是图以古拙奇特的造型绘拳石耸立，旁伴一株被截去诸多枝干的老梅树，树上几朵梅花绽蕾展瓣。构图简约洗练，并注重物象间的相互衬托与对比。画石用线勾出圆润的外形，再以淡墨渲染。画梅则用浓、枯墨笔勾勒，线条古拙方硬，具金石韵味，体现了老梅饱经沧桑的古木气息。\n清内府《石渠宝笈》著录。",[23,25,52,101,54,56,171,745,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ccbca84501d57cd1d024bcd73a8d609.jpg","纵115.2厘米，横56厘米",[39,82],70,{"id":1005,"slug":1006,"title":1007,"dynasty":210,"author":419,"museum":49,"description":1008,"tags":1009,"thumbUrl":1013,"material":355,"size":1014,"collection":118,"collections":1015,"showCount":1016,"zanCount":134,"manualWeight":11,"mainColor":43},223525,"ge-le-tu-yi-ming-223525","歌乐图","《歌乐图卷》描绘了南宋宫廷歌乐女伎演奏、排练的场景。画面中九位女伎、一位老乐官和二位女童于庭院中一字排开，手持笛、鼓、排箫、琵琶等多种乐器。画中人物均穿着南宋时期的典型服饰：九位女伎身材修长，穿着红色窄袖背子，高髻上饰以角状配饰；男性乐官佩戴朝天幞头，女童则戴簪花幞头。此卷所绘的人物及场景是南宋社会文化生活的生动写照。\n在技法上，《歌乐图》设色细腻鲜艳，用笔精细而能够随物应形，通过不同的笔法表现不同物象的特定质感，如衣纹流畅、竹叶劲挺、树石沉雄，写实且富于意趣。画面构图疏朗简洁，节奏感强，整体上呈现出相当高的艺术水平。而以歌乐女伎为表现题材的作品在南宋人物画中极为少见，具有相当高的历史、艺术价值。\n画面右侧为一棵棕榈树，树干以淡墨晕染，树叶双钩，并填以石绿色，上层的树叶以树身为轴呈对称状；地面上点缀了几丛花草，草叶以没骨写意法画出，地面上白色的小花以浑点点出；地面局部晕染石青，并勾勒有平行的水平线表现地面质理。画面左侧的配景，靠右边为太湖石和竹丛的组合，地面点缀花草，花草的描绘方式与右侧配景中的花草一致。太湖石的轮廓线比较粗犷、写意，石面以石青晕染，局部施以皴擦表现质理。太湖石后的竹子，竹竿和竹叶双钩，中间几株竹竿以石青晕染。太湖石和后面的竹丛也呈中轴对称状。左边有一段栏杆，栏杆后绘有一棵盛开着白色花朵的树，似为梨树，树干双钩，树身晕染，树叶为瓜子形点叶，白色的花瓣以椭圆形的点进行表现，画面美感十足。\n画中所绘九女子，皆披褙子外衣，此服饰出现于北宋年间，流行于南宋时代。在河南禹县白沙一号北宋墓壁画《伎乐图》，和传世的南宋《瑶台步月图》页中都可见到。此外，女子梳高髻并簪有三朵花状饰物的发式与南宋《瑶台步月图》页和《荷亭儿戏图》页中的女子发式相近。图中另二个女孩装扮官员样，所戴直脚幞头也是宋时官帽样式。另一位手抱琵琶的男艺人，穿圆领窄袖袍衫，戴曲脚幞头，与河北宣化辽墓壁画《散乐图》中的吹乐艺人相同。从此图人物的服饰和幞头考察，有宋制和辽制混合的形迹。",[23,25,52,26,28,27,95,96,424,1010,57,30,7,348,352,100,1011,143,1012],"乐器","发饰","棕榈树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88da24574fef71de8346deb557e6bfd1.jpg","25.5x158.7厘米",[],69,{"id":1018,"slug":1019,"title":1020,"dynasty":210,"author":1021,"museum":1022,"description":1023,"tags":1024,"thumbUrl":1026,"material":37,"size":1027,"collection":118,"collections":1028,"showCount":1029,"zanCount":224,"manualWeight":11,"mainColor":164},218603,"wu-bai-luo-han-zhi-shou-hu-shu-jin-tu-zhou-ji-chang-218603","五百罗汉之受胡输赆图","周季常","波士顿美术馆","画面的上半部分是五个罗汉在云中行走，身后是由松柏树组成的瀑布，而下半部分是一个长鼻黑眼的胡人骑着骆驼，手里拿着一个珊瑚，另一个胡人负责拉着骆驼。风景和人物是用柔和的细线画出来的，使其生动而自然。北周庾信的《哀江南》写道。西边的大厅用浮玉覆盖，南边的大厅用羽毛覆盖。武秦与越阴，荆燕与楚舞。这就是为什么后来经常用 西厅南隅 的说法来指代来自四面八方的贡品的朝拜。这幅图像和面向山姆的竹林图像都是献宝的图像，而且都显示了非汉族人的打扮，如身穿红袍、打扮成金人的骆驼手。",[23,25,52,101,773,28,95,27,7,1025],"器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a32d2b58935d5585c6c8a74a79b2ef4.jpg","110.5x52.0",[],67,{"id":1031,"slug":1032,"title":1033,"dynasty":18,"author":70,"museum":20,"description":1034,"tags":1035,"thumbUrl":1036,"material":118,"size":118,"collection":39,"collections":1037,"showCount":1038,"zanCount":11,"manualWeight":11,"mainColor":65},237535,"yuan-ji-zhu-shi-tu-zhou-shi-tao-237535","原济竹石图轴","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。",[25,52,101,54,115,73,57,7,58,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F042b55af991c313cd4588dd0d5c88465.jpg",[39],66,{"id":1040,"slug":1041,"title":1042,"dynasty":210,"author":1043,"museum":20,"description":1044,"tags":1045,"thumbUrl":1046,"material":118,"size":118,"collection":118,"collections":1047,"showCount":1038,"zanCount":11,"manualWeight":11,"mainColor":43},227943,"xi-que-ye-tu-tu-li-yong-227943","喜鹊野兔图","李永","此作用笔工细兼具写意，清幽雅致尽显宋画意趣。坡岸之上两只野兔灵动憨态毕现，一只抬耳警觉张望，耳尖绒毛根根分明，一只俯身啮草，蓬松皮毛质感逼真鲜活。\n\n右侧古木虬曲苍劲，枝桠疏朗间两只喜鹊顾盼对鸣，啾啾啼声似破郊野静谧，动静相映成趣。整幅以留白衬出郊野空寂清旷，草木山石朴拙苍润，将林间一隅的灵动瞬间定格，把自然意趣融于笔墨之间，恬淡悠然，尽显鸟兽形神兼备的精妙写实功底，将郊野闲情尽数铺陈。",[23,24,25,52,27,28,411,29,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19cfe887d378e40901d42db72d3de1e7.jpg",[],{"id":1049,"slug":1050,"title":1051,"dynasty":18,"author":1052,"museum":92,"description":1053,"tags":1054,"thumbUrl":1055,"material":37,"size":1056,"collection":104,"collections":1057,"showCount":1058,"zanCount":134,"manualWeight":11,"mainColor":43},219391,"qu-juan-gui-wen-shan-shui-tu-huang-ying-chen-219391","祛倦鬼文山水图","黄应谌","庭院凉亭中一人坐打瞌睡，亭外似一人迤迤然而来，带着奇异的氛围，却原来是倦鬼。作者于清顺治庚子（1660）春日画明申时行（1535-1614）〈袪倦鬼文〉文意，并书写原文于幅上。文中叙述整理手稿时，常因困倦而荒废数月，而前人有「困意则鬼入之」之说，乃撰文驱逐倦鬼，却于打瞌睡间见倦鬼前来说明如本身神定而无移，鬼又如何能入侵之理，因有所领悟，并表示感谢。",[25,52,24,28,27,75,95,248,76,7,56],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ed4e0d57e2761d2ab147a7ee51a2f7e.jpg","163.8x219cm",[104],64,{"id":1060,"slug":1061,"title":1062,"dynasty":210,"author":1063,"museum":20,"description":1064,"tags":1065,"thumbUrl":1069,"material":118,"size":118,"collection":118,"collections":1070,"showCount":1071,"zanCount":11,"manualWeight":11,"mainColor":43},227489,"ting-qin-tu-li-zhou-zhao-ji-227489","听琴图立轴","赵佶","徽宗一朝，在中国绘画发展历史上具有重要意义。熟悉徽宗宫中艺事的邓椿在《画继》中载徽宗之言：“朕万几余暇，别无他好，惟好画耳。”赵佶以皇帝之尊提倡绘画，广招天下贤士进翰林图画院，提高院画家地位，并将“画学”前所未有地纳入科举的轨道，中国绘画的职业化至此达至极盛。",[23,25,52,101,28,27,95,76,57,1010,58,350,1066,1067,1068,7],"琴桌","盆栽","衣帽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F305792b178f52b137d5657051444750f.jpg",[],63,{"id":1073,"slug":1074,"title":1075,"dynasty":191,"author":1076,"museum":92,"description":1077,"tags":1078,"thumbUrl":1079,"material":130,"size":1080,"collection":147,"collections":1081,"showCount":1071,"zanCount":224,"manualWeight":11,"mainColor":65},219301,"xi-yuan-tu-zhu-zhan-ji-219301","戏猿图","朱瞻基","此图画水石间，大小三猿嬉戏。石上一黑猿怀抱幼子，子猿伸臂似在争要什么，情态娇憨可爱。树上另一只黑猿拿着一枝花果，欲投又止，似在戏逗。石周围长着细竹秀草，石下边溪水潺潺。 [1] 图中洋溢著温馨亲子之情，寓有崇尚人伦之意。画猿得宋易元吉神韵，背景之竹丛苇草、荆棘枇杷，线条自然流利。山石皴法圆润，得董巨遗韵。整幅画构图中正和谐，与宣宗皇帝雍容大度，颇能呼应。",[24,25,52,28,27,408,411,57,7,142],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66456e94601929135286fec127ea8bba.jpg","纵162.3厘米，横127.7厘米",[147],{"id":1083,"slug":1084,"title":1085,"dynasty":18,"author":70,"museum":20,"description":1086,"tags":1087,"thumbUrl":1090,"material":118,"size":118,"collection":118,"collections":1091,"showCount":1092,"zanCount":224,"manualWeight":11,"mainColor":43},228982,"liu-xi-xing-zhou-tu-shi-tao-228982","柳溪行舟图","此作诗书画印浑然相融，尽展林泉野致。山峦以皴擦互用，写就岩崖苍厚嶙峋，林麓间山居藏隐，藏露之间暗合幽栖雅意。\n溪湾扁舟轻漾，独棹的渔翁将画面意趣引向空濛烟水，板桥连缀溪谷，荒草苍松点染其间，朴茂苍劲。笔墨干湿浓淡交叠，带着萧散旷达的文人心性，把丘壑烟岚的清寂诗意落于笔底，将文人山水的诗境与画韵揉合为一，尽显幽远空疏的林下风致。",[23,25,54,73,101,52,78,75,1088,1089,141,142,76,7,520,95],"柳","舟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa88ee2c58c5ce1b367e94b44021285a3.jpg",[],62,{"id":1094,"slug":1095,"title":1096,"dynasty":191,"author":419,"museum":20,"description":1097,"tags":1098,"thumbUrl":1105,"material":118,"size":118,"collection":118,"collections":1106,"showCount":1107,"zanCount":134,"manualWeight":11,"mainColor":43},234932,"ming-ren-xia-jing-huo-lang-tu-zhou-yi-ming-234932","明人夏景货郎图轴","这张画描绘了一位乔装打扮的冷饮博士在皇宫花园里为一位年轻的桑亚西倒冰饮。茶壶上的龙雕表明这不是一个普通的家庭，或者说明朝的御用画家为适应某些场景而绘制了皇帝的御用造型，比如今天的 "角色扮演"，皇帝、嫔妃、公主和小王子都是演员。",[25,28,27,95,217,348,99,1025,1099,1100,1101,1102,7,520,1103,1104],"儿童","妇女","男性","货郎担","灌木","地面植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab8a6a7974ea6f9fa050bef2d57c5eda.jpg",[],61,{"id":1109,"slug":1110,"title":111,"dynasty":124,"author":1111,"museum":770,"description":1112,"tags":1113,"thumbUrl":1114,"material":234,"size":1115,"collection":82,"collections":1116,"showCount":1107,"zanCount":224,"manualWeight":11,"mainColor":43},221805,"zhu-shi-tu-li-shi-xing-221805","李士行","水墨画坡石重叠，三竿晴竹顶天立地，旁傍拳石，丛篁荆棘掩映衬托。竹叶疏密偃仰有致，显出微风乍起有向上飘举之势。石皴圆润，存董、巨遗法。余图浓淡虚实，笔笔相应，同笔自然灵活稳健，墨色偏淡层次分明。画心左侧行书署：“蓟丘李士行遵道作”款。左下角钤梁清标、临圣斋收藏印证。李士行(1282—1328)，字遵道，号黄岩，河北蓟丘人是名画家李衔的长子。诗歌、书画除力承家学之外，又得赵孟頫和鲜于枢之指授，善画山水，以所画大明宫图入晃仁宗嘉奖其能。画竹石枝叶挺秀，得写生妙趣。此图墨竹画法纯出李衔，披石大披麻皴，有别于乃父之渴笔渲染。现藏辽宁省博物馆。",[23,25,54,101,57,7,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2ecc7ea8f565c5eebab3e747c307003.jpg","画心纵170、横92.3厘米",[82,473],{"id":1118,"slug":1119,"title":1120,"dynasty":18,"author":48,"museum":49,"description":50,"tags":1121,"thumbUrl":1122,"material":60,"size":61,"collection":118,"collections":1123,"showCount":1107,"zanCount":11,"manualWeight":11,"mainColor":65},214681,"mei-hua-zhu-shi-tu-ce-7-wang-shi-shen-214681","梅花竹石图册-7",[24,25,52,53,54,56,7,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c58016e3a0117c9d9116da534e212db.jpg",[],{"id":1125,"slug":1126,"title":1127,"dynasty":191,"author":753,"museum":126,"description":1128,"tags":1129,"thumbUrl":1132,"material":761,"size":1133,"collection":202,"collections":1134,"showCount":1135,"zanCount":134,"manualWeight":11,"mainColor":43},222221,"nv-le-tu-zhou-chou-ying-222221","女乐图轴","此图是一幅工笔重彩仕女画，表现的是贵族女子各执乐器，在殿宇前的地毯上配乐演奏的情景。周围站立三位女子，或侧耳倾听，或低声言谈，巧妙地营造出“听”的动感氛围。通过此图可见贵族女性在演奏时愉悦的心境，以及她们闲适高雅的游乐生活状态。",[23,24,25,52,101,27,28,1130,95,96,1131,444,352,1010,30,7],"界画","仕女","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16ed4eecc82d33b7ef91154d2d5b82d1.jpg","纵145.5厘米，横85.5厘米",[202,147],59,{"id":1137,"slug":1138,"title":1139,"dynasty":18,"author":528,"museum":92,"description":1140,"tags":1141,"thumbUrl":1142,"material":284,"size":1143,"collection":39,"collections":1144,"showCount":1135,"zanCount":224,"manualWeight":11,"mainColor":450},220982,"wu-qing-tu-zhou-yun-shou-ping-220982","五清图轴","恽寿平为人敦厚，个性孤介洒脱，不愿应试科举，以卖画为生，过着与世无争的日子，气节和人品相当受人敬重，而他的画也如他的人品一样，具有高洁不流俗的风格。五清指的是松、竹、梅及水、月。松柏经霜雪而不凋谢，竹子以其有节空心，代表君子的节操与虚心；梅花不畏风霜，愈冷愈开花，是品格坚贞的写照；而水与明月更是清澈透明、洁白无瑕的象征，所以合称「五清」，自古以来就常被用来比喻君子的德行。君子才德兼备，有高风亮节的情操，和「贫贱不能移，富贵不能屈」的志节，是社会上值得尊敬的人。这幅画，恽寿平以五清来代表君子，构图简单，分为三段，上段画老松由右横斜至左，明月高挂当空，中段则有梅花盛开，伴着青翠绿竹；下段流水潺潺。款识「辛酉初秋南田寿平制」，是恽寿平四十九岁的作品。笔墨多变，有的墨色饱含水份，有的枯干焦浓。有的先湿后枯，先浓后淡，墨趣丰饶。用笔温文柔和，呈现一种平和宁静的气氛，就像他所敬重的谦谦君子一般",[23,25,101,28,76,56,57,7,610,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F870f71bba414a2c44d511dc3af19b001.jpg","86.1x38.4",[39,147],{"id":1146,"slug":1147,"title":1148,"dynasty":124,"author":291,"museum":1149,"description":1150,"tags":1151,"thumbUrl":1153,"material":117,"size":1154,"collection":82,"collections":1155,"showCount":1135,"zanCount":11,"manualWeight":11,"mainColor":65},220805,"yun-shi-qiao-ke-tu-zhou-ni-zan-220805","筠石乔柯图轴","美国克利夫兰艺术博物馆","此画用笔变中锋为侧锋，折带皴画山石，枯笔干墨，淡雅松秀，意境荒寒空寂，风格萧散超逸，简中寓繁，小中见大，外落寞而内蕴激情。树杆上挂满了细繁的藤蔓垂条，图中的篁竹属于倪瓒墨竹中叶尖向上的新篁画法，颇见功力。画面一如倪瓒一贯呈现的风格：构图简洁，干笔皴檫，意境清远萧疏。",[23,25,101,54,73,57,7,30,1152,58],"枯藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e4ba73df5db160da5171569d0a459b0.jpg","横67.3厘米，横36.8厘米",[82,473],{"id":1157,"slug":1158,"title":1159,"dynasty":191,"author":1160,"museum":20,"description":1161,"tags":1162,"thumbUrl":1166,"material":118,"size":118,"collection":39,"collections":1167,"showCount":1168,"zanCount":11,"manualWeight":11,"mainColor":43},236618,"gui-shi-lan-zhi-zhou-chen-can-236618","桂石兰芝轴","陈粲","陈粲名，1524年出生，国籍中国，是 万历间画家，代表作是春景鸳鸯图。\n陈粲名（1524～？）明代万历间画家。\n字长倩，一字兰谷，号雪庵、道光、雪谷子，长洲 （今江苏苏州）人。\n万历间以善花鸟闻名于时。\n传世作品有《春景鸳鸯图》轴，绢本，设色，纵17.4厘米，横82.7厘米，现藏 ；《桂石兰芝图》轴，绢本，设色，纵11.2厘米，横49厘米，藏故宫博物院；万历四十三年(1615)作《兰竹图册》著录于《 》。",[25,52,101,28,27,35,1163,7,1164,282,99,758,1165],"桂","灵芝","明代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63ab0a3d62a43789402ff3fa5ee685e5.jpg",[39,147],58,{"id":1170,"slug":1171,"title":1172,"dynasty":124,"author":1173,"museum":92,"description":1174,"tags":1175,"thumbUrl":1176,"material":28,"size":1177,"collection":39,"collections":1178,"showCount":1168,"zanCount":224,"manualWeight":11,"mainColor":65},221743,"gu-he-yun-song-tu-zhou-ba-yan-bu-ha-221743","古壑云松图轴","巴颜布哈","该幅构景很突出，苍松高耸，峰岭出于云表。\n笔墨颇具文人画的趣味。\n【规格】该幅12242.2公分；全幅6公分 【收藏】 主题与关键字：松、云 石渠宝笈续编（乾清宫），第一册，页51 故宫书画录（卷五），第三册，页194 故宫书画图录，第五册，页1-14 巴颜布哈（生年不详，卒于公元一三五九年），元史列传作伯颜不花的斤。\n蒙古人，姓畏吾儿氏，高昌王的孙子。\n字苍巖，号苍崖。\n是元朝大书法家鲜于枢的外甥。\n作官至江东廉访副使。\n通晓音乐，以画龙出名。",[23,25,52,101,54,73,75,76,304,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6532dd4672785d8ba523288a0bcec6ec.jpg","122x42.2公分",[39,82],{"id":1180,"slug":1181,"title":1182,"dynasty":124,"author":1183,"museum":126,"description":1184,"tags":1185,"thumbUrl":1186,"material":939,"size":1187,"collection":82,"collections":1188,"showCount":1168,"zanCount":11,"manualWeight":11,"mainColor":43},221697,"you-huang-xiu-shi-tu-zhou-gu-an-221697","幽篁秀石图轴","顾安","署款“东淮安定之”。下钤“顾定之印”等印3方。画幅左侧有明代张绅题记。\n此图绘数竿青竹在清风晨露中绰约多姿的体态。顾安在创作上力求表现竹子“清且真”的物态风神。“清”是指竹子不卑不亢、清高脱俗的内在品性，它是元代文人画家所追求向往的君子品德；“真”是指竹子清瘦隽逸、披霜戴雪的外在形貌，强调竹画艺术的写实精神。图中所绘之竹以淡墨写竿，浓墨画叶，深浅墨色虚实互衬，加强了画面层次感，扩展了空间。竹叶的画法遵循赵孟頫所倡导的“写竹还须八法通”的原则，熟练地以书法的“捺”法起笔收笔，叶根及叶尖皆见笔锋，写出其错落参差、披离偃仰之态。图中的湖石以墨、色点染，具有玲珑剔透之美，也映衬出竹之秀润娴静。全图以简洁的笔墨营造出“无穷出清新”的清逸意境。\n此卷原藏清宫内府，宣统年流入民间，为徐石雪所收藏，解放后捐献给国家文物局。文物局于1957年4月27日将它拨交故宫博物院。",[23,25,101,54,27,73,57,7,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd1e2953593c979f764e7fe4b77b7f4bc.jpg","纵184cm，横12cm",[82,473],{"id":1190,"slug":1191,"title":1192,"dynasty":191,"author":1193,"museum":126,"description":1194,"tags":1195,"thumbUrl":1196,"material":130,"size":1197,"collection":39,"collections":1198,"showCount":1168,"zanCount":11,"manualWeight":11,"mainColor":65},216096,"yun-gen-cong-xiao-tu-ye-wang-fu-216096","云根丛篠图页","王绂","本幅墨笔画坡石丛竹，左边款：”王绂“。印”孟端“朱方，乾隆对题一页。有安岐、项子京藏印三方。",[23,25,54,78,58,77,53,57,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4f6f8338035b5d4699fea149d00afb4.jpg","纵26.2cm，横29.5cm",[39],{"id":1200,"slug":1201,"title":1202,"dynasty":191,"author":842,"museum":49,"description":1203,"tags":1204,"thumbUrl":1210,"material":60,"size":1211,"collection":104,"collections":1212,"showCount":1213,"zanCount":11,"manualWeight":11,"mainColor":65},219405,"tie-di-tu-wu-wei-219405","铁笛图","《铁笛图》表现的是一位文人雅士饮酒作歌的场景。画面的背景为古松森森、四寂无人的僻静之处；画的当中为一文士，焚香而坐，手端酒杯，其态陶然欲醉；侧边有一侍女，双手棒着一支尺许铁笛。此画技法精湛，松树以浓墨描画而成，令人一睹之下有雄健劲硕之感；画中人物线条流畅，神态毕肖，奇逸潇洒，分外动人。",[25,52,55,95,217,7,1205,1206,1207,1208,1209,1010,58],"笔","墨","纸","砚","扇子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e37d0c161bcf80421932b82d79808e2.jpg","纵32.1厘米，横155.4厘米",[104],56,{"id":1215,"slug":1216,"title":1217,"dynasty":18,"author":1218,"museum":126,"description":1219,"tags":1220,"thumbUrl":1221,"material":60,"size":1222,"collection":202,"collections":1223,"showCount":1213,"zanCount":11,"manualWeight":11,"mainColor":65},218390,"fang-ni-yun-lin-xi-ting-shan-se-tu-wang-jian-218390","仿倪云林溪亭山色图","王鉴","图绘秋湖静水、疏林远岫的江南风景。王鉴一生推崇元人倪瓒自然淳雅的画面，乐此不疲地到处找寻其画作并且加以临摹，仅仿倪氏的《溪亭山色图》就有数件之多，此图是其中最有代表性的一幅。从一河两岸式的构图到山石树枝的方折用笔，再到以淡墨层层擦染的施墨法，均可见作者晚年对倪氏画风的摹仿已达到炉火纯青的窘境。",[23,25,54,75,73,347,195,196,248,30,171,142,216,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe03d588fe722f33791954b625b63098.jpg","纵81.3厘米，横51.2厘米",[202],{"id":1225,"slug":1226,"title":1227,"dynasty":124,"author":1228,"museum":378,"description":1229,"tags":1230,"thumbUrl":1231,"material":1232,"size":1233,"collection":104,"collections":1234,"showCount":1235,"zanCount":134,"manualWeight":11,"mainColor":43},221862,"xian-xian-tu-juan-zhao-yong-221862","先贤图卷","赵雍","赵雍，字仲穆，吴兴（今浙江湖州）人，元代书画家，赵孟頫之子。擅山水画，尤精人物鞍马，亦作界画。书法善长正书，行书，草书和篆书，精通鉴赏。",[23,25,52,26,28,27,95,75,572,30,7,1068],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8403e17bbe756dab1b941b50b1cce0ba.jpg","纸本设色","纵29.3厘米，横208.7厘米",[104,147],55,{"id":1237,"slug":1238,"title":1239,"dynasty":18,"author":741,"museum":20,"description":1240,"tags":1241,"thumbUrl":1242,"material":723,"size":724,"collection":118,"collections":1243,"showCount":1244,"zanCount":11,"manualWeight":11,"mainColor":65},237962,"hong-ren-shan-shui-ye-hong-ren-237962","弘仁山水页","弘仁（1610—1663年），俗姓江，名韬，字六奇，出家后释名弘仁，号渐江学人，又号无智、梅花古衲，安徽歙县人。明亡后入武夷山为僧，云游各地后回歙县，住西郊太平兴国寺和五明寺，常往来于黄山、白岳之间。善画山水，早年从学于孙无修，中年师萧云从。其画取法元代倪瓒、黄公望，构图洗练简逸，笔墨苍劲整洁，善用折带皴和干笔渴墨。他重视师法自然，善画黄山、武夷山诸景，传达山川之美，意境伟峻秀逸，“得黄山之真性情”，与石涛、梅清同成为“黄山画派”的代表人物。在安徽与查士标、孙逸、汪之瑞并称“海阳四家”，形成“新安派”。同时，与石涛、八大、髡残合称“清初四僧”。",[25,54,73,53,75,195,7,30,171,218],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b3848dc7a70e5c11a9d7c7ea91e38be.jpg",[],54,{"id":1246,"slug":1247,"title":1248,"dynasty":18,"author":1249,"museum":20,"description":1250,"tags":1251,"thumbUrl":1255,"material":118,"size":118,"collection":118,"collections":1256,"showCount":1244,"zanCount":11,"manualWeight":11,"mainColor":43},234249,"bai-shou-tu-hua-yan-234249","百兽图","华嵒","华喦[yán]，清朝人。他生于康熙，卒于乾隆，经历“康乾盛世”，却一生贫苦。\n他年轻时因被乡绅羞辱，拒绝他为宗族祠堂作画。他一气之下，连夜在祠堂墙壁上画下高山云鹤、水国浮牛、悬崖青松、倚马题诗四幅画作，然后愤然离乡出走。\n他中年辗转于江南各地，与“扬州八怪”交往密切，成为扬州画派的代表人物，传世佳作皆被世人奉若珍宝。\n他晚年书、画、诗俱全，被称为“三绝”，人物、花鸟走兽、山水自然无不精通，终成一代名家。乃至后来者如吴昌硕、齐白石、徐悲鸿等大师也学习他绘画技法。\n在这里要特别提到的是，他笔下的画作，和别的艺术大师有些不同。\n嵒，通“岩”。华喦，人如其名。他的艺术成就如同山峰一般耸立在清代画坛，令无数后来者敬仰。自古以来善画走兽者甚多，但很少有人能画出百兽图。因此珍藏于北京故宫博物院的一幅《百兽图》便显得格外珍贵，它的作者便是华喦。\n此作为长卷画作，画面自右向左依次出现狗、牛、羊、马、鹿、狼、虎、猴、熊等动物，而一头老虎位居画面正中却面露囧态。画面中的动物们被华喦描绘的生动传神，栩栩如生，各具亮点。每一处局部独立展示便是一幅小品佳作，而纵览全画便犹如置身深山老林之中，处处散发着自然的生命力。\n画面最右侧，首先映入眼帘的是人类生活中常见的狗、牛、羊、马。\n接下来画面中来到河畔旁的草地上，一众动物在枫叶美景中悠闲地嬉戏打闹，但河对岸一只麋鹿正此刻正和一只灰狼对峙，凭添了几分紧张的气息。\n镜头继续向左转移，一只老虎在山坡的另一侧独自矗立。虽说老虎是百兽之王，可它此刻的面部表情却十分窘迫，甚至引得巨石上的猴子驻足观看。想来应该是它在头疼这森林的管理问题吧。\n随着我们的视角不断向左深入，画面中山石林立，藤叶纷飞，显得更加原始。而这里的主角变成了一群热闹的猴子，和两只争食的黑熊。\n整幅画作的最左侧，两只大黑熊在互相夺食，而另一只小黑熊却呆在山洞里悠闲地睡着懒觉，顿时令观者啼笑皆非。\n值得一提的是，华喦这幅《百兽图》除开陆地上生活的一群动物外，空中无鸟，水中无鱼。本应威武凶狠的老虎虽出画面正中心，却毫无威仪感，甚至显得有些窘迫。不知作者当时为何会如此创作。",[23,25,26,28,27,73,75,411,1252,1253,30,7,31,29,1254,506,409],"猴","牛","犬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd8e66486eac6115b5e7d13a3b541fdc.jpg",[],{"id":1258,"slug":1259,"title":1260,"dynasty":90,"author":1261,"museum":92,"description":1262,"tags":1263,"thumbUrl":1265,"material":160,"size":1266,"collection":202,"collections":1267,"showCount":1268,"zanCount":11,"manualWeight":11,"mainColor":43},231050,"dong-tian-shan-tang-tu-dong-yuan-231050","洞天山堂图","董源","《周凯画集》是 1998年出版的图书，作者是周凯。\n《周凯画集》为周凯画集，内容分为重彩丹青、浅绛水墨、书法三大部分。\n重彩丹青 1 秋瘤湖边 2 翠谷鸣泉 寺后小国 4 香港，永受嘉福 5 香港青马大橘 6 香港山顶缆车 7 山城 8 门神 9 喜盈盈 1 仰卧的女人体 11 卖水果人家 12 天下共此时一一深圳“世界之窗” 1 14 化生童子 15 五层塔 16 菩萨与罗汉 17 阁楼中的女孩 18 水乡市井 19 飞天 2 有井的圆楼 21 明王 22 围城 2 菩萨与伎乐 24 秋帆南下 25 树阴下的女人体 26 门外秋山 27 双龙与鳖 28 带水塔的山村 29 苍崖 幽谷轻绡 1 置庭园 2 蓝色的夜曲 丙寅二月 4 玄牝之灵 5 帝裔之乡 6 青绿山水 7 红色山水 8 深山萧寺 9 离堆 4 根 41 崖 浅绦水墨 42 屑屑山水秀 4 寒峰插天 44 峰峭余翠 45 明，陆治诗意 46 幽壑叠泉 47 魏·曹植游仙诗诗意长卷 48 清人诗意 49 扶桑轫暾 5 洞天神工 51 陶冶性灵 52 帖石防殴岸 5 蕉下读书图 54 束晋·庾阐观石鼓诗诗意手卷 55 云散峭峰 56 水村山郭（四季条幅之春） 57 前峰一夜两（四季条幅之夏） 58 秋来风雨知多少（四季条幅之秋） 59 暮景千山雪（四季条幅之冬） 6 君子之求 61 唐·柳宗元诗意 62 鹞 6 元·钱舜举诗意 64 林泉高致闽 65 烟岚圆 66 鶸冠花 67 临王蒙春山读书图 68 仿山水图 69 唐·刘长卿诗意 7 双矶圆 71 临董源洞天山堂图 72 水墨山水 7 临李唐万壑松风图 书法 74 唐·杜甫论诗七绝三首 75 唐·李白梦游天姥吟留别诗 76 画禅室随笔一则 77 南田论画一则 78 世说新语二则",[25,52,75,101,54,28,73,195,304,1264,76,200,248,7,141,142],"洞","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4a4de7bd1f0b9c7318084670f1579b8.jpg","183.2x121.2",[202],53,{"id":1270,"slug":1271,"title":1272,"dynasty":124,"author":1111,"museum":49,"description":1273,"tags":1274,"thumbUrl":1275,"material":1276,"size":1277,"collection":82,"collections":1278,"showCount":1268,"zanCount":11,"manualWeight":11,"mainColor":43},221804,"ku-mu-zhu-shi-tu-zhou-li-shi-xing-221804","枯木竹石图轴","绘枯木一棵，两枝树杆粗壮，枝杈繁多，恣意生长；树旁巨石耸立，棱角圆润；右侧淡墨绘一棚细竹，竹叶修长秀美，生机勃勃。李士行，字遵道，元代画家，善山水，尤工竹石更妙。绢本。墨笔。 此图绘古木两棵，形态苍古。树石的用笔遒劲深厚，皴染稠密。细枝勾勒形似蟹爪。笔墨苍劲磊落。",[23,25,52,24,101,54,74,57,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa68d8fcc18ebecda8e22a95bd2ea3474.jpg","绢本，水墨","170x52cm",[82,473],{"id":1280,"slug":1281,"title":1282,"dynasty":124,"author":1283,"museum":92,"description":1284,"tags":1285,"thumbUrl":1287,"material":60,"size":1288,"collection":39,"collections":1289,"showCount":1290,"zanCount":11,"manualWeight":11,"mainColor":43},219360,"wan-xiang-gao-jie-tu-ke-jiu-si-219360","晚香高节图","柯九思","此图描述了“石如飞白木如籀，写竹应须八法通”，是元代画家赵孟頫为柯九思《墨竹图》题写的诗句的情景。画面的主要表现是精竹秀石，还有野菊花作点缀。 此图以菊花“晚香”之意，竹子节高，故有晚香高节之画意。",[24,25,54,115,73,57,7,490,520,1286,58],"题跋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff64ea458d2092b5764321504018ff651.jpg","126.5厘米，横75.2厘米",[39],51,{"id":1292,"slug":1293,"title":111,"dynasty":18,"author":1294,"museum":1295,"description":1296,"tags":1297,"thumbUrl":1298,"material":1299,"size":1300,"collection":118,"collections":1301,"showCount":1302,"zanCount":11,"manualWeight":11,"mainColor":65},222832,"zhu-shi-tu-luo-pin-222832","罗聘","南京博物院","以浓淡二墨写竹竿枝叶，水墨撇脱，随意挥洒，以浓淡枯润的变化，尽现竹之风致意态，有云雾迷潆之感。画意空灵湿润。小溪之畔，怪石嶙峋，以干笔湿墨勾染点皴，色泽凝重，富有体积感。",[23,25,52,101,54,55,57,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f5e50e2e41066cad8b00a5868c52fa2.jpg","立轴，纸本，墨笔","纵121.8厘米，横58.8厘米",[],49,{"id":1304,"slug":1305,"title":1306,"dynasty":191,"author":842,"museum":126,"description":1307,"tags":1308,"thumbUrl":1312,"material":160,"size":1313,"collection":202,"collections":1314,"showCount":1302,"zanCount":11,"manualWeight":11,"mainColor":43},220048,"song-xi-yu-chui-tu-wu-wei-220048","松溪渔炊图","作者曾浪迹江湖为职业画家，“独乐与山人野夫厚”，熟悉下层人民的生活。所绘渔乐、栖憩、耕读等内容亦多取自现实生活，人物形象质朴，环境真实，境界自然，极少文人隐逸画中的理想化色彩，此图即为一例。图绘远山如屏，水烟渺茫，近景山崖峭壁，老松虬曲，溪岸泊船，一翁低头吹管助燃炉火，具有浓郁的世俗生活气息。此图画法主要从南宋马远、夏圭而来，取一角之景，大斧劈皴山石，大片水墨渲染水面，人物衣纹方劲简练，笔锋迅疾外露。而笔墨和线条独具的粗劲力度、纵放气息，整幅画作表现的野逸之趣、透露出的反雅谐俗之气，则是吴伟的自家特点。",[23,25,52,101,1309,115,73,75,76,247,571,1310,142,195,7,1311,200],"水墨画","渔者","渔乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca684d170fa22ada9ad227d0c7d3f78f.jpg","纵122.8厘米，横75厘米",[202,104],{"id":1316,"slug":1317,"title":111,"dynasty":124,"author":324,"museum":92,"description":1318,"tags":1319,"thumbUrl":1320,"material":160,"size":1321,"collection":118,"collections":1322,"showCount":1302,"zanCount":11,"manualWeight":11,"mainColor":65},214362,"zhu-shi-tu-zhao-meng-fu-214362","这幅画用枯木、竹子和石头画成，用笔既写实又有书法的趣味，最初的记录是元代一位无名艺术家的作品。竹子的画风与他夫人管道昇的画风比较相似，而石头和干木头是赵孟頫自己的，所以不清楚这幅画是否是他们夫妇的合作。",[23,24,25,52,54,53,57,7,171,58,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F926a3adbd17609f8effa8e71d46a7253.jpg","26.6x52.2",[],{"id":1324,"slug":1325,"title":1326,"dynasty":124,"author":1327,"museum":49,"description":1328,"tags":1329,"thumbUrl":1330,"material":1331,"size":1332,"collection":202,"collections":1333,"showCount":1334,"zanCount":224,"manualWeight":11,"mainColor":43},219740,"dian-shan-song-bie-tu-li-sheng-219740","澱山送别图","李升","李升（生卒年不详），元代画家。字子云，号紫筼生。濠梁(今安徽凤阳)人。晚年居青浦(今属上海)淀山湖畔，筑草堂，人称“谪仙”。擅墨竹，喜作窠石平远山水，颇有清趣。",[25,26,54,73,75,30,7,304,196,571,663,77,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d099573b441bf66cceba505e064a29f.jpg","水墨,纸本","23×68.4cm",[202],48,{"id":1336,"slug":1337,"title":1338,"dynasty":191,"author":1339,"museum":92,"description":1340,"tags":1341,"thumbUrl":1343,"material":130,"size":1344,"collection":104,"collections":1345,"showCount":1334,"zanCount":11,"manualWeight":11,"mainColor":43},216950,"sao-xiang-tu-cui-zi-zhong-216950","扫象图","崔子忠","扫荡的形象是扫荡的相，在禅宗的文本中可以找到。这是崔子忠的真迹，用笔有趣，与陈洪绶和吴彬相似。",[25,28,27,95,1342,30,7,1025,773],"象","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8f7d57a096db0018e4ff62346b76960.jpg","101.2x53.3",[104],{"id":1347,"slug":1348,"title":1349,"dynasty":18,"author":546,"museum":390,"description":1350,"tags":1351,"thumbUrl":1352,"material":80,"size":1353,"collection":39,"collections":1354,"showCount":1355,"zanCount":11,"manualWeight":11,"mainColor":65},238040,"song-lu-tu-zhou-zhu-da-238040","松鹿图轴","朱耷（约1626年—约1705年），号八大山人，又号雪个、个山 、入屋、驴屋等，入清后改名道朗， 字良月，号破云樵者。汉族，南昌（今属江西）人 。明末清初画家，明亡后削发为僧，后改信道教 ，住南昌青云谱道院。绘画以大笔水墨写意著称，并善于泼墨，尤以花鸟画称美于世。在创作上取法自然，笔墨简炼，大气磅礴，独具新意，创造了高旷纵横的风格。",[25,52,101,54,115,73,76,409,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9244ade8ce785509d3cb147daa31bcce.jpg","182cmx88cm",[39],47,{"id":1357,"slug":1358,"title":1359,"dynasty":18,"author":500,"museum":20,"description":1360,"tags":1361,"thumbUrl":1363,"material":118,"size":118,"collection":118,"collections":1364,"showCount":1355,"zanCount":11,"manualWeight":11,"mainColor":65},230207,"hong-li-guan-he-fu-qin-tu-zhou-lang-shi-ning-230207","弘历观荷抚琴图轴","《弘历观荷抚琴图轴》是 的一幅画。\n本幅无作者款识。\n随着明末清初的“西学东渐”之风，一些欧洲画家开始在清代宫廷供奉。\n一方面，他们接受中国传统绘画方式，采用中国笔墨颜料和纸绢作画，另一方面，他们依然坚持西洋绘画技法中的透视原则，在作品中着意表现物体的体积、质感、明暗、投影乃至倒影。\n此幅虽未署作者名款，实由意大利画家郎世宁主绘，中国画家补画山水背景。\n画中乾隆皇帝身着汉装，临湖抚琴，远处高山流水，喻其襟怀心境。\n作者不仅通过高超的技巧和精准的透视画法成功地表现出水边亭台的立体感和通透感，而且将建筑整体复杂的结构和各个构件的细部都交代得一清二楚，细腻的笔触与富于变化的色彩将原木立柱和屋顶青石瓦片的肌理与质感描绘得精微而生动。\n从此图中可以看到郎世宁运用焦点透视手法，按照一定的规律将所见到的屋宇移于画幅，成功地在二维平面画幅上真实地表现出多维空间，与传统中国界画描绘空间的手法完全不同。",[23,101,28,27,75,95,248,1362,76,32,1010,7,29],"荷花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd20e9e842214efa4753ba1dbdbe1e410.jpg",[],{"id":1366,"slug":1367,"title":1368,"dynasty":191,"author":1369,"museum":20,"description":1370,"tags":1371,"thumbUrl":1373,"material":723,"size":724,"collection":118,"collections":1374,"showCount":1375,"zanCount":11,"manualWeight":11,"mainColor":65},235797,"zhu-shi-shui-xian-tu-shan-chen-chun-235797","竹石水仙图扇","陈淳","陈淳（1483年—1544年），字道复，后以字行，更字复甫，号白阳，又号白阳山人，长洲（今江苏苏州）人，明代绘画大师。\n陈淳少年作画以元人为法，深受水墨写意的影响。他的写生画，一花半叶，淡墨欹毫，自有疏斜历乱之致。他的有些作品，所画质朴，可以看出受沈周画法的影响， 从他现存作品中即可见风格和用笔，既能放得开，又能收得住。他能诗文，擅书法，尤精绘画。陈淳与徐渭并称白阳、青藤。陈氏少年作画工细，中年后笔法放纵，自立门户。陈淳从师文徵明，在其门下声誉最高。擅长写意花卉，其作品虽表现一花半叶，却淋漓疏爽，深受当时文人士大夫的赞赏；他是继沈周、唐寅之后对水墨写意花鸟画的发展作出了重要贡献的画家。",[25,52,407,54,35,57,7,1372,58,115],"水仙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16dff079fbf4e388d791315f264fcf06.jpg",[],46,{"id":1377,"slug":1378,"title":1379,"dynasty":210,"author":1380,"museum":126,"description":1381,"tags":1382,"thumbUrl":1383,"material":355,"size":1384,"collection":221,"collections":1385,"showCount":1375,"zanCount":85,"manualWeight":11,"mainColor":43},221560,"su-wu-mu-yang-tu-li-di-221560","苏武牧羊图","李迪","李迪（生卒年不详），南宋画家，河阳（今河南孟州南）人。供职于孝宗、光宗、宁宗三朝画院。擅写生，花鸟、竹石、走兽皆精，亦作山水小景。大幅气象豪迈，小品精细入微，晚年犹能作纤入毫笔的刻画。存世作品有《雪树寒禽图》《枫鹰雉鸡图》《风雨归牧图》等。",[23,24,25,52,407,28,55,95,506,411,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fceaa42b0901bb55ad17260f047b24a30.jpg","24.4x21.5厘米",[221,104,147],{"id":1387,"slug":1388,"title":1389,"dynasty":210,"author":792,"museum":378,"description":1390,"tags":1391,"thumbUrl":1395,"material":160,"size":1396,"collection":104,"collections":1397,"showCount":1375,"zanCount":134,"manualWeight":11,"mainColor":65},216770,"xiao-jing-tu-chang-juan-li-gong-lin-216770","孝经图长卷","李公麟的孝经形象在宋代以来的各种作品中被反复提及，而且大多以不止一种形式流传。",[23,24,25,52,26,55,54,95,30,7,248,1392,1393,1394],"案几","桌椅","景物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52813534dd45106294016e482651eab3.jpg","21.9x475.6",[104],{"id":1399,"slug":1400,"title":1401,"dynasty":18,"author":1402,"museum":20,"description":1403,"tags":1404,"thumbUrl":1406,"material":723,"size":724,"collection":118,"collections":1407,"showCount":1408,"zanCount":11,"manualWeight":11,"mainColor":65},236083,"ju-shi-hai-tang-tu-zhou-shen-huan-236083","菊石海棠图轴","沈焕","沈焕，字章明，上海人。工花卉，得徐、黄没骨法。",[25,52,101,28,27,35,490,7,1405],"海棠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2fa445bd5dc1caf7216292e7c19a92e9.jpg",[],45,{"id":1410,"slug":1411,"title":1412,"dynasty":210,"author":1413,"museum":20,"description":1414,"tags":1415,"thumbUrl":1418,"material":118,"size":118,"collection":118,"collections":1419,"showCount":1408,"zanCount":11,"manualWeight":11,"mainColor":43},227511,"qiu-ting-ying-xi-tu-jing-xin-su-han-chen-227511","秋庭婴戏图镜心","苏汉臣","以前每逛国内一些博物馆，古玩店铺，诸多载体如绢纸本的画、玉器、瓷器上，你总能看到许多幼童、小少年在室内或庭院或郊外耍闹、游戏。而一番梳理下来，你能发现，历史上宋、明、清朝代，婴戏图尤其多。宋代多显现在存世的画幅、瓷器、玉器上。北宋五大名窑及更多地方窑口，均单色釉，少图案。南宋龙泉窑碗内偶见婴戏图形，北方磁州窑的罐、枕上，多有或钓鱼或卧躺的婴儿图。明代的绘画尤其是明中期宣德特别是正德、嘉靖时期的瓷器上，婴戏图逐渐风行，小孩子蹴鞠图十分常见。客观原因是因为无论是明朝繁盛的青花，还是后来发明的五彩，对“婴戏图”再现更容易。清代的图画、瓷器的青花粉彩、玉器上，或“百子图”或“三娘教子图”或“庭院婴戏图”等，更已普遍化。传统文化伦理中，福禄寿三星，“福”即是寄望多子，“多子多福”，故历朝历代也将这种寄望显现在不同的艺术载体上。宋、明、清“婴戏图”相对更多，与这几个时代的商品经济、俗世文化的发达及瓷器玉器家具等工艺技术的升级换代有关。窃以为，还有一个隐藏原因：与其时帝王子嗣的夭折过多、稀薄有关。",[24,25,52,1416,27,28,95,57,7,1025,1417],"镜心","婴戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1313ad7296d75c27256b6ac0d233eba1.jpg",[],{"id":1421,"slug":1422,"title":1423,"dynasty":191,"author":925,"museum":1424,"description":1425,"tags":1426,"thumbUrl":1427,"material":28,"size":118,"collection":202,"collections":1428,"showCount":1408,"zanCount":11,"manualWeight":11,"mainColor":65},219985,"shan-shui-tu-fang-huang-gong-wang-lan-ying-219985","山水图-仿黄公望","芝加哥大学艺术博物馆","画法是作钩勒浅绛法。",[23,25,52,26,347,73,75,195,7,30,77,58,28],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F937195e9a071267f38f8616689e68d3a.jpg",[202],{"id":1430,"slug":1431,"title":1432,"dynasty":191,"author":1433,"museum":49,"description":1434,"tags":1435,"thumbUrl":1436,"material":117,"size":118,"collection":118,"collections":1437,"showCount":1438,"zanCount":11,"manualWeight":11,"mainColor":65},234124,"zhu-shi-tu-juan-xia-chang-234124","竹石图卷","夏昶","夏昶，后人誉其画竹高手。他画墨竹师王绂，能得其妙，时推第一，名驰绝域，争以金购之。\n夏昶（1388—1470），字仲昭，号自在居士、玉峰，昆山人，后人誉其画竹高手。他初姓朱，名昶，后复姓夏，太宗为之更名昶，字仲昭。号自在居士，又号玉峯，江苏昆山人，夏昺弟。正统中官至太常寺卿直内阁。画墨竹师王绂，能得其妙，时推第一，名驰绝域，争以金购之。\n永乐十三年(公元1415年)中进士，为翰林院庶吉士。文皇十分赏识他的楷书，被推荐供事内省，授中书舍人。永乐命书宫殿榜。尝待从皇帝出巡于南、北二京。\n宣德(公元1426一1435年)中，转考工主事，仍供内直。正统(公元1436—1449年)中升太常卿。他为人坦率乐易，不拘小节，时常出入礼法间，人们也不怎么去责怪他。晚年回到故乡居住，以诗画宴乐自娱。\n夏昶，画竹学王绂兼学陈继，有自己的面目，声誉大大超过了他的老师。\n其兄夏昺，字孟旸，亦以书法召试称旨，命与昶同拜中书舍人，时称“大小中书”。画山水师元画家高克恭；又善竹石，萧萧有林壑之气，但平生不多作，故世人一般只知道夏昶墨竹，而不知其兄昺。\n夏昶以楷书笔法画竹，所作竹枝烟姿雨色，偃直浓巯，各循矩度而气韵生动。当时学他画竹的人很多，画史记载的如同里(昆山)的屈礿(字处诚)、海虞(常熟)的张绪(字廷瑞)、钱塘(杭州)的詹和（字仲和)。而以屈礿为突出。明吴宽《匏庵集》说：“今人家多得，往往出其手，真伪固自能辨。”徐沁《明画录》说夏昶“写竹时称第一，名驰绝域，争以兼金购求，故有‘夏昶一箇竹，西凉十锭金’之谣”。所作竹枝烟姿雨色，偃值浓疎，动和榘度，盖行家也。昆山之人师之者更数辈，独屈约颇类之，而人所得，往往出其手。尤精楷法，永乐命书宫殿榜。卒年八十三。",[25,26,54,57,7,58,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F771edf395a8aca801f918da40388517d.jpg",[],44,{"id":1440,"slug":1441,"title":1442,"dynasty":191,"author":997,"museum":126,"description":1443,"tags":1444,"thumbUrl":1446,"material":1447,"size":1448,"collection":118,"collections":1449,"showCount":1438,"zanCount":11,"manualWeight":11,"mainColor":65},233892,"mei-shi-jia-die-tu-juan-chen-hong-shou-233892","梅石蛱蝶图卷","本幅墨笔画，钤毕泷、毕沅、庞元济等藏印。\n陈洪绶(1597—1652年)，字章侯，号老莲、悔迟，诸暨（今属浙江省）人。明代画家。早年受业于著名学者刘宗周、黄道周门下，1642年曾到北京为国子监生，授中书舍人，供奉内廷，不久即离京南归。明朝灭亡后，为躲避清兵，一度在绍兴云门寺出家为僧，自号悔迟，亦号老迟。后在杭州以卖画为生。工诗，擅画，山水、人物、花鸟无一不精。其画初受蓝瑛影响，后广泛临学古人，并大胆突破创新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明 杨慎 《和章水部沙坪茶歌》：“君作茶歌如作史，不独品茶兼品士。” 柳亚子 《寄毛主席延安》诗：“云天倘许同忧国， 粤海难忘共品茶。”",[25,28,27,53,95,1088,30,7,1025,1544],"品茶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F212e19a5991a4ce291daf341239a17f2.jpg","纵29cm,横29.2cm",[],41,{"id":1550,"slug":1551,"title":1552,"dynasty":18,"author":1553,"museum":92,"description":1554,"tags":1555,"thumbUrl":1556,"material":1557,"size":1558,"collection":202,"collections":1559,"showCount":1548,"zanCount":11,"manualWeight":11,"mainColor":65},223240,"song-ting-wang-yuan-wang-quan-223240","松亭望远","王铨","明天启二年（1623）进士，入清官至大学士，谥文安。高爽博学，好古，工诗古文。行草宗二王，正书出钟繇，亦能自出胸臆，有山园法帖，名重当代，与董其昌并称。画山水宗刑、关，丘壑峻伟，皴擦不多，以晕染作气，传以淡色，意趣自别。山水花木竹石皆用书中关钮。尝与戴明说书云：画寂寂无余情，如倪云林（瓒）一流，虽略有淡致，不免枯干，尪羸病夫，奄奄气息，即谓之轻秀，薄弱甚矣。大家弗然。间作兰竹梅石，洒然有象外意。卒年六十一。《图绘宝鉴续纂》、《国（清）朝画徵录》、《桐阴论画》、《无声诗史》",[23,25,52,75,53,54,73,195,76,248,7,30,305,663],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0bed544a1c100f42958631d8249c351.jpg","浅设色","34.7x29厘米",[202,82],{"id":1561,"slug":1562,"title":545,"dynasty":124,"author":1563,"museum":126,"description":1564,"tags":1565,"thumbUrl":1566,"material":1567,"size":1568,"collection":82,"collections":1569,"showCount":1548,"zanCount":11,"manualWeight":11,"mainColor":43},221870,"zhu-shi-tu-zhou-xie-ting-zhi-221870","谢庭芝","图中绘坡草湖石，石后挺立疏竹数竿，枝叶下垂，似洒雨露。坡上小竹兰草丛生，三株新笋，两株高窜，一株破土而出，春意盎然。湖石连勾带皴，并以淡墨渲染，玲珑剔透，形态奇异。竹叶以率笔挥洒，浓淡相参，水墨淋漓，清新秀雅。此图为谢庭芝墨竹传世孤本。\n画面以淡墨勾勒画湖石，以砍剁皴和钉头皴相结合画出明暗再以淡墨渲染，使湖石具有质感，达到皱、漏、透、瘦之效果，玲珑剔透，造型奇特。\n湖石后疏竹玉立，竹叶下垂，浓淡相间，参差错落，疏密有致，颇显情趣，画左款暑：至元五年冬十月，仲和。",[23,25,54,101,57,7,171,520,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e0acf41e6dc1be49409c9c5df041b0e.jpg","绢本墨笔.","173.2cmx105.1cm",[82,473],{"id":1571,"slug":1572,"title":1573,"dynasty":124,"author":1283,"museum":92,"description":1574,"tags":1575,"thumbUrl":1576,"material":60,"size":1288,"collection":82,"collections":1577,"showCount":1548,"zanCount":11,"manualWeight":11,"mainColor":65},221831,"wan-xiang-gao-jie-zhou-ke-jiu-si-221831","晚香高节轴","此图描述了“石如飞白木如籀，写竹应须八法通”，是元代画家赵孟頫为柯九思《墨竹图》题写的诗句的情景。画面的主要表现是精竹秀石，还有野菊花作点缀。 此图以菊花“晚香”之意，竹子节高，故有晚香高节之画意。\n此景物主要集中于下端：画幅下部画湖石，中间高出，两侧低矮，形成“山”字型。湖石为杂草点缀，右侧的杂草向右倾斜，左侧杂草向左倾斜。湖间有几簇修竹倚石生长，其中一株翠竹拔地而起，枝竿挺拔，竹节较长，枝叶茂密，顶天立地。另有野菊花倚石而长，花朵盛开于茎端。\n款识：五云阁吏为正臣作。\n虞集题：敬仲此幅，清楚出尘，真平日合作也。奎章阁侍书学士虞集题。\n弘历题：绿筠挺出苏卿节，黄菊喷来陶令香。何必其间论世代，忘年交合石渠藏。庚寅秋日御题。",[23,25,54,101,57,7,490,520,115,73,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8549ad8c921d08b75438863fa146dd22.jpg",[82,473],{"id":1579,"slug":1580,"title":111,"dynasty":18,"author":1581,"museum":742,"description":1582,"tags":1583,"thumbUrl":1584,"material":1585,"size":1586,"collection":118,"collections":1587,"showCount":1548,"zanCount":11,"manualWeight":11,"mainColor":118},220758,"zhu-shi-tu-zheng-xie-220758","郑燮","以水墨写就竹石之姿，老石皴擦写意，嶙峋古拙，尽显苍劲风骨。竹叶以“介”“个”笔法挥染，浓淡相宜，枝叶错落交叠，或繁密遒劲，或疏朗清隽，仿佛满纸飒飒生风，将劲竹迎风傲立的清刚之态跃然纸上。\n\n右侧题字笔锋爽利舒展，笔墨与画意相融相合，文画映带间，寄寓着清介拔俗的君子襟怀，把借物言志的文人意趣淋漓尽致铺陈而出。全幅疏密错落，以极简笔墨托物象风神，写意抒情浑然一体，尽显水墨写意通透灵秀的文人雅韵。",[25,52,101,54,115,57,7,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1b5d7c1e057dd1b985e2e35c1f1e3fd6.jpg","水墨纸本立轴","189.5 ×104厘米",[],{"id":1589,"slug":1590,"title":1591,"dynasty":18,"author":1592,"museum":1593,"description":1594,"tags":1595,"thumbUrl":1596,"material":117,"size":1597,"collection":202,"collections":1598,"showCount":1548,"zanCount":11,"manualWeight":11,"mainColor":43},220238,"nan-xu-shan-shui-tu-cha-shi-biao-220238","南徐山水图","查士标","昆仑堂美术馆","查士标（1615-1698），字二瞻，号梅壑散人，安徽休宁人，后寓扬州。出身望族，博雅好古。富收藏，家藏古铜器和宋、元人书画真迹甚多，因此精于鉴赏。他早年作画师从倪云林，以后参用吴镇、董其昌笔法，用笔简练，惜墨如金，皴染不重，风神懒散，气韵荒寒，被推为“逸品”，画史把他和弘仁、汪云瑞、孙逸合称为“新安四家”。",[23,25,52,101,54,73,75,30,7,248,95,142],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6b746ab0c70caf76479ceb2c83727f26.jpg","138×52厘米",[202],{"id":1600,"slug":1601,"title":1602,"dynasty":210,"author":419,"museum":230,"description":1603,"tags":1604,"thumbUrl":1606,"material":60,"size":1607,"collection":104,"collections":1608,"showCount":1548,"zanCount":11,"manualWeight":11,"mainColor":43},218602,"shi-liu-luo-han-tu-yi-ming-218602","十六罗汉图","墨线勾勒间，十六罗汉神态各异：或静立松下凝思，或拄杖徐行于林麓，或与猿猴嬉戏、鹤鹿为邻。松竹掩映，怪石嶙峋，山野之趣与禅意相融。人物衣袂飘举，线条简练却见风骨，寥寥数笔便传神情——有的须眉微蹙似在参禅，有的笑靥舒展如悟真机，有的俯身逗猴尽显自在。画面清寂中藏生机，简淡里见深致，以自然景致衬罗汉超脱之态，笔墨洗练却形神兼备，尽显古代绘者对禅林世界的诗意描摹，亦让观者于尺幅间感受那份远离尘嚣的宁静与旷达。",[23,25,52,26,55,54,773,95,1605,1252,409,411,76,57,30,7,58,77],"虎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf090e8c5463c31d1dff3f90f8004b00.jpg","32.7x848.4",[104],{"id":1610,"slug":1611,"title":1612,"dynasty":18,"author":1613,"museum":126,"description":1614,"tags":1615,"thumbUrl":1617,"material":118,"size":118,"collection":39,"collections":1618,"showCount":1619,"zanCount":11,"manualWeight":11,"mainColor":65},236932,"shu-shi-zhou-ren-yi-236932","树石轴","任颐","任颐（1840年－1895年），即任伯年，初名润，字次远，号小楼，后改名颐，字伯年，别号山阴道上行者、寿道士等，以字行，浙江山阴航坞山（今杭州市萧山区瓜沥镇）人，清末著名画家。\n自幼随父卖画，后从任熊、任薰学画，后居上海卖画为生。在“四任”之中，成就最为突出，是“海上画派”中的佼佼者，“海派四杰”之一。任伯年的绘画发轫于民间艺术，技法全面，山水、花鸟、人物等无一不能。重视写生，又融汇诸家法，并吸取水彩色调之长，勾皴点染，格调清新。\n其人物画，早年从陈洪绶法出，形象夸张，富装饰效果。如故宫博物院藏《干莫炼剑图》轴。后练习铅笔速写后，变得较为奔逸，如故宫博物院藏《风尘三侠图》轴等。其写照技艺，高妙绝伦，曾为虚谷、胡公寿、赵之谦、任薰等多人画像，无不逼肖。浙江省博物馆藏有其《酸寒尉像》轴，写吴昌硕着官衣立像，极其传神；其花鸟画，早年以工笔见长，仿北宋人法，近于陈洪绶。后取法恽派及陈淳、徐渭、朱耷的写意法，笔墨趋于简逸放纵，设色明净淡雅，形成兼工带写、明快温馨的格调。代表作有藏于徐悲鸿纪念馆的《紫藤翠鸟图》轴等。对近现代花鸟画产生了巨大影响。",[25,52,101,28,73,54,75,30,7,1616],"红叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F247e360fb7e59b111c8c0d5ee3fec789.jpg",[39,82],40,{"id":1621,"slug":1622,"title":1623,"dynasty":124,"author":125,"museum":92,"description":1624,"tags":1625,"thumbUrl":1626,"material":160,"size":1627,"collection":82,"collections":1628,"showCount":1619,"zanCount":11,"manualWeight":11,"mainColor":43},221813,"si-ji-ping-an-tu-zhou-li-kan-221813","四季平安图轴","《四季平安图》此幅水墨绘修竹四竿，三浓一淡，两前两后，布置得宜，风姿卓然。李仲宾此幅全学文湖州，而加浓密之致，体现了其本人的艺术审美。 李衎（1245-1320年），字仲宾，号息斋道人，晚年号醉车先生，元朝蓟丘（今北京市）人。元仁宗皇庆元年（1312年）任吏部尚书，拜集贤殿大学士、荣禄大夫。李衎尤善画枯木竹石，善画墨竹，双钩竹尤佳，和赵孟頫、高克恭并称为元初画竹三大家，著有《竹谱详录》。",[23,24,25,52,101,54,55,27,57,7,171,73,897],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0f9156289c567b360733a596791d013b.jpg","131.4 x 51.1cm",[82,473],{"id":1630,"slug":1631,"title":1632,"dynasty":124,"author":324,"museum":1149,"description":1633,"tags":1634,"thumbUrl":1636,"material":117,"size":118,"collection":82,"collections":1637,"showCount":1619,"zanCount":11,"manualWeight":11,"mainColor":65},220870,"zhu-shi-you-lan-tu-juan-zhao-meng-fu-220870","竹石幽兰图卷","首先，观察此幅赵孟頫《竹石幽兰图》卷，给人的感觉是绘画飘逸如风，笔墨挥洒自如，构图结构恰当。款识与落款，看似与赵孟頫书风大相径庭，疑似后添所为。经认真详查，款识与落款确为后添，墨气与绘画迥异，墨色也游离于绘画之外。其次，观察绘画作品，十足的赵孟頫笔触所为，用飞白勾画窠石轮廓，用撇捺笔划书写竹叶，用中锋逆笔迅疾书写兰花。正如赵孟頫所言：石如飞白木如籀，写竹还需八法通。若也有人能会此，方知书画本来同。　　 由于此幅作品断开，似有拼接痕迹，款识后添当为后人重新题写。“孟頫为善夫写”，推论是为顾善夫而画。展览方图录结论：据清代程祖庆《吴郡金石目》记载此幅作品赵孟頫题字：顾善夫以公至都，将南迁，用此纸求画，乃为作此图，子昂。新的研究结果已证实此卷并非《吴郡金石目》所著录的赵孟頫为顾信所画的那幅，两个题字亦不同。\n展览方认为，这幅赵孟頫《竹石幽兰图》卷，上面虞集题诗，与《道园学古录》卷二十九中虞集题赵孟頫《兰石图》四首之一，还原了此幅作品的原貌。\n笔者查阅几位老先生的访美读画笔记，结论如下：纸本水墨。左右各拚一条，下部再拚一窄长条，由四纸拚成，在名家作品中为仅见。老笔纵横，至精之品。后有韩性、西夏昂吉、赵奕、仇远、虞集、陈基、姚广孝等题。又张渥题，字学赵，与上博访戴图上款字少异。此必真。\n从绘画方面看，此幅《竹石幽兰图》卷，应属真迹无疑。但是，还要从文献上找到证据，展览方只从元末明初《道园学古录》虞集的诗集证实是赵孟頫《兰石图》。\n为进一步找到贴近赵孟頫的时代，要从韩性、仇远、张渥等元代名人查找。经查仇远在自己《山村遗集》明确记载题赵松雪《竹石幽兰图》，仇远与赵孟頫同属一个时代，当然是最可信的著录。元代名士顾瑛的《草堂雅集》卷十一记载于立题诗，《题子昂兰石》虽然名不相同，诗文完全一致，题兰石也就是竹石幽兰。在元代顾瑛《草堂雅集》卷七，记载张渥《题赵翰林墨兰》，诗文也是完全一致，此幅绘画是描绘竹石幽兰，题墨兰字义上也可以相通。　　 至此，将赵孟頫《竹石幽兰图》卷出处，历代著录记载情况基本搞清楚了，还原一幅赵孟頫精彩作品的真相。在判断一幅古人的作品时，不能为某些瑕疵蒙蔽，而是找出事实真相。此幅作品明显有被割断痕迹，上面题识、落款又是明显后添，那就要去伪存真找出真相，不能湮灭一件优秀的作品。",[23,24,25,52,26,54,78,73,57,7,1635,171,58],"幽兰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe687eff90f3c2bf5fb4687e73675735c.jpg",[82,473],{"id":1639,"slug":1640,"title":1641,"dynasty":1642,"author":1643,"museum":20,"description":1644,"tags":1645,"thumbUrl":1648,"material":118,"size":118,"collection":118,"collections":1649,"showCount":1650,"zanCount":11,"manualWeight":11,"mainColor":43},227095,"gao-yi-tu-sun-wei-227095","高逸图","唐","孙位","《高逸图》，又名《竹林七贤图》，是唐代孙位创作的一幅彩色绢本人物画，现藏于上海博物馆。\n画名“孙位高逸图”为宋徽宗赵佶所题，这幅图所描绘的是魏晋时期竹林七贤的故事，该画作刻画了魏晋士大夫“高逸风度”的共性，又刻画出了他们的个性。现存《高逸图》为《竹林七贤图》残卷，图中只剩四贤。在长卷式的画面上，主体人物是四个封建士大夫分别坐于华丽的毡毯上，每人身旁都有一名小童侍候。",[23,24,25,26,27,28,95,30,7,77,58,1025,1646,1209,1647],"侍从","垫子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbaa92cbdfc50fff24528a4673b6c49d4.jpg",[],39,{"id":1652,"slug":1653,"title":1654,"dynasty":124,"author":125,"museum":126,"description":1655,"tags":1656,"thumbUrl":1657,"material":355,"size":1658,"collection":82,"collections":1659,"showCount":1650,"zanCount":11,"manualWeight":11,"mainColor":43},221816,"mu-yu-tu-zhou-li-kan-221816","沐雨图轴","《沐雨图轴》是元代李衎所画的中国古画。\n此图描绘雨中竹子的形态，手法极其写实，强调雨中之竹的清姿，其画法与双勾竹图基本相同，竹叶因雨水而显得沉重，叶尖自然下垂，在表现雨中竹叶下垂之姿上，李衎用笔显得娴熟自如。\n《沐雨竹图》将主要景物集中于画幅左侧。\n在画幅左下端力坡石，坡上倚附山石长有四竿翠竹，中间两株高大，且相互交错，竹竿交错后向左右伸展，枝叶茂密，竹叶纷披。\n左侧一株掩映于二株高大的翠竹荫下，略向左弯斜；右侧一株小竹向右弯斜，叶子呈下垂状。\n这一株翠竹虽不怎么起眼，但却是妙笔，起到了填补画幅右下部分的空白，对整个画面起到了充实和平衡作用：除竹石外，在坡石间还有数株兰草，点缀其间。\n自宋以来，“梅，兰、竹、菊”被士大夫称为“四君子”，象征“清高”、“幽洁”、“虚心”、“隐逸”、“气节”等精神品格。\n当社会危机、民族危机之时，一些知识分子无力抗争，在孤十贲与失望之中，“适性寄意”于笔墨：人元后“四君子”画不但更为兴盛，而且在思想感情的表现上更加丰富和深刻。\n特别是墨竹，单纯简易、挥洒便利又最具书法性格，所以最能引起士大夫的兴趣。\n可是李衍身为大官，他与赵孟頫是元代汉族文人画家中官职最显著者， 他喜欢画松、竹，这说明“松”、“竹”并非都是文人用来自诩“名节”之物。\n他为了画竹，“行役万余里”，深入南方竹乡，对竹的“形色情状，牛聚枯荣”做了深入研究，成为享有盛名的写生墨竹专家。\n此《沐雨竹图》轴是他画墨竹的代表作之一，其作品中之“竹”并不带有什么政治色彩，仅作为绘画的一个题材而已。\n此画虽将景物集中于画幅左侧，但经画家的确当布局，使整幅画的构图 较工稳；造型准确，设色匀净，枝叶繁复而不乱，层次分明。\n作者由于有过对竹子的认真观察和研究，并掌握了画竹的造型规律。\n故他画出的竹竿、们‘枝的线条挺坚，用笔实在有力，竹竿、竹枝、竹叶均用双勾画出，即用线条描绘竹叶的轮廓，再用汁绿烘染，叶尖微染赭黄，且其阴阳向背等细节都刻画得十分准确、细腻。\n其背景石都用双勾，然后用粗笔水墨皴染，分出阴阳面。\n坡石间的几丛兰和小草的安排，更使画面充满勃勃生机。\n此画的主题沐雨，作者强调了雨中之竹。\n故在作者笔下将沾满了雨水的竹子，竹叶个个呈下垂的自然神态，突出了“沐雨”这一主题，使画幅具有很强的写实性。\n此画给人以充实秀美的感觉，实属精品。\n这幅作品中只有四竿修竹和一些小枝是用汁绿晕染，竹干的晕染基本是平涂，只在竹节两端略有晕染。\n竹叶的敷色较为精工，不但叶根部和叶尖部的色调有所变化，而且叶面和叶背也不相同，繁多的叶片中没有一片是染出边缘轮廓之外．也可见作者的细致程度。\n在水墨环境的映衬下．《沐雨竹图》中的修竹亭亭玉立，青翠悦目。\n即使秋风萧瑟，也是竹叶摩娑，别具一番“如鸣环翠”的风韵。\n在翠竹右侧一竿高耸直指，左侧一竿向左上伸展，最前的一竿指向右方，右侧竹叶相对密集，造成左高右低的形势。\n竹干、竹枝的线条挺坚，竹叶的线条则圆润；竹干、竹枝的用笔比较实在有力，而竹叶的用笔就显得轻细活泼。\n李衎（1244—12年），字仲宾，号息斋道人，元大都（今北京）人，仕至集贤殿学士。\n他平生擅长画竹，继承了金文同、王庭筠等画竹名家的成就，又曾深入江南竹乡深入观察，还出使过交趾（今越南），到各处观察竹子的生长情况和特点，深得竹之“理”，是一位既有深厚传统绘画功力，又师法自然的画家。\n他的画风严谨，传世作品有双勾着色的《双勾竹图》、《沐雨图》等，并著有《息斋竹谱》7卷，对竹的结构品类、生长规律及画法详加剖析，既重写意又重法度。",[23,25,52,101,27,54,57,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6db8d493b70c64e938a16711c94486e2.jpg","纵111.5cm，横55cm",[82,473],{"id":1661,"slug":1662,"title":1663,"dynasty":191,"author":192,"museum":742,"description":1664,"tags":1665,"thumbUrl":1666,"material":53,"size":1667,"collection":118,"collections":1668,"showCount":1650,"zanCount":11,"manualWeight":11,"mainColor":118},220754,"fang-ge-jia-shan-shui-2-dong-qi-chang-220754","仿各家山水-2","此作用淡墨晕染远山，勾勒的山石尽显嶙峋之态，留白作云气晕出空濛山意。近岸林木笔法松秀苍润，浓墨点苔添得生机勃发。山坳村居、溪畔茅舍隐于丘壑之间，板桥行人又让林泉染上烟火暖意。\n\n题字错落左上，笔墨清雅萧散与画境相融。全画以干笔皴擦营造淡远空灵意境，简淡中见层次藏雅趣，将幽居林泉的闲逸藏于尺幅之间，尽显文人山水的疏朗清旷，观之如临寂寂山林，得自然清和之味。",[23,25,52,54,73,75,195,196,30,7,305,367,250],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcf0109cf2086c3efd9441201dea3d94.jpg","30.5 × 23.8厘米",[],{"id":1670,"slug":1671,"title":1672,"dynasty":191,"author":997,"museum":1149,"description":1673,"tags":1674,"thumbUrl":1675,"material":355,"size":1676,"collection":118,"collections":1677,"showCount":1678,"zanCount":85,"manualWeight":11,"mainColor":65},232645,"xuan-wen-jun-shou-jing-tu-chen-hong-shou-232645","宣文君授经图","据画面题款，是崇祯十一年（1638）陈洪绶（1598－1652）以前秦宣文君授经典故为姑母创作的祝寿图。画面正中端坐一位老年女性人物，她身后竖立的屏风上绘有一幅青绿山水。除山水画中常见的山峦、树石、溪水和人物等图像元素，画面还同时绘有圆日和弯月，让人不禁揣测它们的象征含义。\n宣文君（283~？），姓宋氏，前秦女经学家，名失传，籍贯不详。太常韦逞之母。家传周官学。苻坚曾令学生一百二十人从她受业，使周官学得以保存流传，成为中国古代历史上第一位女博士。时人称为“宣文君”。",[25,52,101,27,28,95,75,200,304,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd69d4b5e9e2797593d6accf0773b104f.jpg","172.8×55.7cm",[],38,{"id":1680,"slug":1681,"title":1632,"dynasty":124,"author":324,"museum":1149,"description":1633,"tags":1682,"thumbUrl":1683,"material":983,"size":118,"collection":82,"collections":1684,"showCount":1678,"zanCount":11,"manualWeight":11,"mainColor":65},220871,"zhu-shi-you-lan-tu-juan-zhao-meng-fu-220871",[23,24,25,52,26,1309,78,77,55,57,7,282,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf614e4a0ea6966b60de3926e9843bdd.jpg",[82,473],{"id":1686,"slug":1687,"title":1688,"dynasty":124,"author":455,"museum":126,"description":1689,"tags":1690,"thumbUrl":1691,"material":761,"size":1692,"collection":202,"collections":1693,"showCount":1694,"zanCount":11,"manualWeight":11,"mainColor":43},221736,"shu-shi-tu-wan-shan-zhao-yuan-221736","树石图纨扇","图绘疏树坡石，远岫平溪，水天一色。山势平缓，形如窠石。山峦用侧锋勾出轮廓和脉络，再以淡墨加彩皴染，类似层云。树干随写随皴，并用浓墨点疤节，树枝似龙角或凤尾，错落有致。笔法圆秀。构图平远。",[23,25,52,407,54,73,30,7,216,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90d958098ca36462d23e5bfbb73f9ed9.jpg","纵25厘米，横19．7厘米",[202,82],37,{"id":1696,"slug":1697,"title":1698,"dynasty":18,"author":1699,"museum":49,"description":1700,"tags":1701,"thumbUrl":1707,"material":130,"size":1708,"collection":104,"collections":1709,"showCount":1694,"zanCount":11,"manualWeight":11,"mainColor":65},219417,"cai-zhi-tu-zhou-ren-xun-219417","采芝图轴","任薰","此轴纸本设色画一人物幅巾广袖拄杖而行，手提装满灵芝的竹篮，相貌奇古。右下书题“朵峰仁兄大人属即教正 永兴弟任薰舜琴写”，钤“任薰”白文方印。",[25,101,28,27,95,1702,30,7,1703,1704,1705,507,1706,1068],"芝","篮子","拐杖","柳叶","苔藓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F660fdaf34b7e404657c4f40b3ede7755.jpg","纵137.5厘米，横39.5厘米",[104],{"id":1711,"slug":1712,"title":1713,"dynasty":18,"author":1714,"museum":92,"description":1715,"tags":1716,"thumbUrl":1717,"material":37,"size":1718,"collection":39,"collections":1719,"showCount":1694,"zanCount":224,"manualWeight":11,"mainColor":43},218879,"xian-quan-tu-liu-yi-218879","仙犬图","刘亿","几只仙犬或蜷卧小憩，或嬉戏逗趣，毛羽勾勒得柔润细腻，神态憨态可掬，似含灵韵。近旁老枝盘曲，素花点缀枝头，暗香仿佛随风轻溢；石矶以墨色皴染，苍劲中带着朴拙。背景淡褐晕开，虚实相映，留白处漾着空濛意趣，更衬出犬儿的灵动与花木的清雅。笔墨浓淡相宜，细腻却不刻意，将生灵之趣与幽境之美融于尺幅间，似能感受到画者对自然生灵的温柔观照，观之令人心生悠然，满是沁人的雅致。",[25,52,24,28,27,411,1254,30,7,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc59a546e228caa4b665afbe19974a9f.jpg","42.2x56.8cm",[39],{"id":1721,"slug":1722,"title":1723,"dynasty":18,"author":1724,"museum":390,"description":1725,"tags":1726,"thumbUrl":1730,"material":37,"size":1731,"collection":39,"collections":1732,"showCount":1694,"zanCount":224,"manualWeight":11,"mainColor":43},218736,"liu-tang-ji-qin-tu-hu-mei-218736","柳塘集禽图","胡湄","此画描绘了一群禽鸟在柳塘嬉戏的情景。画中几只芦雁或在岸上长鸣，或在水中畅游，或在低空中盘旋，石缝中生长出几棵小树，两只小鸟在枝丫上彼此顾盼。",[23,25,52,24,101,27,54,35,1088,519,1727,1728,196,7,200,29,1729],"禽","池塘","芦苇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9a65963fe55590b859fe37010d4dfd9.jpg","纵211厘米，横100厘米",[39],{"id":1734,"slug":1735,"title":1736,"dynasty":191,"author":1737,"museum":20,"description":1738,"tags":1739,"thumbUrl":1740,"material":117,"size":118,"collection":39,"collections":1741,"showCount":1742,"zanCount":11,"manualWeight":11,"mainColor":43},237370,"sun-di-zhu-shi-shui-xian-zhou-sun-di-237370","孙杕竹石水仙轴","孙杕","孙杕(清)字子周，一字漫士，号竹痴，钱塘(今杭州)人。与陈洪绶同时。用笔遒劲，画写生花鸟直逼黄筌、赵昌，尤精钩勤飞白竹石。兼工分、隶、竹、草。李告辰本西厢记中陈洪绶所画莺莺像后，有所画仿离图、竹图。天启二年(一六二二)曾作海棠图赠吴令，蓝田叔题之。顺治八年(一六五一)作梅花册(明画隶、图绘宝鉴续纂、中国版画史图录、清画家诗史)",[25,101,54,27,73,57,7,1372],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dd100e03927364d1cd72ca46bb6e8ee.jpg",[39],36,{"id":1744,"slug":1745,"title":1746,"dynasty":191,"author":229,"museum":126,"description":1747,"tags":1748,"thumbUrl":1749,"material":307,"size":1750,"collection":118,"collections":1751,"showCount":1742,"zanCount":11,"manualWeight":11,"mainColor":65},234198,"wen-zheng-ming-zhu-lan-shi-juan-wen-zheng-ming-234198","文徵明竹兰石卷","图中兰叶、兰花以淡墨描绘，墨色温润，行笔轻盈流利，行转有致。竹子则以浓墨出之，劲健潇洒。对衬景的描写，作者亦颇具匠心，如坡角土石皆以干笔勾画、皴擦，再以荆棘穿插其间，卷尾一段溪流淙淙，都显示出环境的荒率冷寂，从而愈发衬托出兰、竹高雅清芬、不从流俗的品格，突出了传统文人赋予兰竹的人格精神。作者在自题中言道:此图意在师法宋元时期善画兰竹的诸位文人画大师们的画法。观此图，作者直以行草书、“飞白”笔法入画，正是深得赵孟頫“石如飞白木如籀，写竹还于八法通”的艺术理论及创作实践的神髓。在如此鸿篇巨制中，作者尽情浑洒，充分表现出了笔墨的逸趣，是一幅典型的文人画佳作。",[23,25,52,26,54,55,77,78,57,282,7,171,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F259e5f9be7af848c6938d0974347ee0a.jpg","纵26.8厘米，横730厘",[],{"id":1753,"slug":1754,"title":1755,"dynasty":191,"author":1433,"museum":20,"description":1756,"tags":1757,"thumbUrl":1758,"material":118,"size":118,"collection":118,"collections":1759,"showCount":1742,"zanCount":11,"manualWeight":11,"mainColor":164},234172,"xiang-jiang-chun-yu-tu-juan-xia-chang-234172","湘江春雨图卷","夏昶（188—147），字仲昭，号自在居士、玉峰， 人，后人誉其画竹高手。\n他初姓朱，名昶，后复姓夏，太祖为之更名昶，字仲昭。\n号自在居士，又号玉峯，江苏昆山人， 弟。\n正统中官至 直内阁。\n画墨竹师 ，能得其妙，时推第一，名驰绝域，争以金购之。\n永乐十三年(公元1415年)中进士，为 。\n文皇十分赏识他的楷书，被推荐 内省，授 。\n永乐命书宫殿榜。\n尝侍从皇帝出巡于南、北二京。\n(公元1426一145年)中，转考工主事，仍供内直。\n正统(公元146—1449年)中升太常卿。\n他为人坦率乐易，不拘小节，时常出入礼法间，人们也不怎么去责怪他。\n晚年回到故乡居住，以诗画宴乐自娱。\n夏昶，画竹学 兼学 ，有自己的面目，声誉大大超过了他的老师。\n其兄 ，字孟旸，亦以书法 称旨，命与昶同拜中书舍人，时称“大小中书”。\n画山水师元画家 ；又善竹石，萧萧有林壑之气，但平生不多作，故世人一般只知道夏昶墨竹，而不知其兄昺。\n其孙女为 祖母，另一孙女则在其过世后嫁予 为妻。\n夏昶以 笔法画竹，所作竹枝烟姿雨色，偃直浓巯，各循矩度而 。\n当时学他画竹的人很多，画史记载的如同里(昆山)的屈礿(字处诚)、海虞( )的 (字廷瑞)、钱塘(杭州)的詹和（字仲和)。\n而以屈礿为突出。\n明 《匏庵集》说：“今人家多得，往往出其手，真伪固自能辨。\n”徐沁 说夏昶“写竹时称第一，名驰绝域，争以兼金购求，故有‘夏昶一箇竹，西凉十锭金’之谣”。\n所作竹枝烟姿雨色，偃值浓疎，动和 ，盖行家也。\n昆山之人师之者更数辈，独屈约颇类之，而人所得，往往出其手。\n尤精楷法，永乐命书宫殿榜。\n卒年八十三。\n传世作品有《湘江风雨图卷》（ 藏）、《满林春雨图轴》（ 藏）、《 》（ 藏）等。",[23,25,52,26,54,75,57,7,73,142],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ce25658d7757cb59f52d9d91b347bb7.jpg",[],{"id":1761,"slug":1762,"title":1763,"dynasty":191,"author":229,"museum":20,"description":231,"tags":1764,"thumbUrl":1766,"material":117,"size":1767,"collection":202,"collections":1768,"showCount":1742,"zanCount":224,"manualWeight":11,"mainColor":43},221989,"shou-juan-quan-juan-wen-zheng-ming-221989","手卷全卷",[23,25,77,75,195,196,7,30,1765,54,115,26,117],"房","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07cc0fc779d8f58a62155659cdff9839.jpg","27×637cm",[202,82],{"id":1770,"slug":1771,"title":1772,"dynasty":18,"author":1773,"museum":126,"description":1774,"tags":1775,"thumbUrl":1777,"material":983,"size":1778,"collection":202,"collections":1779,"showCount":1780,"zanCount":11,"manualWeight":11,"mainColor":65},238302,"qian-long-huang-di-song-yin-xiao-xia-tu-zhou-dong-bang-da-238302","乾隆皇帝松荫消夏图轴","董邦达","图绘崇山峻岭、溪水潺潺的郊外，乾隆皇帝身着汉装坐于石案旁，目视着童子烹茶的情景。石案上除有茶杯外，还有弦琴及书本，显现出他于茶道之外的文化修养。此图构思巧妙，作者并没有将贵为天子的乾隆皇帝画得身高体大，而是将他融入于自然山水之中，然后又通过山环水抱、苍松围绕的构图方式，将其自然地归笼到了画幅的中心部位，从而突显了其个人形象及至尊无上的皇权地位。图中的山石结构繁复而错落，笔法尖峭，皴法松秀，既有元人遗韵，又得宋人笔墨之工，因而成功地渲染出世外桃源的清幽雅境。实际画中的乾隆皇帝肖像，当出自郎世宁之手。\n此画轴包首处贴有黄签，题“澄观斋殿内东阁东墙面西挂”，点明了此图作为室内装饰画，曾被挂于避暑山庄的澄观斋殿内。",[25,54,28,73,75,76,195,7,248,200,95,759,368,251,1776],"树荫","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2744412dddd49ddd4fa1d30f51c8f81f.jpg","纵193.5厘米，横158厘米",[202,147],35,{"id":1782,"slug":1783,"title":1784,"dynasty":210,"author":419,"museum":92,"description":1785,"tags":1786,"thumbUrl":1789,"material":37,"size":1790,"collection":221,"collections":1791,"showCount":1780,"zanCount":11,"manualWeight":11,"mainColor":65},219603,"gao-shi-yan-qing-tu-yi-ming-219603","高士延清图","槐荫笼罩着夜色庭院，主人凭案闲坐，案上茶盏与香炉静立，暖香似随晚风漫开。侍童垂手侧立于阶下，屏气凝神消解了周遭岑寂。远处木桥隐在墨色里，晕染出幽谧的晚凉。\n\n画面与题诗相映，将林下清谈、养素含英的雅趣揉入笔底。空灵简雅的构图里，淡墨晕开夜色，人物意态松弛闲适，器物雅致沉静，把文人耽于幽寂、追寻雅静的心境铺陈开来。笔致温婉含蓄，将俗世之外的闲澹日常绘得动人，尽现雅致闲逸的生活意趣。",[23,25,52,53,28,78,95,7,30,349,348,350,1787,1788],"对坐论诗","石棚槐阴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc777cd7db29c9ac0aa735d106cb662bb.jpg","纵25.4横27.2厘米",[221,104],{"id":1793,"slug":1794,"title":1795,"dynasty":18,"author":822,"museum":20,"description":1796,"tags":1797,"thumbUrl":1802,"material":118,"size":118,"collection":118,"collections":1803,"showCount":1804,"zanCount":11,"manualWeight":11,"mainColor":65},237583,"wang-hui-fang-gu-shan-shui-ce-wang-hui-237583","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》。",[25,54,52,1798,1799,347,73,58,195,7,30,76,1800,250,1801],"册页","仿古","竹林","亭台","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F96d20d5d72ffbd6c3dd89af475576be0.jpg",[],34,{"id":1806,"slug":1807,"title":1808,"dynasty":191,"author":753,"museum":20,"description":1809,"tags":1810,"thumbUrl":1811,"material":118,"size":118,"collection":118,"collections":1812,"showCount":1804,"zanCount":11,"manualWeight":11,"mainColor":65},228457,"shu-chuan-jia-li-tu-chou-ying-228457","蜀川佳丽图","此作为青绿山水长卷，以妍雅厚重的石青石绿晕染峰峦，勾勒细劲工致，层叠山岫间烟波舒展，洲渚江岸错落着村郭田庐，铺陈出蜀地锦绣明丽的盛景。卷后行书笔力雄健跌宕，以豪壮文辞呼应山川奇险，书画合璧，将天府形胜的秀绝与笔墨意趣相融，尽显明韵雅致，是诗书画交织的精妙佳构。",[23,25,52,26,756,28,27,77,78,75,444,141,142,29,248,7,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5da99896dff8c7d266f323b45b68470.jpg",[],{"id":1814,"slug":1815,"title":1816,"dynasty":191,"author":1817,"museum":20,"description":1818,"tags":1819,"thumbUrl":1820,"material":723,"size":724,"collection":118,"collections":1821,"showCount":1804,"zanCount":134,"manualWeight":11,"mainColor":65},228392,"wu-bai-luo-han-tu-quan-tu-wu-bin-228392","五百罗汉图全图","吴彬","五百罗汉,一般指佛释迦去世后参加第一次经结集的五百比丘,以大迦叶和阿难首。至于五百比丘的其他人,除知名的十大弟子外,一般没有名号的记载。",[23,25,52,26,28,27,773,95,30,7,411],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e1cf1e9b43a8c99aefbe58ee4ad433a.jpg",[],{"id":1823,"slug":1824,"title":1825,"dynasty":210,"author":211,"museum":20,"description":1826,"tags":1827,"thumbUrl":1828,"material":118,"size":118,"collection":118,"collections":1829,"showCount":1804,"zanCount":11,"manualWeight":11,"mainColor":43},227495,"qiu-she-tu-ye-fan-kuan-227495","秋涉图页","范宽（950-1032）宋代杰出画家。字仲立，一说中立。华原（今陕西耀县）人。北宋山水画家，生活于北宋前期，名列北宋山水画三大名家之一。因为他性情宽厚，不拘成礼，时人呼之为“宽”，遂以范宽自名。据《宣和画谱》记载，他风仪峭古，进止疏野，性嗜酒，落魄不拘世故。",[23,25,52,75,73,28,745,1152,95,572,142,195,7,444],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad3f20715eb8a0623d5ede94214d8517.jpg",[],{"id":1831,"slug":1832,"title":153,"dynasty":210,"author":419,"museum":20,"description":1833,"tags":1834,"thumbUrl":1835,"material":118,"size":118,"collection":118,"collections":1836,"showCount":1804,"zanCount":11,"manualWeight":11,"mainColor":43},223672,"xue-zhu-tu-yi-ming-223672","画面以巨石为骨，古松蟠曲依偎身侧，修竹高低错落、劲挺而立。作者以浓淡墨色晕染出雪意，枝桠竹叶覆雪的沉凝质感呼之欲出，留白暗合积雪清寒，将冬日萧索尽数铺陈。\n笔触苍劲老辣，写形亦写意，将雪后竹林幽寂清旷的氛围烘托到极致，草木于冷冽之中舒展不屈生机，尽显工致写实与文人意趣的交融，勾勒出古朴清寒的林下况味，晕开冬日静谧雅致的深幽意境。",[24,25,52,27,73,57,7,158,30,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2ab1508510dd441b1656cf2e9ed8949.jpg",[],{"id":1838,"slug":1839,"title":1840,"dynasty":210,"author":419,"museum":1149,"description":1841,"tags":1842,"thumbUrl":1843,"material":160,"size":1844,"collection":202,"collections":1845,"showCount":1804,"zanCount":85,"manualWeight":11,"mainColor":43},218599,"zhu-tu-yi-ming-218599","竹图","墨竹倚石而生，枝干挺劲如剑，竹叶纷披若云。中锋运笔勾勒竹干，线条圆劲中带弹性；侧锋扫出叶影，浓淡枯湿交错，似有风穿叶隙，簌簌有声。石体朴拙厚重，皴擦间显苍劲肌理，与秀逸之竹相映成趣，刚柔相济。留白处似含空濛之气，延展了清寂之境。整幅笔墨简括却意韵悠长，竹之疏朗、石之沉凝，暗蕴君子不阿风骨，尽显宋画简远雅致的文人格调——于无声处，见笔墨精神与自然生机的交融。",[23,24,25,52,101,54,115,57,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1607f568c2c28a4be41fe93f5462041d.jpg","27x47.5cm",[202],{"id":1847,"slug":1848,"title":1849,"dynasty":210,"author":1850,"museum":92,"description":1851,"tags":1852,"thumbUrl":1854,"material":234,"size":1855,"collection":104,"collections":1856,"showCount":1857,"zanCount":11,"manualWeight":11,"mainColor":65},219642,"bing-zhu-ye-you-tu-zhang-qi-han-219642","秉烛夜游图","张齐翰","郊野暮色初降，古木虬枝蓊郁如盖，树下士人衣袂翩然，正执言相候。另一侧马车徐行，驭者控缰缓驱，车中友人将赴夜宴。\n\n整作设色清隽沉稳，青绿山石晕染柔润，苍劲古木搭配浅翠新叶，晕开暮色沉沉的静谧氛围。人物情态宛然细腻，车马细节写实雅致，以工兼写的笔意，将名士耽恋良辰的风雅意趣融于尺幅之间。构图疏密得宜，平淡之中尽显悠然古意，藏着对林下风流的追慕，把及时行乐的雅致文心，晕染在这一方绢素之上。",[25,28,27,95,30,1853,7,75,834],"车","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F853bce87cb4001a500cdc5e8979a6aa0.jpg","28.2x26.5",[104],33,{"id":1859,"slug":1860,"title":1861,"dynasty":18,"author":1862,"museum":126,"description":1863,"tags":1864,"thumbUrl":1865,"material":130,"size":1866,"collection":104,"collections":1867,"showCount":1857,"zanCount":11,"manualWeight":11,"mainColor":65},219635,"song-zhi-jing-ting-song-feng-tu-liu-yu-219635","宋致静听松风图","柳遇","图中宋致头戴纱帽，身着长衫，临溪倚石侧坐，神情端凝。身后古松参天，枝繁叶茂，与怪石嶙峋、小草幽篁、溪水潺潺的景致形成高矮、动静的对比，有极强的视觉效果，强化了人物的宁静祥和，烘托了听松的主题。\n据《商邱县志》记载：宋致，字穉佳，商邱人。举乡贡，游太学，官至四川总藩、湖南布政使。性情慷慨轻财，有政事，录《可竹居诗集》。\n图中人物用勾填法表现，面部稍加晕染，衣纹飘逸，线条简洁，形象传神，突出了主人公朴实无华的个性与平和自然的心态。",[23,25,52,101,28,95,76,7,77,78,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8818a7ad2c54fb07fbd6b17a7bcbd712.jpg","纵102厘米，横44.6厘米",[104],{"id":1869,"slug":1870,"title":1871,"dynasty":18,"author":1514,"museum":126,"description":1872,"tags":1873,"thumbUrl":1874,"material":1875,"size":1876,"collection":202,"collections":1877,"showCount":1878,"zanCount":11,"manualWeight":11,"mainColor":43},236384,"huang-shan-tu-zhou-mei-qing-236384","黄山图轴","此图绘黄山的莲花峰。作者以超绝的想象力，运用夸张的手法将莲花峰描绘成秀出天半的青莲，它巍峨不失俏丽，高贵而典雅。山岩的石面以浓淡墨交织的线条混皴，纹理繁密，气象峥嵘，与石上灵动的苔点相交融，显示了作者对黄山景物善于摹写、精于刻画的深厚功力。",[24,25,52,101,54,73,75,195,7,30,248],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3d0b5065c8022b488432001bfb86239.jpg","绫本，设色","纵186.8厘米，横57厘米",[202],32,{"id":1880,"slug":1881,"title":1882,"dynasty":124,"author":419,"museum":378,"description":1883,"tags":1884,"thumbUrl":1885,"material":37,"size":118,"collection":202,"collections":1886,"showCount":1878,"zanCount":11,"manualWeight":11,"mainColor":43},214607,"shui-ge-tu-ye-yi-ming-214607","水阁图页","水阁图是一幅中国古代的山水画，作者不详，来自元代（1271-1368年）。这幅画以水为主题，描绘了一个江南风光的景象，展现了山水之间的和谐关系。\n\n画面中的水流清澈，河岸上有树木葱茏，草木茂盛。在画面的左侧，可以看到一座小山丘，山上有一座小楼，楼上挂着红绸帘，风景优美。在楼下的河中，有几艘游船在水上悠悠游动，人们在船上欢声笑语。在画面的右侧，有一片清幽的山林，山间有一条小溪流过，水声清脆。\n\n整幅画面气氛轻松惬意，色彩明快，构图巧妙，画风浑然天成，是一幅典型的山水画作品。",[23,25,28,27,1130,75,444,200,7,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d33733160c5b165a06b7d1234eae23f.jpg",[202],{"id":1888,"slug":1889,"title":1890,"dynasty":191,"author":229,"museum":378,"description":231,"tags":1891,"thumbUrl":1892,"material":1893,"size":1894,"collection":202,"collections":1895,"showCount":1896,"zanCount":224,"manualWeight":11,"mainColor":65},222007,"ju-gui-zhai-tu-shou-juan-wen-zheng-ming-222007","聚桂斋图手卷",[23,25,444,77,75,7,30,1765,28,115,26,117],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6bcbef7bb3e97e60135879e28a13a3a.jpg","水墨设色","31.6x56.2厘米",[202,147],31,{"id":1898,"slug":1899,"title":1900,"dynasty":18,"author":1901,"museum":92,"description":1902,"tags":1903,"thumbUrl":1904,"material":60,"size":1905,"collection":202,"collections":1906,"showCount":1896,"zanCount":11,"manualWeight":11,"mainColor":65},219933,"fang-wu-zhen-shan-shui-tang-dai-219933","仿吴镇山水","唐岱","唐岱（1673年—1752年之后），字毓东，号静岩，又号知生、爱庐、默庄，满洲正蓝旗人，清代著名画家。承祖爵，任骁骑参领，官内务府总管，以画祗候内廷。山水画初从焦秉贞学，后与王敬铭、张宗苍同为王原祁弟子，名动京师。康熙帝甚赏其画，常召作画，赐称“画状元”。",[24,25,52,101,54,73,75,195,7,200,141,250,663,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3f5f9e8cffd9a888365e8183c5e4e72d.jpg","93.6x53.5厘米",[202],{"id":1908,"slug":1909,"title":1910,"dynasty":18,"author":1911,"museum":126,"description":1912,"tags":1913,"thumbUrl":1915,"material":118,"size":118,"collection":202,"collections":1916,"showCount":1917,"zanCount":11,"manualWeight":11,"mainColor":43},236747,"hua-wang-shi-lu-xiang-zhou-zhang-zhu-236747","画王士禄像轴","张翥","张翥字运南，号北林，江苏常熟人，生卒年不详。善画山水、人物、肖像，山水师同乡吴山（南阳），沉郁苍老，馓有气韵。人物写真师法曾鲸，形象逼肖，用笔流畅，秀媚古雅。雍正十年（1732）郡守周某欲绘《贫民图》入告。传世作品有康熙二年癸卯（1663）作《王士禄像》轴，画左上角有冒襄题像赞，现藏故宫博物院。能诗，著有《北林小集》。",[2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厘米",[39,147],{"id":1947,"slug":1948,"title":1949,"dynasty":18,"author":1950,"museum":1951,"description":1952,"tags":1953,"thumbUrl":1954,"material":118,"size":118,"collection":118,"collections":1955,"showCount":1935,"zanCount":11,"manualWeight":11,"mainColor":65},220463,"lan-shi-chen-shi-ceng-220463","兰石","陈师曾","Indianapolis Museum of Art at Newfields","此作用极简水墨写绘兰石，运笔纵逸老辣，兰叶如屈铁游丝，中锋走笔，刚柔并济，寥寥数笔便将兰叶舒展之姿写尽。兰花以写意点染，花瓣含露轻绽，神韵自现。\n\n留白通透，以虚衬实，尽显尚简重意的文人画旨趣，将芝兰君子寄情林泉、不与俗伍的幽贞品格晕染纸上。左侧题字朴拙苍劲，笔墨意趣与画面融为一体，互为生发。整幅画于简淡中见风神，墨色干湿浓淡间，氤氲出清逸出尘的林下风流，藏着传统文人淡泊清远的精神内核。",[23,25,52,24,101,54,115,282,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8271038a5f32366ba9121a2549da8d79.jpg",[],{"id":1957,"slug":1958,"title":1959,"dynasty":191,"author":1960,"museum":20,"description":1961,"tags":1962,"thumbUrl":1964,"material":723,"size":724,"collection":118,"collections":1965,"showCount":1966,"zanCount":134,"manualWeight":11,"mainColor":65},228740,"tong-ling-guan-tie-chuan-ge-juan-wang-shou-ren-228740","铜陵观铁船歌卷","王守仁","王守仁（1472年10月31日－1529年1月9日），本名王云，字伯安，号阳明，浙江余姚人，汉族。明朝杰出的思想家、文学家、军事家、教育家，南京吏部尚书王华的儿子。\n弘治十二年（1499年），中进士，起家刑部主事，历任贵州龙场驿丞、庐陵知县、右佥都御史、南赣巡抚、两广总督、南京兵部尚书、左都御史等职，接连平定南赣、两广盗乱及朱宸濠之乱，获封新建伯，成为明代凭借军功封爵的三位文臣之一。嘉靖八年十一月（1529年1月9日），逝世，时年五十七。明穆宗继位，追赠新建侯，谥号“文成”。万历十二年（1584年），从祀于孔庙。\n明代心学发展的基本历程，可以归结为：陈献章开启，湛若水完善，王守仁集大成 。王守仁的阳明心学后传入了日本、朝鲜等国。其弟子极众，世称“姚江学派”。文章博大昌达，行墨间有俊爽之气。有《王文成公全书》传世。",[23,77,78,26,54,117,1963,195,7,304],"铁船","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb1411d7dfebd52277f93e0eef00d69aa.jpg",[],28,{"id":1968,"slug":1969,"title":1970,"dynasty":191,"author":753,"museum":20,"description":1971,"tags":1972,"thumbUrl":1973,"material":723,"size":724,"collection":118,"collections":1974,"showCount":1966,"zanCount":224,"manualWeight":11,"mainColor":43},228441,"lan-ting-tu-shan-mian-chou-ying-228441","兰亭图扇面","画面中山涧溪流缓缓而下，蜿蜒成“曲水”。兰亭近溪旁。这里视野开阔，亭内一文人高士临亭边而坐，或许凝望远方，正在观赏优雅的景色；或许正在等待前方一仆童抱琴而来，然后抚琴一曲……给人留下无限的遐想。画面中部还有两孩童在溪边嬉戏，一只仙鹤正低头饮水，溪边奇石伫立、松柳掩映，形成了人与自然和谐相处、景色娴雅幽淡的佳境。",[23,407,27,28,75,95,248,30,7,142,759],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3aded3c25f9fd7875b0ba71f943ccab5.jpg",[],{"id":1976,"slug":1977,"title":1978,"dynasty":18,"author":363,"museum":20,"description":1979,"tags":1980,"thumbUrl":1981,"material":118,"size":118,"collection":118,"collections":1982,"showCount":1966,"zanCount":224,"manualWeight":11,"mainColor":43},224424,"yun-feng-shu-se-tu-wang-shi-min-224424","云峰树色图","《云峰树色图》是清代画家王时敏创作的绢本设色画，现藏于 。\n此图以“高远”法取势，构图呈“S”形循环上升。\n山石沉浑雄健，树木苍厚繁密，画风凝重古朴。\n王时敏（1592—168年），字逊之，号烟客，晚号西庐老人，江苏太仓人。\n其祖父是明礼部尚书兼 王锡爵，父亲是明翰林编修王衡。\n明万历二十九年（161年）举进士，崇祯初以荫仕至太常寺卿，崇祯十三年（164年）辞官隐居，入清不仕。\n工隶书，善画山水，以元黄公望、倪瓒为宗，又受董其昌影响。\n他极力主张恢复古法，反对自出新意，是清初画坛正统派的领袖，后世称“娄东派”，与王鉴、王石谷、王原祁合称“四王”，位列“清初四王”之首，在当时有很大影响。",[23,25,52,101,28,75,73,195,304,30,76,7,142,663],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97c21bc9c7b497cbaa4d829b8d874e53.jpg",[],{"id":1984,"slug":1985,"title":1986,"dynasty":124,"author":419,"museum":92,"description":1987,"tags":1988,"thumbUrl":1989,"material":60,"size":1990,"collection":202,"collections":1991,"showCount":1966,"zanCount":224,"manualWeight":11,"mainColor":65},221700,"bai-yun-shan-fang-tu-zhou-yi-ming-221700","白云山房图轴","此画是陈贞为大空道者写白云山房。画面上远山叠嶂，山头似乎被云雾笼罩，只露出平坦的山顶和山段，再近些一座山峰在充溢着水气的墨色中浅淡生幽。右上侧较为空旷，只有时隐时现的小山头。画中部为崎岖不平的山石、树木和杂草丛生，山坡的左侧几间屋宇、茅亭座落山坡一侧，用简笔描绘出几间房屋楼阁。近景有较为宽阔的河道，河道的右侧为一座小山岗，上面长有几株树木；河道的左侧为山坡湖石，点缀着数株乔木。此幅图中树木堪称一绝，姿态不一，品种各异，有的枝叶稀疏，有的枝叶低垂，有的高大繁茂葱郁，还有的枝干虬然。此图的画法，图中巨冈坡石和主峰，运用凝重柔和的披麻皴层层皴擦，表现出浑厚伟峻的形势。远山和树丛的表现，充分吸收了米氏云山技徠法垍頭，或用條水墨轻染淡抹，或用浓淡墨色纵横点染。此图在水墨皴染的基调上，还巧妙地敷施色彩。如山峦坡陀罩染一层淡淡青绿，山巅向阳面敷薄薄的赭石，树叶点染花青。画家善于把山峦、溪水、草木、烟云有机地组成一体，使画面气脉流通，神彩焕发，塑造出白云山房奇丽意境。款识“至正辛卯秋九月既望。陈贞履元为大空道者写白云山房。",[23,25,52,101,54,73,75,304,30,7,142,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d2bce35e6488169e35f98daeffd676d.jpg","103.8x35.4厘米",[202,82],{"id":1993,"slug":1994,"title":1995,"dynasty":191,"author":229,"museum":126,"description":1996,"tags":1997,"thumbUrl":1998,"material":117,"size":118,"collection":118,"collections":1999,"showCount":42,"zanCount":224,"manualWeight":11,"mainColor":65},234118,"wen-zheng-ming-zhang-cun-ren-lan-shi-er-duan-juan-wen-zheng-ming-234118","文徵明、张存仁兰石二段卷","释文：晚凉斜倚赤阑桥，天远白烟消。酒醒顾见花间影，浮云乱、月在林稍。野火青山隐隐，渔歌绿水迢迢。昔年曾此醉清宵。共艤木兰桡。白头重踏行春路，同游伴、半已难招。夜静山高月小，玉人何处吹箫。右调风入松，文徵明。",[25,52,26,54,282,7,78,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5095afe898271fb0ae9141e278a74292.jpg",[],{"id":2001,"slug":2002,"title":2003,"dynasty":124,"author":1183,"museum":92,"description":2004,"tags":2005,"thumbUrl":2007,"material":117,"size":2008,"collection":118,"collections":2009,"showCount":42,"zanCount":11,"manualWeight":11,"mainColor":65},233784,"quan-shi-xin-huang-tu-gu-an-233784","拳石新篁图","《拳石新篁图》画新竹几枝和荆棘一丛，新篁数竿，瘦削挺拔，立于石旁，竹叶参差错落，以浓淡显出不同层次，线条锋锐有力，笔墨细腻，生意盎然。笔法劲利，墨气浓润，表现出新竹破土而出的欣欣向荣之势，是顾安墨竹精品。\n在中国传统绘画中，四季长青的竹历来都是画家所钟爱的传统题材。这件作品主要描绘的是几株新篁，枝干瘦削挺拔，立于石旁，竹叶参差错落，以浓淡显出不同层次，线条锋锐有力，笔墨细腻，生意盎然。作者用笔劲健沉静，兼工带写，以中锋行笔，兼容侧锋，几乎不见复笔。\n《拳石新篁图》此图构图简洁，只有一块小石和数竿新竹。小石如拳，静静地占据了画幅左下角位置，一丛荆棘蔓生于石上。石旁，几竿新竹依石而立，枝节横生，劲节毕显。与竹竿的瘦削细长不同的是：竹叶的描绘极其夸张，硕大如挥舞的剑戟，与竹竿的纤细形成视觉上的强烈反差。\n作者笔法老到，劲健有力。墨色的运用，浓淡、明暗拿捏有度，使画面墨色清润浓厚，各得其宜，颇具神韵。画面上方，自右至左有百不居士题诗和清乾隆皇帝御题诗各一首，百不居士题诗云：“节君自是非今尔，石丈谁能拜下风。惟有王猷并米芾，高情千古远相同。”字里行间给予顾安作品极高的评价。乾隆诗云：“一拳之石几叶竹，空谷无人结契幽。淡霭轻烟风入际，声相应复气相求。”观画上作者款识“至正乙巳闰月写于岁寒楼定之”，可知这幅画创作于元至正乙巳年(1365年)，正是顾安去世之年，其生命不息、艺术不辍的精神写照真是令人肃然起敬。",[25,54,101,57,7,2006,115,58],"墨竹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4283db10a92caf3791c278faf89e9e43.jpg","76cm x 40cm",[],{"id":2011,"slug":2012,"title":2013,"dynasty":191,"author":2014,"museum":92,"description":2015,"tags":2016,"thumbUrl":2017,"material":234,"size":2018,"collection":118,"collections":2019,"showCount":42,"zanCount":85,"manualWeight":11,"mainColor":43},231588,"tao-gu-zeng-ci-tu-tang-yin-231588","陶穀赠词图","唐寅","唐寅（1470－1532），吴县人。字子畏、伯虎。号六如，自称江南风流子。非诗文书画，尤以画艺见长；初师周臣，继而研学李唐、北宋初年，陶谷（903－970）出使南唐，时南唐国力弱小，而陶谷性格傲慢，在南唐后主脸出言不逊。南唐臣风起而设下圈，派宫妓秦蒻兰扮作驿吏之女以诱之。本来盛气凌人的陶谷，见温婉美丽的秦蒻兰之后，不禁为之邪念萌动，曲意奉迎并并讨好，新庸之赠词，遂败慎独戒。是陶谷所赠，顿弄时得陶谷面红耳赤，狼狈至极。画中刻字，工谨详尽，陶谷拈须倚坐榻上，旁墨纸砚，前面燃着红烛。秦蒻兰束发高笔。髻绣襦罗巾，坐弹弹琵琶，情态味感，极引词的画面。 ，而且理趣兼优，形神俱佳。右上有诗情画意，寓意诗：「一宿唐缘逆旅中，短词以识鸿。当时我作陶承旨，前面发红。」诗情画意，寓意静深。",[23,25,52,27,28,95,200,353,1010,7,349],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7fed0db24a4b08267971f750e5a655b5.jpg","168.8 x 102.1 公分",[],{"id":2021,"slug":2022,"title":2023,"dynasty":18,"author":1773,"museum":92,"description":2024,"tags":2025,"thumbUrl":2028,"material":28,"size":2029,"collection":202,"collections":2030,"showCount":42,"zanCount":11,"manualWeight":11,"mainColor":65},223116,"hua-du-fu-shi-yi-gao-zong-yu-ti-zhou-dong-bang-da-223116","画杜甫诗意高宗御题轴","董邦达（1699－1769或1774）清代官员、书画家。字孚闻、非闻，号东山，浙江富阳人。雍正十一年进士，乾隆二年授编修，官礼部尚书，谥文恪。好书、画，篆、隶得古法，山水取法元人，善用枯笔。其风格在娄东、虔山派之间。与董源、董其昌并列。",[23,25,52,101,54,73,75,195,7,304,248,200,250,77,58,2026,2027,197,1286],"峰峦","林木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde04473deae771195c36214c7564a0f8.jpg","18.5x148.5cm",[202,82],{"id":2032,"slug":2033,"title":2034,"dynasty":191,"author":2035,"museum":20,"description":2036,"tags":2037,"thumbUrl":2038,"material":80,"size":80,"collection":118,"collections":2039,"showCount":2040,"zanCount":11,"manualWeight":11,"mainColor":65},234205,"zhu-lan-shi-juan-yang-ming-shi-234205","竹兰石卷","杨明时","杨明时，字存吾，号不弃。今属安徽省黄山市歙县。诗书画俱擅，又精鉴别，《余清斋帖》双钩上石出其手。画宗董源，工山水、兰竹。",[23,25,52,26,54,115,282,57,7,58,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04b8f72a8ff9518fa2e5b87befb33598.jpg",[],26,{"id":2042,"slug":2043,"title":2044,"dynasty":18,"author":2045,"museum":20,"description":2046,"tags":2047,"thumbUrl":2048,"material":118,"size":118,"collection":118,"collections":2049,"showCount":2040,"zanCount":11,"manualWeight":11,"mainColor":65},224296,"zhu-shi-li-shan-224296","竹石","李鱓","此作用笔纵逸老辣，右上苍松虬曲古拙，枝干皴擦间尽显风霜古意，松针以焦墨攒点，苍劲沉凝，垂藤萦纡添灵动生机。下方牡丹以浓淡水墨晕染花瓣，将雍妍之态藏于墨色层次间，旁生兰草舒挺柔韧，伴湖石错落排布。\n左侧题笔与绘事浑然一体，以水墨写意尽脱匠气，融苍松之坚、牡丹之妍、幽兰之清于一轴，笔情墨趣间暗合文人寄寓，纵恣野逸间尽显花木风神。",[23,25,52,54,115,73,7,57,702,76,35],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a30ebfd3df6df1c8f56596df0822fa1.jpg",[],{"id":2051,"slug":2052,"title":2053,"dynasty":210,"author":419,"museum":20,"description":2054,"tags":2055,"thumbUrl":2056,"material":118,"size":118,"collection":118,"collections":2057,"showCount":2040,"zanCount":11,"manualWeight":11,"mainColor":65},223612,"zhu-jian-fen-xiang-tu-yi-ming-223612","竹涧焚香图","此作以边角取景，笔墨简净秀润。浅渚涧水缓流，坡岸幽竹斜曳，士人趺坐石上，静对空山远岑。晕染轻淡的远山融在空濛烟岚里，将天地寥廓之意藏于尺幅留白间。\n\n画面与题诗相契，炉烟随竹风漫过山涧，空山阒寂，将闻未闻的幽玄禅意弥散开来。把林泉高致的隐逸襟怀，化作眼前清寂淡远的图景，于简淡平远中，尽显出世幽居的静穆禅趣，是小品山水里以小见大的精妙之作。",[23,25,52,407,28,75,57,95,7,78,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F52389ef17d1f2b63c69f1c05719db98a.jpg",[],{"id":2059,"slug":2060,"title":2061,"dynasty":18,"author":2062,"museum":390,"description":2063,"tags":2064,"thumbUrl":2065,"material":234,"size":2066,"collection":118,"collections":2067,"showCount":2040,"zanCount":11,"manualWeight":11,"mainColor":43},223023,"hong-lou-meng-148-sun-wen-223023","红楼梦148","孙温","纵览《清·孙温绘全本〈红楼梦〉》全图，笔法精细，设色浓丽，情节连贯且生动感人。作者以独特的视角，将各种人物活动情节置于特定的环境之中，以生动直观的艺术形式，勾画出一幅幅情景交融、富有诗意的画面，将一部洋洋大观、令人荡气回肠的古典名著《红楼梦》表现得耐人寻味、雅俗共赏。其情节之详尽、笔法之精细、篇幅之宏大，为清代同题材绘画作品所仅见。\n全图以石头记大观园全景为开篇，画面鸟瞰构图，将大观园诸多景致悉数入画，一览无余。从第二开画面开始，依次描绘出全本《红楼梦》的故事情节。每个章回情节所用画幅数量不尽相同。画面围绕原著的故事情节，将主要人物活动表现的细致入微，楚楚动人。\n有关专家介绍，这套图中绘有山水人物、花卉树木、楼台亭阁、珍禽走兽、舟车轿舆、鬼怪神仙及博古杂项等，几近包括全部画科内容。仅各种人物就多达3000余人，主要人物采用写真技法，注重面部肤色肌纹之渲染，形神兼备。年轻的女子，弯眉、细眼、樱桃小口，身材窈窕，长颈削肩，给人以纤瘦柔媚、弱不禁风的感觉。人物的衣褶裙带勾染并用，线条流畅飘逸",[23,25,27,28,75,95,444,141,248,142,7,158,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f0cacb77d3ba2f18dc3c0c17699474e.jpg","纵43.3厘米、横76.5厘米",[],{"id":2069,"slug":2070,"title":2071,"dynasty":2072,"author":2073,"museum":2074,"description":2075,"tags":2076,"thumbUrl":2078,"material":2079,"size":118,"collection":118,"collections":2080,"showCount":2040,"zanCount":11,"manualWeight":11,"mainColor":65},220511,"jing-guan-pu-xin-she-220511","景观","民国","溥心畬","The 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的国画作品。\n该画为立轴，绫本，墨笔，纵129．4厘米，横47．8厘米，旅顺博物馆藏。\n李因（1616—1685），清代女画家。\n字今是，又字今声，号是庵，又号龛山逸史，浙江钱塘（今杭州）人。\n留寓海宁。\n画家葛徵奇之妾。\n她能诗能画，善山水、花鸟，亦工芦雁。\n画得陈淳之法，多用水墨，苍劲无闰阁气。\n其夫每加以题跋，常云：“花鸟我不如姬，山水姬不如我。\n”可见其花鸟画在山水画之上。\n葛去世后，李因以卖画为生。\n有《竹笑轩吟草续稿》存世。\n传世作品有《菊石鸣禽图》、《芙蓉鸳鸯图》等。",[23,24,25,101,54,35,490,7,2177],"鸣禽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3607d5341dc4c30287b5215604dfbf0d.jpg",[],{"id":2181,"slug":2182,"title":2183,"dynasty":18,"author":1613,"museum":378,"description":2184,"tags":2185,"thumbUrl":2188,"material":459,"size":118,"collection":118,"collections":2189,"showCount":2146,"zanCount":11,"manualWeight":11,"mainColor":65},220465,"tong-zi-shui-niu-ren-yi-220465","童子水牛","此作用笔简淡写意，芦汀浅水间，两童子踞石垂竿，神态松弛憨稚，不见垂钓的焦灼，只余嬉游闲趣。水牛浮于清波，随水悠悠。浅蓝晕染芦苇，清润朦胧，衬出水乡初夏的凉意。淡墨点苔写岸石，留白铺就水天，将郊野的清寂松弛晕满扇面。简笔勾勒人物形神兼具，以轻描淡写铺就江南野逸日常，把闲散田家意趣藏在水墨间，淡远清宁，尽显悠然诗意。",[25,52,407,24,54,28,95,2186,2187,57,196,7,29],"童子","水牛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83ad1853876e08b4ff2603682f045162.jpg",[],{"id":2191,"slug":2192,"title":2193,"dynasty":191,"author":2194,"museum":20,"description":2195,"tags":2196,"thumbUrl":2198,"material":118,"size":118,"collection":118,"collections":2199,"showCount":2200,"zanCount":11,"manualWeight":11,"mainColor":65},235560,"jin-jie-han-xiang-zhu-shi-zhou-gui-chang-shi-235560","劲节含香竹石轴","归昌世","水墨写就修竹拳石，几竿青竹错落挺劲，枝叶俯仰舒展，笔法清隽秀朗，墨色浓淡相宜，将竹之疏朗风神尽显。顽石以淡墨勾皴，拙朴厚重，与灵秀修竹相映成趣，坡岸寥寥草叶，野意自生。\n\n右上角题诗与绘作相融，诗书印合一，氤氲出悠然文气。整幅简淡清逸，以少胜多，将君子劲节寄于笔墨，画者淡泊自持的襟怀藏于水墨之间，观之如临清风，尽显文人写意的雅逸品格，把竹之贞洁孤傲的君子风骨晕染在方寸画卷中。",[25,52,101,54,115,2197,57,7],"文人画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd47591c44802776c61c8c203b414456e.jpg",[],23,{"id":2202,"slug":2203,"title":660,"dynasty":18,"author":1592,"museum":20,"description":2204,"tags":2205,"thumbUrl":2206,"material":118,"size":118,"collection":202,"collections":2207,"showCount":2200,"zanCount":11,"manualWeight":11,"mainColor":65},234638,"shan-shui-ce-cha-shi-biao-234638","查士标（1615-1698），字二瞻，号梅壑散人，懒老。新安（今安徽休宁）人，流寓江苏扬州。明末秀才，入清后不应举，工研书画。精鉴赏，家藏多鼎彝及宋元人真迹。书法学董其昌，纵逸处近米芾。他的闲散情怀决定了他的绘画气质亦是风神懒散、气韵高逸。",[25,52,24,53,54,28,75,30,7,196,78,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22d726fef1640e5e482b9d8d3b16c206.jpg",[202],{"id":2209,"slug":2210,"title":2211,"dynasty":210,"author":419,"museum":126,"description":2212,"tags":2213,"thumbUrl":2215,"material":355,"size":2216,"collection":118,"collections":2217,"showCount":2200,"zanCount":11,"manualWeight":11,"mainColor":43},223332,"san-yang-tu-yi-ming-223332","三羊图","彩绘柳树伞下的气球在坡草间游荡觅食。 蓬松的，富有一定的。 用笔擦干树干，笔变粗。",[23,25,24,52,2214,27,28,411,506,30,7,520],"宋代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b7a68d3cb18be30324ec6098db75923.jpg","21.2x20厘米",[],{"id":2219,"slug":2220,"title":2221,"dynasty":191,"author":419,"museum":212,"description":2222,"tags":2223,"thumbUrl":2225,"material":130,"size":118,"collection":118,"collections":2226,"showCount":2200,"zanCount":11,"manualWeight":11,"mainColor":43},217937,"ming-ren-shan-shui-hua-ce-zhi-shi-er-yi-ming-217937","明人山水画册之(十二)","明朝是中国历史上一个重要的朝代，它的艺术创作也十分丰富多彩。其中，佚名的《明人山水画册》是一部非常著名的山水画集，被认为是明朝山水画发展的里程碑之一。\n\n《明人山水画册》收录了许多佚名画家的作品，这些画家均擅长运用山水画的技巧，描绘出了美丽的山水景观。这些画作以其精细的线条和细腻的色彩闻名，能够表现出山水的神韵和灵动。\n此外，《明人山水画册》还收录了一些诗文，这些诗文与画作形成了很好的呼应。这使得这部画册不仅是一部艺术作品，而且是一部文学作品。\n\n总的来说，《明人山水画册》是一部十分珍贵的艺术作品，它为我们展示了明朝山水画的高超技巧和精湛工艺，同时也为我们呈现了明朝文化的瑰丽风貌。",[23,25,52,54,73,53,75,95,30,2224,7,142],"茅舍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c54ac9ee30e801bdac132949220f58a.jpg",[],{"id":2228,"slug":2229,"title":2230,"dynasty":18,"author":2231,"museum":20,"description":2232,"tags":2233,"thumbUrl":2242,"material":117,"size":2243,"collection":447,"collections":2244,"showCount":2245,"zanCount":11,"manualWeight":11,"mainColor":43},241563,"qi-yan-shi-zhou-zheng-fu-241563","七言诗轴","郑簠","此轴书法结体端秀雅逸，尚有《曹全碑》灵动飘逸之风神，而笔画的粗细及运笔却极富变化，舍汉隶之方正，而求“盘于跳荡”之姿，尤其是一些草书笔法的应用，更增加了全幅飘逸灵动之势，同时又不乏庄重沉实的气息，代表了郑簠隶书的典型风格。\n郑簠（1622-1694年），字汝器，号谷口，清代上元（今江苏南京）人。工书法，尤以隶书擅名于清初书坛。其隶书初学明代宋珏，后专意于《曹全碑》，并在隶书中融入草书笔法，形成疏宕纵逸、顿挫飞扬的独特风格，对清代隶书产生很大影响。包世臣将其书列为“逸品上”，时有“谷口八分古今第一”之誉。",[2234,77,101,58,2235,2236,2237,32,2238,2239,2240,7,2241],"隶书","山堂","白云","飞絮","落叶","秋风","柏子","水湾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe12525d09d8811e336635d39972f7289.jpg","纵202.2厘米，横96.9厘米",[447],22,{"id":2247,"slug":2248,"title":2249,"dynasty":191,"author":2194,"museum":20,"description":2250,"tags":2251,"thumbUrl":2252,"material":118,"size":118,"collection":118,"collections":2253,"showCount":2245,"zanCount":11,"manualWeight":11,"mainColor":65},234773,"zhu-shi-shan-mian-gui-chang-shi-234773","竹石扇面","归昌世（1573－1644）字文休，号假庵，昆山人，移居常熟。明末诗人、书画家、篆刻家，散文大家归有光嫡孙，归庄之父。明诸生，早慧过人，十岁能诗文，书宗晋唐，亦善书画，尤擅草书，丹青法倪黄，山水萧散疏淡；兰竹脱透空灵，妙趣横溢，意在青藤、白阳之间、 兼工篆刻。诗文得家法与王志坚、李流芳时称三才子。与潘澄、龚贤等十三位昆山画家组织画社，史称“玉山高隐十三家”，崇祯末以待诏徵不应，有《假庵诗草》。",[191,407,54,57,7,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97e8addfbf2359216f59047a00a54fb2.jpg",[],{"id":2255,"slug":2256,"title":2257,"dynasty":18,"author":2258,"museum":20,"description":2259,"tags":2260,"thumbUrl":2261,"material":118,"size":118,"collection":118,"collections":2262,"showCount":2245,"zanCount":11,"manualWeight":11,"mainColor":65},234597,"wu-zhao-zhu-shi-wan-shan-wu-zhao-234597","吴照竹石纨扇","吴照","吴照（1755—1811），字照南，号白庵，江西南城人。乾隆五十四年（1789）拔贡，官至大庾教谕，后弃官卖画自给。通六书，画竹得金错刀法，兼善山水、人物，亦能画兰。意气豪宕，嗜饮，罗聘尝为绘石湖课耕图，并联吟、饭牛诸图。有说文字原考略、听雨楼集。卒年五十七。事具《墨香居画识》、《墨林今话》、《怀旧集》、《清画家诗史》。",[25,52,407,54,57,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2485fda3f670a81bbcb0572bcc5842ff.jpg",[],{"id":2264,"slug":2265,"title":2266,"dynasty":18,"author":2267,"museum":126,"description":2268,"tags":2269,"thumbUrl":2270,"material":2271,"size":2272,"collection":118,"collections":2273,"showCount":2245,"zanCount":11,"manualWeight":11,"mainColor":65},234113,"yi-song-tu-juan-dai-xi-234113","忆松图卷","戴熙","该画颇有“北宋”山水的气势，在意境上突破了“四王派”末流的萧淡枯寂，一定程度上表现了雄浑沉厚，山石形态及皴法。\n《忆松图》是戴熙“师造化”的最好例证。画家跋云：“地近方山，山有龙池云洞诸胜，多松，漫溪弥谷，旷望无际，常月夜行万松中，遇要氏兄弟，结苑读书其下，赋诗赠答，慨然有卜邻之志。后来京师，每值风和月霁，辄追忆之，嘱写《忆松图》，落落五年末有以报，丁未早春，侨居都下颇忆故山松径……”\n戴熙（1801—1860）浙江钱塘（今杭州）人，字醇士（一作莼溪），号榆庵、松屏，别号鹿牀居士（一作樚牀）、井东居士。道光十一年进士，十二年翰林，官至兵部侍郎，后引疾归，曾在崇文书院任主讲。咸丰十年太平天国克杭州时死于兵乱。谥号文节。工诗书，善绘事。山水早年师法王翚，进而摹拟宋元诸大家，对于王蒙、吴镇两家笔意更有所得。晚年观摩巨然真迹，在用墨方面有深切的领会。道光时宫廷书画多出于其手。又能画花、人物，以及梅竹石，笔墨皆隽妙。秦祖永的评论是：“临古之作形神兼备，微嫌落墨稍板，无灵警浑脱之致，盖限于资也。所写竹石小品停匀妥帖，尚为蹊径所缚，未能另立门庭也。”\n他的山水画属“虞山”一派，因受奚冈的影响，所以他的画风也接近于“娄东”派，他的山水多用擦笔，山石以干墨作皴，然后以湿笔渲染，颇得物象的形象和神髓，世人谓之蝉翼皴。他晚年所画的《山水长卷》笔致醇朴。有《习苦斋集》、《习苦斋花絮》等。",[25,26,54,75,73,77,78,58,195,196,76,30,7,305,368,663,197],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff00379ba924bd77a66435a66df038176.jpg","纸本墨色","纵37.7厘米，横123.2厘米",[],{"id":2275,"slug":2276,"title":2277,"dynasty":18,"author":2278,"museum":20,"description":2279,"tags":2280,"thumbUrl":2282,"material":118,"size":118,"collection":118,"collections":2283,"showCount":2245,"zanCount":11,"manualWeight":11,"mainColor":65},230889,"xiong-ji-ju-shi-tu-li-shi-zhuo-230889","雄鸡菊石图","李世倬","这幅水墨写意之作，以雄鸡为主体，踞石而立。铁爪紧扣岩块，冠髯抖擞，尾羽如墨色长剑斜斜舒展，笔意纵逸苍劲，以浓淡墨色晕染出羽毛蓬松肌理，寥寥数笔便将雄鸡骄悍英武之态尽显，形神兼备。\n\n旁侧秋菊斜枝而出，墨花点染间浓淡错落，枯涩枝桠衬出晚秋清逸萧疏的意韵，与雄鸡的刚健相得益彰。右上角行书题诗，笔墨与画意相映，添就悠长文人意趣。\n\n整作笔力苍浑兼具秀润，以极简水墨写尽物象风神，将禽鸟野逸与花草清隽相融，借物抒怀，把秋日生机与雄鸡傲骨铺陈纸上，尽显写意花鸟以形写神的妙处。",[23,24,25,52,101,54,35,2281,490,7],"雄鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab4355cfcff03a1ce87b1b057424bf8d.jpg",[],{"id":2285,"slug":2286,"title":2287,"dynasty":124,"author":2288,"museum":20,"description":2289,"tags":2290,"thumbUrl":2291,"material":118,"size":118,"collection":118,"collections":2292,"showCount":2245,"zanCount":11,"manualWeight":11,"mainColor":43},228042,"chun-shan-fang-you-tu-juan-sheng-mao-228042","春山访友图卷","盛懋","此作用平远之法铺展春日江天，烟波澹澹横贯画面，晕染出空濛柔婉的山水意趣。左下角扁舟轻漾，舟中士人纵览春景，自在悠游；右侧山居隐于林木间，白墙黛瓦雅致静谧，暗合访友幽怀。\n\n远山以淡墨晕染，云雾缱绻萦绕峰峦，青绿浅施于山石林木间，温润雅致。笔致温婉细腻，皴染相辅，既绘出春山葱郁温润之态，亦将隐逸淡远的意韵融汇其间，藏着文人寄情林泉、悠游丘壑的雅趣。",[23,25,52,26,28,75,73,195,196,571,200,95,142,248,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F445fe68c4573e00d69802e2d95defe19.jpg",[],{"id":2294,"slug":2295,"title":2296,"dynasty":210,"author":2297,"museum":20,"description":2298,"tags":2299,"thumbUrl":2301,"material":118,"size":118,"collection":118,"collections":2302,"showCount":2245,"zanCount":11,"manualWeight":11,"mainColor":65},227803,"song-yin-ming-qin-tu-liu-song-nian-227803","松荫鸣琴图","刘松年","苍松浓荫遮蔽出一方清寂天地，琴案横陈，炉烟似随着琴音袅袅轻扬。抚琴者身姿舒展，指尖落弦仿佛有声，将心绪尽数寄于丝弦之上。对面长者垂眸敛神，身心都沉湎在悠悠琴韵之中，连身侧侍立的小童都屏息静立，不敢惊扰这片刻雅静，周遭的幽草矮竹也似在凝聆听赏。\n\n画作以浓墨点染苍劲松针，淡墨勾勒人物衣纹，线条清劲简练。将宋代文人追求的林下雅逸，凝缩在尺幅之间，把知己相对、琴音寄怀的超然意趣铺陈开来，静穆悠然的禅意弥散在画面里，尽显文人雅集的清旷疏朗之美。",[23,24,25,52,407,27,28,95,76,57,7,1010,2300],"琴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b81c56fb1a8b0fc313ca776e3e8f2af.jpg",[],{"id":2304,"slug":2305,"title":2306,"dynasty":1642,"author":2307,"museum":20,"description":2308,"tags":2309,"thumbUrl":2312,"material":118,"size":118,"collection":118,"collections":2313,"showCount":2245,"zanCount":11,"manualWeight":11,"mainColor":43},227249,"dou-niu-tu-dai-song-227249","斗牛图","戴嵩","《斗牛图》传为唐代画家 所画的绢本水墨画，现藏于台北故宫博物院。\n此图绘两牛相斗的场面，风趣新颖。\n一牛前逃，似力怯，另一牛穷追不舍，低头用牛角猛抵前牛的后腿。\n双牛用水墨绘出，以浓墨绘蹄、角，点眼目、鬃毛，传神生动地画出斗牛的肌肉张力、逃者喘息逃避的憨态、击者蛮不可挡的气势。\n牛之野性和凶顽，尽显笔端。\n图中画两牛相斗，一头牛用角觝触，另一牛却旋转著身子，好像虽败而欲再迎战。\n此幅画牛，身驱颇为健壮，大有蛮劲足以力仆万人之慨。\n图中右上方有乾隆题诗：“角尖项强力相持，蹴踏腾轰各出奇。\n想是牧童指点后，股间激露尾垂垂。\n” 中国人对于牛的图腾崇拜，可以追溯到4年前的大禹治水时期。\n传说大禹每治好一处水患，就要铸铁牛投入水底，以示镇压，等到了唐代，就将镇水的铁牛改设岸上了。\n在中国老百姓的眼中，牛更多的美德是埋头苦干而从无怨言的品质，是勤劳的象征。\n然而，野牛的彪悍好斗却也是人所共知的。\n世界上不少民族都有“斗牛”的传统风俗，而我国的斗牛习俗，则要溯源至公元前2年春秋战国时期。\n据《水经注》记载：秦李冰治蜀，为根治水患造福蜀地百姓而修建“都江堰”，触怒了江神，两者化作两头公牛激烈搏斗，李冰在下属的帮助下刺杀了江神，从此蜀地再无水患。\n蜀人敬仰李冰的勇敢果决，遂将体格健壮的青年称作“冰儿”，而斗牛也就成为蜀人历史悠久的习俗：宋初编纂的《太平广记》就记载汉晋之后蜀地已流行斗牛之戏。\n出身书香门第的戴嵩从小热衷书画，水牛画得很好，年少即有名。\n《斗牛图》就是他创作的关于“牛”题材绘画之一。\n关于此图是否是戴嵩真迹还有争议，从其画风观之，此作或属明中期以前辗转流传的摹本。\n画面上一牛昂首腾空，前蹄离地，作躲闪状，看似已斗不过，也许在作迂回战，以逃状作避，伺机反扑；另一牛，鼓足力气，急速猛冲，低头侧目，四肢有力蹬地，将一只垮角猛击逃牛的后腿。\n呈现出一场激烈厮杀的惊险场面。\n画家用水墨淋漓、笔触刚健的艺术形式，画出一窜一追、一抵一昂、一冲一跃的两头牛，浑身绷紧的肌肉，显示牛的强壮有劲；前头那腾空的蹄，那踢蹴的腿，那昂首喘气的憨态；后头那低头猛击的蛮劲，很有将对方挑起猛摔之势；活灵活现地表现了斗牛的野性与凶顽，以及进攻与防御双方的伎俩；此画之所以颇见风趣和新意，是由于画家对牛的牛活和特性有朴殊感受，善于对于一定情势下的牛的特殊表现，作出别出心裁的处理；两牛相斗的动人情节，不止于外形的逼真，而是有情趣的牛的描写，体现了画家的笔墨熟练和细心观察。\n从构图看，画家选择了两牛相斗高潮似刚过去、但搏斗仍在继续这一瞬间的场面，加以刻画，颇见风趣和新意。\n作者以清淡朦胧的背景，在于使人有置于茫野的感受，其目的为了突出主题 。\n烟台大学教授、中国美术家协会会员 ：透过《斗牛图》精湛的表现力，我们还可以体验到作者在哲学上的良好修养。\n那主体、背景的浓、淡对比，那寓静于动的玄妙构图，那失去平衡的稳态造型，无不渗透着本民族古典哲学的精髓。\n这一点在唐以前的作品中是很少见到的。\n由图上题跋可知，该图曾经入清宫，经乾隆帝鉴赏。\n现藏于台北故宫博物院。\n该图收录于：盛京故宫书画录（卷一） ，第一册；故宫书画录（卷八），第四册；故宫书画图录，第十五册。\n戴嵩，唐代画家。\n最初学画时，以 为师，韩滉镇守浙西时，嵩为巡官。\n擅画田家、川原之景，写水牛尤为著名，后人谓得“野性筋骨之妙”。\n相传曾画饮水之牛，水中倒影，唇鼻相连，可见之观察之精微。\n明代李日华评其画谓：“固知象物者不在工谨，贯得其神而捷取之耳。\n”与韩干之画马，并称“韩马戴牛”。\n传世作品有《斗牛图》。\n牛有青出于蓝的声誉，又擅长于农家风景。\n他的弟弟 也以画牛而闻名。",[23,25,54,24,2310,1253,411,95,30,7,2311],"唐代","斗牛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F585082e468b1730f72d9bc88f06964e5.jpg",[],{"id":2315,"slug":2316,"title":2317,"dynasty":191,"author":1503,"museum":92,"description":2318,"tags":2319,"thumbUrl":2320,"material":28,"size":2321,"collection":104,"collections":2322,"showCount":2245,"zanCount":11,"manualWeight":11,"mainColor":43},222379,"san-jiao-tu-ding-yun-peng-222379","三教图","图中所绘的是孔子、老子、红衣罗汉坐于树下共同探究玄理的情景。作品现收藏于台北故宫博物院。\n该作品所绘的三位智慧长者面目严肃，神情专注，孔子儒雅敦厚，循循善诱，正发表言论；老子道貌岸然，谨慎而善辩，他注视着对方，似乎准备随时发问；红衣罗汉双目低垂，安详而平静，从他紧锁的眉头可以看出他已沉于思索之中。图左下款署“善男子丁云鹏敬写”。钤“丁云鹏印”“南羽氏”。画上有陈继儒题记。\n明代，随着儒、道、释三教的融合，宗教题材的绘画也随之有了世俗化的倾向，此画中的宗教人物与作为供养的神仙不同，脱离了程式化的因素，有着鲜明的个性特征和情绪化色彩，同时融入了文人的审美情趣。其人物造型古拙、气质端庄文雅，体现了明后期文人画注重表现个性的风尚。画法上，运用“高古游丝描”，细劲而“笔力伟然”，既有古朴之感，又具有时代气息。设色古妍冷隽，尤其是人物服饰的红色、兰色与赭色，赋色沉稳和谐。山石树木勾勒添色，取法文徵明，小青绿设色，文静典雅，营造了一种静谧清淡的意境，引人入胜。",[23,25,52,24,27,28,95,773,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ff1c843045c703266db9a9adca98c31.jpg","纵115.6cm，横55.7cm",[104,147],{"id":2324,"slug":2325,"title":2326,"dynasty":210,"author":2327,"museum":2328,"description":2329,"tags":2330,"thumbUrl":2331,"material":37,"size":2332,"collection":118,"collections":2333,"showCount":2245,"zanCount":224,"manualWeight":11,"mainColor":43},220118,"shi-liu-luo-han-tu-di-wu-zun-zhe-jin-da-shou-220118","十六罗汉图-第五尊者","金大受","日本东京国立博物馆","金大受是南宋时代浙江宁波具有代表性的佛画师。本图各幅有落款“大宋明州车桥西、金大受笔”，绘于庆元元年（1195）之前，当时的宁波被称为“明州”，作为现存浙江佛画中时代最早的作品而闻名。金大受所绘的罗汉笔锋收敛，形态把握准确，其赋彩也是巧用中间色，采用协调的自然表现手法，在宁波所绘制的罗汉图中也属于佳作。作为摄州多田院的镇院之宝而传来。曾为原邦造旧蔵。16幅作品中，现已确认有东京国立博物馆馆藏的10幅，以及群马县立近代美术馆馆藏的1幅，其他5幅估计流失海外，所在不明。\n金大受所画十六罗汉计十六幅，分藏三个处所，除了东京国立博物馆藏了十幅之外，其余分别由二个私人收藏家所收藏。十六幅中，每幅均有「大宋明州车桥西金大受笔」的落款，因此一直被误认为作者是西金居士。后来才被判定为南宋宁波车桥之西的画家金大受。\n十六幅中，现藏于群马县立近代美术馆的一幅，长一一七．四公分，宽五Ｏ．四公分。尊者着偏袒右肩式僧服，外罩水田衣，微侧脸注视手中的持花，其蹙眉掀鼻，张口露齿的表情，很是特出。画中除尊者之外，另有侍者一人，以及伏在矮几的小童一人，尊者头上的圆光，以青绿色为之，背后花树盛开，树枝上倒挂一朵莲花，色彩精致，笔触细腻，采用了较幽沉的色调，却烘托出尊者和圆光的明亮。",[23,25,28,27,773,95,30,7,423],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fde848f0e8f08d77bba01668fd802662d.jpg","118.8×51.7cm",[],{"id":2335,"slug":2336,"title":2337,"dynasty":191,"author":192,"museum":20,"description":2338,"tags":2339,"thumbUrl":2340,"material":723,"size":724,"collection":118,"collections":2341,"showCount":2342,"zanCount":11,"manualWeight":11,"mainColor":65},237850,"fang-ni-zan-shan-shui-shan-dong-qi-chang-237850","仿倪瓒山水扇","董其昌（1555年2月10日—1636年10月26日），字玄宰，号思白、香光居士，松江华亭（今上海市）人。明朝后期大臣、书画家。正如李志敏所说：“主张学古变古，但在书法神韵问题上的迷信观念，却比古人尤有过之”。\n万历十七年，考中进士，授翰林院编修。一度担任皇长子朱常洛的讲官。历任湖广提学副使、福建提学副使、河南参政，因病辞职。泰昌元年（1620年），明光宗朱常洛继位，授太常少卿、国子司业，参修《明神宗实录》。天启五年（1625年），出任南京礼部尚书，因事辞官。崇祯五年（1632年），出任太子詹事。崇祯七年（1634年），回归乡里。崇祯九年，去世，谥号“文敏”。\n董其昌擅于山水画，师法于董源、巨然、黄公望、倪瓒，笔致清秀中和，恬静疏旷；用墨明洁隽朗，温敦淡荡；青绿设色，古朴典雅。以佛家禅宗喻画，倡“南北宗”论，为“华亭画派”杰出代表，兼有“颜骨赵姿”之美。存世作品有《岩居图》《明董其昌秋兴八景图册》《昼锦堂图》《白居易琵琶行》《草书诗册》《烟江叠嶂图跋》等。画作及画论对明末清初的画坛影响甚大。书法出入晋唐，自成一格。作品《戏鸿堂帖》（刻帖）。颇能诗文，著有《画禅室随笔》《容台文集》等。",[407,25,54,347,75,30,7,73,845,198],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9fe56f94b85cc2111160b5c9a7022474.jpg",[],21,{"id":2344,"slug":2345,"title":821,"dynasty":18,"author":822,"museum":92,"description":823,"tags":2346,"thumbUrl":2347,"material":117,"size":118,"collection":118,"collections":2348,"showCount":2342,"zanCount":11,"manualWeight":11,"mainColor":65},237206,"shan-shui-zhu-shi-ce-wang-hui-237206",[25,52,53,54,75,57,7,58,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cce4f8f5ac5d999d33e87735030674e.jpg",[],{"id":2350,"slug":2351,"title":821,"dynasty":18,"author":822,"museum":92,"description":823,"tags":2352,"thumbUrl":2353,"material":117,"size":118,"collection":118,"collections":2354,"showCount":2342,"zanCount":11,"manualWeight":11,"mainColor":65},237205,"shan-shui-zhu-shi-ce-wang-hui-237205",[25,52,53,54,75,30,7,142,73,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdef44c46debc96ae64d8e2e55d88d995.jpg",[],{"id":2356,"slug":2357,"title":2358,"dynasty":18,"author":2359,"museum":20,"description":2360,"tags":2361,"thumbUrl":2362,"material":723,"size":724,"collection":118,"collections":2363,"showCount":2342,"zanCount":11,"manualWeight":11,"mainColor":65},234923,"mei-zhu-lan-shi-tu-zhou-yang-jin-234923","梅竹兰石图轴","杨晋","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。",[25,52,101,54,35,56,57,282,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8537edec523b3144ca08d3569009d41e.jpg",[],{"id":2365,"slug":2366,"title":2367,"dynasty":18,"author":419,"museum":20,"description":2368,"tags":2369,"thumbUrl":2371,"material":723,"size":724,"collection":118,"collections":2372,"showCount":2342,"zanCount":11,"manualWeight":11,"mainColor":65},234394,"qian-long-di-fei-yu-jia-qing-di-you-nian-xiang-zhou-yi-ming-234394","乾隆帝妃与嘉庆帝幼年像轴","此作以双层楼阁铺展深苑日常，上层朱红木构镂空雅致，紫纱轻垂掩映竹影，晕开静谧清幽。下层轩窗半启，妃嫔衣袂织绣华美，垂眸凝睇身侧幼童，眉目柔婉，漫溢出化不开的慈意。\n\n远景湖山轻晕如黛，近旁奇石立，芍药娉婷、修竹疏朗，将中式庭院的清雅意趣尽数铺陈。全画笔法工致细腻，建筑雕纹分毫毕现，人物发丝衣褶皆见匠心，色彩柔丽和谐，把深宫之中的脉脉天伦温情，定格成一帧静好隽永的时光剪影，尽显写实精妙的绘事功力。",[25,52,101,27,28,95,444,57,7,702,2370,348,1130,503],"窗棂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2bb53374383c49f92b0da5cb26dc45c.jpg",[],{"id":2374,"slug":2375,"title":2376,"dynasty":191,"author":2377,"museum":20,"description":2378,"tags":2379,"thumbUrl":2380,"material":118,"size":118,"collection":118,"collections":2381,"showCount":2342,"zanCount":11,"manualWeight":11,"mainColor":65},228890,"san-you-tu-juan-chen-gua-228890","三友图卷","陈栝","此帧以水墨写就，老松虬曲苍劲，枯笔焦墨勾勒皴擦，尽显鳞皴老干的嶙峋古意。松针攒簇劲挺，如刃似戟。垂挂的藤萝以淡墨长线曳落，柔丝曼曼，和老干的刚硬形成绝妙反差。下方嫩竹亭亭，小篁数丛简淡清雅，寥寥数笔便把清拔姿态绘就。\n画面留白疏朗，水墨浓淡干湿相生相合，笔意纵恣却暗含法度，将岁寒之友的清逸孤傲风骨尽显，藏着文人写意的澹澹禅心，清雅脱俗，意韵悠长。",[2143,25,52,26,54,55,58,76,57,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff43250ffaea547b9ef3fabbd4b5c2e4e.jpg",[],{"id":2383,"slug":2384,"title":2385,"dynasty":18,"author":636,"museum":20,"description":2386,"tags":2387,"thumbUrl":2391,"material":118,"size":118,"collection":118,"collections":2392,"showCount":2342,"zanCount":11,"manualWeight":11,"mainColor":43},224210,"yun-shan-shui-tu-wu-chang-shuo-224210","云山水图","以篆籀笔法入山水，阔笔泼墨点染远山苍莽朴拙，山居错落隐于林麓，野意横生。留白写江面悠悠，一叶扁舟随波，铺展出空寂淡远的烟江暮色。近岸老木虬曲、修竹横斜，用笔纵老苍劲，干湿浓淡的水墨交织晕染。\n题诗与画境相融，将暮山寻幽的闲逸心境诉诸笔端，突破柔隽山水的陈格，以写意风骨绘就晚秋江南萧疏淡远之致，笔墨间金石气裹挟着文人雅趣，简淡中见雄浑大气，尽显诗画合璧的文人风神。",[23,24,25,52,26,54,75,73,30,216,7,2388,142,198,2389,2390],"小船","竹子","滩涂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F99b3ba3916d6e873f7fe5bd0cbbb0434.jpg",[],{"id":2394,"slug":2395,"title":2396,"dynasty":191,"author":419,"museum":20,"description":2397,"tags":2398,"thumbUrl":2400,"material":118,"size":118,"collection":118,"collections":2401,"showCount":2402,"zanCount":11,"manualWeight":11,"mainColor":65},237612,"you-qiu-pin-gu-tu-zhou-yi-ming-237612","尤求品古图轴","此作用淡墨铺就庭院雅集，右侧古木盘根虬曲，苍皮皴裂间枝繁叶茂，湖石芭蕉相衬，晕出院内清幽静雅。堂中文士围案环坐，展玩古物，或蹙眉细观，或颔首低语，神态灵动鲜活；僮仆随侍左右，奉茶侍立，动静之间尽显闲雅松弛。\n\n笔线细劲秀逸，淡墨晕染出清雅氛围，将文人耽于博古清赏的雅趣，娓娓铺陈在画面之中，处处浸透闲适古雅的文人情致。",[25,52,101,54,27,55,95,350,424,30,76,57,353,7,349,2399,58],"古器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66c72ed92b7852720229e817e865720c.jpg",[],20,{"id":2404,"slug":2405,"title":2406,"dynasty":191,"author":2157,"museum":20,"description":2158,"tags":2407,"thumbUrl":2408,"material":723,"size":724,"collection":118,"collections":2409,"showCount":2402,"zanCount":11,"manualWeight":11,"mainColor":43},236814,"song-zhu-shi-shan-xiang-sheng-mo-236814","松竹石扇",[407,54,73,76,57,7,282,77,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8cd6951a13d0417c0924d7867b83608.jpg",[],{"id":2411,"slug":2412,"title":2413,"dynasty":191,"author":419,"museum":20,"description":2414,"tags":2415,"thumbUrl":2416,"material":118,"size":118,"collection":118,"collections":2417,"showCount":2402,"zanCount":11,"manualWeight":11,"mainColor":65},235841,"lu-zhi-tian-ping-shan-tu-ye-yi-ming-235841","陆治天平山图页","此作左文右图，诗画合璧。右侧绘层岩峻耸，浅绛设色清润柔和，山石勾勒苍秀兼具，山脚水陂萦回，隐见村舍错落其间，远山晕染朦胧杳霭，尽显江南丘壑灵秀清旷之意。远景山峦淡抹轻皴，近景林木屋舍细致清雅，于工写之间晕染出山林幽寂野趣。\n左侧行书题跋笔意舒展流畅，以文述景，将山川形胜娓娓铺陈，把实景奇崛与人文底蕴融于一卷，笔墨间晕开清雅意趣，将江南名山的形神与文人情思相融，淡远空灵，古意悠然。",[25,52,53,28,75,195,7,200,142,248,77,78,58,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff31993646a95510e802b9f5b7f7282af.jpg",[],{"id":2419,"slug":2420,"title":2421,"dynasty":210,"author":2422,"museum":126,"description":2423,"tags":2424,"thumbUrl":2427,"material":234,"size":2428,"collection":118,"collections":2429,"showCount":2402,"zanCount":11,"manualWeight":11,"mainColor":43},234035,"wu-zhu-xi-tang-tu-ye-xia-gui-234035","梧竹溪堂图页","夏圭","此画设色画修竹、梧桐、茅屋、远山。这是一幅近似正方构图的小品山水画面。画中主要突出近景，近景描绘细致而写真，远景则粗淡而画虚，又是一幅虚实结合的山水风景画。近景是高大而扭曲的夹叶梧桐树，及挺立而柔姿的翠竹，在微风中摆动，互相交映，茅屋及草堂在树荫下显露。在这幽静的环境里，一位隐士在草堂中，面对高山溪水观景赋诗，敞开胸怀，歌颂大自然的美景。在茅屋与草堂前有护栏同着的院庭，主人在庭院里闲散时，可以听到溪水潺潺声，树叶的沙沙声，以及远处山风的呼啸声，同时可以怀诗朗颂；远景朦胧中有山峰映显，是山溪水的升腾，使山峰尤如在云雾中飘移。这水声、风声及诗人在山水问的朗渎声，可以组成人间大自然美好交响乐章，这就是夏圭山水中的具笔墨淋漓、云烟变态，饶有士大夫风骨的画面。\n此画设色画梧桐、修竹、茅屋、远山。构图上采用“一角”画法。画竹、树疏朗简洁，布局巧妙。全画笔法苍老劲健，下笔疾速果断。画中茅屋随手勾出，显得严谨而活泼。整幅画面层次鲜明，用浓墨写近景，再用淡墨画栏杆，远山则用花青略加渲染，使画面产生了强烈的空间感。\n构图上采用所谓“一角”、“半边”之法，主要景色都集中在画面下部，左侧取其大自然中真实一角，与右旁渺无人烟的画面，只有山影在茫茫的雾气中浮动，构成了意境深远的山水画。所画竹、树疏朗简洁，布局巧妙，作者以粗笔浓墨勾出梧桐树干及叶丛，用中锋画竹竿，以楷书写竹叶，堂宇、栏杆画得破有成规，近处山石棱焦清晰，并有青苔点簇，树林中蕴现的秀石以浅墨勾出，又以淡水墨染之，与装饰性的梧竹，形成色差的对比。画中茅屋，不用界尺，随手勾出，显得严谨而活泼。远远的山形与天色几乎相混，只见有一笔勾之，远山用花青略加渲染，造成的深远景色，只能让观者在意境中识别，这是夏画中的意取胜的展现。在此幅画中，见到了作者较富装饰性的山水画。以自识“夏圭”款二字于左方树干上。\n《梧竹溪堂图》画面简明地分成虚实两块，正是典型的“夏半边”构图。画中树木干枝曲折多弯，亦与马远树法相同。惟其用笔苍润含蓄，不似马远瘦硬刚劲，这大概与夏圭好用秃笔有关。建筑物也是用毛笔信手勾勒出来的，透视、比例都很合理，虽不及马远的界画法工细，却也别有韵味。若再细看，不难看到房柱、栏杆之类建筑构件是以较严谨、沉稳的线条组成，画屋顶茅草的线条则显得疏松、随意，这一细节透露出画家信手勾勒时仍很有分寸。由于画小景物不多，夏圭善用墨色的特点在《梧竹溪堂图》中表现得不是非常充分，然其墨色浓淡相济，足以将画面空间交待得层次分明，使景物密集处也有了几分空灵感。",[25,24,53,78,54,28,73,75,57,2425,2426,141,142,30,7,348,759,77],"梧","堂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0eaba403757890198eedd65e6a3143f.jpg","纵23厘米，横26厘米",[],{"id":2431,"slug":2432,"title":2433,"dynasty":18,"author":500,"museum":126,"description":2434,"tags":2435,"thumbUrl":2439,"material":761,"size":2440,"collection":118,"collections":2441,"showCount":2402,"zanCount":224,"manualWeight":11,"mainColor":65},232971,"hua-niao-ce-lang-shi-ning-232971","花鸟册","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。",[24,25,52,53,27,28,504,282,7,2436,35,505,2437,2438],"枝干","笔墨","光影","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f6041cf4527a2b11a1a31782ac66d2a.jpg","纵32.6厘米，横28.6厘米",[],{"id":2443,"slug":2444,"title":2445,"dynasty":18,"author":2446,"museum":20,"description":2447,"tags":2448,"thumbUrl":2449,"material":723,"size":724,"collection":118,"collections":2450,"showCount":2402,"zanCount":11,"manualWeight":11,"mainColor":65},230928,"lan-shi-tu-wang-wu-230928","兰石图","王武","王武，1632年生，1690年逝世，吴县（今江苏苏州）人。字勤中，晚号忘庵，又号雪颠道人。明代画家王鏊六世孙，精鉴赏，富收藏，擅画花鸟，风格工整秀丽，正如王时敏所云：“神韵生动，应在妙品中。”为清初院画的名家。亦擅诗文。传世作品有《水仙柏石图》、《红杏白鸽图》、《鸳鸯白鹭图》等。",[25,52,407,54,28,115,282,7,77,78,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F818304cde9ff66cdef25c7b98f674d5b.jpg",[],{"id":2452,"slug":2453,"title":2454,"dynasty":18,"author":1218,"museum":92,"description":2455,"tags":2456,"thumbUrl":2457,"material":37,"size":2458,"collection":39,"collections":2459,"showCount":2402,"zanCount":224,"manualWeight":11,"mainColor":65},219382,"hua-shi-pen-lan-tu-wang-jian-219382","花石盆兰图","玲珑石上置天蓝釉色盆器，下有同色盆托。蕙兰集生种于盆中，花萼直立，一茎数朵，浅黄绿色，香气浓郁。下用奇石为花台，月季花、万寿菊、剪秋罗等诸种秋卉杂生，呈现园林野逸生趣。春花为兰，秋花为蕙。明清时期兰艺栽培进入兴盛时期，品种不断增加，成为大众观赏之物。画上款署「甲戌（1634）夏日写，王鉴」，并钤「知如、王鉴之印」。与清初「正统派」画家王鉴同名，但画风不同，作者生卒年无可考。上为乾隆三十六年（1771）御制题画诗，内容贴切，表现出紧密的诗画关系。",[25,52,101,28,27,282,7,597,35,1025],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1714595b0e9a244bb7084d7d086642de.jpg","159.2x71.1",[39],{"id":2461,"slug":2462,"title":2463,"dynasty":210,"author":419,"museum":92,"description":2464,"tags":2465,"thumbUrl":2466,"material":160,"size":2467,"collection":221,"collections":2468,"showCount":2469,"zanCount":11,"manualWeight":11,"mainColor":43},287559,"zhu-shi-jiu-zi-tu-yi-ming-287559","竹石鸠子图","以淡墨晕染坡石，苍朴温润尽显古拙意态。双钩绘竹，枝叶纵横偃仰，挺劲清疏间流露萧散之致。画面动静相生，空中禽鸟振翅俯掠，翎羽细节写实，灵动之态跃然绢上；石畔鸠子闲静安栖，意态悠然。\n\n整幅以水墨写就，笔意简括却形神兼备，将郊野林间的幽寂清趣定格，以极简构图铺陈出平和冲淡的林下意境，尽显对自然生趣的细致体察与雅致的文人审美意涵。",[25,35,57,29,7,54,27,101],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc64792b547c4182b2df7bf8f427e6105.jpg","166x93.9",[221],19,{"id":2471,"slug":2472,"title":2473,"dynasty":191,"author":419,"museum":20,"description":2474,"tags":2475,"thumbUrl":2476,"material":118,"size":118,"collection":118,"collections":2477,"showCount":2469,"zanCount":11,"manualWeight":11,"mainColor":65},235608,"you-qiu-hong-fu-tu-zhou-yi-ming-235608","尤求红拂图轴","此作用白描淡墨绘就，线条细劲圆转如游丝萦回，尽显雅致风神。庭院古木虬曲、湖石玲珑，案几清供衬出厅堂雅静。榻上主人神态端凝自有威仪，仕女身姿柔婉，红拂悄然凝睇李靖，暗露倾慕之意，其余侍女恭谨侍立，奏乐乐师专注投入，下方侍女缓步持物，灵动自然。\n\n画作定格风尘三侠初遇瞬间，人物排布疏密得宜，素淡墨色铺展传奇开篇，笔意秀润含蓄，将古典侠情的缱绻意境描摹尽致，淡远雅致间古意悠悠。",[24,25,52,101,55,54,28,95,30,7,353],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc3a9f3843074eab8d3ca0495e164b6c.jpg",[],{"id":2479,"slug":2480,"title":2481,"dynasty":191,"author":229,"museum":20,"description":2482,"tags":2483,"thumbUrl":2484,"material":723,"size":724,"collection":118,"collections":2485,"showCount":2469,"zanCount":11,"manualWeight":11,"mainColor":65},235269,"wen-zheng-ming-zhu-shi-shan-ye-wen-zheng-ming-235269","文徵明竹石扇页","文徵明（1470年11月28日－1559年3月28日），原名壁（或作璧），字徵明，四十二岁起，以字行，更字徵仲。因先世为衡山人，故号衡山居士，世称“文衡山”。南直隶苏州府长洲县（今江苏苏州）人。明代画家、书法家、文学家、鉴藏家。\n文徵明曾学文于吴宽，学书法于李应祯，学画于沈周，生平九次参加乡试均不中。嘉靖二年（1523年），以岁贡生参加吏部考试，被授予翰林院待诏之职。嘉靖五年（1526年），文徵明辞官归乡，专事创作。\n嘉靖三十八年（1559年）二月二十，文徵明去世，享年九十。其弟子私谥贞献。\n文徵明诗、文、书、画无一不精，人称“四绝”，其与沈周共创“吴派”。在画史上与沈周、唐寅、仇英合称“明四家”。在文学上，与祝允明、唐寅、徐祯卿并称“吴中四才子”。",[25,52,407,54,57,7,282,58,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6186efbb9a6f3d103b50c388b1fb58e8.jpg",[],{"id":2487,"slug":2488,"title":2489,"dynasty":191,"author":997,"museum":20,"description":2490,"tags":2491,"thumbUrl":2492,"material":723,"size":724,"collection":118,"collections":2493,"showCount":2469,"zanCount":11,"manualWeight":11,"mainColor":65},235202,"shui-xian-zhu-shi-tu-shan-ye-chen-hong-shou-235202","水仙竹石图扇页","插图》《水浒叶子》《博古叶子》等版刻传世，工诗善书，有《宝纶堂集》。",[25,407,54,57,7,1372,115],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c4f41d3672c78ad2544b49a1265624d.jpg",[],{"id":2495,"slug":2496,"title":2497,"dynasty":18,"author":2498,"museum":20,"description":2499,"tags":2500,"thumbUrl":2501,"material":118,"size":118,"collection":118,"collections":2502,"showCount":2503,"zanCount":11,"manualWeight":11,"mainColor":65},238834,"dong-gao-mo-zhuang-lan-sheng-tu-ce-dong-gao-238834","董诰墨庄览胜图册","董诰","董诰（1740年－1818年），字雅伦，号蔗林，浙江省杭州府富阳县（今浙江省杭州市）人，生于顺天府（今北京市），清代大臣、书画家。工部尚书董邦达长子，与其父有“大、小董”之称。\n乾隆二十九年（1764）中举，隔年会试，名列一甲第三，得中探花，乾隆帝 将其改为二甲第一，作金殿传胪，形降实升。嘉庆四年（1799），董诰六十岁，以从庶吉士、编修、工部侍郎、军机大臣、东阁大学士等，擢为文华殿大学士（即宰相），钦赐“紫禁城骑马”。直军机先后四十年。董诰精书法，善绘画，更通晓军事。他五次归还故里，生活简朴，平易近人，从不倨傲，深为邻里称道。董诰卒于嘉庆二十三年（1818），终年七十九岁。\n董诰死后六天，嘉庆帝亲临祭奠，所写哀诗中有“只有文章传子侄，绝无货币置田庄”之句，并亲自拨款建立“董公祠”。",[25,52,53,54,27,57,248,7,75,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49a28434c91ceeec5004c2ce64fc3df1.jpg",[],18,{"id":2505,"slug":2506,"title":2507,"dynasty":191,"author":2508,"museum":20,"description":2509,"tags":2510,"thumbUrl":2511,"material":118,"size":118,"collection":202,"collections":2512,"showCount":2503,"zanCount":11,"manualWeight":11,"mainColor":43},237695,"yun-shan-fang-guang-zhou-xiang-yuan-bian-237695","云山放光轴","项元汴","项墨林（1525—1590），原名项元汴，字子京，号墨林，别号墨林山人、墨林居士、香严居士、退密庵主人、退密斋主人、惠泉山樵、墨林嫩叟、鸳鸯湖长、漆园傲吏等，浙江嘉兴人。明国子生，为项忠后裔，为明代著名收藏家、鉴赏家。\n少即英敏，博雅好古，绝意仕进。当时风雅之士来嘉兴必访项元汴，名画家文彭、文嘉等与项元汴交往尤密。明万历年间神宗朱翊钧闻其名，特赐玺书征他出来做官，不赴。\n项元汴所藏书法、名画以及鼎彝玉石，甲于海内。项元汴精于鉴赏，辨别真赝，析及毫发，当时无人可比。与项同时代的人记载：“项氏所藏如顾恺之《女史箴图》等，不知其数，观者累月不能尽也。其他墨迹及古彝器尤多。 其家累世富厚，不惜重赀以购，故江南故家宝藏皆入其手。”他遴选能工巧匠制作的各种器具，凡几榻架柜奁盒等，镌以铭识，都极精巧，如同秦汉之物。清顺治二年（1645）闰六月，清兵攻破嘉兴府城，其藏品被千夫长汪六水所劫掠，散失殆尽，存世的藏品多归于皇宫，现仍藏于故宫博物院和其他博物馆。\n项元汴曾获一古琴，上刻“天籁”两字，故将其储藏之所取名“天籁阁”，并镌有天籁阁、项墨林等印，凡藏品都钤有印记，往往满纸满幅。项氏以天籁阁名传后世，阁早已毁，今城内建设街道天籁里即以天籁阁命名。\n项元汴工绘画兼擅书法。山水学元代黄公望、倪瓒，笔致疏秀，神合处辄臻胜境，书法出入唐智永、元赵孟頫。刊有《天籁阁帖》，著有《墨林山人诗集》等。",[25,52,101,54,73,195,304,7,29,2389],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8320ab5ca362924ab59d1050aabcc8c.jpg",[202],{"id":2514,"slug":2515,"title":2516,"dynasty":191,"author":997,"museum":92,"description":2517,"tags":2518,"thumbUrl":2519,"material":117,"size":2520,"collection":202,"collections":2521,"showCount":2503,"zanCount":11,"manualWeight":11,"mainColor":43},237387,"ku-mu-zhu-shi-zhou-chen-hong-shou-237387","枯木竹石轴","陈洪绶(1597—1652年)，字章侯，号老莲、悔迟，诸暨（今属浙江省）人。明代画家。早年受业于著名学者刘宗周、黄道周门下，1642年曾到北京为国子监生，授中书舍人，供奉内廷，不久即离京南归。明朝灭亡后，为躲避清兵，一度在绍兴云门寺出家为僧，自号悔迟，亦号老迟。后在杭州以卖画为生。工诗，擅画，山水、人物、花鸟无一不精。其画初受蓝瑛影响，后广泛临学古人，并大胆突破创新，所作人物、花鸟形象古拙，擅用夸张变形手法，独树一帜，为晚明变形主义绘画大师。与崔子忠齐名于南北，世称“南陈北崔”。其画风对后世有巨大影响。著《宝纶堂集》。",[25,52,101,54,55,73,74,57,7,171],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e90407ec747da8abbe02b723eb29e68.jpg","107.9x51.1",[202],{"id":2523,"slug":2524,"title":821,"dynasty":18,"author":822,"museum":92,"description":823,"tags":2525,"thumbUrl":2526,"material":117,"size":118,"collection":118,"collections":2527,"showCount":2503,"zanCount":11,"manualWeight":11,"mainColor":65},237204,"shan-shui-zhu-shi-ce-wang-hui-237204",[25,52,53,54,73,75,758,200,571,142,57,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f86f65ebff438d9c1b444271fc5d317.jpg",[],{"id":2529,"slug":2530,"title":821,"dynasty":18,"author":822,"museum":92,"description":823,"tags":2531,"thumbUrl":2532,"material":117,"size":118,"collection":118,"collections":2533,"showCount":2503,"zanCount":11,"manualWeight":11,"mainColor":65},237202,"shan-shui-zhu-shi-ce-wang-hui-237202",[25,54,53,73,58,75,57,7,142],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F588c3a5135ccd9066912905e330b5d33.jpg",[],{"id":2535,"slug":2536,"title":2537,"dynasty":191,"author":2157,"museum":20,"description":2538,"tags":2539,"thumbUrl":2540,"material":118,"size":118,"collection":202,"collections":2541,"showCount":2503,"zanCount":11,"manualWeight":11,"mainColor":43},237146,"shan-shui-zhou-xiang-sheng-mo-237146","山水轴","项圣谟，生于明代万历二十五年（1597年），卒于清代顺治十五年（1658年），初字逸，后字孔彰，号易庵，别号甚多，已知者有子璋、子毗、胥山樵、胥樵、古胥山樵人、兔鸣叟、莲塘居士、松涛散仙、大酉山人、存存居士、烟波钓徒、狂吟客、鸳湖钓叟、逸叟、不夜楼中士、醉疯人、烟雨楼边钓鼇客等，浙江嘉兴人。祖父项元汴，为明末著名书画收藏家和画家。伯父项德新也善画。项圣谟自幼受家庭熏陶，精研古代书画名作，虽然曾由秀才举荐为国子监太学生，但不求仕进，而把兴趣投入到书画中，从而在绘画创作上，他很早就显现出了多方面的才能，山水、人物、花鸟无一不精，曾得到明末两位最为著名的鉴赏家，董其昌和李日华的高度评价。董其昌在他的画册上题跋，称“古人论画，以取物无疑为一合，非十三科全备，未能至此。范宽山水神品，犹借名手为人物，故知兼长之难。项孔彰此册，乃众美毕臻，树石屋宇，皆与宋人血战，就中山水，又兼元人气韵，虽其天骨自合，要亦工力至深，所谓士气、作家俱备。项子京有此文孙，不负好古鉴赏百年食报之胜事矣”，李日华称赞他的画风“英思神悟，超然独得”，是“崛起之豪”。",[24,25,52,101,54,75,73,30,248,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd6d5cf14ad2087901e0d4f16e53aa4cf.jpg",[202],{"id":2543,"slug":2544,"title":2545,"dynasty":191,"author":2546,"museum":126,"description":2547,"tags":2548,"thumbUrl":2549,"material":117,"size":118,"collection":118,"collections":2550,"showCount":2503,"zanCount":224,"manualWeight":11,"mainColor":65},234122,"lan-shi-tu-juan-ma-shou-zhen-234122","兰石图卷","马守真","中国古代女性画家的作品，虽然其艺术语言尚未超越男性画家，却始终是美术史中的一个重要组成部分。尤其明清两代女性绘画的空前发展，使她们在各自的才艺表述中，散发着独特魅力。其中明代马守真便是最为卓越而富有才情的女画家之一。\n马守真（1548-1604），小字玄儿、又字月娇，自号“湘兰”，因家中排行第四，人称“四娘”。幼年时沦落风尘的马湘兰，天资聪慧，多才多艺，且能诗善画，一生以兰花、竹、石、灵芝、水仙等为题创作了许多作品。在她以兰花为主题的传世作品中，有真亦有伪，且早期与晚期的画风也不尽相同，水平自然亦有高低。其间，马守真在1598年五十岁时所作的《兰石图》（图一）（现藏中国国家博物馆），堪称她绘画成熟期的经典之作。是图描绘了草坡之上的一丛野生兰，只见兰叶随意舒展、花儿含羞怒放、身后有修竹为伴，亦随风轻轻舞动。兰花伴以湖石、润笔勾出，与信手点染的苔草相映成趣。画家以没骨之法、细线勾勒出的兰叶，行笔劲挺流畅、张显了兰花恣意生长、野趣盎然。图中左上有画家款识：“戊戍仲冬日写”、“湘兰马守真”，钤印“湘兰”、“守真玄玄子”二方。图中右下有“曾藏锡芝兰堂”等收藏印二方。\n从湘兰所画兰花的笔法来看，她更多承袭了南宋赵孟坚（1199—1264） 的水墨兰花风格。曹寅评其画云：“兰法子固，竹法仲姬，俱能袭其韵。”赵孟坚，字子固、南宋宗室。他工诗善画，是兼具贵族、士夫与文人身份的画家。他首创的墨兰，“清而不凡、秀而雅淡”,深得后世文人推崇（图二）。万历三十二年（1604），湘兰在她五十七岁临终那一年画的《兰花图》卷（上海博物馆藏）（图三） 款题中写道：“甲辰夏日，在松院仿赵子固画兰赠彦可兄，湘兰马守真。”足见对赵孟坚画兰之风的追随。此画卷分为两段：前段双勾、后段水墨写意，浓淡变化，颇多意趣。画卷开首有杨法所题变体篆书云：“咀嚼兰蕙”。如果说赵孟坚笔下的兰花盛开，犹如翩翩起舞的彩蝶、春风得意，那么湘兰笔下的兰花则更像是娴静的少女，多了几分柔媚与清幽。\n湘兰一生画了很多兰花，水墨居多，而少颜色，如《兰花图》扇面（图四）、《兰石图》卷（故宫博物院藏）、《兰竹石图》轴等传世佳作。后人评：“其墨兰一派，潇洒恬雅，极有风韵”。图中兰花的左右，往往伴有湖石、墨竹、水仙、灵芝等清雅之物。湖石或润笔或皴擦、简淡天成，瘦竹则疏朗有致，与幽兰相应成趣。画风给人的感觉更像是一个文人士大夫的作品，而难想像乃出自金陵花街柳巷的一风尘女子之手。\n湘兰专注于兰，为此还特意在秦淮河畔边盖了一座小楼，栽满兰花，名为“幽兰馆”。她所喜好的兰花，也正是历代文人画家所热衷的“君子”题材。宋末元初的诗人画家郑思肖（1241-1318） 专绘“露根兰”，谓之“纯是君子，绝无小人”，以寄托亡国之恨。兰花由此被赋予了极强的人格意义，成为品德高洁的君子象征。明代苏州吴门大家文征明尤爱画兰，留有许多兰花竹石逸品，如《兰竹图》（台北故宫博物院藏）（图五）。陈元素周天球等江南文人亦以描绘清幽而芬芳的兰花为乐事（图六）。作为“秦淮八艳”之一的名妓，湘兰“性情轻侠”，为人豪爽，慕名求访者甚多，这其中自然不乏江浙地区的文人雅士、风流才子。而画兰之风在晚明江南一带的日渐昌盛，不能不说对马守真产生了重要影响。\n湘兰“姿首如常人”、相貌并不出众，但是她胜在才情，“神情开涤，濯濯如春柳早莺，吐辞流盼、巧伺人意”。她不仅善于绘事而且工于诗文，常常在兰绘图中自题诗句，留下“一叶幽兰一箭花，孤单谁惜在天涯”、“何处风来气似兰，帘前小立耐春寒”等诸多佳句。与文人士夫借物抒情，集文学、书法、绘画的艺术表达为一体的情趣相契合，湘兰画的兰花，也是“画中有诗”、“诗中有画”，充满了书卷气。\n文人画的产生与兴盛，在相当程度上是出于厌世的隐遁心理，寄情笔墨以寻求内心平衡。晚明时局动荡，又多了这样前途渺茫的文人画家。江南文人更以描写“梅兰竹菊”等水墨写意自娱，籍以淡薄名利甚至逃避险恶仕途。尽管湘兰的兰花与文人笔下的兰花有诸多相似之处，但是对于一个烟花女子来说，她画兰，显然与文人画兰潜藏着仕途失意与不满的政治诉求没有太多关系。除了自身的喜爱，更多的应该是对当时文人圈时尚的某种迎合以及自我人格的标榜。\n正如湘兰的诗句：“空谷幽兰独自香，任凭蝶妒与蜂狂”、“绝壁悬崖喷异香”，借兰花标榜自己的孤芳傲世而别于欢场中人。不仅如此，湘兰还独创有一叶兰，仅一抹斜叶，托着一朵兰花，以体现兰花清幽空灵，仿佛又带有一丝哀怨与孤寂，来倾诉自己的无依之情。清香的幽兰，暗自吐芳，也是画家一生的写照：湘兰在二十四岁时相识长洲（今苏州） 才子王穉登，并为他痴守一生、孤单终老。二人经常以兰花为题，诗文书画互动，出现在湘兰的作品中。王穉登曾以“一枝写出湘皋影，仿佛凌波解佩人”，将湘兰画中兰花比作她本人，赞其超凡脱俗与清高品质。就在抱病赶往姑苏为穉登置办七十寿筵返回金陵之后，湘兰一病不起，于是燃灯拜佛、沐浴更衣、端坐而逝。王穉登悲痛之余写下挽诗：“歌舞当年第一流，姓名赢得满青楼，多情未了身先死，化作芙蓉也并头。”可以说，湘兰如此执着于兰花的写照，与落魄文人王穉登的情感纠葛不无关系。值得一提的是，同时代的另一位女画家薛素素也是画兰高手，也曾与王穉登有过交集。\n湘兰的绘画，有着浓浓的文人情怀。比起文人画兰张显的自我意识与个性，她的兰花则多了几分女性的温婉与秀雅，也多了几分哀怨与孤寂。湘兰的传世作品数量极多，民间多于官方，虽然真伪混杂，却足见世人对她的喜爱。作为身份卑微的青楼女子，湘兰的兰花风格占据不了画坛主导，却也独具幽芳，惹人怜爱，同时成为一个特定时代与文化的折射，并对后世的墨兰创作带来了深远影响。",[25,52,26,54,55,282,7,2389],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffab683345673a977ba6b3af4ea9c4edd.jpg",[],{"id":2552,"slug":2553,"title":1272,"dynasty":124,"author":1111,"museum":49,"description":1273,"tags":2554,"thumbUrl":2555,"material":2556,"size":2557,"collection":118,"collections":2558,"showCount":2503,"zanCount":11,"manualWeight":11,"mainColor":43},233845,"ku-mu-zhu-shi-tu-zhou-li-shi-xing-233845",[24,25,52,101,54,74,57,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F298fb7986c06f60a77682264460b6e97.jpg","绢本。墨笔","170x52厘米",[],{"id":2560,"slug":2561,"title":2562,"dynasty":124,"author":2563,"museum":20,"description":2564,"tags":2565,"thumbUrl":2566,"material":117,"size":2567,"collection":118,"collections":2568,"showCount":2503,"zanCount":11,"manualWeight":11,"mainColor":43},231593,"yun-shan-tu-gao-ke-gong-231593","云山图","高克恭","在元六家中，高克恭虽不算家喻户晓，但许多人认为其作品无论是用墨还是笔法，都体现着元代绘画极高的艺术水准。虽带有异域血统，但他却凭借自己对汉文化的刻苦钻研，成为一代大师。\n高克恭是色目人，色目是当时对少数民族的统称，他与父辈在元朝时迁居至燕京。相传他生于哈萨克斯坦，异域血统让他连长相都有些与众不同。好友朱德润评价其为“高侯回纥长髯客，唾洒冰纨作秋色”。从后世流传的画像中，我们也能看到他卷发虬须、五官深邃，带有几分外国人的模样。\n作为古代少有的几位少数民族书画大师之一，高克恭在山水画方面造诣极高，包括董其昌、张大千在内的艺术家纷纷模仿其画作。其创作的《仿米氏山水手卷》以299万人民币的价格在2012年的北京春拍中成交，创下其个人作品最高成交纪录。\n“国朝名笔谁第一，尚书醉后妙无敌。”是人们评价高克恭的溢美之词。能被冠以如此高的评价不仅仅是因他对后世书画创作的影响，其在为人处世方面的成就让他在世人心中的形象进一步升华。\n高克恭从小就在父亲的引导下发奋学习，潜心研究各家经典。对他而言，书画创作从不是独取一家所长，而是在融会贯通中诞生出全新内涵。\n他初学米芾、米友仁的画风，后又吸收了董源、巨然作品中的用笔，将“点”的运用发挥到了极致。但在创作一段时间后，他发现这种画风只是一味地模仿前人，并不能真正地表达自己心目中的山水形象。\n在多次钻研且不断尝试后，高克恭发现画家李成笔下的山水是有“骨架”的。他选择引线入点，将三位大师的创作融合起来。这种表现手法既能凸显出江南云山烟树的朦胧缥缈，又能不失山川的挺峻硬朗之感。\n对当时的大多数书画家来说，米芾、董源、巨然等人是可望不可及的书画名家。人们争相学习，将其绘画手法奉为圭臬，又有几个人能提出反对意见？像高克恭这样，在发现问题后并加以改进的画家更是少之又少。有时，大师只比我们多了一份质疑。\n除了融合多家技法特点，高克恭的画作中还有几分西方画法的韵味。他的创作绝不仅仅是单凭印象，而是在仔细观察后动笔。在写实方面，西方画作凭借色彩变化、光影明暗表现画面，而中国山水画则靠用墨浓淡展现层次。\n高克恭便是山水画用墨的佼佼者。其开创“积点法”，以墨色渲染层次，表现山水意境。近代画家黄宾虹的积墨山水就是在此基础上发展而成。",[23,24,25,52,54,75,73,195,304,30,663,196,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20b1cdab788f221b5a3d716dbd9ef70e.jpg","32×63cm",[],{"id":2570,"slug":2571,"title":2572,"dynasty":210,"author":2573,"museum":126,"description":2574,"tags":2575,"thumbUrl":2585,"material":117,"size":2586,"collection":447,"collections":2587,"showCount":2503,"zanCount":11,"manualWeight":11,"mainColor":65},221561,"cheng-nan-chang-he-shi-juan-quan-juan-di-yi-duan-zhu-xi-221561","城南唱和诗卷全卷第一段","朱熹","《城南唱和诗卷》，对章草笔意的运用达到了随心所欲、挥洒自如的境界。杨维桢把晋唐楷法和汉隶、章草、今草笔法融合在一起，故独有奇拙、古朴的趣味。所谓“矫杰横发”（李东阳）“狂怪不经”（徐有贞）“大将班师，三军奏凯。破斧缺斨，例载而归”（吴宽）就是指杨维桢书风中豪迈雄强、形态怪异、用笔粗放的特点。而这种激越奔放的气势，刀斫斧劈的雄强，正是筑基于章草笔法的渗入。\n此诗卷是朱熹为和张栻城南诗20首所作。张栻，字敬夫，号轩，张浚之子、宋代著名学者。居谭州（今长沙）。构城南书院，城南有风景20处、故题诗20首。朱孝宗乾道三年（公元1167年）八月，朱熹与张南轩游城市诸胜景，和南轩二十咏。时年朱熹38岁，此诗卷书写年代则较晚。此卷书法笔墨精妙，萧散简远，笔意从容，灵活自然，为朱熹传世佳作。明陆简《朱熹城甫唱和诗帖跋》云：“紫阳夫子平生讲道之功日不暇给，而于辞翰游戏之事亦往柱精诣绝人。评书家谓其书郁有道义之气、固耳。”",[23,78,77,26,2576,58,195,196,304,158,2577,248,7,2578,490,282,1163,2579,2580,2581,2582,1089,76,2583,2584,247,57,56],"墨迹","月","林","江","秋","冬","芙蓉","风","海","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcb576060bbf9033850da273c683961f.jpg","纵31.5厘米横275.5厘米",[447],{"id":2589,"slug":2590,"title":2591,"dynasty":18,"author":2592,"museum":20,"description":2593,"tags":2594,"thumbUrl":2595,"material":723,"size":724,"collection":118,"collections":2596,"showCount":2597,"zanCount":11,"manualWeight":11,"mainColor":43},288528,"ju-shi-tu-li-zhou-li-fang-ying-288528","菊石图立轴","李方膺","李方膺（1695年—1755年），字虬仲，号晴江，别号秋池，抑园，白衣山人等，江南通州（今江苏南通）人。寓居金陵借园，自号借园主人。中国清代诗画家、官员，能诗，擅画松竹兰菊，尤长写梅。用笔倔强放纵，不拘成法，苍劲有致，为“扬州八怪”之一。为官刚正不阿，廉洁爱民。出身官宦之家，曾任乐安县令、兰山县令、潜山县令、代理滁州知州等职，为官时有惠政，人德之，后因遭诬告被罢官，去官后寓南京借园，自号借园主人，常往来扬州卖画。与李鱓、金农、郑燮等往来，工诗文书画，擅梅、兰、竹、菊、松、鱼等，注重师法传统和师法造化，能自成一格，其画笔法苍劲老厚，剪裁简洁，不拘形似，活泼生动。被列为扬州八怪之一。有《风竹图》《游鱼图》《墨梅图》等传世。著《梅花楼诗钞》。善画松、竹、兰、菊、梅、杂花及虫 鱼，也能人物、山水，尤精画梅。作品纵横豪放、墨气淋漓，粗头乱服 ，不拘绳墨，意在青藤、白阳、竹憨之间。画梅以瘦硬见称，老干新枝 ，欹侧蟠曲。用间印有“梅花手段”，著名的题画梅诗有“不逢摧折不离奇”之句。还喜欢画狂风中的松竹。工书。能诗，后人辑有《梅花楼诗草》，仅二十六首，多数散见于画上。",[23,24,25,52,101,28,35,490,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44d2d5279376d519af08c24c61f5df81.jpg",[],17,{"id":2599,"slug":2600,"title":2601,"dynasty":191,"author":192,"museum":20,"description":2338,"tags":2602,"thumbUrl":2605,"material":723,"size":724,"collection":118,"collections":2606,"showCount":2597,"zanCount":11,"manualWeight":11,"mainColor":65},283735,"fang-ju-ran-shan-shui-tu-juan-yu-chen-ji-ru-shu-hua-he-juan-dong-qi-chang-283735","仿巨然山水图卷（与陈继儒书画合卷）",[77,78,52,26,75,7,76,2603,610,2604],"鱼","夜色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c4537fa29e0be2b7d2ebc9141d08537.jpg",[],{"id":2608,"slug":2609,"title":821,"dynasty":18,"author":822,"museum":92,"description":823,"tags":2610,"thumbUrl":2611,"material":117,"size":118,"collection":118,"collections":2612,"showCount":2597,"zanCount":11,"manualWeight":11,"mainColor":65},237203,"shan-shui-zhu-shi-ce-wang-hui-237203",[25,54,73,53,75,57,7,142,305,758],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae4a19ad7439222ace0df97572693cdb.jpg",[],{"id":2614,"slug":2615,"title":2616,"dynasty":18,"author":2617,"museum":20,"description":2618,"tags":2619,"thumbUrl":2620,"material":723,"size":724,"collection":118,"collections":2621,"showCount":2597,"zanCount":11,"manualWeight":11,"mainColor":65},235366,"song-yuan-tu-zhou-cheng-zhang-235366","松猿图轴","程璋","程璋（1869－1938），男，原名德璋，号瑶笙，原籍安徽新安，移居江苏泰兴，后寓上海。",[25,52,101,28,54,27,73,408,76,519,411,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43115bb694f41ed4c625527a75b066e4.jpg",[],{"id":2623,"slug":2624,"title":1532,"dynasty":191,"author":2625,"museum":126,"description":2626,"tags":2627,"thumbUrl":2634,"material":234,"size":2635,"collection":118,"collections":2636,"showCount":2597,"zanCount":224,"manualWeight":11,"mainColor":43},235011,"zhu-shi-zhou-zhu-duan-235011","朱端","画坡石荆棘，丛竹掩映。无他人题跋。\n朱端（生卒年不详），字克正，钦赐“一樵”印，遂自号一樵，有印章“辛酉征士”。正德年间值仁智殿，官锦衣卫指挥。画艺广博，山水、人物、花鸟兼能。",[25,52,101,2143,54,57,7,73,115,2628,2629,2630,2631,2632,2633],"花鸟题材","传统绘画","水墨写意","竹石题材","山石皴染","竹子勾勒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F222b4450a6f7e9156420c4b3f79c6377.jpg","纵167.4cm 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进士。画人物、山水名世。万历间隐居新郭。尝论画有五美云：“苍、逸、奇、远、韵。”五恶云：“嫩、板、刻、生、痴。”人谓其深得画理。寿至八十外。泰昌元年（一六二o）尝作关山风雨图。《明画录》、《无声诗史》、《吴县志》、《故宫周刊》。主要作品《松阴搔背》、《松竹高士》、《坐听松风》、《蕉阴独酌》、《西园雅集》、《寒林钟馗》、《罗汉卷》、《仙山楼阁》、《三驼图》。",[23,25,52,26,773,55,54,95,196,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb95e683ca4c609b9d25fb50ba7fdf047.jpg",[],{"id":2647,"slug":2648,"title":2649,"dynasty":18,"author":2062,"museum":390,"description":2063,"tags":2650,"thumbUrl":2653,"material":234,"size":2066,"collection":118,"collections":2654,"showCount":2597,"zanCount":11,"manualWeight":11,"mainColor":65},222981,"hong-lou-meng-106-sun-wen-222981","红楼梦106",[23,25,27,28,75,95,141,142,444,200,2651,2652,7,520],"家禽","狗","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F023d8c11c694a1cead3245a34ef7bf56.jpg",[],{"id":2656,"slug":2657,"title":2658,"dynasty":18,"author":2062,"museum":390,"description":2063,"tags":2659,"thumbUrl":2662,"material":234,"size":2066,"collection":118,"collections":2663,"showCount":2597,"zanCount":11,"manualWeight":11,"mainColor":65},222930,"hong-lou-meng-55-sun-wen-222930","红楼梦55",[23,25,27,28,1130,95,96,444,352,216,217,393,99,423,2370,2660,7,2661,200,759],"砖墙","室内陈设","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0b2f0c6b88b9c1be4948612fdf553e6.jpg",[],{"id":2665,"slug":2666,"title":2667,"dynasty":18,"author":419,"museum":126,"description":2668,"tags":2669,"thumbUrl":2673,"material":28,"size":118,"collection":118,"collections":2674,"showCount":2597,"zanCount":11,"manualWeight":11,"mainColor":65},217314,"gu-xiu-wu-shi-san-can-tu-ce-2-yi-ming-217314","顾绣·五十三参图册-2","画面分两开，以细腻针法铺陈善财童子参访场景。左开中，童子随师行于云畔石径，师者持杖缓行，衣袂飘举如流云；童子红衣恭立，眉眼间满是专注。右开里，童子跪地拜谒，对面菩萨身披黄衣，顶现圆光，姿态端凝似山。背景山水以淡彩绣线晕染，云雾缭绕处，山石树木层次隐现。顾绣绣画结合的妙处在此尽显：人物衣纹用滚针勾勒，流畅如墨线；山水云雾以散套、接针过渡，虚实间藏空灵。整体风格清雅悠远，既有笔墨的诗意，又含绣线的肌理，生动传递出求法的虔诚与禅意的宁静，是绣艺与人文意涵交融的佳作。",[18,2670,28,27,53,773,95,75,304,195,2671,141,142,7,2672],"刺绣","日","布料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7b3d063beda5526326428715d9f7cafd.jpg",[],{"id":2676,"slug":2677,"title":2678,"dynasty":18,"author":2679,"museum":20,"description":2680,"tags":2681,"thumbUrl":2682,"material":723,"size":724,"collection":202,"collections":2683,"showCount":2684,"zanCount":11,"manualWeight":11,"mainColor":65},239467,"qing-chu-shi-si-jia-shu-hua-ji-jin-ce-fang-jing-hao-shan-shui-ye-wu-chong-239467","清初十四家书画集锦册-仿荆浩山水页","吴宠","吴宏（1615 —1680），一作弘，字远度，号竹史、西江外史。江西金溪人，移居江宁（今南京）。",[25,52,53,54,28,75,30,7,142,78,58,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca3a7791f4a8fba86767183d3f01eb35.jpg",[202],16,{"id":2686,"slug":2687,"title":2688,"dynasty":191,"author":419,"museum":20,"description":2689,"tags":2690,"thumbUrl":2692,"material":723,"size":724,"collection":118,"collections":2693,"showCount":2684,"zanCount":11,"manualWeight":11,"mainColor":43},238062,"ming-ren-zhu-shi-liu-quan-tu-ye-yi-ming-238062","明人竹石流泉图页","近坡修竹错落劲挺，枝叶萧疏幽寂自生。曲折溪泉层层跌落，数重流瀑打破林间岑寂，暗出水石相击的泠泠意趣。远景以淡墨晕作空蒙烟霭，将山林深幽肆意延展。\n\n全作用水墨写意而出，以干湿浓淡的墨色铺陈空间层次，淡墨轻皴山石，晕染云烟。简淡笔触写尽林泉高致，将山野林下的静穆生机缓缓铺陈，仿佛能闻声泉响，轻嗅竹间清润，尽显萧散淡远的文人意趣，把幽居林泉的闲雅意境融于尺幅之间。",[25,52,53,54,75,57,7,2691,73],"流泉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7146d77b47a30d94781b03f80b751327.jpg",[],{"id":2695,"slug":2696,"title":2697,"dynasty":191,"author":2377,"museum":20,"description":2698,"tags":2699,"thumbUrl":2700,"material":118,"size":118,"collection":202,"collections":2701,"showCount":2684,"zanCount":11,"manualWeight":11,"mainColor":65},237694,"mo-bi-zhu-shi-zhou-chen-gua-237694","墨笔竹石轴","陈栝（生卒年不详），字子正，号沱江，苏州府长洲（今江苏苏州）人，明代画家陈淳之子，明代中期著名的绘画大师。\n陈栝自幼随父亲陈淳修习绘画，饮酒纵诞。陈栝善画花鸟山水，尤精绘画花鸟，笔似其父，将其父陈淳的笔迹放纵，不拘于象的写意画法发挥至极致。明朝嘉靖年间，尚属英年的陈栝先于其父病逝，时人多因他早逝而深感惋惜，尊称他为沱江子。\n陈栝是明代中期的杰出画家，他行笔放浪而有生趣，将诗意融汇进绘画中，进一步促进了我国古代绘画史写意画法的发展，有五代徐熙、黄筌遗意。",[25,52,101,54,57,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5e4485998ba7cfc245a08a6961acd7c.jpg",[202],{"id":2703,"slug":2704,"title":821,"dynasty":18,"author":822,"museum":92,"description":823,"tags":2705,"thumbUrl":2706,"material":117,"size":118,"collection":118,"collections":2707,"showCount":2684,"zanCount":11,"manualWeight":11,"mainColor":65},237201,"shan-shui-zhu-shi-ce-wang-hui-237201",[25,52,53,54,73,75,57,7,30,142],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4e18c4384ce7dc06637f45510a5985b.jpg",[],{"id":2709,"slug":2710,"title":2711,"dynasty":191,"author":229,"museum":126,"description":2712,"tags":2713,"thumbUrl":2714,"material":2715,"size":2716,"collection":118,"collections":2717,"showCount":2684,"zanCount":11,"manualWeight":11,"mainColor":65},234130,"wen-zheng-ming-za-hua-si-duan-juan-wen-zheng-ming-234130","文徵明杂画四段卷","一、兰花小鸟。款识：[征明]钤印：[文征明印]白方、[征仲]朱方\n二、花鸟 款识：[落叶萧萧苦竹深，茆檐斜日唤双禽。棘丛岂是棲身地，三月春风满上林。征明。]钤印：[文征明印]白鞍钢、[征仲]朱方\n三、观瀑 款识[征明]钤印：[文征明印]白方、[征仲]朱方\n四、柏石 自题：[古石棱竞玄玉，乔柯偃蹇苍虬。着个修篁带雨，分明铁网琳球。征明。]钤印：[文征明印]白方、[征仲]朱谠",[23,25,52,26,54,55,78,58,75,35,95,76,57,7,520,519,56,282,142],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf293294d9a450f075036e4b99807eab.jpg","纸本 墨笔","每段 纵32.6厘米 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横31厘米",[],{"id":2870,"slug":2871,"title":2872,"dynasty":18,"author":2873,"museum":20,"description":2874,"tags":2875,"thumbUrl":2877,"material":117,"size":118,"collection":447,"collections":2878,"showCount":2879,"zanCount":11,"manualWeight":11,"mainColor":65},240889,"wu-lv-zhou-gao-shi-qi-240889","五律轴","高士奇","高士奇（1645～1704年），字澹人，號瓶廬，又號江村。浙江紹興府餘姚縣樟樹鄉高家村（今慈溪匡堰鎮高家村）人，後入籍錢塘（今浙江杭州）。 清代官員、史學家。\n早年家貧。康熙十年（1671年）入國子監，試後留翰林院辦事，供奉內廷。康熙十四年（1675年），授職詹事府錄事，不久升內閣中書，領六品俸薪，住在賞賜給他的西安門內。 高士奇每日為康熙帝講書釋疑，評析書畫，極得信任。康熙十八年（1679年）後，歷任翰林院侍講、侍讀、侍讀學士、《大清一統志》副總裁官、詹事府少詹事。康熙二十八年（1689年）隨帝南巡。冬解職歸裏，居平湖。康熙三十三年（1694年）奉召入京，充《明史》纂修官。康熙三十五年（1696年），三次隨康熙帝西征，深得信賴。翌年，以養母求歸，特授詹事府詹事。康熙四十一年（1702年），升禮部侍郎兼翰林院學士，加正一品，以母老未赴。康熙四十二年（1703年），卒於家，追諡文恪，葬於縣城南郊。\u2028 高士奇是清朝康熙皇帝的近臣，一生效忠於康熙帝，同時也是一位在文史哲諸方面都有貢獻的學者。他平生學識淵博，能詩文，擅書法，精考證，善鑑賞，所藏書畫甚富。著有《左傳紀事本末》《春秋地名考略》《清吟堂全集》《江村銷夏錄》《扈從西巡日錄》《經進文稿》《天祿識餘》《隨輦集》《北墅抱甕錄》《左傳國語輯注》等。",[25,52,101,78,77,58,7,2876],"桐叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50a15ff9d4f33fe442ad70f5eda243c9.jpg",[447],13,{"id":2881,"slug":2882,"title":2883,"dynasty":191,"author":2884,"museum":20,"description":2885,"tags":2886,"thumbUrl":2887,"material":118,"size":118,"collection":118,"collections":2888,"showCount":2879,"zanCount":11,"manualWeight":11,"mainColor":65},235995,"shui-xian-zhu-shi-tu-zhou-wang-gu-xiang-235995","水仙竹石图轴","王穀祥","此作用笔清隽秀雅，淡墨晕染湖石，嶙峋苍古自带枯寂沉静之态。白描勾勒水仙，叶片舒展清劲，花姿娟秀恍若月下凌波，自带出尘之姿。萧疏细竹点缀石畔，更添幽清淡雅之意。\n\n右上角题诗托物寄兴，将水仙拟作不染俗尘的江上月中佳人，书画合璧尽显文人画的抒情写意之趣。全幅墨色柔润层次分明，无浓丽之色，以极简笔墨营造出幽绝尘寰的林下清境，尽显文人士大夫追慕清雅的精神风骨。",[25,52,101,54,28,1372,57,7,171,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffad6b9f1288957748a2246dcc63d1667.jpg",[],{"id":2890,"slug":2891,"title":2892,"dynasty":18,"author":2893,"museum":20,"description":2894,"tags":2895,"thumbUrl":2896,"material":118,"size":118,"collection":118,"collections":2897,"showCount":2879,"zanCount":11,"manualWeight":11,"mainColor":43},235852,"hua-niao-zhou-fang-heng-xian-235852","花鸟轴","方亨咸","整作将花木禽鸟与山水意韵相融，古松盘曲苍劲，皴写的老干尽显风霜古意，松针攒簇细密，满溢岁寒清刚之姿。嶙峋怪石以枯淡墨笔勾绘棱线，苍浑朴拙，托出幽寂之境。丹红的枫枝斜出，艳色提亮画面，山雀独立枝头，墨色晕染出亮泽羽色，静立侧目，悠然自得。岩畔秋菊敷色清雅，与丹枫冷暖相映，更添秋意清和。题款小字隽雅，与画境浑然一体，工写兼济，既有花鸟之灵秀，又具山水之苍润，暗喻幽居自适的君子襟怀，尽展秋日林涧的古雅清寂。",[25,28,27,101,35,76,7,519,490,1616,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F98ab0e385509a59991739e25adbfedc4.jpg",[],{"id":2899,"slug":2900,"title":2901,"dynasty":191,"author":2902,"museum":126,"description":2903,"tags":2904,"thumbUrl":2905,"material":983,"size":118,"collection":118,"collections":2906,"showCount":2879,"zanCount":11,"manualWeight":11,"mainColor":65},234241,"ku-mu-zhu-shi-juan-yao-shou-234241","枯木竹石卷","姚绶","姚绶（1422—1495），字公绶，号谷庵、仙痴、云东逸史，人称丹丘先生，浙江嘉兴府嘉善县大云寺人。明代官员、书画家。\n少有才名，专攻古文辞，诗赋茂畅。明天顺年间进士，官监察御史，奉命巡盐两淮，铲除积弊。因得罪权贵，谪永宁知府。以母老辞归，居大云，筑室名丹丘。又作沧江虹月舟，泛游吴越间。\n姚绶工行草书，初学宋克，后法魏晋，风格近张雨。擅画山水，宗吴镇，也取法赵孟頫、王蒙，好作沙坳水曲景色，墨色苍润；间写竹石，潇洒可爱，笔墨酷似吴镇。传世名作有《秋江渔隐图》轴（北京故宫博物院藏）、《山水图》册页（上海博物馆藏）、《竹石图》轴（辽宁省博物馆藏）。著有《谷庵集》《云东集》《天人合旨》《姚御史诗文》。\n姚绶擅长画竹石，这是他的经典代表作品之一。他画竹以学吴镇为主，一般以书入画，在竹子的处理上“叶叶着枝，枝枝着节”行笔轻灵劲健，竹叶已完全融入了他的书法用笔。",[23,25,26,54,73,77,58,74,57,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3ae66c46d72f381107e4f170e614f8e.jpg",[],{"id":2908,"slug":2909,"title":403,"dynasty":210,"author":419,"museum":20,"description":2910,"tags":2911,"thumbUrl":2912,"material":118,"size":118,"collection":118,"collections":2913,"showCount":2879,"zanCount":11,"manualWeight":11,"mainColor":43},227899,"yuan-lu-tu-yi-ming-227899","此作上下分景，将灵趣与恬然相融。枝头灵猿身姿轻捷，毛发晕染细腻蓬松，长臂挂于虬枝，正侧目窥望下方，机警灵动之态跃然绢上。地面母鹿抬首回望，幼鹿依偎身侧，躯体线条温婉柔和，满是温驯安然。\n\n淡墨轻色晕染枝叶，舒展自然，岩石皴擦朴拙写实，衬出山林的清寂野趣。工细笔触兼顾写意格调，将猿的机敏与鹿的恬和彼此呼应，把空山一隅的悠然生机静静铺展，尽显对自然生灵的细腻体察与雅致审美。",[24,25,52,28,27,411,1252,409,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e67f98101322a96090bdd8e26302696.jpg",[],{"id":2915,"slug":2916,"title":2917,"dynasty":191,"author":2918,"museum":92,"description":2919,"tags":2920,"thumbUrl":2921,"material":118,"size":118,"collection":118,"collections":2922,"showCount":2879,"zanCount":11,"manualWeight":11,"mainColor":65},222451,"hua-wu-ming-ji-wang-zhong-li-222451","花坞鸣鸡","王中立","王中立（公元16-17世纪初），明代画家，字振之、彦强，号子正、子和、玄洲、玄洲生，吴县（今江苏苏州）人，生卒年不详。善画花鸟，笔力苍老，钩写兼用，设色绚丽，造型生动，颇有生意。师法陈淳，画风似鲁治、王穀祥，为吴派画家之一。\n传世作品有万历三十六年（1608）作《(松树喜鹊图》轴，现藏故宫博物院；四十三年（1615）作《花鸟图》卷，款署：“万历乙卯十月既望，为秋空禅兄写，王中立。”钤“王中立印”、“玄洲”两白文方印，现藏广州美术馆；万历三十四年作《腊梅双雀图》扇页、三十五年作《梅鹊图》轴、四十四年作《菊花图》轴、天启元年（1621）作《双猫菊石图》轴，均著录于《中国书画家印鉴款识》。",[25,52,407,28,27,2131,217,597,7,520],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fff98788b9f459f6714a03947aa5bb776.jpg",[],{"id":2924,"slug":2925,"title":2926,"dynasty":191,"author":192,"museum":49,"description":2927,"tags":2928,"thumbUrl":2929,"material":118,"size":118,"collection":202,"collections":2930,"showCount":2879,"zanCount":11,"manualWeight":11,"mainColor":2931},203456,"fang-gu-shan-shui-ce-dong-qi-chang-203456","仿古山水册","这幅册页书画相映，笔墨间流淌着古雅清韵。山水构图简远空灵，山峦以淡墨皴擦出深浅层次，线条如书法般灵动婉转，树木疏朗有致，几间小屋隐于林麓水畔，似藏幽居之趣。墨色清润虚实相生，尽显“平淡天真”的文人意趣，师法宋元而自出机杼，于仿古中见个人笔意。左侧书法笔势流畅，与山水气韵相契，书画互衬更添雅致。整体画面疏秀旷远，仿佛可感林泉之静，尽得文人画逸致风骨。",[23,53,54,73,77,58,75,195,7,30,663,196],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F393d5fb0f235db2ee56340f47f4db6f0.jpg",[202],"9e927d",{"id":2933,"slug":2934,"title":2935,"dynasty":18,"author":363,"museum":20,"description":2936,"tags":2937,"thumbUrl":2939,"material":723,"size":724,"collection":118,"collections":2940,"showCount":2941,"zanCount":11,"manualWeight":11,"mainColor":65},240595,"wang-shi-min-shi-zhou-wang-shi-min-240595","王时敏诗轴","王时敏（1592年－1680年），本名王赞虞，字逊之，号烟客，又号偶谐道人，晚号西庐老人，南直隶苏州府太仓人，明末清初画家，大学士王锡爵之孙，翰林编修王衡之子，“四王”第一代人。\n系出高门，文采早著，以祖荫，官至太常寺少卿。明清鼎革后，家居不出，奖掖后进，名德为时所重。明季画学董其昌，少时亲炙，得其真传。于黄公望墨法，尤有深契，暮年益臻神化。爱才若渴，四方工画者踵接于门，得其指授，无不知名於时，为一代画苑领袖。康熙十九年卒，年八十九岁。\n王时敏主张摹古，笔墨含蓄，苍润松秀，浑厚清逸，构图较少变化。其画在清代影响极大，王翚、吴历及其孙王原祁均得其亲授。王时敏开创了山水画的“娄东派”，与王鉴、王翚、王原祁并称四王，外加恽寿平、吴历合称“清六家”。\n晚清娄东画派代表画家与评论家秦祖永之《桐阴论画》评王时敏：运腕虚灵，布墨神逸，随意点刷，丘壑浑成。",[77,101,2938,58,76,7],"楷书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb2c6e902887755fab74406139c89cbe.jpg",[],12,{"id":2943,"slug":2944,"title":660,"dynasty":18,"author":2945,"museum":126,"description":2946,"tags":2947,"thumbUrl":2948,"material":492,"size":118,"collection":118,"collections":2949,"showCount":2941,"zanCount":11,"manualWeight":11,"mainColor":65},237191,"shan-shui-ce-sun-yi-237191","孙逸","孙逸(1604—约1658) 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影，古木交柯成荫，淡墨晕染出草木苍润之态，留白铺陈出空阔悠然的意境。\n题画诗与景致呼应交融，以极简笔墨勾勒出林泉雅舍的沉静氛围，将文人幽居悟怀的林下风致藏于笔底。笔意简淡松灵，诗画合一，尽显古典文人心底的静雅意趣，余韵悠长。",[25,52,53,54,27,73,95,248,30,7,57,77,78],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd301652b0efeb1460046b050b55b468a.jpg",[],{"id":3227,"slug":3228,"title":3229,"dynasty":18,"author":3230,"museum":20,"description":3231,"tags":3232,"thumbUrl":3234,"material":118,"size":118,"collection":118,"collections":3235,"showCount":3217,"zanCount":224,"manualWeight":11,"mainColor":65},238272,"ren-wu-zhou-zhuang-yu-de-238272","人物轴","庄豫德","此作绘三星雅聚庭院，设色清雅古雅，笔墨细腻温婉。长者神态各殊，展卷者悠然、持芝者端方、捧花者和悦，尽显仙风道骨。身旁稚童灵动俏皮，为画面添上鲜活生机，衬出满堂祥和吉庆的氛围。庭中古梅虬枝初绽，案头文房清供点缀雅意，园林布景雅致悠然，将世俗祈盼的福寿祥瑞，融于文人雅集的闲淡场景中。衣纹勾勒流畅婉转，人物形神兼备，把传统吉庆主题与文人意趣相融，尽显工笔人物画的雅致意韵。",[25,52,101,28,27,95,56,30,7,1914,1099,3233,348],"老者","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00a8e723639013a07c230b867f95ce5e.jpg",[],{"id":3237,"slug":3238,"title":3239,"dynasty":191,"author":3240,"museum":20,"description":3241,"tags":3242,"thumbUrl":3243,"material":723,"size":724,"collection":118,"collections":3244,"showCount":3217,"zanCount":11,"manualWeight":11,"mainColor":65},237844,"fang-huang-gong-wang-shan-shui-shan-sheng-dan-237844","仿黄公望山水扇","盛丹","盛丹，明代画家。字伯含，金陵（今南京）人。工画山水、花卉、兰竹等。山水得黄公望笔墨之法，萧疏风致。传世作品有《拟唐棣山水册页》等。",[25,52,407,54,73,347,75,248,30,7,142],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa1be4664a340f3b42f11f52ed49c37e5.jpg",[],{"id":3246,"slug":3247,"title":3074,"dynasty":18,"author":3248,"museum":20,"description":3249,"tags":3250,"thumbUrl":3251,"material":723,"size":724,"collection":118,"collections":3252,"showCount":3217,"zanCount":11,"manualWeight":11,"mainColor":65},237490,"shan-shui-tu-ce-yao-song-237490","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。",[25,52,53,28,78,73,195,7,30,444,142],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb19a227ab991caac1a9cf1943ec96dae.jpg",[],{"id":3254,"slug":3255,"title":3256,"dynasty":191,"author":3257,"museum":20,"description":3258,"tags":3259,"thumbUrl":3260,"material":723,"size":724,"collection":118,"collections":3261,"showCount":3217,"zanCount":11,"manualWeight":11,"mainColor":65},236297,"hua-shi-shan-ye-zhang-cheng-long-236297","花石扇页","张成龙","张成龙[明]，字白云，大梁（今河南开封）人。善山水，临摹名画，久而弥化。",[25,52,407,54,597,7,57,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56aa4632af193b0bebc4f9489c73871c.jpg",[],{"id":3263,"slug":3264,"title":3265,"dynasty":18,"author":3266,"museum":126,"description":3267,"tags":3268,"thumbUrl":3269,"material":118,"size":118,"collection":118,"collections":3270,"showCount":3217,"zanCount":11,"manualWeight":11,"mainColor":65},234464,"zhu-shi-qiu-mu-tie-luo-shen-zhen-lin-234464","竹石秋木贴落","沈振麟","沈振[清]字凤池，一作凤墀，吴县（今江苏苏州）人。工写照，兼善写生，及山水、人物，各臻其妙。供奉内廷。\n慈禧太后赐御笔“传神妙手”区额。尝奉勅画马便面二叶，各有宣宗御题三字一曰“飞霞骢”，一曰“翔玉骢”，钤有道光御用方玺。又百鸽图每页书签各名，尽绘物之妙。《寒松阁谈艺琐录、瓯钵罗室书画过目考》",[25,52,54,55,73,57,7,745,171,75,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9a82ab16ca030e25d29957577dca4f05.jpg",[],{"id":3272,"slug":3273,"title":3274,"dynasty":191,"author":3275,"museum":126,"description":3276,"tags":3277,"thumbUrl":3279,"material":492,"size":3280,"collection":118,"collections":3281,"showCount":3217,"zanCount":11,"manualWeight":11,"mainColor":65},233966,"kui-shi-jia-die-tu-zhou-dai-jin-233966","葵石蛱蝶图轴","戴进","此幅画盛开的蜀葵一株，两只蝴蝶翩翩飞舞。\n在戴进的作品中，工笔设色花鸟并不多见，此图用笔细润，色彩清丽，既保留了宋代院体花鸟的工致，又吸收了元代钱选没骨设色的文雅之气。画面下端的湖石纹理粗糙，凹凸有致，与花卉草虫形成鲜明的对比。",[25,28,27,101,35,3278,7,98,58],"葵","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F21ca7ef7607ce9a5b1a9f7e80b36fe52.jpg","纵115厘米，横39.6厘米",[],{"id":3283,"slug":3284,"title":3285,"dynasty":18,"author":3286,"museum":3287,"description":3288,"tags":3289,"thumbUrl":3291,"material":130,"size":118,"collection":118,"collections":3292,"showCount":3217,"zanCount":11,"manualWeight":11,"mainColor":65},214814,"shan-shui-hua-hui-tu-ce-5-gao-feng-han-214814","山水花卉图册-5","高凤翰","日本大阪市立美术馆","高凤翰（1762-1843）是一位著名的清代画家，他的主要作品是山水花卉图册。高凤翰生于江苏省的吴县，他曾在杭州学习画画，后来进入了江南画派。他的画风独特，被称为“高氏画法”，以其精细、细腻的线条和浓郁的色彩闻名。\n\n高凤翰的山水花卉图册是他的代表作之一，包括了许多精美的山水画作品。这些作品描绘了自然风光，包括山峦、河流、湖泊、树木、花草等。高凤翰的山水画作品经常带有浓厚的写意气息，表现出自然之美。他的画作还常常加入人物、建筑、动物等元素，使得作品更加丰富多彩。\n\n高凤翰的山水花卉图册在当时颇受欢迎，并且被视为江南画派的杰出代表作。他的作品被认为是清代山水画发展的重要贡献，对后世的山水画家也产生了很大的影响。",[23,24,25,52,53,54,28,35,75,3290,57,7,30],"菊花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F42135630300e081d337a6c8d935607bf.jpg",[],{"id":3294,"slug":3295,"title":3296,"dynasty":18,"author":546,"museum":556,"description":3297,"tags":3298,"thumbUrl":3299,"material":130,"size":118,"collection":118,"collections":3300,"showCount":3217,"zanCount":224,"manualWeight":11,"mainColor":65},214375,"tian-guang-yun-jing-tu-ce-3-zhu-da-214375","天光云景图册-3","朱耷（1628-1705）是清代著名的画家，他的作品《天光云景图册》是其代表作之一。\n\n《天光云景图册》描绘了各种天气现象的画面，其中包括云彩、雾气、雪花、雨水等。朱耷在画中运用了精细的笔墨和细腻的造型，勾勒出天空的层次感和气象的变化。作品中的云彩、雾气、雪花、雨水都表现出了天气现象的细腻与丰富，使观者感受到大自然的魅力。\n\n《天光云景图册》被认为是朱耷写意山水画风成熟时期的杰作，其作品在当时也受到了广泛的赏识。如今，《天光云景图册》也是收藏家们青睐的经典之作。",[23,25,54,73,53,58,75,195,30,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nt":11,"manualWeight":11,"mainColor":65},233974,"shan-shui-ce-gong-xian-233974","此册作于乙卯年（清熙十四年，1675年）。现藏故宫博物院。本图册中第一四、八、十一、十三、十四开属于“白龚”，图中的山石、树木均以古、健、老、活的中锋勾勒轮廓线，物象具有方而不板，结而不滑的特点。本图册中第二、五、七、九、十二、十七、十九开属于“黑龚”。作者以灰墨勾出大体轮廓和经络，然后层层皴染和点染。其皴染取自宋人范觅的雨点皴而稍有变化，为头实尾虚的短笔皴。",[25,52,54,53,75,73,30,7,570],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa64310292f88a83a0135ec9a111518a6.jpg","纵22.2厘米，横33.2厘米",[],{"id":3371,"slug":3372,"title":3373,"dynasty":18,"author":3339,"museum":126,"description":3374,"tags":3375,"thumbUrl":3376,"material":3377,"size":3378,"collection":118,"collections":3379,"showCount":3308,"zanCount":11,"manualWeight":11,"mainColor":65},233162,"cao-tang-shi-zhi-tu-ce-wang-yuan-qi-233162","草堂十志图册","此册山水是王原祁据唐代卢鸿《草堂十志图》图意，分别仿宋、元诸家笔意，重新加以艺术创作而成。卢鸿原作早已失传，今尚存宋人的临仿本，与此册相较甚殊，是画家师其意而不师其迹之作。该册无纪年，以画笔之苍劲，当是画家晚年之作。10页画，有6开设色，并兼用墨笔，色、墨兼施，浑然一体，清丽中有苍厚之致，为画家毕生努力所形成的特色。其晚年曾请告老还乡，屡为康熙帝所挽留，难免有“身在魏阙，心存江湖”之想，此图册似即追慕前贤草堂之隐的无奈心境的写照，为其晚年代表作。",[25,75,28,73,53,58,195,7,30,142,368],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d16fc8d6f6d21d7a77d781c5c0e6642.jpg","纸本，墨笔或设色","纵29厘米，横29.5厘米",[],{"id":3381,"slug":3382,"title":3383,"dynasty":18,"author":546,"museum":20,"description":3384,"tags":3385,"thumbUrl":3386,"material":118,"size":118,"collection":118,"collections":3387,"showCount":3308,"zanCount":11,"manualWeight":11,"mainColor":65},232609,"tian-guang-yun-jing-tu-ce-zhu-da-232609","天光云景图册","朱耷（1626—约1705年），明末清初画家，中国画一代宗师。本名朱统托，字雪个，号八大山人、个山 、人屋、道朗等，汉族，江西南昌人。\n他是明太祖朱元璋第十七子朱权的九世孙，本是皇家世孙。明亡后削发为僧，成了亡命之徒，后改信道教，住南昌青云谱道院。擅书画，花鸟以水墨写意为主，形象夸张奇特，笔墨凝炼沉毅，风格雄奇隽永；山水师法董其昌，笔致简洁，有静穆之趣，得疏旷之韵。擅书法，能诗文，用墨极少，还提了一首诗‘’墨点无多，泪点多‘’来抒发自己对满清王朝的憎恨。\n八大山人是我国明末清初书画双绝的艺术大师。在他的一生中，创作了大量“怪伟豪雄、淋漓奇古、苍劲圆”的作品，使之成为中国画史上的一颗璀璨的巨星，其独特的艺术风格，也熠熠在世界艺坛。八大山人的花鸟画、山水画、书法艺术所取得的成就，近三百年来，影响着一代又一代的杰出艺术家",[25,52,53,54,73,75,745,195,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff808906f8c483b68e4a5e764e6a7cedd.jpg",[],{"id":3389,"slug":3390,"title":3391,"dynasty":210,"author":419,"museum":92,"description":3392,"tags":3393,"thumbUrl":3395,"material":160,"size":3396,"collection":118,"collections":3397,"showCount":3308,"zanCount":11,"manualWeight":11,"mainColor":43},231043,"ping-chou-hu-du-tu-yi-ming-231043","平畴呼犊图","《四季牧放》是24年上海书画出版社出版的图书。\n属于《国宝在线》的一册，是中国画中有关四季放牧图的。\n出版社: 上海书画出版社; 第1版 (24年5月1日) 丛书名: 国宝在线 平装: 44页 开本: 8开 ISBN: 7867285 条形码: 97878672855 尺寸: 29.6 22.4 .6 cm 重量: 299 g 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，上海书画出版社编辑了这套《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 大慨因传说中佛祖和比丘僧为恶牛说法，使之死后转世到仞利天宫，得须陀还果，从此牛以其温厚忠良的形象出现在人们面前。\n除了任劳任怨、辛勤耕作之外，牛似乎还具有着一种人格的隐喻和象征。\n连圣人之师老子也选择骑青牛西去函谷关，在关内太初宫留下了五千言的《道德经》；南朝陶弘景也曾以画牛自喻婉拒梁武帝诏其出山，留下了『山中宰相』的美名。\n古往今来，牛的形象被喜爱它的人们再三图绘表现，不论是嘉峪关的砖画还是敦煌壁画，我们都可以看到许多无名氏的画牛作品。\n即以大家比较熟悉的卷轴画来说，至迟在晚唐五代时期，画家就对这个题材投入了相当的热情和精力，唐代的名家如韩湿和戴嵩，都擅长画牛。\n这些作品，既体现了唐人的努力生产，也反映出唐代那种以现实题材入画的风尚和社会生活的情调。\n当时戴嵩画水牛尤为著名，《唐朝名画录》谓其得『野性筋骨之妙』。\n不过，起初戴嵩画牛还闹过笑话。\n据说，他有次画了一幅斗牛图，观者大加称赞，可是偏偏有位牧童看了之后却拊掌大笑。\n戴嵩觉得奇怪，问其原因。\n牧童解释说：两牛角斗时，尾巴是夹在两股之间的，你怎么把它画成摇着尾巴呢?牧童的善意批评，对戴嵩启发很大，自那以后，他就深入乡间，与牧童交友，以造化为师，画艺自然精进不已，由此可见唐人作画对写生的重视。\n而韩混的《五牛图》，除了准确自然地表现了牛的生活形态外，更是充满了人格化的魅力，甚至可以从中看出每头牛的个性与年龄来，难怪有些研究者认为其中可能含有某种寓意。\n到了北宋，以描绘畜兽包括牛为内容的绘画被归于特殊的门类，如郭若虚撰写《图画见闻志》，就把畜兽、鱼龙、屋木等题材的作品皆归为『杂画』，与山水、人物、花鸟并列，在一定程度上反映了画牛队伍的逐渐壮大。\n从目前存世的作品看，宋代是牧放题材创作的鼎盛时期。\n不论是作品数量还是艺术水准，都是其他时代准以比似的。\n之昕以如此，笔者以为有几方面原因。\n首先，宋代皇家画院在招贤选才方面，可谓后世之楷模。\n由于采取考试制度，使得一大批有才华的民间画家得以进入社会上层，从而有机会更好地施展他们的艺术特长。\n这些原本长期生活在民间的画家把他们熟悉的富于乡土气息的绘画题材带入禁中，以身边熟悉的人和物为描绘对象，表现其自然朴素的情趣。\n因此，在两宋时期，画院里出现不少牧放题材的作品，直观地反映了宋代的农村生活。\n其次，宋代城市工商业的繁荣乃是以农村经济为基础的，画院画家通过描绘农村劳动生活的甘苦，来贯彻统治者劝喻农桑的意图。\n同时，城市工商经济的繁荣又反过来带动了农村经济的发展，从而使得丰年乐业的广大农民，对于自己的生活取得了新的认识，提出了新的要求。\n作为这种新认识、新要求的形象描绘，牧放题材与其说是农村田园生活的真实再现，毋宁说是对通过劳动生活而使人与自然达到本真契合的淳朴情性进行歌颂，与此同时，这其中又在很大程度上掺入了文人士大夫返璞归真的理想，从而使作品获得了更深刻的寓意。\n从画家个体来说，之所以创作出这么多高水准的艺术作品还在于他们能够正确处理观察生活和运用艺术表现语言之间的关系。\n在对生活的体验和观察方面，后世极少有像宋代画家那样精谨细致、具体人微的。\n所以，这类作品不管是高轴长卷，还是案头小品，它们所具有的生活情趣，无论是丰富性还是真实性，都令后人殊难超越。\n从宋人的画牛作品看，画家的用笔，是从对象出发，以对象的形态为旨归，将朴素的情感蕴藏在精妙的笔法中，这与后来文人画家所追求的『单纯化』表现，所谓『逸笔草草，不求形似』相比照，其问的差异是不喻自明的。\n中国传统绘画讲究诗情画意，这些牧题材的作品同样有着诗意盎然、妙趣横生的意境，这是此一题材自身所具有的魅力。\n在喧嚣的尘世中，面对这些笔佳墨妙的作品，想见烟云清雨，牛羊在野，湖岸风来，轻裾致爽，应该也算偷得浮生半日闲了吧。\n唐韩滉五牛图 唐韩滉五牛图之一 唐韩滉五牛图之二 唐韩滉五牛图之三 唐韩滉五牛图（局部） 唐韩滉五牛图（局部） 宋李唐乳牛图 宋李唐彩薇图 宋阎次平四季牧牛图 宋阎次平四季牧牛图之一 宋阎次平四季牧牛图之二 宋阎次平四季牧牛图之三 宋阎次平四季牧牛图之四 宋阎次平四季牧牛图之四（局部） 宋李迪风雨归物图 宋李迪风雨归物图（局部） 宋李迪风雨归物图（局部） 宋佚名平畴呼犊图 宋佚名平畴呼犊图（局部） 宋佚名牧牛图 ……",[25,52,28,27,1253,411,30,520,7,3394],"田野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c3a60a9cd87946a5051cb9b8246487f.jpg","97x52.4",[],{"id":3399,"slug":3400,"title":111,"dynasty":191,"author":3401,"museum":20,"description":3402,"tags":3403,"thumbUrl":3404,"material":723,"size":724,"collection":118,"collections":3405,"showCount":3308,"zanCount":11,"manualWeight":11,"mainColor":65},230926,"zhu-shi-tu-feng-ke-shi-230926","冯可实","此作用泥金扇面为底，以写意法绘湖石，皴擦之间尽显朴拙苍劲。石畔新篁疏朗错落，竹叶俯仰欹侧，墨色浓淡层叠，尽显清翠舒展之姿。数只春燕掠飞于竹石之间，为幽寂小景添上灵动生气。左侧题以行书，笔致率意洒脱，与画面浑然相融，书画合璧尽显文人雅趣。整幅笔墨简逸随性，以寥寥笔意勾勒出林泉闲居的幽澹意境，将尘外闲思寄于尺幅扇面之中，尽显写意小品的雅致情致。",[25,52,407,54,57,7,77,58,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a1485b46c8b893c3699de9f0da56a44.jpg",[],{"id":3407,"slug":3408,"title":3409,"dynasty":191,"author":419,"museum":20,"description":3410,"tags":3411,"thumbUrl":3413,"material":118,"size":118,"collection":118,"collections":3414,"showCount":3308,"zanCount":11,"manualWeight":11,"mainColor":43},228803,"luo-han-sao-bei-bu-yi-tu-yi-ming-228803","罗汉搔背补衣图","苍松虬枝舒展，疏竹点缀幽庭，红日轻悬天际晕开暖意。画中人物神态各俱意趣，安坐罗汉垂目敛神，沉静安然；侍立身侧的童子合十颔首，恭谨温顺。下方罗汉袒露上身，持杖搔背，眉眼舒展间满是松弛惬意。\n\n衣纹线条顿挫苍劲，贴合身形尽显布料肌理，设色古雅柔和，绢本晕染过渡自然，将禅林清修的日常琐事，晕染出悠然禅意。以烟火日常描摹世外清宁，让观者仿若踏入古刹深庭，窥见佛子起居的松弛意趣，尽显佛画写实与写意相融的精妙笔法，藏着内敛悠长的禅境余韵。",[23,25,52,101,773,28,95,57,3412,7,2671,1025,1068,27],"棕榈","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea36d71b8fdf61a2db9f17a080d4d829.jpg",[],{"id":3416,"slug":3417,"title":3418,"dynasty":18,"author":3419,"museum":20,"description":3420,"tags":3421,"thumbUrl":3425,"material":723,"size":724,"collection":118,"collections":3426,"showCount":3308,"zanCount":11,"manualWeight":11,"mainColor":164},224128,"pantaka-tang-ka-224128","Pantaka","唐卡","唐卡（Thang-ga）也叫唐嘎，唐喀，系藏文音译，指用彩缎装裱后悬挂供奉的宗教卷轴画。唐卡是藏族文化中一种独具特色的绘画艺术形式，题材内容涉及藏族的历史、政治、文化和社会生活等诸多领域，传世唐卡大都是藏传佛教和本教作品。\n唐卡是藏族文化中一种独具特色的绘画艺术形式。具有鲜明的民族特点、浓郁的宗教色彩和独特的艺术风格，用明亮的色彩描绘出神圣的佛的世界；颜料传统上是全部采用金、银、珍珠、玛瑙、珊瑚、松石、孔雀石、朱砂等珍贵的矿物宝石和藏红花、大黄、蓝靛等植物为颜料以示其神圣。这些天然原料保证了所绘制的唐卡色泽鲜艳，璀璨夺目，虽经几百年的岁月，仍是色泽艳丽明亮。因此被誉为中国民族绘画艺术的珍品，被称为藏族的”百科全书”也是中华民族民间艺术中弥足珍贵的非物质文化遗产。\n传统唐卡的绘制要求严苛、程序极为复杂，必须按照经书中的仪轨及上师的要求进行，包括绘前仪式、制作画布、构图起稿、着色染色、勾线定型、铺金描银、开眼、缝裱开光等一整套工艺程序。制作一幅唐卡用时较长，短则半年完成，长则需要十余年。",[773,28,27,95,411,75,30,7,3422,3423,424,3424,2652],"台案","供品","猴子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb0daf70fd92bb2c8a4f1651237bd70e.jpg",[],{"id":3428,"slug":3429,"title":3430,"dynasty":191,"author":3431,"museum":92,"description":3432,"tags":3433,"thumbUrl":3435,"material":37,"size":3436,"collection":118,"collections":3437,"showCount":3308,"zanCount":11,"manualWeight":11,"mainColor":65},216768,"jiu-lao-tu-6-huang-biao-216768","九老图-6","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。",[25,27,28,95,57,76,7,75,3434,58],"礼器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe28423c5395dba22f474d5f7c3f92fd7.jpg","27.2x193",[],{"id":3439,"slug":3440,"title":3441,"dynasty":18,"author":3442,"museum":49,"description":3443,"tags":3444,"thumbUrl":3446,"material":118,"size":118,"collection":39,"collections":3447,"showCount":3308,"zanCount":11,"manualWeight":11,"mainColor":3448},201850,"hua-hui-dou-fang-zhou-zhe-zhang-201850","花卉斗方轴","禇章","墨色浓淡相济间，上幅牡丹开得酣畅，浓墨点染花瓣肌理，淡墨晕出朦胧层次，枝干以劲毫勾勒，叶片泼洒见风神。下幅花草姿态疏朗，线条轻盈灵动，墨块与细茎相映，石畔生机隐然。整作以水墨为媒，笔意洒脱，花木之态与文人逸趣相融，尽显清雅韵致。",[54,35,702,7,2436,3445,23],"叶片","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F401b94dc3ece4122fca095022b932af1.jpg",[39],"ddcebd",{"id":3450,"slug":3451,"title":3452,"dynasty":3453,"author":419,"museum":20,"description":3454,"tags":3455,"thumbUrl":3456,"material":723,"size":724,"collection":118,"collections":3457,"showCount":3458,"zanCount":11,"manualWeight":11,"mainColor":164},255027,"shi-pu-sa-xiang-yi-ming-255027","石菩萨像","隋","面相饱满圆润，唇角噙着恬淡笑意，神情慈悲恬和，尽显温雅端方的气韵。头戴繁复宝冠，颈间垂挂的璎珞虽有残损，仍可窥见当年的华美规制。石质温润内敛，残存的彩绘与贴饰痕迹，依稀能还原当初妆銮的精致细腻。\n\n它褪去了前朝清瘦秀骨的遗风，尽显隋代造像饱满端雅的审美意趣。残躯虽失半身，却丝毫无损庄严静穆的气质，静默伫立间将千年之前的信仰之美娓娓道来，沉静氛围直抵观者心神。",[773,95,2782,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0ce25985bade856a864b09fb03b632f.jpg",[],7,{"id":3460,"slug":3461,"title":660,"dynasty":18,"author":2084,"museum":20,"description":3462,"tags":3463,"thumbUrl":3466,"material":118,"size":118,"collection":118,"collections":3467,"showCount":3458,"zanCount":11,"manualWeight":11,"mainColor":65},238139,"shan-shui-ce-yun-xi-238139","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。",[25,28,73,53,75,195,196,248,141,30,1616,3464,7,759,3465],"黄叶","路径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F345590e9287c67a0fd54122250c5b6a4.jpg",[],{"id":3469,"slug":3470,"title":3083,"dynasty":191,"author":3471,"museum":20,"description":3472,"tags":3473,"thumbUrl":3474,"material":723,"size":724,"collection":118,"collections":3475,"showCount":3458,"zanCount":11,"manualWeight":11,"mainColor":65},237073,"zhu-shi-shan-chen-zun-237073","陈遵","明代画家。生卒年不详，字汝循，浙江嘉兴人。少年时即寄情翰墨，壮岁寓居吴县（今江苏苏州）。善画花鸟、蔬果、草虫，所作形态逼真，栩栩如生，笔力苍老，构图新颖。海内鉴赏家重金购求，然非其人辄弗应。通音律，暇时喜操琴自娱。",[24,25,52,407,54,57,7,58],"https:\u002F\u002Fos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[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。",[25,52,53,54,28,75,30,7,2388,663,58,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8792684124431ea5ed75feb11f6a9de5.jpg",[],{"id":3598,"slug":3599,"title":3600,"dynasty":18,"author":3601,"museum":20,"description":3602,"tags":3603,"thumbUrl":3604,"material":723,"size":724,"collection":118,"collections":3605,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":65},238034,"bai-ding-lan-shi-ce-bai-ding-238034","白丁兰石册","白丁","白丁，字过峰，一字行民，又称民道人。",[25,52,53,54,282,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49c9b749be4efb12abd452c41a00c9f4.jpg",[],{"id":3607,"slug":3608,"title":3609,"dynasty":191,"author":3610,"museum":49,"description":3611,"tags":3612,"thumbUrl":3613,"material":1232,"size":3614,"collection":118,"collections":3615,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":65},237268,"shen-hao-shan-shui-tu-ce-shen-hao-237268","沈灏山水图册","沈颢","沈颢（1586—1680后），一作沈灏，字朗倩，号石天、朗道人，吴（今江苏苏州）人。沈颢风仪轩举，博雅多闻。能诗歌，精古文辞及书法真行篆籀，更精绘事，深究画理，其论画源流与董其昌相同，著有名著《画尘》，与董其昌之“画眼”堪称伯仲，难分轩轾。作画主张师自然而法古人，提倡临摹古人不在形似而在神会，“似而不似，不似而似”是其创见。善写山水，笔墨秀润雅逸，立壑奇突，秀骨天发，高格清标。小景淡远清旷，画风近沈周，每自题句，多作韵语。晚年笔意挺秀，点染清妍。",[25,52,53,54,73,75,30,7,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F27bfe4674dcca93b5ef4e74b7ea0dad9.jpg","15.2x23.6厘米",[],{"id":3617,"slug":3618,"title":3619,"dynasty":18,"author":1592,"museum":20,"description":3620,"tags":3621,"thumbUrl":3623,"material":118,"size":118,"collection":118,"collections":3624,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":65},237243,"gu-mu-zhu-shi-tu-ce-cha-shi-biao-237243","古木竹石图册","此作以大片留白铺陈空寂澹远意境，以极简水墨勾勒丘壑意趣。古木苍劲老干嶙峋，枯笔皴擦晕染出岁月斑驳，新发枝叶以湿墨点簇，枯润相生间漾出清浅生机。坡石以淡墨晕写，线条简括清逸，寥寥数笔便晕染出山石朴拙之态，旁生幽竹清瘦挺拔，与古木相映成趣。\n\n笔墨疏淡松秀，尽显萧散简远的文人意趣，将山野幽居的林下清趣凝于尺幅间，观之便如身临幽寂林泉，涤荡俗尘，静穆淡远的林下风致扑面而来。",[25,54,53,3622,57,7,745,171,58],"古木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F873ff1ff70cc1b675c9b03040c355974.jpg",[],{"id":3626,"slug":3627,"title":3619,"dynasty":18,"author":1592,"museum":20,"description":3628,"tags":3629,"thumbUrl":3630,"material":118,"size":118,"collection":118,"collections":3631,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":65},237241,"gu-mu-zhu-shi-tu-ce-cha-shi-biao-237241","此作半边取景，留白极尽空灵之致。枯木以焦墨枯笔写就，运笔老辣苍劲，线条虬曲顿挫，尽显古木历经岁月经年的斑驳质感。旁侧淡墨挥写竹叶，笔势疏朗灵动，叶叶分明却不失连贯气韵，与枯木的苍涩形成柔劲对照。怪石以浓墨晕染勾勒，寥寥数笔便厚重沉稳，与木、竹错落排布，营造出清冷荒寒之境。\n整体笔墨简淡清逸，尽显萧散淡远的文人意趣，以极简的画面传递出悠长禅意，是极具代表性的写意佳构。",[25,52,53,54,3622,57,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F455b5b67be11ecf64eb29f870c74bd98.jpg",[],{"id":3633,"slug":3634,"title":3635,"dynasty":18,"author":3636,"museum":20,"description":3637,"tags":3638,"thumbUrl":3639,"material":118,"size":118,"collection":118,"collections":3640,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":65},237165,"tang-ren-shi-yi-shan-shui-ce-xiang-mu-zhi-237165","唐人诗意山水册","项穆之","项穆之［清·乾隆］，生卒年不详，字莘甫，南京人。适庵孙。善画山水，能继祖业。高宗南巡，诸大府延入画局，一切名胜图绘，皆其主裁。",[25,52,53,28,75,95,30,7,142,248,29,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F873f87dd7dab04d94e7cf4557e1a2582.jpg",[],{"id":3642,"slug":3643,"title":2926,"dynasty":18,"author":3644,"museum":126,"description":3645,"tags":3646,"thumbUrl":3650,"material":492,"size":118,"collection":118,"collections":3651,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":43},236828,"fang-gu-shan-shui-ce-zhao-cheng-236828","赵澄","[明]（一五八一至？）晚年得铜汉章改名澄，字雪江，一字湛之，颍州（今安徽阜阳）布衣。山水泼墨、细谨两擅其长。学宗董源、范宽、李唐诸家。又善临摹，见大内所藏皆缩为小幅，无一笔不肖。又仿古二十幅极精，为琉球国王所得，永为海外珍宝。并工写照，得意之作皆用铜章。以博学能诗称。顺治十一年（一六五四）仿各家山水册时年七十四。《国[清]朝画徵录、读画录、图绘宝鉴续纂、桐阴论画》",[25,1799,75,28,73,195,7,200,197,444,759,3021,218,3647,368,426,410,3648,3649],"峭壁","云气","古建","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0183adf33d938618193370ec0d4adcb1.jpg",[],{"id":3653,"slug":3654,"title":1532,"dynasty":191,"author":3655,"museum":20,"description":3656,"tags":3657,"thumbUrl":3658,"material":118,"size":118,"collection":118,"collections":3659,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":65},236001,"zhu-shi-zhou-xiang-de-xin-236001","项德新","此画以水墨写意幽寂小景，枯树挺立于中，笔法简练老辣，将老树经霜的苍劲之态尽显，虬枝间淡墨点染木叶，疏朗雅致。奇崛湖石皴染结合，兼具厚重沉稳之质与通透空灵之姿。旁侧修竹清瘦秀逸，竹叶俯仰有姿，和老树顽石相映成趣，衬出画面萧疏淡远的意韵。\n笔墨松秀灵动，墨色层次清和淡润，以极简构图诠释文人画尚简重意的旨趣，将林下澹然雅趣融于方寸，尽显古淡空灵的文人意境。",[25,101,54,57,7,30,73],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F213b420bb2e5f92a41046051b19c364e.jpg",[],{"id":3661,"slug":3662,"title":3663,"dynasty":18,"author":1249,"museum":20,"description":3664,"tags":3665,"thumbUrl":3666,"material":723,"size":724,"collection":118,"collections":3667,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":65},235388,"hua-niao-tu-ce-hua-yan-235388","花鸟图册","华岩（1682～1756），一作华嵒，字德嵩，更字秋岳，号新罗山人、东园生、布衣生、离垢居士等，老年自喻“飘篷者”，福建上杭蛟洋华佳（家）人（原白砂里人），后寓杭州。工画人物、山水、花鸟、草虫，脱去时习，力追古法，写动物尤佳。善书，能诗，时称“三绝”，为清代杰出绘画大家，扬州画派的代表人物之一。\n自幼酷爱绘画，后因家贫失学，备受世俗冷落，康熙四十二年（1703）华氏家族重建祠堂，曾因替正厅画壁画，乡绅看不起他，群起反对，最后偷自进祠堂，画上“高山云鹤”、“水国浮牛”、“青松悬崖”和“倚马题诗”四幅画，愤而离乡飘泊，流寓于杭州，结交了很多文人学士，眼界大开。36岁时曾北上入都，“得交当路巨公，名闻于上”，但并不得意，据戴熙《习苦斋画絮》载：“华秋岳自奇其画，游京师无问者。一日有售赝画者，其裹华笔也，华见而太息出都。”他的中晚年一直频繁往来于杭州、扬州，以卖画为生。在扬州他结识了金农、高翔、李鱓、郑板桥及盐商巨子马曰琯、马曰璐兄弟，彼此交流切磋，诗画酬答，使其绘画修养得到多方面的拓展，成为扬州画派的代表人物之一。",[24,25,52,53,28,54,35,30,519,650,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb877c81c06b6a8a65ba1940edd153cc3.jpg",[],{"id":3669,"slug":3670,"title":660,"dynasty":191,"author":3610,"museum":20,"description":3671,"tags":3672,"thumbUrl":3673,"material":118,"size":118,"collection":118,"collections":3674,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":65},235292,"shan-shui-ce-shen-hao-235292","此作用笔清简苍劲，以干笔皴擦勾勒峰峦肌理，淡墨晕染铺就山川层次。近岸乱石错落间疏植林木，中远景峰峦层叠渐次淡去，留白延展出水色空阔，烘托出清寂幽淡的江南山水之境。\n\n画面左上角题字与山水相映，诗画相融尽显文人雅致意趣。全幅未做浓艳敷色，仅以水墨浓淡变化写尽林泉隐逸之思，萧散淡远的气韵之中，藏着寄情山水的文人襟怀。",[25,54,75,73,195,7,200],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e5d5ffa64da080ee406df366256c744.jpg",[],{"id":3676,"slug":3677,"title":3678,"dynasty":18,"author":3339,"museum":20,"description":3679,"tags":3680,"thumbUrl":3681,"material":117,"size":3682,"collection":118,"collections":3683,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":65},234891,"wang-yuan-qi-fang-gu-shan-shui-ce-wang-yuan-qi-234891","王原祁仿古山水册","丁巳为康熙十六年（1677年），王原祁时年三十六岁。册前王时敏款署西庐八十七老人题，应为康熙十七年（1678年）所题，即王原祁创作该册后的次年所书。以丁巳下推至庚午，不足十五年，而自跋中今阅十五年，当是王原祁笔误。\n画前副页有王时敏隶书灵心自悟四大字。画册后跋纸为王原祁自题：此余丁巳春间往云间笔也。先奉常见之谓余为'可教'，题识四字。个阅十五年矣，于古人笔墨终未梦见，殊愧先大父指授，为之泫然。康熙庚午长夏观于毘陵舟次谨题，原祁。钤原祁之印（白文）、麓台（朱文）、兴与烟霞会（白文），画册首副页，尾纸只有庞元济藏印11方。\n该册仿古山水，是王原祁早期绘画的代表作品。所仿元六家山水各具形貌，笔墨或设色又颇具苍润、恬淡、秀丽等不同特点，所以王时敏以灵心自悟夸赞其孙王原祁在仿古的同时，边学习古人的画法，同时又寻求开创个人独特艺术特点的创作方向。该册是研究工原祁早期绘画的宝贵材料。",[1799,28,73,78,58,75,195,7,30,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9008f59216e7f132cb809ba7a4207ec.jpg","纵21厘米，横27厘米",[],{"id":3685,"slug":3686,"title":3687,"dynasty":18,"author":3688,"museum":126,"description":3689,"tags":3690,"thumbUrl":3692,"material":492,"size":118,"collection":118,"collections":3693,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":65},234757,"huang-shan-tu-ce-jiang-zhu-234757","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。",[25,52,53,54,28,78,77,73,75,195,7,30,197,3691],"奇峰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F07be6bbf7f5a59544ae1e4a3e17092d5.jpg",[],{"id":3695,"slug":3696,"title":3697,"dynasty":18,"author":3698,"museum":126,"description":3699,"tags":3700,"thumbUrl":3701,"material":117,"size":118,"collection":118,"collections":3702,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":43},234140,"shi-shu-hua-he-juan-huang-yi-234140","诗书画合卷","黄易","故宫博物院藏有黄易的一纸《诗书画合卷》，在《诗书画合卷》中黄易分别临习了王羲之的《黄庭经》和《东方朔画像赞》。此二作虽为临习作品，黄易却对原作进行了大胆改变，这种改变可以说是以钟繇来冲破“二王”。首先，他临王羲之楷书中带有些许钟繇的字势特点。他将王羲之楷书结体的纵向取势变为横向取势，并在某些笔画上参入隶书笔意，特别是捺画夸张和舒展得更为明显，以隶书的波挑来调节楷书的板滞。其次，黄易改王羲之楷书的疏朗宽阔为茂密紧凑，不管是行距还是字距都远小于原作，使章法更为葱郁。再次，此作在略微增加线条厚度的同时，又增加了不少起笔和收笔的出锋，这就使作品厚重之中更具有灵动感和活泼的情趣。",[23,25,52,26,77,54,73,75,30,7,759,78,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2594a0466d2bc6670524a74ac93c1c2d.jpg",[],{"id":3704,"slug":3705,"title":3706,"dynasty":3513,"author":419,"museum":20,"description":3707,"tags":3708,"thumbUrl":3709,"material":723,"size":724,"collection":118,"collections":3710,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":164},230554,"song-xia-da-mo-tu-yi-ming-230554","松下达摩图","此作以淡墨白描写达摩禅定之姿，衣纹圆转简练，宽袍裹挟身形，神情沉凝肃穆，尽显面壁九年的静定禅心。背景松枝以焦墨点染，古拙苍劲，淡墨晕染流云氤氲缥缈，烘出幽寂空灵的禅境，下方山石以干笔皴擦，朴拙厚重，与达摩沉静之气融为一体。\n\n右上角题字笔意纵逸萧散，与画面简淡禅意相得益彰。全作以极简水墨语言，摒弃繁复修饰，在虚实相生间将达摩苦修定力与山林清寂相融，把禅宗空灵内敛的意趣诠释得淋漓尽致，尽显禅画写意的悠远妙味。",[23,25,52,101,773,55,95,76,7,57],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f3f2a0c1e592ea964d7d13e6df54c70.jpg",[],{"id":3712,"slug":3713,"title":3714,"dynasty":18,"author":419,"museum":20,"description":3715,"tags":3716,"thumbUrl":3717,"material":723,"size":724,"collection":118,"collections":3718,"showCount":64,"zanCount":11,"manualWeight":11,"mainColor":65},229530,"song-hua-shi-shan-shui-ren-wu-yan-yi-ming-229530","松花石山水人物砚","砚台历经秦汉、魏晋，至唐代起，各地相继发现适合制砚的石料，开始以石为主的砚台制作。其中采用甘肃岷县的洮河石、广东端州的端石、安徽歙州的歙石制作的砚台，被分别称作洮砚、端砚、歙砚。史书将洮、端、歙称作三大名砚。清末，又将河南洛阳的澄泥砚与洮、端、歙，并列为中国四大名砚。也有人主张，以天然砚石雕制的鲁砚中的红丝石砚代替澄泥砚，合称四大名砚。\n谈起砚的种类有许多种，从砚的材质可分为：玉砚、银砚、铜砚、铁砚、陶砚、瓷砚、石砚、漆砚等，其中石砚是最为普遍，也最实用的一种砚。砚台起源于新石器时代。最早的砚是半坡村遗址出土的研磨颜料的研磨器，在1980年，大陆考古学家曾在陕西省临潼县姜寨一处原始社会的遗址中，发现了一套原始人用以陶器彩绘的工具，其中有一方石砚，砚有盖，砚面微凹，凹处并有一根石质磨杵，砚旁留存数块黑色颜料。很显然，这是先民们借助磨杵研磨颜料的早期砚的形制。由于这处遗址归属于母系氏族时期的仰韶文化，故这方砚台的实际寿龄已超过了五千年了。\n清代端石砚要求因材施艺，因石构图，在题材、立意、构图、造型、利用何种雕法都要精心推敲，刻划得当。保持了端砚的古雅、朴实，古色古香、形态自然的特点。如北京故宫收藏的「端石双龙砚」、「猫蝶砚」是端砚中的佳品。",[1208,1025,2782,75,95,30,7,142],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1168d3b1400ba0a1f6e361f7038cd90.jpg",[],{"id":3720,"slug":3721,"title":111,"dynasty":210,"author":419,"museum":20,"description":3722,"tags":3723,"thumbUrl":3724,"material":118,"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（1812-？）本名张槃，河北定兴人，工篆隶书法，尤精画鸟。（清）原名柞枝，字小蓬（一作小槃），号圆腹道人，直隶定兴人。官山东武定同知。工篆、隶。放情诗酒，余事作花鸟，备极精能，亦能山水。光绪二年（1876）尝客袁浦作红药双鹑图。性简傲，乞其画者必择人而予。",[25,52,407,28,54,58,57,7,745],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa974325b51bdb3e105146679fc4677fa.jpg",[],{"id":3831,"slug":3832,"title":3083,"dynasty":191,"author":2508,"museum":20,"description":3833,"tags":3834,"thumbUrl":3835,"material":723,"size":724,"collection":118,"collections":3836,"showCount":149,"zanCount":11,"manualWeight":11,"mainColor":65},237532,"zhu-shi-shan-xiang-yuan-bian-237532","项墨林（1525—1590），原名项元汴，字子京，号墨林，别号墨林山人、墨林居士、香严居士、退密庵主人、退密斋主人、惠泉山樵、墨林嫩叟、鸳鸯湖长、漆园傲吏等，浙江嘉兴人。明国子生，为项忠后裔，为明代著名收藏家、鉴赏家。\n少即英敏，博雅好古，绝意仕进。当时风雅之士来嘉兴必访项元汴，名画家文彭、文嘉等与项元汴交往尤密。明万历年间神宗朱翊钧闻其名，特赐玺书征他出来做官，不赴。\n项元汴所藏书法、名画以及鼎彝玉石，甲于海内。项元汴精于鉴赏，辨别真赝，析及毫发，当时无人可比。与项同时代的人记载：“项氏所藏如顾恺之《女史箴图》等，不知其数，观者累月不能尽也。其他墨迹及古彝器尤多。其家累世富厚，不惜重赀以购，故江南故家宝藏皆入其手。”他遴选能工巧匠制作的各种器具，凡几榻架柜奁盒等，镌以铭识，都极精巧，如同秦汉之物。清顺治二年（1645）闰六月，清兵攻破嘉兴府城，其藏品被千夫长汪六水所劫掠，散失殆尽，存世的藏品多归于皇宫，现仍藏于故宫博物院和其他博物馆。\n项元汴曾获一古琴，上刻“天籁”两字，故将其储藏之所取名“天籁阁”，并镌有天籁阁、项墨林等印，凡藏品都钤有印记，往往满纸满幅。项氏以天籁阁名传后世，阁早已毁，今城内建设街道天籁里即以天籁阁命名。\n项元汴工绘画兼擅书法。山水学元代黄公望、倪瓒，笔致疏秀，神合处辄臻胜境，书法出入唐智永、元赵孟頫。刊有《天籁阁帖》，著有《墨林山人诗集》等。",[25,52,407,54,78,77,58,57,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc500df282e4ce3db26312f820e81149f.jpg",[],{"id":3838,"slug":3839,"title":3840,"dynasty":191,"author":3841,"museum":20,"description":3842,"tags":3843,"thumbUrl":3844,"material":723,"size":724,"collection":118,"collections":3845,"showCount":149,"zanCount":11,"manualWeight":11,"mainColor":65},237516,"shan-shui-hua-hui-ce-jiang-shou-cheng-237516","山水花卉册","蒋守成","蒋守成明代画家。字继之,号晓山。丹阳人。善画山水,师法宋元画家赵千里,赵子昂、吴仲圭。亦作花鸟、竹石,都很出色,可惜中年患有眼疾,传世作品甚少。",[25,52,53,54,78,95,75,30,7,141,520],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3750b646708ded8d5b431ae47025f085.jpg",[],{"id":3847,"slug":3848,"title":3619,"dynasty":18,"author":1592,"museum":20,"description":3153,"tags":3849,"thumbUrl":3850,"material":723,"size":724,"collection":118,"collections":3851,"showCount":149,"zanCount":11,"manualWeight":11,"mainColor":65},237250,"gu-mu-zhu-shi-tu-ce-cha-shi-biao-237250",[25,52,53,54,3622,57,7,745,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7a6dca22c41b76ec151b58485b88ee5.jpg",[],{"id":3853,"slug":3854,"title":3619,"dynasty":18,"author":1592,"museum":20,"description":3855,"tags":3856,"thumbUrl":3857,"material":118,"size":118,"collection":118,"collections":3858,"showCount":149,"zanCount":11,"manualWeight":11,"mainColor":65},237242,"gu-mu-zhu-shi-tu-ce-cha-shi-biao-237242","此作以大片留白衬右侧小景，笔墨简净疏朗。干笔皴擦古木老干，焦墨点苔尽显苍古嶙峋；修竹俯仰有姿，淡墨写叶见清隽挺秀。湖石以淡墨晕染，朴拙静穆。更添几只小蟹，横行浅滩，为幽寂画面晕开几分野趣生机。\n\n全作用笔枯润相宜，不求繁缛工细，寥寥数笔便攫取物象神髓，萧散淡远的林下之风扑面而来，空寂留白中藏着清旷雅致，尽显闲散淡逸的文人意趣，于尺幅间勾勒出幽远超脱的林泉之境。",[25,52,53,54,3622,57,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38f337755a56b5c980434696cd0b5c1c.jpg",[],{"id":3860,"slug":3861,"title":3862,"dynasty":18,"author":3863,"museum":20,"description":3864,"tags":3865,"thumbUrl":3866,"material":723,"size":724,"collection":118,"collections":3867,"showCount":149,"zanCount":11,"manualWeight":11,"mainColor":65},237072,"shan-shui-shan-mian-lin-shu-237072","山水扇面","林纾","林纾（1852年11月8日—1924年10月9日），中国近代文学家，字琴南，号畏庐，别署冷红生，福建闽县（今福州市）人。晚称蠡叟、践卓翁、六桥补柳翁、春觉斋主人。室名春觉斋、烟云楼等。\n早年曾从同县薛锡极读欧阳修文及杜甫诗。后读同县李宗言家所藏书，不下三四万卷，博学强记，能诗，能文，能画，有狂生的称号。光绪八年（1882年）举人，官教论，考进士不中。二十六年（1900年），在北京任五城中学国文教员。所作古文，为桐城派大师吴汝纶所推重，名益著，于是任北京大学讲席。\n辛亥革命后，入北洋军人徐树铮所办正志学校教学，推重桐城派古文。\n后在北京，专以译书售稿与卖文卖画为生。曾创办“苍霞精舍”——今福建工程学院前身。工诗古文辞，以意译外国名家小说见称于时。复肆力于画。山水初灵秀似文徵明，继而浓厚近戴熙。偶涉石涛，故其浑厚之中颇有淋漓之趣。其题画诗云：“平生不入三王派，家法微微出苦瓜，我意独饶山水味，何须攻苦学名家？”。花鸟得其师陈文台之传，淡墨薄色，神致生动。\n晚年居北京，求者多以山水，而花鸟则不复作矣。著畏庐文集、诗集、春觉斋题画跋及小说笔记等。",[25,52,407,54,73,75,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffaa685f8d4a51970679a366f45161df3.jpg",[],{"id":3869,"slug":3870,"title":660,"dynasty":18,"author":3871,"museum":20,"description":3872,"tags":3873,"thumbUrl":3874,"material":118,"size":118,"collection":118,"collections":3875,"showCount":149,"zanCount":11,"manualWeight":11,"mainColor":65},235552,"shan-shui-ce-zhu-chang-235552","祝昌","此作用笔松秀简淡，以平远之景铺陈幽居野趣。溪岸缓坡错落，几间村居隐于林木水滨，浓墨点染的古木葱郁苍润，淡墨晕染的远山轻笼烟岚。留白空灵悠远，将江南水畔的闲静山居意境晕染开来，不见行人车马，却暗合枕流漱石的幽寂襟怀。墨色层次柔和清润，淡扫轻勾间尽显萧散静穆的文人意趣，仿若将山野间的清寂闲逸尽数藏于尺幅之中，意致悠长淡远，尽显清寂雅洁的山水韵致。",[25,52,53,54,75,73,30,248,7,142],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F922b866d7ca7ad62a0de0ee1bcc62536.jpg",[],{"id":3877,"slug":3878,"title":3074,"dynasty":191,"author":3879,"museum":20,"description":3880,"tags":3881,"thumbUrl":3882,"material":118,"size":118,"collection":118,"collections":3883,"showCount":149,"zanCount":11,"manualWeight":11,"mainColor":65},235452,"shan-shui-tu-ce-pan-zheng-235452","潘徵","此作用干笔淡墨写就，近岸苍松挺劲，坡石以短披麻皴绘出朴拙质感，留白作汀洲水色，烟水空濛间远林隐隐澹澹。山岩盘桓而上，矾头堆叠出嶙峋山势，山腰幽居藏于葱郁林木间，暗合文人幽栖寄怀之趣。\n\n笔墨层次清雅秀润，勾勒皴擦间兼具元人山水的萧散简远，又带着温润整饬的意韵，将平远、深远景致相融，缓缓铺展山野幽寂的林下之趣，观之如身临幽栖林泉，心神自可沉潜于这静穆淡远的意境之中。",[24,25,52,53,54,73,75,195,196,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcbf82c4fd6630bb7f02cf054c62233f0.jpg",[],{"id":3885,"slug":3886,"title":3678,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字西溟，号湛园，又号苇间，浙江 明末诸生，康熙十九年以布衣荐入明史馆任纂修官，分撰刑法志，记述明三百年间诏狱、廷杖、立枷、东西厂卫之害。又从 在京因得罪大学士 康熙三十六年70岁始成进士，以殿试第三名授翰林院编修。越两年为顺天乡试副考官，因主考官舞弊，被连累下狱死。着有《湛园集》《苇间集》《海防总论》。",[78,77,58,2583,304,4261,305,4140,520,195,30,32,2603,196,7],"门","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F213bd352cd92152c238af991318ac0c9.jpg","纸本，行书","64.5×32.1cm",[447],{"id":4267,"slug":4268,"title":4269,"dynasty":18,"author":4270,"museum":20,"description":4271,"tags":4272,"thumbUrl":4276,"material":723,"size":724,"collection":118,"collections":4277,"showCount":85,"zanCount":11,"manualWeight":11,"mainColor":450},240879,"xia-chu-nan-qing-lang-tan-qi-gu-zhou-ruan-yuan-240879","下椘南清浪滩七古轴","阮元","字伯元，号芸台、雷塘庵主、揅经老人、怡性老人 ，江苏扬州仪征人。清朝中期官员、经学家、训诂学家、金石学家 。\n阮元为乾隆五十四年（1789年）进士，先后在礼部、兵部、户部、工部供职，并出任山东、浙江学政，浙江、江西、河南巡抚及漕运总督、湖广总督、两广总督、云贵总督等职。身历乾隆、嘉庆、道光三朝，所至之处，以提倡学术、振兴文教为自任，勤于军政，治绩斐然。晚年官拜体仁阁大学士，致仕后加官至太傅。道光二十九年（1849年），阮元去世，年八十六。获赐谥号“文达”。\n阮元提倡朴学，曾罗致学者编书刊印，主编《经籍籑诂》，校刻《十三经注疏》，汇刻《皇清经解》等，于数学、天算、舆地、编纂、金石、校勘等方面亦多有建树 ，史称其“身历乾、嘉文物鼎盛之时，主持风会数十年，海内学者奉为山斗焉” ，是乾嘉学派晚期代表人物，也被认为是扬州学派的柱石。生平著述丰撰有《揅经室集》《十三经注疏校勘记》等三十余种著述传世。",[77,78,101,54,4273,196,195,7,1089,2577,4274,4275],"滩","钟窗","沙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77f57af5cb4f62c4eedadb4bc61a8116.jpg",[],{"id":4279,"slug":4280,"title":3785,"dynasty":18,"author":4281,"museum":20,"description":4282,"tags":4283,"thumbUrl":4294,"material":723,"size":724,"collection":118,"collections":4295,"showCount":85,"zanCount":11,"manualWeight":11,"mainColor":65},240185,"shi-zhou-hu-hui-en-240185","胡会恩","胡会恩. 來胡会洎恩，頭字筿孟纶，清代康熙十五年（公元一六七六年）进士，官至刑部尚书。",[77,78,101,58,4284,4285,4286,4287,7,4288,4289,4290,4291,32,4292,4293,158],"水色","春苑","鹭","露","烟花","宫阙","南郭","清溪","天潭","仙乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ae6ecb825466e379c26ae2b5db26408.jpg",[],{"id":4297,"slug":4298,"title":4299,"dynasty":18,"author":4300,"museum":20,"description":2680,"tags":4301,"thumbUrl":4302,"material":723,"size":724,"collection":118,"collections":4303,"showCount":85,"zanCount":11,"manualWeight":11,"mainColor":65},239470,"qing-chu-shi-si-jia-shu-hua-ji-jin-ce-zhi-hua-shan-shui-ce-ye-wu-hong-239470","清初十四家书画集锦册-指画山水册页","吴宏",[25,52,53,54,73,78,58,75,195,30,759,196,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2967f9df280250d20a4f968899ad17ab.jpg",[],{"id":4305,"slug":4306,"title":4307,"dynasty":18,"author":1773,"museum":20,"description":4308,"tags":4309,"thumbUrl":4310,"material":118,"size":118,"collection":118,"collections":4311,"showCount":85,"zanCount":11,"manualWeight":11,"mainColor":65},238767,"hua-hong-li-ni-gu-shi-yi-tu-ce-dong-bang-da-238767","画弘历拟古诗意图册","此作用淡墨晕染出空濛水色天色，近处亭台错落虬枝苍劲，凭栏雅士静赏烟波，远景孤阁浮于浅渚，虚实相生，将咫尺画幅拉出悠远景深。\n\n笔墨清润秀雅，全以淡墨皴擦勾勒物象，不着浓艳却氤氲出江南水畔的静谧诗意。右侧题诗与画作呼应，诗画交融，把闲居寄情山水的雅趣娓娓道来，尽显文人画诗画合一的意境，淡而不寡，简中见雅，将林下幽居的恬然心境铺陈在尺幅之间。",[25,52,53,54,75,248,444,30,7,610,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b6829138d75650b4323d6f7e0b2fe54.jpg",[],{"id":4313,"slug":4314,"title":660,"dynasty":18,"author":1901,"museum":20,"description":4315,"tags":4316,"thumbUrl":4317,"material":118,"size":118,"collection":118,"collections":4318,"showCount":85,"zanCount":11,"manualWeight":11,"mainColor":65},238199,"shan-shui-ce-tang-dai-238199","浅绛皴擦出岩壑肌理，重林沉凝在清霭之间，风神疏旷悠然。飞瀑高悬如匹练垂空，将春山的生机揉进空蒙雾气中。浓荫深掩孤村柴扉，静锁山居闲逸意趣。峰腰苔痕青润，危崖草亭孑立，似候访客寻幽踏春，探问山灵私语。\n\n诗画相映成趣，笔致苍秀兼备，淡设晕染出春日山乡的清和幽寂，将林泉高致藏于尺幅间，观之恍若步入云深之处，揽烟霞、听流泉，尽得林泉雅韵。",[25,52,28,73,53,75,195,7,200,663,141,142,249,197],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5dcc4abf16f05eceec82252ed998da1.jpg",[],{"id":4320,"slug":4321,"title":3600,"dynasty":18,"author":3601,"museum":20,"description":4322,"tags":4323,"thumbUrl":4324,"material":118,"size":118,"collection":118,"collections":4325,"showCount":85,"zanCount":11,"manualWeight":11,"mainColor":65},238035,"bai-ding-lan-shi-ce-bai-ding-238035","白丁为云南人，明楚藩之裔，僧人。晚年为香海庵僧人本元当司书，八十余岁，殁于昆明。明亡，披剃游滇，居无定所。攻写兰，抒其心画，当与郑思肖、赵孟坚旷世同珍。亦能急就印章，自录一谱。本元曾为之序，今失。郑燮（郑板桥）谓其作画，不令人见，画毕微乾，用水喷噀，其细如雾。笔墨之痕，因兹化去。人以郑燮画兰学白丁，郑燮云：石涛和尚客扬州数十年，见其兰幅极多，学一半，撇一半，未尝全学也。诗曰：“十分学七要抛三，各有灵苗各自探。当面石涛还不学，何能万里学云南。” 《板桥集》、《书画纪略》、《滇南书画录》",[25,52,24,53,54,282,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb351fb753680ad4ddd12bf2c964440f9.jpg",[],{"id":4327,"slug":4328,"title":4329,"dynasty":191,"author":419,"museum":20,"description":4330,"tags":4331,"thumbUrl":4332,"material":723,"size":724,"collection":118,"collections":4333,"showCount":85,"zanCount":11,"manualWeight":11,"mainColor":43},237788,"wen-shi-shan-shui-shan-ye-yi-ming-237788","文石山水扇页","此作为典型吴门意趣文人山水，以扇面咫尺形制铺展丘壑。近林木蓊郁苍润，点叶错落灵动，茅庐隐于树石隐处，暗合幽居野逸之致。水墨皴擦写就山石肌理，浓淡墨色晕染出草木层叠，留白虚处暗引溪径通连远山，萧散空寂间尽显林下雅致。右上角题款极简融于画面，暗寄文人寄情林泉、归心丘园的隐逸心绪。虽无署名，却深得明季山水画简淡清和的神韵，将山野闲居的幽寂之美凝于盈握之间，以小品见大境，尽显文人山水的空逸意趣。",[25,52,407,54,73,75,195,7,30,663,141,142],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F102baf5086a7eb075c2298524451c22b.jpg",[],{"id":4335,"slug":4336,"title":3074,"dynasty":18,"author":4337,"museum":20,"description":4338,"tags":4339,"thumbUrl":4340,"material":723,"size":724,"collection":118,"collections":4341,"showCount":85,"zanCount":11,"manualWeight":11,"mainColor":65},237391,"shan-shui-tu-ce-xue-xuan-237391","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。",[25,52,53,54,73,75,195,196,30,7,142],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff15bd4284c2fbc289acb9bbe67da1d4b.jpg",[],{"id":4343,"slug":4344,"title":2833,"dynasty":18,"author":2834,"museum":20,"description":2835,"tags":4345,"thumbUrl":4346,"material":723,"size":724,"collection":118,"collections":4347,"showCount":85,"zanCount":11,"manualWeight":11,"mainColor":65},236855,"zhu-shi-ce-wang-e-236855",[25,52,53,54,57,7,78,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3e7b8c771d3b1599fbbe4100d03f14b5.jpg",[],{"id":4349,"slug":4350,"title":3074,"dynasty":18,"author":4351,"museum":20,"description":4352,"tags":4353,"thumbUrl":4354,"material":723,"size":724,"collection":118,"collections":4355,"showCount":85,"zanCount":11,"manualWeight":11,"mainColor":65},235902,"shan-shui-tu-ce-guan-quan-235902","官铨","官铨（公元17-18世纪初）〔清〕字方楷，号山启(《中国美术家人名辞典》作字心楷)，上元（今江苏南京）人，生卒年不详。\n龚贤(1618-1689)弟子，能诗善画。山水得龚贤正传，画风似乃师，墨法精到，唯缺劲健勾勒之笔，所见龚画中有款印确真而画笔平弱者，可能是其代笔之作。",[25,52,53,78,77,54,73,75,248,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb80dbd667fcaf6802072a470b66cec1.jpg",[],{"id":4357,"slug":4358,"title":4359,"dynasty":191,"author":419,"museum":20,"description":4360,"tags":4361,"thumbUrl":4362,"material":723,"size":724,"collection":118,"collections":4363,"showCount":85,"zanCount":11,"manualWeight":11,"mainColor":65},235208,"ju-jie-shan-shui-shan-ye-yi-ming-235208","居节山水扇页","此作为泥金扇面，取平远山水之景。近岸古木扶疏、浓荫如盖，林下茅庐半隐，水面渔舟轻泛，漾开柔波，尽是江南水乡闲逸野趣。远景峰峦层叠，皴笔苍劲朴拙，将山石硬朗质感尽显，与水岸柔婉相映成趣。墨色于金笺之上浓淡相宜，勾勒皴擦间浸透着吴门画派疏朗清逸的遗风。画中不见繁复渲染，以极简的笔墨铺陈出幽居江湖的隐逸之思，淡远空灵，将林泉高致藏在一水一山之中，古雅沉静的文人意韵满溢纸面。",[407,25,52,24,54,73,75,30,7,1089],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc20eddad4c6110ed7fa19e6c988a954b.jpg",[],{"id":4365,"slug":4366,"title":4367,"dynasty":191,"author":4368,"museum":20,"description":4369,"tags":4370,"thumbUrl":4371,"material":118,"size":118,"collection":118,"collections":4372,"showCount":85,"zanCount":11,"manualWeight":11,"mainColor":65},233329,"shi-zhu-zhai-pu-ce-hu-ri-cong-233329","十竹斋谱册","胡日从","《十竹斋书画谱》，融诗、书、画、印艺术为一体，是木版水印史上的巨制鸿构，有“画苑之白眉，绘林之赤帜”之誉。凡书画、竹、墨华、石、翎毛、梅、兰、果八谱，每谱两册，全帙共十六册，蝴蝶装。\n一为书画册。花卉竹石、翎毛蔬果二十幅，均有对题。谱前有醒天居士《题十竹斋画册小引》和芒砀山人王三德《胡曰从书画谱引》。\n二为竹谱。卷首有《梨云馆竹谱》，分“写竹要语”，“写竹括”和“写竹法”。前半为一画一题，凡竹图二十幅，分作“廻风”、“喜霁”、“带雨”、“凝露”、“贮云”、“笼烟”、“快雪”、“印月”、“怡老”、“启新”、“飞白”、“聚翠”、“紫蓧”、“朱帔”、“崖影”、“石床”、“飨松”、“访菊”、“友梅”、“佩兰”等。后半则为画竹“起手式”。\n三为墨华册。谱中图呈圆光型，对题有绿色“十竹斋琅干笺”竹纹边框。画、题各有二十幅，画面着色细润，气韵生动。谱前有语水乘槎子《十竹斋墨花题辞》。\n四为石谱。画、题各二十幅，谱前有序两篇，一为王三德《阅石谱题言》，一为米芾后人米万钟《石谱题辞》。谱中二十幅画皆为高阳所作。高阳，字秋甫，善花鸟，为万历间写生名手。高阳画奇石尤精，石谱中作品是临摹上版，王三德观后评价极高，以为“天划神缕之巧，嵌空玲珑之致，半幅冰茧，宛具层岩叠嶂、峰峦洞穴，真可以对杨次公矣。”图有墨石、彩石，但均以套版为之，每画都有对应的题赞。\n五为翎毛谱。画、题各二十幅，有杨文骢于“天启丁卯立秋日”所题《翎毛谱小序》，非常精彩地评介了胡氏所施饾版之法：“胡曰从氏巧心妙手，超越前代，以铁笔作颖生，以梨枣代绢素，而其中皴法、染法、点法，及着色之轻重、浅深、远近、离合无不呈妍曲致，穷巧极工。即当行作手观之，定以为写生妙品，不敢作刻画观。”此翎毛谱二十图，画上无名款，从印鉴来看，应全为凌云翰一人所作。凌云翰，字五云，万历、崇祯时人。《明画录》说他善画山水，其实上凌氏花鸟亦善，尤工画石，为胡正言所推许。\n六为梅谱。由玉山进士董继周作序。此册胡正言以“芳信先传”、“飘飘欲仙”、“冰壶掩映”、“暖谷回阳”、“君子之交”、“铁干支春”、“暗香浮动”、“拾翠为钿”、“黄惹蜂腰”、“额上玄功”、“东邻窥宋”、“盟坚寒素”、“香梦沉酣”、“水妃写照”、“玉骨同妍”、“疏影横斜”、“幽人赠佩”、“调脂梅粉”、“宫锦清班”、“寿阳点妆”等二十画题，分别写早梅、风梅、雪梅、枯梅、竹梅、老梅、月梅、松梅、蜡梅、墨梅、过墙梅、倚石梅、烟梅、临水梅、水仙梅、疏梅、兰花梅、茶花梅、杏花梅和落梅，或水墨，或设色，意境、造型与章法，则穷尽变化之能事。每幅画都有对应的题赞。\n七为兰谱。前有涂日昌“兰谱序”和画兰“起手执笔式”，此谱图解兰花，并附小注，颇为详尽，但无题赞。多为墨印，间有彩版，此谱可为之初学之范本。图二十幅，多是临摹赵孟頫等名家之作。\n八为果谱。画、题各二十幅，有西京韩文镜作序。其中“三元”、“朱橘”等图，雕版设计巧妙，可谓匠心独运。\n《十竹斋书画谱》自万历己未（1619年）第一谱《书画册》起，至崇祯癸酉（1633年）第八谱《果谱》止，梓印时间长达十五年之久。每谱有序言，除《竹谱》附写竹诀，《兰谱》附起手式，其余各谱均四十幅，一图一文，以书配画，交相辉映。\n胡正言辑印《十竹斋书画谱》，广交名人时贤，亦自作书画付梓。全谱序、画、诗作者或书法题写者，多达一百五十余人。谱中所辑作品大多是由当时名家如吴彬、倪瑛、魏之克、米万钟、吴士冠、文震亨、高阳、高友等创作的，也有二十多幅画稿是临摹自赵孟頫、唐寅、沈周、文征明、陆治、陈道复等著名书画家的；胡正言自己也曾为谱画稿、题诗，画有“白莲”、“墨梅”、“芝草”三图，诗有“题梅花”、“题兰竹”两首。画谱中所题诗句，笔调清新，咏物抒情，不同程度地反映了诗人们喜爱画谱的心情。题诗大部分都是书写者自己所作，也有借用前人诗句题咏的，如胡正言用唐释无可的咏兰诗题《兰竹图》，西湖仙郎何伟然用徐渭咏榴诗题《石榴图》，竹冠道人应麟用刘禹锡题开元寺枸杞诗书《枸杞诗图》等等。全谱书法篆、隶、行、楷诸体皆备，最多的还是晚明文人流行的行草。这些书迹，大都兼有晋、唐、宋书家的风韵，亦可为后人临池所借鉴。\n醒天居士的《题十竹斋画册小引》把胡正言的爱好、特长及画谱刊印的初衷和艺术水平都进行了叙述：\n“王宰十日一山，五日一石，岂肖形之难哉？山有情，石有态，磅礴得之为难耳。近代画手，千临百摹，如里媪捧心，不揜儿寝，而目食者争售之，大轴小图，祗为壁疥。新安胡曰从氏，清姿博学，既精六书，尤擅众巧。所制隃糜硾茧与所镌法语名言，皆出新裁，赏鉴家多宝爱之。乃竹斋多暇，复创画册。所选皆花果竹石，有关于幽人韵士之癖好者。而写形既妙，设色尤工，至于翠瓣丹柎，葩分蕊折，花之情，竹之姿，与禽虫飞懦之态，奇石云烟之气，展册淋漓，宛然在目。盖淡淡浓浓，篇篇神采；疏疏密密，幅幅乱真，诚画苑之白眉，绘林之赤帜也。然王宰之画妙出毫锥，胡君之画妙出梨枣，是磅礴之心，较王宰更难；而成功之捷，较王宰更简更易，岂不尤奇哉！余故喜而叙之，愿与好事者同赏，仍俟具眼者定价焉。时癸酉年中秋前二日，醒天居士书于十竹斋。”\n《十竹斋书画谱》“绘刻精而奇，谱则巧而该”，在画谱刊行后不久就引起广泛的注意，开始有人仿刻了，以至胡氏声明道“原板珍藏，素遐真赏，近有效颦，恐混鱼目，善价沽者，勿虚藻鉴。”历代重印、翻刻者达二十余种。清代李渔等人辑印的《芥子园画传》也是在它的启发下产生的。",[25,52,53,28,27,980,410,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86f7813f52173a3a6dd79e5f0fe5615b.jpg",[],{"id":4374,"slug":4375,"title":4376,"dynasty":18,"author":2045,"museum":49,"description":4377,"tags":4378,"thumbUrl":4380,"material":118,"size":118,"collection":118,"collections":4381,"showCount":85,"zanCount":11,"manualWeight":11,"mainColor":4382},202700,"cang-song-ju-shi-tu-zhou-li-shan-202700","苍松菊石图轴","苍松老干嶙峋，虬枝盘结如铁，笔墨纵逸泼辣，松针劲挺似戟，尽显苍劲之姿。石畔菊花簇生，花瓣以淡墨点染，姿态清雅，与劲松的雄健形成刚柔相济之趣。画面水墨淋漓，浓淡干湿交错，笔触不拘成法，透出文人画特有的奔放意趣与倔强风骨，于简括中见生机，于豪放中藏雅致。",[25,54,4379,490,7,115,35,73,23],"苍松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcba00814ac5b4474356a0c190de145e6.jpg",[],"292b28",{"id":4384,"slug":4385,"title":718,"dynasty":191,"author":4386,"museum":49,"description":4387,"tags":4388,"thumbUrl":4392,"material":118,"size":118,"collection":118,"collections":4393,"showCount":85,"zanCount":11,"manualWeight":11,"mainColor":4394},202658,"ju-shi-tu-zhou-zhou-yu-du-202658","周裕度","画面以水墨写意铺陈，山石以简练皴擦结合点染，线条苍劲中藏灵动；菊花瓣叶勾勒精细，墨色浓淡交错显层次；竹枝挺拔，竹叶以撇捺之笔写出清逸秀雅。石畔杂草劲挺勾勒，添野趣。构图疏密有致，虚实相生，菊之傲霜、石之坚韧、竹之气节相融，传递文人画清雅风骨与淡泊心境，笔墨间尽展明末文人对自然意趣的追慕与人格理想的寄托。",[54,35,490,57,7,115,2197,4389,4390,4391,23],"点染","勾勒","苍劲","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe33ecb2457a03a9688338917eeecc728.jpg",[],"ba9279",{"id":4396,"slug":4397,"title":4398,"dynasty":18,"author":4399,"museum":49,"description":4400,"tags":4401,"thumbUrl":4402,"material":118,"size":118,"collection":118,"collections":4403,"showCount":85,"zanCount":11,"manualWeight":11,"mainColor":4404},202371,"xi-yuan-ya-ji-tu-zhou-shen-zong-qian-202371","西园雅集图轴","沈宗骞","这幅画以山水为依托，奇峰叠嶂间松枝苍劲，文人雅士或围坐清谈，或临流观弈，神态悠然。笔墨兼工带写，山石皴擦有致，人物工细传神，衣纹线条流畅。设色淡雅古朴，营造出清逸出尘的雅集氛围，既展现自然山水之幽趣，又传递文人聚会的闲情与风骨，是兼具笔墨意趣与人文内涵的佳作。",[25,27,73,28,75,95,76,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e097c8251121b673da10146e0f0c5cc.jpg",[],"9e886e",{"id":4406,"slug":4407,"title":718,"dynasty":18,"author":4408,"museum":49,"description":4409,"tags":4410,"thumbUrl":4412,"material":118,"size":118,"collection":118,"collections":4413,"showCount":85,"zanCount":11,"manualWeight":11,"mainColor":4414},202086,"ju-shi-tu-zhou-shen-chao-202086","沈焯","画面以苍劲孤石为基，丛菊盛放其间，白似霜雪、黄若金蕊、紫如霞绮，间缀朱红，花叶脉络勾勒工细，尽显秋菊傲霜之姿。旁侧老树枝干虬曲，残叶轻垂，添萧瑟秋意；细枝上小红果点缀，生机暗蕴。笔墨虚实相济，设色淡雅清润，既得写生之真，又含写意之趣。背景留白疏朗，与景物相映成趣，将菊之高洁、石之沉稳、树之疏逸融于一体，传递出文人画清逸脱俗的审美意韵。",[25,101,28,27,171,35,490,7,30,24,4411],"书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c8971a1599f1dbf0257b11d4fe116e9.jpg",[],"d8c5a5",{"id":4416,"slug":4417,"title":4418,"dynasty":18,"author":1613,"museum":49,"description":4419,"tags":4420,"thumbUrl":4421,"material":118,"size":118,"collection":39,"collections":4422,"showCount":85,"zanCount":11,"manualWeight":11,"mainColor":4423},201758,"tao-shi-tu-zhou-ren-yi-201758","桃石图轴","篮中桃实圆润，青绿晕染间泛着嫩黄，似盈清甜。旁侧顽石以水墨泼写，浓淡交错显嶙峋之姿；枝叶用蓝绿与焦墨挥就，苍劲中含鲜活。篮筐线条质朴，竹编纹理寥寥数笔便具质感。整体笔墨洒脱，设色清新，蔬果生机与石之古拙相融，尽显写意花鸟的灵动意趣，雅俗共赏间传递自然鲜活气息。",[115,54,28,4250,7,35,1025,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5526bd40c16d4028f39541f187a86308.jpg",[39],"c9bdb0",{"id":4425,"slug":4426,"title":4427,"dynasty":18,"author":419,"museum":20,"description":4210,"tags":4428,"thumbUrl":4430,"material":723,"size":724,"collection":118,"collections":4431,"showCount":134,"zanCount":11,"manualWeight":11,"mainColor":450},270033,"zi-tan-ke-zhu-shi-tu-da-bi-tong-yi-ming-270033","紫檀刻竹石图大笔筒",[4031,2782,4429,57,7,1025],"木刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dfbbcd9d5b6ff6334c7b83f7191dd3d.jpg",[],{"id":4433,"slug":4434,"title":4435,"dynasty":191,"author":419,"museum":20,"description":3126,"tags":4436,"thumbUrl":4440,"material":723,"size":724,"collection":118,"collections":4441,"showCount":134,"zanCount":11,"manualWeight":11,"mainColor":164},260316,"qing-hua-zhu-shi-ba-jiao-ying-xi-tu-wan-yi-ming-260316","青花竹石芭蕉婴戏图碗",[3128,3129,4437,424,57,7,353,4438,4439],"婴戏图","碗","日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb8f2b6a530da23aa79dc99402b097b2.jpg",[],{"id":4443,"slug":4444,"title":4445,"dynasty":18,"author":419,"museum":20,"description":4446,"tags":4447,"thumbUrl":4449,"material":723,"size":724,"collection":118,"collections":4450,"showCount":134,"zanCount":11,"manualWeight":11,"mainColor":450},257735,"kang-xi-kuan-wu-cai-shi-er-yue-hua-hui-wen-bei-guang-yi-ming-257735","康熙款五彩十二月花卉纹杯-广","此杯以青花偕五彩施绘，青花晕染湖石枝蔓，淡色晕散开合如墨韵轻渗，柔雅通透。五彩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年）卒，江苏梁溪(今无锡)人。字逸芬，又字撷芬，号桐阴、桐阴生、逸道人、楞烟、邻烟、邻烟外史等。",[25,52,53,54,73,78,75,195,7,30,248,197],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc59d493ba3558b9ab1b0617ad3a92e7b.jpg",[],{"id":4524,"slug":4525,"title":3074,"dynasty":18,"author":4337,"museum":20,"description":4338,"tags":4526,"thumbUrl":4527,"material":723,"size":724,"collection":118,"collections":4528,"showCount":134,"zanCount":11,"manualWeight":11,"mainColor":65},237395,"shan-shui-tu-ce-xue-xuan-237395",[25,52,54,73,53,75,30,7,248],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3678ba58daa93ea47160530d46ae7147.jpg",[],{"id":4530,"slug":4531,"title":4532,"dynasty":18,"author":4533,"museum":20,"description":4534,"tags":4535,"thumbUrl":4536,"material":117,"size":118,"collection":118,"collections":4537,"showCount":134,"zanCount":11,"manualWeight":11,"mainColor":65},237060,"bu-jing-gu-chen-song-mei-guan-he-tu-xiang-bing-fu-shan-shui-ce-xu-zuo-237060","补景古臣松梅观鹤图像并附山水册","徐佐","淡墨晕开平远烟江，陂陀江岸之上，林木扶疏，村居隐于葱茏间，远山以枯笔轻皴，淡墨晕染出空濛秀色，虚实相生，漾开林下幽居的清寂淡远。\n左侧行书笔致苍秀灵动，诗画相映，将林泉高致的隐逸襟怀融于尺幅。笔墨简淡却意韵悠长，以极简的水墨语言，勾勒出水乡的闲雅意趣，尽显文人画以形写神的雅致格调，把寄情山水、静享林泉的幽怀藏在每一处淡墨笔触之中。",[25,52,53,54,78,73,75,76,56,32,200,7,198,3343],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89cc640e86ab5e6a1091c8c76df45e62.jpg",[],{"id":4539,"slug":4540,"title":2833,"dynasty":18,"author":2834,"museum":20,"description":2835,"tags":4541,"thumbUrl":4542,"material":723,"size":724,"collection":118,"collections":4543,"showCount":134,"zanCount":11,"manualWeight":11,"mainColor":65},236857,"zhu-shi-ce-wang-e-236857",[25,52,53,54,78,77,57,7,171,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe9124cf4b91d0e3abb67ee73dd9cd4c.jpg",[],{"id":4545,"slug":4546,"title":4547,"dynasty":18,"author":4548,"museum":20,"description":4549,"tags":4550,"thumbUrl":4551,"material":118,"size":118,"collection":118,"collections":4552,"showCount":134,"zanCount":11,"manualWeight":11,"mainColor":65},236511,"sun-shan-shui-ce-wang-ji-236511","孙山水册","王诘","王诘（1813-1889），号兰峰，上虞人，清代画家。工写意人物。中年游楚地，适遇湖广总督官文方微服出访，受特邀襄理营务，允参赞事务却不受官职。诘生性恬适，淡泊名利，以画自给，终生未娶。尝建“仙枣亭”于武昌，着僧衣隐居，自称“衲衣翁”；受命监修黄鹤楼，又于洛阳渡口立“雾云亭”；往游南岳衡山，建“会仙亭”于山麓；游洞庭湖，立“留仙亭”。光绪十四年（1888），上虞大水，募集二千余金救济灾民。翌年，在汉口去世，后归葬上虞梁湖。",[25,52,53,54,73,75,57,30,7,58],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb88965d3d52fb8e357349fc5b9c58303.jpg",[],{"id":4554,"slug":4555,"title":4556,"dynasty":191,"author":419,"museum":20,"description":4557,"tags":4558,"thumbUrl":4559,"material":118,"size":118,"collection":118,"collections":4560,"showCount":134,"zanCount":11,"manualWeight":11,"mainColor":65},236427,"shu-zhi-shan-shui-ce-yi-ming-236427","殳执山水册","此作以淡墨晕染层叠山峦，山岚轻笼，峰峦勾勒简雅清疏，空蒙清远间尽显文人写意逸趣。近景林木错落舒展，枝叶点染古拙随性，苍润墨色晕开郊野山林的静谧幽寂。\n\n左侧题诗以清雅行书呼应画意，书画合璧。整体笔致萧散淡远，以简淡之笔铺陈丘壑灵秀，将文人寄情林泉的雅趣融于尺幅之间，悠悠林下之风漫溢纸面，尽显对林泉高致的悠悠向往。",[25,54,53,75,195,30,7,73,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6c55687eb324fbfc1e3b00c4dcee996.jpg",[],{"id":4562,"slug":4563,"title":4564,"dynasty":191,"author":419,"museum":20,"description":4565,"tags":4566,"thumbUrl":4567,"material":723,"size":724,"collection":118,"collections":4568,"showCount":134,"zanCount":11,"manualWeight":11,"mainColor":43},236397,"ling-bi-zheng-hua-shi-shuang-die-tu-shan-yi-ming-236397","凌必正花石双蝶图扇","此作为泥金扇面，以古梅奇石配粉蝶入画。奇石以淡墨勾皴，造型玲珑剔透，古梅虬曲苍劲，枝梢缀满柔花，冷艳雅致。两只粉蝶翩跹于花枝间，打破了画面的沉静，添上灵动生趣。\n笔墨工写相济，设色清妍秀润，将写生的鲜活与文人意趣相融，把春日庭院的恬然雅致晕染纸面，尽显小品画的清雅格调，兼得观赏性与文人情致。",[2143,25,52,407,28,27,597,7,598],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71ed2ae4fbec2a5b5dfeaf21f370937b.jpg",[],{"id":4570,"slug":4571,"title":4572,"dynasty":18,"author":4573,"museum":20,"description":4574,"tags":4575,"thumbUrl":4576,"material":118,"size":118,"collection":118,"collections":4577,"showCount":134,"zanCount":11,"manualWeight":11,"mainColor":65},234556,"yu-mu-shang-xin-ce-ren-wu-ce-ye-wang-yong-234556","娱目赏心册-人物册页","汪镛","《娱目赏心册》收集了十三幅绘画作品，分别出自于十二位画家之手，尽管是不同画家的手笔，但整个册页非常统一，弥漫的是一股浓浓的文人气息",[25,52,53,54,78,58,75,76,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F265320280bc6d81e1a18aa3059e172db.jpg",[],{"id":4579,"slug":4580,"title":4581,"dynasty":18,"author":419,"museum":20,"description":4582,"tags":4583,"thumbUrl":4586,"material":723,"size":724,"collection":118,"collections":4587,"showCount":134,"zanCount":11,"manualWeight":11,"mainColor":164},229284,"qing-jin-yi-ming-229284","青金","此作随石赋形，以浓匀宝蓝的质地为底色，将山林禅境收于一方。古松虬枝斜出，苍劲灵动，掩映出龛内趺坐的罗汉，他垂首展卷，幽寂安然。松下案几陈炉置花，暗合禅房清供之意。岩壁填金题诗，将金石文气融入山林静境。\n\n刀工柔润贴合石身肌理，依形勾勒出层叠山石，把材质自带的沉静贵气，与雕刻出的世外幽居意趣相融，将文人心底的隐逸禅思凝于石间，尽显案头清供的隽永雅致，是匠意与文思相合的雅逸之作。",[4584,2782,95,30,7,4585],"玉石","篆刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee5952f966e74fec59bf714b7009f0f5.jpg",[],{"id":4589,"slug":4590,"title":4591,"dynasty":18,"author":419,"museum":20,"description":4592,"tags":4593,"thumbUrl":4594,"material":37,"size":118,"collection":118,"collections":4595,"showCount":134,"zanCount":11,"manualWeight":11,"mainColor":164},218117,"fu-hua-luo-han-jiu-zhang-lao-xiang-6-yi-ming-218117","佛画·罗汉九长老像-6","佚名的佛画 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是一幅非常精美的佛教画作，其中所传达出的超凡慈悲和修行成果，对于追求佛道的人来说是一种极大的启发和鼓励。",[23,25,773,503,28,27,95,3192,424,411,75,200,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F77eca845c7f4881d1a05a9baab92c7b1.jpg",[],{"id":4597,"slug":4598,"title":4599,"dynasty":191,"author":4600,"museum":20,"description":4601,"tags":4602,"thumbUrl":4604,"material":117,"size":118,"collection":118,"collections":4605,"showCount":134,"zanCount":11,"manualWeight":11,"mainColor":164},217169,"shui-hu-quan-tu-25-du-jin-217169","水浒全图-25","杜堇","杜堇的人物画宗法李公麟，笔法精劲流畅，别具秀逸之态，因此他被推为当时画坛的白描高手。其人物画大都表现古代传说故事或逸闻趣事，并以山水及园林景致为衬景，有的还题诗作赋，显示着一派文入画的格调。",[25,52,53,55,95,30,7,4603],"水洼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb202f21977bfd9ed029b2365a48c2988.jpg",[],{"id":4607,"slug":4608,"title":4609,"dynasty":18,"author":419,"museum":3037,"description":4610,"tags":4611,"thumbUrl":4612,"material":37,"size":118,"collection":118,"collections":4613,"showCount":134,"zanCount":11,"manualWeight":11,"mainColor":43},215999,"di-jian-tu-shuo-cai-hui-ben-12-yi-ming-215999","帝鉴图说彩绘本-12","红柱青瓦的庭院间，古木荫蔽石阶。上层廊下，华服者与侍从对语；阶前官员肃立，神态恭谨。画面色彩明丽却不失古雅，线条工细流畅，将朝堂的庄重与人物互动的生动融于一体。构图层次分明，建筑错落间显空间感，核心场景突出。笔墨间藏着对贤明政治的期许，每处细节流露传统伦理温度。彩绘本的细腻质感，让历史片段鲜活如昨，仿佛能窥见古人治国理政的点滴智慧，尽显传统叙事画的生动与厚重。",[25,28,1130,27,95,444,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F74063c7e6ca9cc8f72fa6dfb2b8c1454.jpg",[],{"id":4615,"slug":4616,"title":4617,"dynasty":18,"author":419,"museum":20,"description":4618,"tags":4619,"thumbUrl":4620,"material":37,"size":4621,"collection":118,"collections":4622,"showCount":134,"zanCount":224,"manualWeight":11,"mainColor":65},215909,"qing-ren-xiao-xiang-tu-ce-7-yi-ming-215909","清人肖像图册-7","墨色长袍覆身，朱红顶戴轻点，人物端坐嶙峋石案旁，竹影婆娑环伺，书卷气与自然意趣悄然相融。石案上书页半摊，文房清供错落，尽透文雅；人物神态沉静，眉眼间藏着内敛从容，是清代士人典型风貌。笔触细腻处，衣料纹理隐现，竹枝挺拔含劲；设色淡雅间，石案朴拙、人物沉静，暖调底色晕开时光藏起的文人日常。不刻意张扬，却于细节处见真章，将那个时代士人的精神气质，悄悄凝在绢素之上。",[25,52,28,27,95,57,7,1205,1206,1207,1208,1025,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F199512abed0b9efecb3823fdbf47714f.jpg","44x40",[],{"id":4624,"slug":4625,"title":660,"dynasty":18,"author":4626,"museum":49,"description":4627,"tags":4628,"thumbUrl":4629,"material":118,"size":118,"collection":82,"collections":4630,"showCount":134,"zanCount":11,"manualWeight":11,"mainColor":4631},203339,"shan-shui-ce-zou-yi-gui-203339","邹一桂","画面右侧，几竿修竹倚苍石而生，竹叶以劲挺之笔勾勒，疏密错落间带自然风致；石体以淡墨皴染，纹理朴拙，与修竹的清逸相映成趣。左侧行书题字笔势流畅，墨色浓淡相宜，与竹石图浑然一体，尽显文人雅趣。整幅作品笔墨简淡却意韵悠长，书画相契的布局，传递出清寂雅致的文人气息。",[25,54,53,78,57,7,58,73,52,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc55858ce718816183a84106d4824b15e.jpg",[82],"bba284",{"id":4633,"slug":4634,"title":4635,"dynasty":18,"author":487,"museum":49,"description":4636,"tags":4637,"thumbUrl":4639,"material":118,"size":118,"collection":118,"collections":4640,"showCount":134,"zanCount":11,"manualWeight":11,"mainColor":4641},202713,"jin-lian-gui-yuan-tu-zhou-huang-shan-shou-202713","金莲归院图轴","月夜竹林间，竹影横斜，月色清辉洒落。二士相对而立，一者执灯前行，衣纹流转如行云；一者长髯垂胸，袍服宽博尽显古雅。笔墨工致细腻，人物神态鲜活，衣袂用线劲挺流畅，设色淡雅温润。竹枝以浓淡墨笔写出，苍劲有力；石体晕染含蓄，与竹影相映成趣。画面静谧清幽，将文人逸态与自然之美交织，尽显古典雅韵与诗意氛围。",[25,101,95,57,7,28,27,4638,23],"月夜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F483bc07f76f45a28906ea2978024b511.jpg",[],"706147",{"id":4643,"slug":4644,"title":545,"dynasty":18,"author":4645,"museum":49,"description":4646,"tags":4647,"thumbUrl":4650,"material":118,"size":118,"collection":118,"collections":4651,"showCount":134,"zanCount":11,"manualWeight":11,"mainColor":4652},202370,"zhu-shi-tu-zhou-pu-hua-202370","蒲华","画面中竹竿挺拔，以浓淡干湿之墨写出，线条劲健洒脱；竹叶繁密却错落有致，笔势奔放如疾风骤雨，墨色淋漓间尽显生机。下方怪石以粗犷笔触皴擦点染，与修竹相映成趣，营造出清劲野逸的意境。整作承文人画写意传统，笔墨纵恣不拘，将竹之坚韧与石之朴拙融为一体，尽显放达性情与对自然生机的体悟，读之令人感受到蓬勃生命力扑面而来。",[25,54,57,7,115,4648,4649,23],"用笔奔放","墨色淋漓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d13d1d791201a5e9bd886ef47d6b753.jpg",[],"b5a698",{"id":4654,"slug":4655,"title":709,"dynasty":18,"author":70,"museum":49,"description":4656,"tags":4657,"thumbUrl":4659,"material":118,"size":118,"collection":118,"collections":4660,"showCount":134,"zanCount":11,"manualWeight":11,"mainColor":4661},202364,"zhu-shi-tu-ye-shi-tao-202364","墨竹以浓淡干湿之笔挥洒，竹叶层叠却疏密有致，似带飒飒风声；顽石用粗犷皴法勾勒，肌理厚重与竹的清劲形成呼应。笔墨纵逸中藏法度，既得文人画竹的雅致，又显个性的挥洒，尽显“我法”之妙。竹石相依，隐现山野幽趣，题款与画面交融，文气与画意共生，是文人竹石题材的佳作。",[25,54,57,7,73,52,4658],"名","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f8f524dd9ba45f76342728f84941363.jpg",[],"cbcbc7",{"id":4663,"slug":4664,"title":4665,"dynasty":18,"author":1613,"museum":49,"description":4666,"tags":4667,"thumbUrl":4672,"material":118,"size":118,"collection":118,"collections":4673,"showCount":134,"zanCount":11,"manualWeight":11,"mainColor":4674},202041,"shuang-ke-zhu-shi-tu-zhou-ren-yi-202041","霜柯竹石图轴","枯柯虬曲如铁，竹枝挺劲向上，怪石嶙峋朴拙，三者相映成趣。枯柯以焦墨干笔勾勒，笔触老辣苍劲；竹用浓淡墨写就，竹叶撇捺如剑，尽显清逸气节；怪石泼墨晕染间兼施皴擦，墨色层次丰富。笔墨干湿浓淡对比鲜明，灵动中见厚重，海派画风的鲜活与文人画意趣交融。霜后萧索中，竹的生机与柯的苍劲碰撞，传递出坚韧不屈的生命力量，意境清寂却饱含精神张力。",[25,101,54,57,7,4668,115,4669,4670,4671],"枯柯","皴擦","海派","君子气","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F110bbb774e5b0e995286d1043f5f6126.jpg",[],"c2b29a",{"id":4676,"slug":4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