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ions":266,"showCount":267,"zanCount":122,"manualWeight":39,"mainColor":40},218044,"tian-wang-xiang-yao-wen-han-218044","天王像","姚文瀚","绿面天王身披错彩镂金之甲，琵琶横抱，双目炯炯，威仪自生。衣纹流转如流云，祥云层叠似幻梦，衬得身形愈发雄健。身旁小兽灵动，背景人物隐现于山石间，添几分悠远。线条工细却不失劲道，色彩浓艳而协调，每一处纹饰皆精雕细琢，将护法神的威严与艺术的精巧融于一体，观之令人心生敬畏，更叹笔墨之妙。",[50,24,26,27,114,259,260,261,7,262,230,263,264,75],"宗教","护法神","琵琶","祥云","树木","威严","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3382d15bc8135db2274f9d1bbb740ad.jpg",[119],263,{"id":269,"slug":270,"title":271,"dynasty":272,"author":91,"museum":273,"description":274,"tags":275,"thumbUrl":276,"material":118,"size":277,"collection":119,"collections":278,"showCount":279,"zanCount":39,"manualWeight":39,"mainColor":123},218466,"qing-you-zun-zhe-xiang-yi-ming-218466","庆有尊者像","隋","上海博物馆","尊者面容褶皱如苍松凝霜，双目微阖藏禅意，嘴角轻扬带几分超脱。衣袍纹样交错，黑白菱形间暗纹隐现，披帛垂落如流云卷舒，线条勾勒如铁线银钩，织物质感触手可及。手中竹杖纹理斑驳，似经岁月摩挲；脚边小兽蜷卧，双目半睁若伴若侍，憨态中藏灵韵。画面设色沉雅古朴，褐蓝主调衬出人物沉静，细节处见匠心——衣纹转折流畅，毛发蓬松柔软，杖身肌理分明，皆细腻传神。整体姿态闲适，静中蕴动，禅意与生活气息交融，尽显古画的厚重与灵动，观之如临禅境，心自澄明。",[24,51,259,27,26,114,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F13174c2841fec92e686a973c4f67e315.jpg","127.3x62.8",[119],258,{"id":281,"slug":282,"title":283,"dynasty":70,"author":284,"museum":110,"description":285,"tags":286,"thumbUrl":290,"material":118,"size":291,"collection":119,"collections":292,"showCount":293,"zanCount":105,"manualWeight":39,"mainColor":123},218265,"ren-wu-juan-zhou-fang-218265","人物卷","周昉","它描绘了儿童在院子里玩灯笼，而女士们聚集在一起演奏音乐。详细描述了灯笼的种类和形状，但人物的脸和衣服与周家的不一样，所以这卷书一定是由后来的艺术家复制的。",[23,24,50,51,74,27,26,114,7,263,134,287,288,289],"小孩","大人","器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1bd5d7d833562e3e6f0969c27f3c1208.jpg","30.8x220",[119],252,{"id":295,"slug":296,"title":297,"dynasty":298,"author":299,"museum":300,"description":301,"tags":302,"thumbUrl":303,"material":101,"size":101,"collection":101,"collections":304,"showCount":305,"zanCount":39,"manualWeight":39,"mainColor":40},220545,"xu-bei-hong-hua-ma-tu-zhou-xu-bei-hong-220545","徐悲鸿画马图轴","民国","徐悲鸿","四川博物院","以淋漓水墨写就奔马，浓淡晕染间，骏马肌肉的起伏张力尽显。昂首扬鬃，四蹄腾跃似踏风而来，马尾与颈鬃以狂放飞白扫出，裹挟着呼啸劲风，将奔马桀骜不羁的野性全然挥洒而出。\n\n舍弃繁复布景，将视线尽数锁于奔马之上，寥寥数笔便让马儿挣脱纸面桎梏，静帧画作仿若能闻蹄声惊雷，把中式写意传神的特质推至极致，尽显生命蓬勃昂扬的野性力量。",[23,50,24,51,25,52,176,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97f81de666dcbcb1927f785be1e3e6f3.jpg",[],242,{"id":307,"slug":308,"title":309,"dynasty":18,"author":91,"museum":310,"description":311,"tags":312,"thumbUrl":315,"material":33,"size":101,"collection":35,"collections":316,"showCount":305,"zanCount":105,"manualWeight":39,"mainColor":123},216736,"hu-tu-yi-ming-216736","虎图","大英博物馆","猛虎蹲踞于地，双目炯炯凝视前方，蓄势待发的姿态暗藏山林王者的威慑。墨线勾勒斑纹，浓淡交错间晕染出毛发的细腻层次，笔触兼具工致与雄健。背景丛草以简笔写意，虚实相生中凸显虎的主体地位。整体色调古朴沉敛，虽佚名却见娴熟笔墨功底，将虎的威猛与沉静之态融于画面，尽显清代兽畜画写实与传神的特质，静中寓动，气韵生动。",[24,51,313,26,27,314,7,216],"清代","虎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb93c5c1a0ef67b390978f2e35d1221fd.jpg",[35],{"id":318,"slug":319,"title":320,"dynasty":45,"author":91,"museum":110,"description":321,"tags":322,"thumbUrl":327,"material":328,"size":329,"collection":101,"collections":330,"showCount":331,"zanCount":86,"manualWeight":39,"mainColor":65},223425,"song-ren-xi-mao-tu-zhou-yi-ming-223425","宋人戏猫图轴","本幅传为宋人所画，在庭园一角嬉戏的大小猫咪一共八只。画栏围绕，锦障高下相连，使园中彷佛别有洞天。群猫嬉戏於湖石、竹丛、桃树、牡丹之间，或静或动，生态盎然。画家观察入微，以瞳孔缩成线状的猫眼，点出了这场猫戏的时序，应该是日光强烈的日间。",[23,50,24,25,26,27,29,7,323,324,325,289,326],"花卉","树","家具","鸟笼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4ef8f54780c0c3ec5ce4fde928d99fc.jpg","轴 绢本","139.8x100.1cm",[],241,{"id":333,"slug":334,"title":335,"dynasty":336,"author":91,"museum":337,"description":338,"tags":339,"thumbUrl":341,"material":118,"size":342,"collection":119,"collections":343,"showCount":344,"zanCount":345,"manualWeight":39,"mainColor":123},218402,"song-zi-guan-yin-tu-yi-ming-218402","送子观音图","明","美国大都会艺术博物馆","这块板子描绘了头戴王冠的观音菩萨，上面有一尊变身佛。他戴着耳环、项链、手镯、手链和腰部装饰品来装饰他的整个身体。她的面容庄重、慈悲、平和，她抱着一个用珠宝装饰的美丽孩子。观音菩萨坐在狮子座上，左脚上有一朵莲花。幸运的男孩在狮子的尾巴上拜了菩萨。笔触精准，色彩优雅，画风接近丁云鹏。",[23,340,24,51,25,259,27,26,114,7],"明代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15d664823f52846dd02b7281134809d0.jpg","120.7x60.3",[119],233,2,{"id":347,"slug":348,"title":349,"dynasty":18,"author":350,"museum":110,"description":351,"tags":352,"thumbUrl":359,"material":33,"size":101,"collection":101,"collections":360,"showCount":361,"zanCount":11,"manualWeight":39,"mainColor":40},214862,"xie-sheng-ce-3-hua-yan-214862","写生册-3","华嵒","华嵒是一位清代著名画家和艺术家。他的写生册是一本记录他写生草稿的册子，通常包含他对自然和人物的写生绘画。写生册是画家们练习和提高技巧的重要工具，因为它们能够帮助画家观察、捕捉和描绘细节。华嵒的写生册中可能包含了他对山水、花鸟、人物等的写生画作。",[24,51,353,52,26,27,354,355,7,356,357,358,75],"册","松鼠","鼠","藤蔓","叶子","果实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F479bc39b276eae548d0b8940a600d55f.jpg",[],228,{"id":363,"slug":364,"title":365,"dynasty":18,"author":19,"museum":20,"description":366,"tags":367,"thumbUrl":369,"material":33,"size":370,"collection":119,"collections":371,"showCount":372,"zanCount":345,"manualWeight":39,"mainColor":40},219630,"su-wu-mu-yang-tu-ren-yi-219630","苏武牧羊图","在任颐众多的人物故事画中，“苏武牧羊”是他描绘较多的题材之一。《汉书·苏武传》中记载：苏武，字子卿，曾奉汉武帝命以中郎将身分出使匈奴，单于欲降苏武，苏武不屈，被留放北海(今贝尔加湖)长达19年，苏武“杖汉节牧羊，卧起操持，节旌尽落”，表现了强烈的爱国精神。作为出身于市民，又一度随太平军转战的任颐，面对加速殖民化的国土，深感“身居十里洋场，无异置身异域”，甚至寄希望于“草莽英雄”，正是这种思想驱使他在画中寄托忧患意识，歌颂高尚的爱国情操。图中苏武手持汉节，如坚石般站立于画面中心，双目望于画外，似在遥望汉国，目光坚定自信，表现了不屈的精神。\n画中人物造型比例准确，除保持了陈洪绶人物奇古伟岸的特征之外，还融汇了西洋画速写、素描的技法，线条凝练概括，具有力度，与主题相统一。色墨的渲染协调统一，尤其是羊群运用写意的手法，在黑、白、灰的墨色变化中准确地描绘出羊群的造型，同时也描绘出群羊因寒冷而挤作一团的情景，以此衬托出环境的恶劣，从而突出了人物不畏艰难险阻的刚毅气节。",[23,50,24,51,25,26,244,114,368,7],"羊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25c2700d0183a4f433fabbc66c36e14d.jpg","纵149.5厘米，横81厘米",[119,37],215,{"id":374,"slug":375,"title":376,"dynasty":45,"author":211,"museum":47,"description":377,"tags":378,"thumbUrl":379,"material":380,"size":381,"collection":101,"collections":382,"showCount":383,"zanCount":11,"manualWeight":39,"mainColor":123},287576,"shuang-xi-tu-cui-bai-287576","双喜图","两宋时期，中国古代花鸟画空前发展并取得重大成就。北宋前期，宫廷画家黄居采继承了其父黄筌的花鸟画风格，使细腻艳丽的富贵风格成为评判当时宫廷花鸟画优劣的准绳，直到崔白等人的出现，才打破了它一直以来的主导地位。崔白与黄筌一样注重写生、造型准确，但在画面中多了几分生趣，正是这种对禽鸟神态的关注，表明了花鸟画进入到一个新的发展阶段。画家将场景设定在深秋野外，被惊扰的野兔回首注视着一对喳喳直叫的山鹊，透过野兔的眼神，我们看到了它驻足回首时的惊异神情。有些诧异，却没有恐惧，因为它知道山鹊对自己没有威胁。它与山鹊之间的动作呼应、位置关联，一定是平日写生的结果，准确而生动。",[23,50,24,25,27,26,214,131,215,31,7,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64ec422a7f31392c01473ad0cdcb93a1.jpg","未知","Xcm*Xcm",[],210,{"id":385,"slug":386,"title":387,"dynasty":18,"author":19,"museum":388,"description":389,"tags":390,"thumbUrl":391,"material":33,"size":392,"collection":119,"collections":393,"showCount":394,"zanCount":11,"manualWeight":39,"mainColor":40},217065,"san-yang-kai-tai-tu-ren-yi-217065","三羊开泰图","旅顺博物馆","这是一幅三羊开泰的画作，象征着三羊开泰 的含义。这幅画画在生纸上，是艺术的杰作，人物形象显著，有老莲的传承。三只羊的排列也很引人注目，黑羊只露出眼睛和两个长角，进一步显示了作者的创造性和天才。",[23,24,26,52,27,25,114,368,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fafaf294ec271b5da04f59a3aa051ce5f.jpg","145x75",[119],207,{"id":396,"slug":397,"title":398,"dynasty":272,"author":91,"museum":399,"description":400,"tags":401,"thumbUrl":404,"material":248,"size":101,"collection":204,"collections":405,"showCount":406,"zanCount":39,"manualWeight":39,"mainColor":123},218498,"fu-hu-luo-han-tu-yi-ming-218498","伏虎罗汉图","纳尔逊·阿特金森艺术博物馆","松枝苍劲如铁，虬干盘曲间洒落清寂。罗汉衣袂简淡，手持念珠，眉目舒展，静定之气溢于笔端。猛虎伏身于侧，斑纹墨线勾勒得古朴生动，却无往日凶戾，似被禅意悄然驯服，尾梢轻卷，与罗汉相望成趣。画面以淡墨晕染，线条洗练，每一笔皆藏古雅之韵。禅者的澄明与猛兽的温顺在此交融，于简素构图中铺展一方物我相忘的天地，仿佛能闻松风低语，见禅心照彻，尽显传统水墨中“以静制动”的妙趣与哲思。",[24,51,52,402,259,114,314,7,246,230,403,75],"白描","枯木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6874aa5c9ffd1e8999c79d811f94fa79.jpg",[204],203,{"id":408,"slug":409,"title":410,"dynasty":18,"author":411,"museum":20,"description":412,"tags":413,"thumbUrl":414,"material":118,"size":415,"collection":35,"collections":416,"showCount":406,"zanCount":345,"manualWeight":39,"mainColor":40},216752,"wan-ji-shuang-lang-shi-ning-216752","万吉骦","郎世宁","乾隆八年（1743年，癸亥），郎世宁绘制《十骏图》轴，万吉骦被称赞为十骏之首。画上文字记载：“喀尔喀郡王多尔济札尔进，高四尺二寸、长七尺一寸五分。乾隆癸亥孟春，海西臣郎世宁恭画”\n载于《石渠宝笈初编》，收贮于御书房，由郎世宁一人所画，十幅十马分别命名为奔霄骢、赤花鹰、雪点雕、霹雳骧、薾云驶、万吉骦、阚虎骝、狮子玉、自在驈、英骥子。",[23,50,24,51,27,26,176,7,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d71c71a91f3ec9d93f4380b8fbbde8b.jpg","纵239厘米，横269厘米",[35],{"id":418,"slug":419,"title":29,"dynasty":18,"author":19,"museum":420,"description":421,"tags":422,"thumbUrl":424,"material":425,"size":426,"collection":101,"collections":427,"showCount":428,"zanCount":122,"manualWeight":39,"mainColor":40},223234,"mao-ren-yi-223234","天津博物馆","任颐（1840年－1895年），即任伯年，初名润，字次远，号小楼，后改名颐，字伯年，别号山阴道上行者、寿道士等，以字行，浙江山阴航坞山（今杭州市萧山区瓜沥镇）人，清末著名画家。\n自幼随父卖画，后从任熊、任薰学画，后居上海卖画为生。在“四任”之中，成就最为突出，是“海上画派”中的佼佼者，“海派四杰”之一。任伯年的绘画发轫于民间艺术，技法全面，山水、花鸟、人物等无一不能。重视写生，又融汇诸家法，并吸取水彩色调之长，勾皴点染，格调清新。\n其人物画，早年从陈洪绶法出，形象夸张，富装饰效果。如故宫博物院藏《干莫炼剑图》轴。后练习铅笔速写后，变得较为奔逸，如故宫博物院藏《风尘三侠图》轴等。其写照技艺，高妙绝伦，曾为虚谷、胡公寿、赵之谦、任薰等多人画像，无不逼肖。浙江省博物馆藏有其《酸寒尉像》轴，写吴昌硕着官衣立像，极其传神；其花鸟画，早年以工笔见长，仿北宋人法，近于陈洪绶。后取法恽派及陈淳、徐渭、朱耷的写意法，笔墨趋于简逸放纵，设色明净淡雅，形成兼工带写、明快温馨的格调。代表作有藏于徐悲鸿纪念馆的《紫藤翠鸟图》轴等。对近现代花鸟画产生了巨大影响。\n海派中的佼佼者，其绘画发源于民间，重视继承传统，吸收西画技法，形成风姿多采的独特画风，在“四任”中成就最为突出。 　擅人物、花鸟、山水，其人物画取材广泛，作品能反映现实生活，针砭社会，寄托个人情怀，具有一定思想性。造型简练、准确，生动传神，手法多变。他的花鸟画师法陈淳、徐渭、石涛、恽寿平、华喦及北宋诸家。博采众长，转益多师，成为集工笔、写意、勾勒、没骨于一身的画家。他于传统的笔墨之中掺以水彩画法，淡墨与色彩相交溶，风格明快、温馨、清新、活泼，极富创造性。山水画虽不多作，但也构图布局变化多端，笔墨技巧能跳出传统窠臼，别具一格。任颐的绘画在当时及现当代具有极大影响。有《苏武牧羊》《女娲炼石》《关河一望萧索》《树荫观刀》《群仙祝寿》及大量的花鸟、山水等作品传世，后人出版有多种画册、画集。\n任颐是我国近代杰出画家，在“四任”之中成就最为突出，是海上画派中的佼佼者。他的杰出艺术成就受到世人瞩目。\n任颐初名润，字小楼，后字伯年，浙江山阴（今杭州市萧山区瓜沥镇）人。生于鸦片战争的清道光十九年（1840年），卒于光绪二十二年（1896年）。父亲任声鹤是民间画像师，大伯任熊，二伯任熏，已是名声显赫的画家。少时受家庭的熏染，已能绘画。十来岁时，一次家中来客，坐了片刻就告辞了，父亲回来问是谁来，伯年答不上姓名，便拿起纸来，把来访者画出，父亲看了，便知是谁了。这说明任伯年幼年就掌握了写真画技巧。\n任伯年曾在十几岁青年时期，在太平天国的军中“掌大旗”，当时军旗较大，“战时麾之，以为前驱”。直到天京沦陷，任伯年才回家乡，后至上海随任熊、任熏学画。以后长期在上海以卖画为生。任伯年为人率真，不修边幅，学画时近30岁，画多而名声渐大，但其身心深受鸦片之害，损伤元气，这也是他年仅56岁就过早去世的原因。 任伯年的绘画发轫于民间艺术，他重视继承传统，融汇诸家之长，吸收了西画的速写、设色诸法，形成自己丰姿多采、新颖生动的独特画风。\n工细的仕女画近费晓楼，夸张奇伟的人物画法陈洪绶，装饰性强的街头描则学自任熏，后练习铅笔速写，变得较为奔逸，晚年吸收华岩笔意。\n就任伯年的个人艺术造诣来看，花鸟画的本领比较高，若以当时画坛的情况而言，他的人物影响比较大，原因是当时画人物画家少，成就高者更少，象任伯年这样造诣，自然推至旁首。\n作者早期的仕女画多较工细。此图中仕女以手支颐，眼望春柳，惆怅若失。构图虽简单，用笔却十分细致。以细笔描绘青丝盘头，淡墨写面部、手指；衣纹线条流畅，起笔多顿点，用富有装饰性的钉头鼠尾描形成有节奏的白描效果。",[23,24,26,52,244,7,29,28,423,230],"植物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73a86222d0db22e107ac26316d3450be.jpg","纸本设色","150cmx40cm",[],187,{"id":430,"slug":431,"title":432,"dynasty":45,"author":91,"museum":433,"description":434,"tags":435,"thumbUrl":437,"material":26,"size":438,"collection":119,"collections":439,"showCount":440,"zanCount":11,"manualWeight":39,"mainColor":123},220245,"rui-guang-ta-si-tian-wang-xiang-yi-ming-220245","瑞光塔四天王像","苏州瑞光寺塔","是可供研究唐代吴道子画风的一件重要绘画遗存。\n吴道子一生以宗教画创作为主，留下壁画三百余壁，但从唐武宗会昌五年（845）废寺毁佛像以后，存留就寥寥无几了。不过，他的画风由唐代粉本，和后世画家的仿作中所保存下来的还是不少。四天王像的创作年代在大中祥符六年（1013）之前，距吴道子逝世两个半世纪左右，当时，吴画原作还有少量寺庙壁画遗存。他的画风在宗教画中有强大影响。从四天王像中，就明显地可以看到吴道子画风的几个富有特征的表现。",[45,259,114,26,27,7,436],"木质","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb600a4c58790b06121a6db55967ede52.jpg","42.5X123厘米",[119],186,{"id":442,"slug":443,"title":444,"dynasty":18,"author":445,"museum":310,"description":446,"tags":447,"thumbUrl":448,"material":118,"size":101,"collection":35,"collections":449,"showCount":450,"zanCount":345,"manualWeight":39,"mainColor":123},219033,"mao-tu-ying-zhao-219033","猫图","应召","蜷坐的花猫毛色斑斓，黑褐与橘白交织晕染，绒毛质感蓬松柔软。它回眸的瞬间，瞳仁如墨点般清亮，双耳微竖，似正留意周遭动静。淡赭色的背景上，散落着几枚浅墨点染的细石，简淡中见意趣。画家以细腻笔触捕捉猫的慵懒与机警，线条温婉却不失骨力，色彩雅致而富有层次。画面留白处更显空灵，虽无繁复布景，却于极简中藏生机，仿佛能感受到猫的呼吸与轻缓的尾摆，尽显写生之妙与文人画的雅致意韵。",[23,24,51,25,26,27,29,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8d01ae3c172c6d7532860b25005a89da.jpg",[35],176,{"id":452,"slug":453,"title":454,"dynasty":18,"author":91,"museum":455,"description":456,"tags":457,"thumbUrl":475,"material":26,"size":101,"collection":119,"collections":476,"showCount":477,"zanCount":345,"manualWeight":39,"mainColor":123},219259,"lv-du-mu-tang-ka-yi-ming-219259","绿度母唐卡","美国克利夫兰艺术博物馆","绿度母为观世音菩萨的化身。全称圣救度佛母，我国古代称多罗菩萨、多罗观音，度母有许多不同的化现，包括有二十一度母、五百度母等等，皆为观世音菩萨之化身，而绿度母为所有度母之主尊，总摄其余二十尊化身之所有功德，她能救八种苦难，如狮难、象难、蛇难、水难、牢狱难、贼难、非人难，又称为“救八难度母”。同时，还能把称为五毒的人类行为贪、嗔痴、慢、疑中的“疑”转成究竟圆满的智慧，有护持妇妇幼儿的功德。满足一切众生愿求，现世富贵长寿平安吉祥、除诸病苦业魔障碍等，帮助众生解脱生死苦海，命终往生极乐世界。",[23,313,259,26,27,114,7,458,459,460,262,461,462,463,464,465,466,467,468,469,470,471,472,473,474],"莲花座","法器","宝相花","重彩","金箔","神佛","华丽纹饰","佛教题材","传统绘画","宗教艺术","彩绘","佛教造像","坐姿","珠宝配饰","背光","红绿色调","传统工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5ac8bfafa525c5792f7b1976d8fd638.jpg",[119],173,{"id":479,"slug":480,"title":481,"dynasty":45,"author":91,"museum":47,"description":482,"tags":483,"thumbUrl":485,"material":101,"size":101,"collection":102,"collections":486,"showCount":487,"zanCount":11,"manualWeight":39,"mainColor":40},221639,"yu-gou-yi-ming-221639","玉狗","此玉犬匍匐昂首，尖耳垂附颅侧，圆目凝神远眺，身形清瘦矫健。匠人以写实刀工摹刻出清晰的脊骨与肋骨纹路，将猎犬的劲健体态凝练而出。玉料自带天然糖色与灰黑斑沁，匠师顺势巧施，将尾尖糖色俏作点睛朱红，与温润的基底相映成趣。\n\n整器褪去繁复矫饰，以极简刻绘尽显雅致写实的意趣，将山野猎犬的机警灵动藏于温润玉质之中，静卧之间仍有蓄势待发的飒爽张力，把审美意韵与造物巧思融于一体。",[94,95,7,289,484],"宋代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F180ab6a01af676021bae9d4ce4612b90.jpg",[102],171,{"id":489,"slug":490,"title":491,"dynasty":45,"author":492,"museum":47,"description":493,"tags":494,"thumbUrl":499,"material":118,"size":101,"collection":61,"collections":500,"showCount":501,"zanCount":39,"manualWeight":39,"mainColor":123},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。",[23,50,24,51,495,26,27,496,147,324,497,498,7],"扇面","猿","石","枝叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ef6adf05faacf36a9500267f5a38228.jpg",[61],168,{"id":503,"slug":504,"title":505,"dynasty":70,"author":506,"museum":507,"description":508,"tags":509,"thumbUrl":510,"material":118,"size":511,"collection":119,"collections":512,"showCount":513,"zanCount":64,"manualWeight":39,"mainColor":123},220267,"wu-xing-er-shi-ba-xiu-shen-xing-tu-liang-ling-zan-220267","五星二十八宿神形图","梁令瓒","日本大阪市立美术馆","此图原分为上下两卷，前半卷画五星，后画二十八宿。此图现只存在五星及“角”至“危”十二宿神形，计17图，应当为上卷。星宿一般都与占卜相关联，而此图将天文，传说和世俗理念组为一体，独树一帜，形成了一种独特的艺术形式。每个星、宿各作一图，或老人，或描绘成女像，或是画成怪异的形象。有的人物骑着牛，有的手中拿着器物，面部特征与表情也各有不同。设色以黄色为基调，另有朱、青、绿、黑各色配合。衣褶、人体和兽身都采用晕染法，稍有立体感。",[23,50,24,51,74,259,27,26,402,114,78,176,7,54,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e3c8239f23b32915d34a24fb6fe3187.jpg","纵27.5厘米，横489.7厘米",[119],167,{"id":515,"slug":516,"title":517,"dynasty":298,"author":91,"museum":47,"description":518,"tags":519,"thumbUrl":520,"material":101,"size":101,"collection":521,"collections":522,"showCount":523,"zanCount":11,"manualWeight":39,"mainColor":123},241870,"fei-cui-diao-tian-guan-xiang-yi-ming-241870","翡翠雕天官像","淡青底色裹挟着黄翡俏色，将天官武将的威仪刻画得淋漓尽致。持锏过顶、捧杯于怀，衣褶垂坠流畅，贴合身形勾勒出雄健身姿。眉眼凌厉，虬髯怒张，尽显肃穆威严。脚下瑞兽匍匐，温顺憨态反衬出人物刚猛，一动一静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ount":617,"zanCount":86,"manualWeight":39,"mainColor":123},216265,"xiang-ma-tu-ye-2-zhao-meng-fu-216265","相马图页-2","相马图是赵孟頫的一幅画作，产生于中国的元朝时期。它是赵孟頫的最著名的作品之一，并被认为是中国传统水墨画的杰作。\n\n相马图的绘画技巧非常精湛，色彩浓艳，线条优美。赵孟頫在画作中运用了中国传统的水墨画技法，并将其与西方的绘画技法相结合，创造出了独特的艺术风格。相马图被广泛认为是中国传统水墨画的经典之作，也是赵孟頫最著名的画作之一。",[23,24,51,50,26,27,353,114,176,614,7],"骆驼","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fecfd49003f7298ef9c725d3bbc85f0cf.jpg",[35],156,{"id":619,"slug":620,"title":621,"dynasty":70,"author":71,"museum":20,"description":622,"tags":623,"thumbUrl":624,"material":33,"size":189,"collection":37,"collections":625,"showCount":626,"zanCount":122,"manualWeight":39,"mainColor":40},219970,"wu-niu-tu-han-huang-219970","五牛图","《五牛图》中的五头牛从右至左一字排开，各具状貌，姿态互异。一俯首吃草荆棵蹭痒，一翘首前仰缓步前行，一纵峙而鸣，一回首舐舌，一络首而立。整幅画面除最后右侧有一小树外，没有其他的背景，因此每头牛可独立成章。",[23,24,51,74,26,27,75,76,77,78,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb00eb300bc9aeab656f3c3031a5036af.jpg",[37],155,{"id":628,"slug":629,"title":630,"dynasty":18,"author":241,"museum":47,"description":631,"tags":632,"thumbUrl":634,"material":101,"size":101,"collection":101,"collections":635,"showCount":636,"zanCount":39,"manualWeight":39,"mainColor":123},231001,"song-lu-tu-zhu-da-231001","松鹿图","《松鹿图》纵28厘米，横75厘米，纸本，作者朱耷。\n左上方落款“八大山人”，下钤有朱色阴文印”八大山人”，阳文印“各园”各一枚。\n图中画一老松，根浅干高，上粗下细，枝枯叶疏，似病5人躯干，显示出生命的衰弱和意志的消沉。\n树后画一头重脚轻、摇摇欲坠的怪石，石旁画一只形体扭曲、双目圆瞪的鹿，地上是稀少短小的枯草。\n画面布局得当，笔法苍劲，流畅生动，寓意极深。\n《松鹿图》笔墨极简，然简中有味，能在寥寥几笔中传达出许多“余味”，需要极高深的功力和极高尚的笔墨趣味。\n松树取折枝意境，几根墨线，萧条淡泊，闲和严静，画面的萧索反映出他精神世界里的孤寂，完全从八大山人的精神状态中走出，既有文人的雅致，又含着僧人的禅意，还透着些道家的出世散淡，还带着些许皇家的富贵气息。\n此画最大的佳处就在于气息湮润，格调高雅，平淡天真，不着人间烟火气。\n梅花鹿是高雅富贵之物，被视为君子，与八大山人看空世事的情怀有不谋而合之处。\n此外“松鹿题材”也是传统的吉祥题材，“鹿”与“禄”同音，松树象征着高寿，《松鹿图》寄托着福禄长寿的美好寓意。\n八大山人的造诣不仅体现在书画创作和艺术成就上，就连他的精神境界，也是拈花微笑、艺术到家的，这从《松鹿图》的气韵上可见一斑。\n朱耷（1624—175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『17』，小名耷。\n清顺治五年（1648年）落发为僧，法名传棨。\n一生字、号、别号甚多，有个山、驴屋驴、人屋等。\n康熙二十三年（1684年）始号八大山人。\n坎坷的命运影响着他的人生观及艺术创作思想，其绘画作品中多寄托着对清王朝的痛恨，对明王朝的眷恋之情。\n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。\n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。\n晚年署款将自己的号“八大山人”四个字以草书体连缀写，似“哭之”、“笑之”，借此暗寓他面对富于戏剧性变幻的人生，哭笑不得，百般无奈的感慨之情。\n他与同为明遗民画家的石涛、弘仁、髡残合称“清初四僧”。\n书法宗王献之、颜真卿，淳朴圆润，自成一格。\n朱耷中晚年，在书画作品款署中多使用“八大山人”。",[23,24,52,402,25,633,147,590,7],"松","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd179297b507ca3cef1bcc70058d3b3d.jpg",[],152,{"id":638,"slug":639,"title":640,"dynasty":45,"author":492,"museum":47,"description":641,"tags":642,"thumbUrl":647,"material":80,"size":648,"collection":61,"collections":649,"showCount":650,"zanCount":122,"manualWeight":39,"mainColor":123},221303,"guo-shu-shuang-qin-tu-juan-yi-yuan-ji-221303","果熟双禽图卷","易元吉（生卒年不詳，公元11世紀左右），字慶之，湖南長沙人。北宋時期著名畫家。天資穎異，靈機深敏，尤善畫猿猴，並因此而聞名天下。古代繪畫評論家把獐猿畫看成是易元吉的專工獨詣，認為是“世俗之所不得窺其藩”的絕技。",[23,50,24,51,74,26,27,31,7,131,214,643,644,645,231,230,646],"鸟","花","浆果","草丛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6631c878d850cd9d6af666f057a73051.jpg","41.8x288厘米",[61,35,37],148,{"id":652,"slug":653,"title":654,"dynasty":18,"author":655,"museum":47,"description":656,"tags":657,"thumbUrl":660,"material":380,"size":381,"collection":101,"collections":661,"showCount":662,"zanCount":39,"manualWeight":39,"mainColor":40},237155,"xu-gu-mao-die-tu-zhou-xu-gu-237155","虚谷猫蝶图轴","虚谷","虚谷（1823～1896），清代著名画家，海上四大家之一，有“晚清画苑第一家”之誉。俗姓朱，名怀仁，僧名虚白，字虚谷，别号紫阳山民、倦鹤，室名觉非庵、古柏草堂、三十七峰草堂。籍新安（今安徽歙县），居广陵（今江苏扬州）。初任清军参将与太平军作战，意有感触，后出家为僧。工山水、花卉、动物、禽鸟，尤长于画松鼠及金鱼。亦擅写真，工隶书。作画有苍秀之趣，敷色清新，造型生动，落笔冷消，别具风格。性情孤僻，非相处情深者不能得其片纸。早年学界画，后以擅画花果、禽鱼、山水著名。风格冷峭新奇，绣雅鲜活，无一笔滞相，匠心独运，别具一格。亦能诗，有《虚谷和尚诗录》。传世作品有《梅花金鱼图》《松菊图》《葫芦图》《蕙兰灵芝图》《枇耙图》等。",[24,51,25,52,26,244,29,658,659,30,31,7],"蝶","菊","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffac0781a23a4a9e539a1cd4f736c5b1f.jpg",[],145,{"id":664,"slug":665,"title":666,"dynasty":336,"author":91,"museum":667,"description":668,"tags":669,"thumbUrl":671,"material":531,"size":672,"collection":101,"collections":673,"showCount":662,"zanCount":122,"manualWeight":39,"mainColor":65},222147,"san-da-shi-tu-wen-shu-yi-ming-222147","三大士图-文殊","法海寺","文殊菩萨图位于水月观音图之西。文殊全称文殊师利，又作曼殊室利，意为妙德、吉祥，又译作妙吉祥，是众菩萨之首，通常作释迦佛的左胁侍，专司“智慧”，表“大智”。此菩萨顶髻，以五字五髻文殊为本体最为常见，五髻表示内证五智，以表大日之五智五佛，手持剑，以表智慧之利剑，能斩断一切无明烦恼，有时手持如意，似表吉祥如意，坐骑青狮，以表智慧之威猛。佛经对文殊的顶髻、宝冠、肤色、手持法器、坐骑等，都有种种模式要求。法海寺壁画对佛像的塑造，既继承佛典的模式要求，又有新的突破，突出了写实手法，使文殊菩萨的形象与水月观音形象大体相似。\n文殊菩萨的左下侧，绘坐骑青狮与驯狮人。驯狮人身披甲胄，威武森严，拱手而立，佩带鱼形宝刀，刀鞘沥粉贴金，鳞甲闪闪，凹凸画面，豪化富丽，格外醒目。文殊的右下侧绘有一信士，一说是古印度的月盖长者，他常入维摩方长，听不二法门。长者身着黄袍，右手持杖，左手遮荫，嘴略张开，似笑非笑。满面苍须，随风飘动，虔诚地仰望着天空，好像在祈请西方三尊拯救国内恶疫。颜面肌肤，眼角鱼尾，手指关节，其神态风韵，每一个细部，都精确地表现出老人的生理和心理特征，充分体现了壁画现实性的特征。",[23,531,259,27,26,114,7,532,232,670,99],"衣帽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3c5d9d23ca7de5aae9bb98569f7acd7.jpg","450x450厘米",[],{"id":675,"slug":676,"title":677,"dynasty":540,"author":91,"museum":47,"description":678,"tags":679,"thumbUrl":680,"material":380,"size":381,"collection":101,"collections":681,"showCount":682,"zanCount":39,"manualWeight":39,"mainColor":123},223862,"pan-long-wen-pan-yi-ming-223862","蟠龙纹盘","圆腹圈足，足下有外凸圈足座。盘面饰龙纹蟠绕于中心，蟠龙外围有鱼纹、夔龙纹及鸟纹围绕。盘外面上层饰夔纹，上有如棱脊的平面纹饰；圈足上饰俯首夔纹，下有如棱脊的平面纹饰。纹饰在盘面的布局与母题基本上与妇好盘(M5:777)近。盘外有一小环及二小环，各对准盘面大龙首的上下鼻梁，共形成一中轴线。与之相交的另一中轴线，左右上下有兽首。考古资料显示，商代墓葬出土有水器盘者并不普遍，在殷墟中期时它似局限在稍大型且铜容器较多的墓葬。",[160,161,95,54,7,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffeef9dc1d0c890a9e966f80d194f5098.jpg",[],140,{"id":684,"slug":685,"title":686,"dynasty":70,"author":687,"museum":110,"description":688,"tags":689,"thumbUrl":690,"material":248,"size":691,"collection":35,"collections":692,"showCount":682,"zanCount":86,"manualWeight":39,"mainColor":40},218623,"dou-niu-tu-dai-song-218623","斗牛图","戴嵩","图绘两条硕壮的公牛相斗，一牛低头而以两角尖顶向对方的肚子，肌肉鼓胀，四蹄撒开，急奔而来，可以设想这一顶的力量之猛；而另一牛则掉头离去，目光惊恐，气喘吁吁，落荒而逃。全图纯用水墨，虽也勾线，但已渐渐淡去。牛身通体染墨色，而以墨色的深淡变化，体现出牛身的结构以及运动时肌肉的紧张。用浓墨勾画牛的角、蹄，点出眼睛、鬃毛。看似色彩单纯，但仍能感觉到墨生“五彩”，极其优雅。这样的画法，在戴嵩之前似无，但也正是唐代画家王维倡导的“水墨渲淡”的手法。两头牛的形象、动态，无论是头、身体和四肢，以及彼此间相互协调，都画得非常准确，神态生动，场景激烈。传说他曾画饮水中的牛，水中倒影，唇鼻相连，可以见得戴嵩在写生上下功夫之精微。重写生、重情景，这是唐、宋时期的中国画的一大特点，也是中国画的一大宝贵历史传统。",[50,24,51,74,52,26,78,7,77,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf70d07ff8e284b799a06dedfd6f9ed4.jpg","纵44厘米，横40.8厘米",[35],{"id":694,"slug":695,"title":696,"dynasty":18,"author":411,"museum":20,"description":697,"tags":698,"thumbUrl":701,"material":137,"size":702,"collection":35,"collections":703,"showCount":704,"zanCount":11,"manualWeight":39,"mainColor":123},238125,"jiao-yuan-mu-ma-tu-juan-lang-shi-ning-238125","郊原牧马图卷","此画又称《八骏图》，画面上八匹骏马散放于郊外旷野之中，或卧，或立，或吃草，或嬉戏，自在悠闲，放牧者在树下休憩观望。放牧题材的画作不是对单匹马的写生，而是综合、融汇了各种马匹的形象，所以在创作过程中画家更能充分地发挥想象力，使马匹显得活泼自然、生动有趣。\n画家借助了西方追求如实表现物象体积感和立体感的绘画技巧，将马的各种姿态刻画得活灵活现，甚至连毛发的光泽也清晰地呈现在观者眼前，令人有呼之欲出之感，这是中国艺术史中以郎世宁为首的“海西画派”所独有的艺术风格。图中背景的树木、山石、花草全用明暗变化来表现形态，由此判断该画应是郎氏在雍正年间所创作，因为到了乾隆时期，在郎世宁的绘画中往往自己仅画出人物、鞍马，背景则由中国画家补绘。\n骏马是郎世宁作品中常见的绘制对象，他笔下的马匹真实生动，更重要的是他领会了马在中国传统文化中的象征意义。自古以来，马是社会贤良的象征，封建帝王命宫廷画家以马为题材进行创作寓意着尊重社会栋梁、求贤若渴的殷切希望。郎氏以“八骏”入画并非偶然，渊源有自。据传古代周穆王有八匹良骥，一说是绿耳、盗骊、白义、逾轮、山子、渠黄、华骝和赤骥（见《穆天子传》），另一说为绝地、翻羽、奔宵、超影、逾辉、超光、腾雾、挟翼（见《拾遗记》），周穆王曾经驾驭这八匹骏马遨游西方。于是，图写八骏亦有为君主歌功颂德、彰显威仪的含义。",[74,27,26,176,699,700,114,230,7,57],"柳树","草地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4beb62906769fc51d887721bda8835ce.jpg","纵51.2厘米，横166厘米",[35],138,{"id":706,"slug":707,"title":708,"dynasty":18,"author":709,"museum":110,"description":710,"tags":711,"thumbUrl":714,"material":33,"size":715,"collection":35,"collections":716,"showCount":717,"zanCount":105,"manualWeight":39,"mainColor":40},218994,"gou-tu-shen-zhen-lin-218994","狗图","沈振麟","这是一幅站在竹子和梅花树下的京巴，姿态呆萌，系金钟，想必是宫廷犬的家族。描写敏感而写实，可能受到西方绘画风格的影响。",[24,26,27,7,712,590,25,713],"梅","纸本","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f54e80e7dec55c15cb031502a3d45e4.jpg","纵92.8横75.6厘米",[35],137,{"id":719,"slug":720,"title":721,"dynasty":298,"author":722,"museum":723,"description":724,"tags":725,"thumbUrl":728,"material":729,"size":101,"collection":101,"collections":730,"showCount":731,"zanCount":11,"manualWeight":39,"mainColor":40},220600,"song-ying-zhou-qi-bai-shi-220600","松鹰（轴）","齐白石","中央美术学院美术馆","右上狂草长题与左侧苍松对角铺陈，虚实相映，章法奇崛沉稳。\n老松以枯笔写出虬曲主干，浓淡墨色分出嶙峋肌理，松针劲挺利落，尽显风霜淬炼的苍古之姿。\n石上雄鹰是画面焦点，焦墨勾出如钩利喙与锐利鹰眼，神彩凛凛；泼墨积墨晕染羽翮，块面层次分明，将猛禽雄悍桀骜的气度展露无遗，钢爪紧扣顽石，尽显睥睨寰宇的威严。\n整作以书入画，文人笔意与写生意趣相融，以朴拙老辣的笔墨寄寓凌云壮气，尽显写意花鸟的雄浑风骨。",[23,24,51,25,52,244,726,727,214,7],"松树","鹰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffede21b825405a236afb47189b88ee67.jpg","纸本墨笔",[],135,{"id":733,"slug":734,"title":387,"dynasty":18,"author":411,"museum":110,"description":735,"tags":736,"thumbUrl":739,"material":118,"size":740,"collection":35,"collections":741,"showCount":731,"zanCount":86,"manualWeight":39,"mainColor":40},218854,"san-yang-kai-tai-tu-lang-shi-ning-218854","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。",[23,313,24,27,26,737,738,368,7,712,590,497,700,423,25],"中西合璧","写实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4b031b067e2d9172399a90dab58307e.jpg","横60厘米 纵98厘米",[35],{"id":743,"slug":744,"title":745,"dynasty":45,"author":746,"museum":747,"description":748,"tags":749,"thumbUrl":750,"material":248,"size":751,"collection":119,"collections":752,"showCount":753,"zanCount":11,"manualWeight":39,"mainColor":123},218536,"er-zu-diao-xin-tu-mu-xi-218536","二祖调心图","牧溪","京都藤井有邻馆","禅者趺坐，衣袂如流云舒卷，墨线简劲中见飘逸。猛虎蜷卧身侧，昔日凶威尽敛，竟似猫咪般温顺，双目微阖，与禅者气息相融。背景远山淡抹，枯树疏枝横斜，瀑流隐于云霭，天地间弥漫着空灵静谧的禅意。笔墨写意传神，不事雕琢却直抵心性——禅心可化戾气，猛兽亦归平和，这般物我两忘的境界，尽在尺幅之中流转，引人沉潜于禅思的悠远。",[24,51,52,402,259,114,314,7,215,532,578,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F650cad3bf7fe8ebae276374eeee46d0c.jpg","121x55.5",[119],134,{"id":755,"slug":756,"title":539,"dynasty":540,"author":91,"museum":47,"description":757,"tags":758,"thumbUrl":760,"material":101,"size":101,"collection":166,"collections":761,"showCount":762,"zanCount":39,"manualWeight":39,"mainColor":65},242606,"shou-mian-wen-ding-yi-ming-242606","器身敦实稳重，立耳挺拔、三足粗壮，稳稳托举着古雅器形。器表兽面纹线条刚劲凝练，卷角凌厉、双目圆睁，狞厉威严的气韵扑面而来，将商代崇神尚武的精神刻入青铜肌理。斑驳铜绿是岁月遗落的印记，晕开三千余年的沉郁古意，仿佛能透过这层锈色，窥见殷商宗庙青烟袅袅、祭典肃穆的往昔图景，尽显上古青铜狞厉厚重之美。",[759,160,543,164,544,95,289,7],"商代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdff4a73186e6493f16609995dd8399f.jpg",[166],133,{"id":764,"slug":765,"title":766,"dynasty":70,"author":197,"museum":337,"description":767,"tags":768,"thumbUrl":769,"material":713,"size":101,"collection":82,"collections":770,"showCount":771,"zanCount":122,"manualWeight":39,"mainColor":40},221074,"zhao-ye-bai-han-gan-221074","照夜白","这幅画是用水墨线描完成的，描绘的是唐玄宗 喜爱的坐骑“照夜白”的形象，它被系在一木桩上，鬃毛飞起，鼻孔张大，眼睛转视，昂首嘶鸣；四啼腾骧，似欲挣脱羁绊。\n此画不仅画出马的膘肥肌健的外形，更着力表现其桀骜不驯的雄骏神采。\n用笔简练，线条纤细而道劲，渲染不多而体积感、质感颇强。\n《照夜白图》描绘了一匹骏马“照夜白”的形象。\n为了在白绢上表现这匹白色的宝马，作者在描绘马时，通过工笔重彩手法，经过巧妙构思、对比手法，选取马鼻被拴的情形，不仅可以表现出“照夜白”的桀骜不驯，在色彩处理上还可以利用马桩的深色调衬托出马的矫健造型，在手法上做减法，达到美妙的画面平衡。\n”照夜白“是唐玄宗李隆基的坐骑，图中“照夜白”系一木桩上，昂首嘶鸣，四蹄腾骧，似欲挣脱缰索。\n全画只在画面略微偏右的位置描绘了一匹骏马的形象。\n这匹骏马被拴于一根马桩之上，明显可 以从画中感受到它不甘于束缚、怒目圆睁、昂首嘶鸣，飘逸的鬃毛、耸起的耳朵和抬起的前蹄，加强了画面所要透露的紧张感。\n据考证，马的头、颈、前身为真迹，而后半身为后人补笔，马尾巴已不存。",[23,52,27,713,74,51,176,7,75,76,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2433d816005c97573b406f03f58e59ba.jpg",[82,84],132,{"id":773,"slug":774,"title":775,"dynasty":18,"author":411,"museum":20,"description":776,"tags":777,"thumbUrl":779,"material":137,"size":780,"collection":249,"collections":781,"showCount":782,"zanCount":11,"manualWeight":39,"mainColor":40},236176,"qian-long-huang-di-ci-hu-tu-lang-shi-ning-236176","乾隆皇帝刺虎图","本图绘30余岁的乾隆皇帝与侍卫手握长戟，跨步向前欲刺猛虎的场面。作者运用对比的艺术手法，通过表现猛虎在乾隆皇帝的威逼下，止步不前的受惊情景，衬托出乾隆皇帝临危不惧的帝王之气。在形象上，作者为了烘托乾隆皇帝的高大，将本是兽中之王的猛虎，画得既小又弱，全然一副虎落平阳被犬欺的可怜之相。全图笔法细腻，准确地描绘出不同身份的人物所具有的不同举止及表情。从笔法上分析，画面上虽然无作者款印，但乾隆皇帝画像当为擅长写真的郎世宁所绘，虎及树木、山石等出自中国宫廷画家之手。\n作为游牧民族出身的满族皇室，乾隆皇帝从12岁开始便随祖父康熙皇帝前往热河、南苑打猎。继帝位后，骑马射箭更是成为其宫廷生活中最重要的一部分，对此，乾隆皇帝谕令宫廷画家创作了大批表现其行猎瞬间的作品，以为纪念。通过这些作品可见飞禽走兽尽在其巡狩之列。",[313,24,50,51,26,27,114,532,176,314,7,726,215,148,778],"山路","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83f287578983583f550284907240b486.jpg","纵258.5厘米，横171.9厘米",[249,37],131,{"id":784,"slug":785,"title":786,"dynasty":18,"author":241,"museum":787,"description":788,"tags":789,"thumbUrl":790,"material":713,"size":791,"collection":35,"collections":792,"showCount":793,"zanCount":39,"manualWeight":39,"mainColor":40},237347,"song-lu-tu-zhou-zhu-da-237347","松鹿图轴","湖南省博物馆","此画是清代朱耷的作品。这幅画采取近实远虚的枝法，前后错落有序，笔力遒劲，墨色秀润，情景生动，意境深远。该作不仅画精，而且图面之大在八大山人传世作品中极为罕见。\n左上方落款“八大山人”，下钤有朱色阴文印”八大山人”，阳文印“各园”各一枚。这幅画描绘的是一株高耸粗壮的苍松，挺立在嶙峋的岩石上。松石下，两只向背的鹿在山石草坪之中小憩，一只长着角的鹿望着远方；另一只则侧身仰望天空。围着草坪的山石上，长着兰草、灵芝、小竹笔花草植物。",[24,51,25,52,402,633,147,7,30,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff8802766b2acbede1ed647fec5abad86.jpg","纵358厘米，横133.3厘米",[35],130,{"id":795,"slug":796,"title":797,"dynasty":45,"author":798,"museum":600,"description":799,"tags":800,"thumbUrl":803,"material":80,"size":804,"collection":61,"collections":805,"showCount":806,"zanCount":122,"manualWeight":39,"mainColor":123},221555,"yuan-tu-mao-song-221555","猿图","毛松","这幅猴图在表现上非常出色，超越了单纯的写实，在众多的宋画当中亦堪称名品。据说所画的是日本猴而非中国猴，除水墨之外还使用了金泥，工笔细腻自然。南宋画院画家毛松所作的说法始于狩野探幽，但此说缺乏依据。曾由武田信玄捐赠与曼殊院觉如。该图在褐色的底色上，利用金泥所绘线条的交织，表现出绒毛的光泽。又以细腻的笔致，表现其面部的皱纹、嘴势、眼神以及颇有戏剧性的爪足，极其逼真地将这只金毛浓淡有致、赤面红耳的猿猴画了出来。",[23,50,24,51,27,52,26,801,7,802,738],"猴","金泥","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a5893ea0ae36c7bc5b4c46f296e8fce.jpg","纵：47.0cm，横：36.5cm",[61,35,37],126,{"id":808,"slug":809,"title":810,"dynasty":552,"author":563,"museum":226,"description":811,"tags":812,"thumbUrl":813,"material":59,"size":101,"collection":35,"collections":814,"showCount":815,"zanCount":86,"manualWeight":39,"mainColor":123},219039,"bo-le-xiang-ma-tu-zhao-meng-fu-219039","伯乐相马图","画面疏密相生，左畔士人聚首，或坐案前持杖凝思，或立侧畔低语颔首，衣袂飘举间藏着识才的审慎；右方骏马昂首卓立，鬃毛如泼墨流转，肌理起伏尽是神骏之姿，侍从俯身理具，观者围立赞叹。\n\n白描线条圆劲如铁线，人物衣纹转折灵动，马身墨色浓淡晕染，层次分明。整幅场景似将伯乐相马的典故凝作静默对话：坐者的凝思、立者的专注、骏马的神俊，在古朴绢本底色衬映下，暗合“慧眼识珠”的咏叹——既有文人雅致，亦含对贤才的期许，寥寥细节间，情境与意蕴共生。",[23,24,50,402,27,52,26,114,176,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d1dc7c2c172b3837c2820d3610aa60b.jpg",[35,119],125,{"id":817,"slug":818,"title":819,"dynasty":18,"author":350,"museum":110,"description":351,"tags":820,"thumbUrl":829,"material":33,"size":101,"collection":101,"collections":830,"showCount":815,"zanCount":39,"manualWeight":39,"mainColor":40},214852,"xie-sheng-ce-11-hua-yan-214852","写生册-11",[24,51,244,52,26,7,821,822,823,824,825,826,827,828],"动态","写生","淡彩","荒野","飞兽","笔触灵动","渲染","自然景物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd555eb665d9074196e3036e4f2be75b0.jpg",[],{"id":832,"slug":833,"title":834,"dynasty":835,"author":836,"museum":47,"description":837,"tags":838,"thumbUrl":839,"material":101,"size":101,"collection":101,"collections":840,"showCount":841,"zanCount":39,"manualWeight":39,"mainColor":123},227043,"nv-shi-zhen-tu-juan-tang-mo-ben-gu-kai-zhi-227043","女史箴图卷（唐摹本）","晋","顾恺之","《女史箴图》卷（宋摹），东晋，顾恺之绘，纸本，墨笔，横601厘米，纵27.9厘米。\n《女史箴》是西晋广武侯张华所写，文字内容是关于女子的德行操守，以教化训诫为目的。顾恺之将文中故事以图画的形式加以描绘，使之通俗易懂。现存《女史箴图》最早的画本是唐代摹本，原为清宫旧藏，现藏于大英博物馆。此卷为宋人摹本，全图有画11段，分别为“樊姬感庄”、“卫女矫桓”、“冯婕妤挡熊”、“班婕妤辞辇”、“防微虑远”、“知饰其性”、“出其言善”、“灵监无象”、“欢不可以渎”、“静恭自思”、“女史司箴”。本卷为白描人物，笔法流利，线条细劲连绵，比高古游丝描又多了几份挺健，更接近李公麟一派。人物形象有古意，此卷宋摹本较唐摹本画面内容多两段，对了解《女史箴图》母本及其流传，以及早期人物画法的演变具有重要的参考价值。\n引首为乾隆帝御书“王化之始”四字，后有包希鲁、谢询、张美和、赵谦等题记。本幅钤乾隆、嘉庆、宣统、梁清标等印22方。《石渠宝笈初编》卷32、35著录。",[23,50,24,51,74,402,26,114,7,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca625f9e64012baaba56c85b5e980dc2.jpg",[],123,{"id":843,"slug":844,"title":845,"dynasty":18,"author":846,"museum":47,"description":847,"tags":848,"thumbUrl":849,"material":101,"size":101,"collection":35,"collections":850,"showCount":851,"zanCount":122,"manualWeight":39,"mainColor":40},230217,"shi-er-jin-chai-tu-zhou-zhang-shan-ma-230217","十二金钗图轴","张善孖","此作跳脱了猛虎惯常的威肃凌厉之态，绘虎缓步于烟霭乱石间，笔力劲挺勾勒出雄健躯干，斑纹晕染苍劲写实，却敛去凶煞戾气，姿态带着幽婉柔媚的意趣。\n\n题诗呼应画意，以佳人风姿拟虎，将百兽之王与婉约情致相融，淡墨晕染的空濛云雾衬出悠远氛围感，工写兼具，既尽显虎的筋骨力道，又裹挟着文人画的雅致文心，是独出机杼的写虎佳制。",[23,24,51,25,52,26,314,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u0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宁写生作品。由于他深谙动物的解剖结构，所以其笔下的名犬形象非常准确，且富于立体感。在笔法上，他以细碎的小笔触来表现动物皮毛的质感，使得入 画的名犬栩栩如生。\n十条品种高贵的名犬，分别命为：苍水虬、斑锦彪、金翅猃、蓦空鹊、墨玉璃、茹黄豹、睒星狼、霜花鹞、雪爪卢、苍猊犬。其中，前九条狗都属小头长吻、腰腹收缩、四肢细劲那类品种，均为出色的擅长奔跑的猎手，敏捷强壮，速度耐力惊人，成为皇帝一行围猎时的好帮手;最后那条威猛的苍猊犬，应当是藏獒。\n从画面上看，图中的犬，无疑是由画家郎世宁所绘，因为狗采用的是西方的素描画法，造型立体具有质感，欧洲风味很足;而图画背景部分的花草坡石，讲究皴法、勾勒，追求平面的装饰效果，与动物的画法相比较，二者有很大的差异，这应当是由供奉宫廷的中国画家用传统画法补画的，但署名只有郎世宁一人。作品用中国的毛笔、纸绢和色彩，却以欧洲的绘画方式来诠释动物的结构、体积感及皮毛的质感，使得动物造形准确、生动，立体效果强。在这幅作品中骏犬的描绘用素描式的方法，通过光影明暗的变化，来达到栩栩如生的效果。但环境的描绘却遵循中国绘画的传统技法，勾、皴、点、染，兼工带写，以工为主，营造出中国花鸟画所特有的清秀明丽的韵味。\n《十骏犬》册中的每幅图都有当朝的文职大臣的题诗赋词。据史料记载，乾隆皇帝拿到时，大加赞赏，百看不厌，爱不释手。这幅册页，艺术水准相当高，郎士宁使用的是中国的软笔，却按西画的透视和光感等技巧，把犬的形态和神态表现出来，体现了高超的写生功夫和创意能力，画得相当精细，栩栩如生，立体感极强。比如犬的毛是单笔渐入，虽然用的不是画油画的油彩，却根根呈现，逼真到让人忍不住触手去摸，中国画是散点透视，西画是高光点和近光点，一点透视。这种透视效果在这两幅册页中充分体现出来。这些技法对后来中国画的发展都有很大的影响。",[25,27,26,7,927,726,246,644,216,30,75],"犬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc3d9b7654a0339edd6a81f4425fe0115.jpg","绢本 设色","每幅纵246.6厘米，横163.9厘米",[35,37],117,{"id":934,"slug":935,"title":936,"dynasty":45,"author":91,"museum":110,"description":937,"tags":938,"thumbUrl":939,"material":118,"size":940,"collection":61,"collections":941,"showCount":942,"zanCount":345,"manualWeight":39,"mainColor":123},218797,"hua-hu-tu-yi-ming-218797","画虎图","这幅画上的签名是 袁桂珍画虎。在面板的左侧是 归真 的签名，似乎已经被改变。因此需要进一步研究，以确定这幅画是由 归真 还是 李 姓画家创作的。画中，旷野荒凉，松树茂盛，绿竹随风飘荡，溪水潺潺。中国的习俗是把鹰和虎都画在一起。'虎'字形容地势雄伟险要，'鹰'字指的是雄伟壮丽的人才展示。这是一种比喻方式，表达了一种优越的地位和挥舞大权的能力。对于古代画家来说，老虎并不像今天这样容易看到，这幅画对老虎的形态描绘得非常精致，是中国绘画史上最好的作品之一。画风的上限可能早于元代，但可能是南宋的作品。",[23,24,495,26,53,314,7,263,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15501d2a2c11b6aebfe96cf28f72ce0c.jpg","25.6x26.6",[61],115,{"id":944,"slug":945,"title":946,"dynasty":18,"author":91,"museum":47,"description":947,"tags":948,"thumbUrl":953,"material":380,"size":381,"collection":101,"collections":954,"showCount":955,"zanCount":39,"manualWeight":39,"mainColor":40},234412,"qing-ren-lv-cai-shen-xiang-zhou-yi-ming-234412","清人绿财神像轴","画面核心的绿财神身覆翠色，忿怒面容暗含慈悲，踞坐白狮宝座，宝冠披帛华丽庄严，尽显护法尊神的威仪。虚空云海间环布诸位化现圣尊，层次分明；下方雪域山林间，信众牵驼持礼，列队朝奉，烟火供品俱全，融肃穆神性与鲜活世情于一体。\n\n以矿物彩料敷色，青蓝底色衬得诸像明丽厚重，铁线描流畅勾勒衣袂飘逸、瑞兽雄健，精准恪守藏传造像仪轨，又以细腻笔触铺陈出佛国盛景，尽显清代藏式唐卡富丽庄严的独特风韵。",[24,25,949,26,27,259,114,7,950,176,951,214,55,532,952,670],"青绿","大象","狮子","供品","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51485349796cab9064d6a260e9da4fb8.jpg",[],114,{"id":957,"slug":958,"title":959,"dynasty":552,"author":960,"museum":961,"description":962,"tags":963,"thumbUrl":965,"material":966,"size":967,"collection":35,"collections":968,"showCount":955,"zanCount":39,"manualWeight":39,"mainColor":123},221738,"jia-shang-ying-tu-xu-ze-221738","架上鹰图","徐泽","波士顿美术馆","画面中一只矫健的雄鹰站于鹰架之上，两只脚由绳子捆绑，这只鹰虽失去翱翔天空的自由但仍有鸟中之王的戾气，羽毛勾画细致，体现极好的层次感，架子上的红色的横梁色彩艳丽装饰华丽，图案搭配带有一种宫廷气息。",[23,24,51,50,25,27,26,7,727,964],"架","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faefa9aab2caa303b4a77c9061c22fdcf.jpg","绢本设色.","51.9cmx78.6cm.",[35,37],{"id":970,"slug":971,"title":309,"dynasty":45,"author":746,"museum":972,"description":973,"tags":974,"thumbUrl":975,"material":59,"size":976,"collection":35,"collections":977,"showCount":955,"zanCount":11,"manualWeight":39,"mainColor":123},218980,"hu-tu-mu-xi-218980","印第安纳波利斯艺术博物馆","简淡墨线勾出虎的轮廓，鬃毛与斑纹以淡墨晕染，不追形似却藏沉雄气。虎身微俯，双目半阖，似对脚下枯枝荒草凝思，又若沉入自心的寂定。寥寥几笔的背景，枯枝斜逸，荒草疏疏，留白处漾着空寂禅意。没有猛兽的暴戾张扬，只有禅者的静默观照——牧溪以禅心驭笔，将野性化为内在静定，让画面漫出冲淡平和的韵致，仿佛能嗅到山野清寂，触到那份不扰不惊的禅味，于简素中见深幽，于静默里藏万钧。",[23,24,52,25,314,7,403,30,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd72ce90985e025abbe4fdc39118c3cf7.jpg","101.7x49.5cm",[35],{"id":979,"slug":980,"title":981,"dynasty":18,"author":573,"museum":310,"description":982,"tags":983,"thumbUrl":984,"material":118,"size":985,"collection":35,"collections":986,"showCount":987,"zanCount":345,"manualWeight":39,"mainColor":123},219043,"que-tu-tu-shen-quan-219043","鹊兔图","画面上是初春的小河，凉风习习，梅花和茶花盛开，三只野兔和三只鸟已经感受到春天的气息，出来觅食和活动。这幅画的风格与沈铨的风格不同，尤其是画的野草和流水，与沈铨的美术风格不一致，这幅画不是沈铨的作品。",[23,24,26,27,31,7,131,214,712,324,644],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c22d6c57cb0a16f7d500ffac33a3533.jpg","纵140横63.8厘米",[35],110,{"id":989,"slug":990,"title":991,"dynasty":552,"author":563,"museum":992,"description":993,"tags":994,"thumbUrl":995,"material":996,"size":997,"collection":35,"collections":998,"showCount":999,"zanCount":39,"manualWeight":39,"mainColor":40},220827,"er-yang-tu-zhao-meng-fu-220827","二羊图","美国弗瑞尔美术馆","图中画一羊低头吃草，一羊昂首瞻望，周围不着背景。构图空疏，应是受到唐、宋家的影响。此画为赵孟頫除马以外惟一绘有走兽的作品。\n图中画一羊低头吃草，一羊昂首瞻望，周围不着背景。右面的山羊张口睁目，尾巴上翘，身子向右而头部朝左，背部线条自然弯曲，羊毛轻软直长，描绘工细。左面的绵羊昂首而立，身躯朝左，头部右车毛卷而短。全图纯用水墨画出，却显色斑斓之状。构图空疏，应是受到唐、宋家的影响。此画为赵孟頫除马以外惟一绘有走兽的作品。\n右边是一只瘦劲的黑山羊，身躯朝右，头部向左，身上又长又直的羊毛画得非常工细，两旁的毛轻软地垂下来。背部线条自然弯曲，描绘工细。黑山羊尾巴上翘，低首蓄势，显得浑身是劲。\n左侧是一只肥硕的绵羊，身躯朝左，头部右转。身上覆着卷毛，以不同色调的墨画出。四条瘦小的腿支撑着身躯，其中三条腿直立，一条则微弯。绵羊昂首而立，从容自若地注视着旁边山羊。\n从画面来看，两羊体表特征差异最明显的是羊毛，山羊毛长而浓密，绵羊毛则短而稀疏。两羊站立的姿势相对，身躯相反。头部的回转呼应，使二者产生密切联系。山羊俯视，绵羊昂首，形成上下对应。山羊蓄势待发，有动感；绵羊神态安详，显得静穆，一动一静，意趣横生。\n此画所绘两羊特点突出、个性鲜明。山羊的毛质通过笔墨的干湿和浓淡加以区分，羊身体各部，如头、耳、眼、双角和四足，都用不同的笔法来强调。两羊的绘画手法，显示出画家熟练的传统画技巧。\n画中除两只羊外，没有任何背景衬托，构图与唐代韩滉《五牛图》颇为类似。赵孟頫或摄取《五牛图》的艺术手法，巧妙吸取了唐画的精致之处。",[23,24,51,74,52,7,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F712ee4f1fd52c8bf9bf5e327740aaa14.jpg","纸本 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。）",[23,24,51,26,27,114,78,246,7,532],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce337b6d511acdc8cad7304f75a2012e.jpg","22.1x24.2cm",[119],{"id":1086,"slug":1087,"title":1088,"dynasty":1089,"author":91,"museum":47,"description":1090,"tags":1091,"thumbUrl":1093,"material":380,"size":381,"collection":101,"collections":1094,"showCount":1095,"zanCount":345,"manualWeight":39,"mainColor":40},226718,"yu-cong-yi-ming-226718","玉琮","新石器时代","古文云:“石之美，谓之玉”，中国古代玉器多用于祭祀、佩戴、陪葬等场景。玉石因其细腻的质地和优雅的外观而在历史上享有盛誉。同时，玉器被赋予了“玉树临风”、“温润如玉”等多种品质，成为道德的体现。自古以来，它就有着厚重的文化含蕴。\n玉器在中国文化中起着无法替代的作用，可以说，纵观中国文明史，玉从石器时代一直到现在都发挥着不可忽视的重要的作用。让我们走进历史上玉器的更迭。\n在中国历史长河中，玉原本是以一种装饰品为主要作用。新石器时代中后期后，小玉器地位逐渐被大玉器所取代，大玉器是政治意义的体现。当时古人受中封建等级观念和原始宗教观念的影响，人们将其观念逐渐渗透到玉器中，这时中国玉文化的玉器主流时期正式到来。\n据考古学发现，新石器时代晚期，出土了大量玉琮。在这一时期的玉器，被赋予通灵天地之间神器的作用。它是与天地之神沟通的一种工具，在重大祭祀活动中，玉是作为交流的媒介。这个时代也是玉器神器时代。\n从春秋战国到汉代，玉被视为统治者身份的象征，其中最著名的是和氏璧，秦王愿意用十五座城市进行交换，秦始皇用这块和氏璧铸了御玺。那个时候谁有传国之令，就被视为一国之君的前兆，如同金庸小说中倚天剑屠龙刀的地位一样，可以率统天下。\n根据考古发现，汉代时期的墓葬中出土了金缕玉衣，这是汉代玉器的一个特殊时期，也可以称之为明玉时代，在此期间墓葬中使用了各种玉衣和蝉。汉朝玉器的黄金时代。 这一时期，以唐朝为典型，玉带是唐朝三品及以上的身份象征。这一时期也称为官玉时代，玉带的使用通常为达官贵人。在此期间，玉带越来越追求它的精致。在中国玉文化史上，唐朝是玉器发展一个重要阶段，唐朝国力鼎盛，玉器豪华尊贵是身份的象征，此时的玉器散发雍华大度的浪漫气息。\n唐宋时期，各种玉器出现，明清时期开始流行。这一时期，玉的生态美和工艺美开始结合。在这个时期，玉与人的距离亲近。玉不仅被欣赏和使用，而且人们开始佩戴它。这时，中国玉文化达到了一个顶峰时期，即赏玉玩玉的时期。\n清朝乾隆年间，乾隆皇帝非常喜爱玉，在他执政时期，乾隆命人制作了大禹治水玉山，这座大玉山清宫中最大的玉雕。这一时期，达官贵人都热衷于收藏玉器，全民掀起了藏玉热潮，被称为藏玉时期。\n从20世纪80年代初开始，玉石开始走向经济市场，走向人们的生活任何人都可以参与玉石的加工和收藏。越来越多的人佩戴玉石，各种玉石饰品在市场上流通，经过几千年的发展，玉器终于进入了开放期。\n中国古代玉器历史悠久，绚烂夺目底蕴深厚，在世界文明史和艺术史上首屈一指，辉煌灿烂，熠熠生辉，以上简单梳理了中国玉器的发展历史和演变过程，目的在让我们更加热爱我们的传统玉器文化，增强我们的民族自信心，让我们伟大的中华文化和伟大的工匠精神永远屹立于世界之巅。",[1089,94,95,164,7,1092],"纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F498a188d4ab8776af9d64c4650786864.jpg",[],100,{"id":1097,"slug":1098,"title":1099,"dynasty":45,"author":1100,"museum":110,"description":1101,"tags":1102,"thumbUrl":1109,"material":118,"size":1110,"collection":35,"collections":1111,"showCount":1095,"zanCount":11,"manualWeight":39,"mainColor":40},219202,"xian-yan-yuan-lu-tu-ma-shi-rong-219202","仙岩猿鹿图","马世荣","岩岫间古木扶疏，虬枝盘曲，叶态丰茂，翠影婆娑。猿猱或攀附枝柯，或隐于叶隙，姿态灵动；麋鹿潜身丛筱，茸角微露，神情悠然。山石皴法细腻，纹理毕现，苔点繁密如星，更添苍润之气。设色古雅沉静，赭石为底衬出林木葱郁，墨色浓淡相宜，线条细劲却不失婉转。整幅画将仙岩幽邃与生灵自在融于一体，笔墨工致中见生机，意境空灵里藏野趣，仿佛能闻林间风声、猿啼鹿鸣，尽显宋人对自然生灵的细腻观照与诗意捕捉。",[23,24,495,26,27,7,496,147,148,263,230,1103,1104,1105,828,1106,1107,1108],"宋代绘画","花鸟兽类","细腻笔触","山石景观","枝叶树木","动物形象","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F022e7f9aab8d54c6068b8efa4d35a5e4.jpg","26.6x26.6cm",[35,61],{"id":1113,"slug":1114,"title":1115,"dynasty":45,"author":91,"museum":47,"description":1116,"tags":1117,"thumbUrl":1118,"material":101,"size":101,"collection":102,"collections":1119,"showCount":1120,"zanCount":11,"manualWeight":39,"mainColor":65},221642,"yu-yang-yi-ming-221642","玉羊","青黄玉质莹润如凝脂，浅带岁月沁痕。卧羊蜷身休憩，羊角螺旋盘卷，线条柔婉流畅，将瑞羊温顺慵懒之态尽数铺展。刀工简净凝练，以饱满弧面勾勒躯体肌理，舍去繁缛细节，以写意之形传写实之神，尽显宋代玉雕含蓄雅致的审美意趣。静穆柔和的神态将瑞羊驯静悠然的天性完美定格，寥寥刀工藏着宋人雅致的造物哲思，是中古玉雕写实传神的精妙之作。",[94,95,7,368],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff2e7bde69c1a8a15f18bead0e7af09c1.jpg",[102],99,{"id":1122,"slug":1123,"title":1124,"dynasty":18,"author":350,"museum":110,"description":351,"tags":1125,"thumbUrl":1127,"material":33,"size":101,"collection":101,"collections":1128,"showCount":1120,"zanCount":39,"manualWeight":39,"mainColor":40},214849,"xie-sheng-ce-14-hua-yan-214849","写生册-14",[24,51,353,52,822,75,76,7,1126],"龟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F78eb0a4f379608798c68e1a87cf3b3d7.jpg",[],{"id":1130,"slug":1131,"title":1132,"dynasty":45,"author":1133,"museum":47,"description":1134,"tags":1135,"thumbUrl":1138,"material":380,"size":381,"collection":101,"collections":1139,"showCount":1140,"zanCount":39,"manualWeight":39,"mainColor":65},289659,"han-lin-qi-lv-tu-li-cheng-289659","寒林骑驴图","李成","此为张大千氏大风堂旧藏，在大立轴上画文人骑驴行于郊野，前后有童仆相随。",[23,24,25,52,532,1136,215,1137,214,7,30,53],"寒林","积雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a41e40e74bbef65a72e644fd95d8972.jpg",[],98,{"id":1142,"slug":1143,"title":1144,"dynasty":70,"author":1145,"museum":110,"description":1146,"tags":1147,"thumbUrl":1149,"material":33,"size":1150,"collection":35,"collections":1151,"showCount":1140,"zanCount":39,"manualWeight":39,"mainColor":40},214586,"xie-sheng-hua-hui-ce-ku-shu-wu-yang-pan-tuo-liu-shui-diao-guang-yin-214586","写生花卉册-枯树五羊磐陀流水","刁光胤","刁光胤的写生花卉册是一件著名的绘画作品，其中的枯树五羊磐陀流水图是一件精美的山水画作品。\n\n这件作品的画风精细，色彩鲜艳，构图巧妙。画中的山水风景清新自然，体现了刁光胤对自然的热爱和对传统文化的尊重。他运用了山水画的特点，使得整件作品显得舒缓而优美。\n\n在这幅画中，刁光胤运用了清新的色彩和精细的线条来描绘山水风景。他还运用了巧妙的构图来表现山水的层次感，使得这件作品充满生命力和真实感。画中的枯树五羊磐陀流水是一幅清新而美丽的山水画，它体现了刁光胤对自然的热爱和对传统文化的尊重。\n\n总的来说，刁光胤的写生花卉册是一件精美的绘画作品，其中的枯树五羊磐陀流水图是一件优美的山水画作品，它描绘了中国传统的山水风景，也体现了刁光胤对自然的热爱和对传统文化的尊重。",[24,51,353,26,532,215,7,1148,30,75],"流水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab32d24499975cca0c619bebd3c0cd32.jpg","33.9x36.4cm",[35],{"id":1153,"slug":1154,"title":1155,"dynasty":1156,"author":91,"museum":47,"description":1157,"tags":1158,"thumbUrl":1159,"material":380,"size":381,"collection":101,"collections":1160,"showCount":1161,"zanCount":39,"manualWeight":39,"mainColor":65},231611,"fu-hua-qi-xiang-pu-xian-pu-sa-xiang-li-zhou-yi-ming-231611","佛画 骑象普贤菩萨像立轴","不详","此作为工笔佛绘，菩萨面容端严沉静，合掌趺坐莲台之上，身覆璎珞宝饰，衣纹晕染厚重沉稳，残存敷色仍见旧日明丽华贵，尽显慈悲圆融的气度。其座下六牙白象憨态恭谨，披挂錾花鞍鞯与垂悬璎珞，愿行广大的寓意尽显其中。深褐暗调的背景点缀残损缠枝花卉，愈发衬得圣像高洁出尘。岁月浸蚀留下斑驳痕迹，却为画作添就古拙沧桑的厚重韵味，残色旧彩间，藏着跨越时光的虔敬匠心，静穆间弥散着平和肃穆的宗教感染力。",[23,259,25,26,114,7,950,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f07b6ca8883d802aa44f6991a838e5d.jpg",[],97,{"id":1163,"slug":1164,"title":1165,"dynasty":45,"author":492,"museum":47,"description":1166,"tags":1167,"thumbUrl":1168,"material":380,"size":381,"collection":101,"collections":1169,"showCount":1170,"zanCount":39,"manualWeight":39,"mainColor":123},288289,"mao-hou-tu-yi-yuan-ji-288289","猫猴图","《宋易元吉猴猫图卷》画孙猴儿一只，脖子上围绑着粗绳，圈系在地，两只小花猫，大概路经此地，不经意中，一为猴儿挟抱，另一则惊避回顾。画中二小猫，全身毫毛皆用纤细的笔线，笔笔丝出，再加色晕染。黄花猫斑纹处是以淡赭墨染绘，毛色层次井然分明。盘坐在地的猴儿也是采同样手法处理，然而毛发更见丰盈毛绒，多而不乱。作者传神体物的绘画表现，足能成为北宋人写生写实的艺事风格代表。\n画家除了在此展现出精巧的画技外，捕捉动物生态，更有其独到之处。无论是调皮捣蛋的顽猴；或是它怀中畏怯无奈的小猫；或是一旁怒目嘶叫、张牙舞爪的幸免者，这三者间生动的神情，及合于本性、出于自然的瞬间互动，都藉由画家敏睿的观察，和传神的画笔，铺陈出如此富有戏剧效果的画面。",[50,24,51,26,27,29,801,7,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d00ee3f96e092903f2ea29821abb153.jpg",[],95,{"id":1172,"slug":1173,"title":1174,"dynasty":540,"author":91,"museum":47,"description":1175,"tags":1176,"thumbUrl":1177,"material":380,"size":381,"collection":101,"collections":1178,"showCount":1170,"zanCount":39,"manualWeight":39,"mainColor":123},223861,"shou-mian-wen-guan-er-hu-yi-ming-223861","兽面纹贯耳壶","壶体截面为圆角方形，有盖，束颈鼓腹平底，腹侧各有一兽面纹贯耳。器身以 夔纹附地，用浮雕式工艺铸出盖四角的蛙纹、耳下的对虎纹以及腹部的兽面纹、凤鸟纹、虎、鹿等纹饰，动物塑造生趣盎然。",[759,160,161,95,543,7,289],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F97a1c57158f9a138d3821382888edfa0.jpg",[],{"id":1180,"slug":1181,"title":1182,"dynasty":336,"author":91,"museum":110,"description":1183,"tags":1184,"thumbUrl":1185,"material":118,"size":1186,"collection":119,"collections":1187,"showCount":1170,"zanCount":39,"manualWeight":39,"mainColor":123},216956,"guan-yin-da-shi-xiang-yi-ming-216956","观音大士像","画一僧人，以狮子为座骑。名虽为观音，当是文殊。 文殊师利菩萨是中国佛教四大菩萨之一，以论述“般若性空”和“般若方便”的理论著称。",[340,24,259,114,26,27,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0851ac32f089bd3d50806252e5ff4f18.jpg","158.4x94.5",[119],{"id":1189,"slug":1190,"title":1191,"dynasty":18,"author":1192,"museum":47,"description":1193,"tags":1194,"thumbUrl":1196,"material":33,"size":101,"collection":119,"collections":1197,"showCount":1170,"zanCount":39,"manualWeight":39,"mainColor":40},215098,"tui-bei-tu-ce-8-jiao-bing-zhen-215098","推背图册-8","焦秉贞","焦秉贞是中国清朝时期著名的画家，他被认为是中国水墨画史上最伟大的画家之一。其中最著名的作品是他的推背图册，其中包含了十幅推背图。推背图是一种特殊的水墨画，它们通常是用单一的墨色在纸上描绘的，并且使用了特殊的技巧来创造出立体感。焦秉贞的推背图册在当时被认为是一件杰出的艺术品，并且至今仍然备受赞赏。",[23,24,51,353,26,27,114,801,1195,324,259,7,31],"鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe4d07410d2bb7ccfcf7622ce2e9c2ff.jpg",[119],{"id":1199,"slug":1200,"title":1201,"dynasty":18,"author":1202,"museum":110,"description":1203,"tags":1204,"thumbUrl":1206,"material":118,"size":1207,"collection":35,"collections":1208,"showCount":1209,"zanCount":39,"manualWeight":39,"mainColor":40},220405,"song-jian-wo-hu-tu-a-er-bai-220405","松间卧虎图","阿尔粺","清代阿尔粺绘。阿尔粺是一位满族画家，字香榖，舒穆禄氏，满洲镶蓝旗人。阿尔粺善画虎、鹰等，《啸亭杂录》云 “精于绘事，以画虎闻名，赏鉴家宝之”。画轴中之虎双目微睁，前爪平放，脊背伸长，似乎是一只刚刚睡醒正在伸懒腰的睡虎，画面上下的松树恰好将虎包围起来，给人一种虎躺在窝中安逸祥和之感。此幅现藏于台北故宫博物院，绢本设色。",[23,50,24,51,26,27,726,1205,230,7,313],"老虎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fffcc39579ce3a98b7f5b622e8f5b4f35.jpg","70.5x46.7",[35,37],94,{"id":1211,"slug":1212,"title":1213,"dynasty":18,"author":91,"museum":47,"description":1214,"tags":1215,"thumbUrl":1217,"material":380,"size":381,"collection":101,"collections":1218,"showCount":1219,"zanCount":345,"manualWeight":39,"mainColor":123},230301,"wu-tun-si-bi-hua-yi-ming-230301","五屯寺壁画","壁画，墙壁上的艺术，即人们直接画在墙面上的画。作为建筑物的附属部分，壁画的装饰和美化功能使它成为环境艺术的一个重要方面。壁画为人类历史上最早的绘画形式之一。\n早在汉朝就有在墙壁上作画的记载，多是在石窟、墓室或是寺观的墙壁，到了现在结合了现代工艺和文化气息，墙壁作画越来越多元、个性地发展，更多地被人们在装修时应用。",[531,259,26,27,114,7,55,1216],"乐器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef9b800e912ccd3d8292c2cba716e374.jpg",[],93,{"id":1221,"slug":1222,"title":745,"dynasty":881,"author":1223,"museum":600,"description":1224,"tags":1225,"thumbUrl":1227,"material":713,"size":1228,"collection":119,"collections":1229,"showCount":1219,"zanCount":11,"manualWeight":39,"mainColor":40},221178,"er-zu-diao-xin-tu-shi-ke-221178","石恪","画面展现了两个禅定状态的高僧。其一，头枕屈臂，趴在一只睡虎身上，脸部的五官挤压在一起，呈现了睡眠的神态。其二，弯臂以手托腮，依在自己的右腿上，同样表现了睡眠的神态。但两者有所不同。前者全身依托于睡虎，可谓“沉睡入泥”，生动地表现了高僧达到了酣睡入梦、超脱一切的禅定境地。而后者的头躯则是依托于自身的支撑，入微地表现了高僧若有所思、静心似睡的禅定状态。简而言之，前者突出了一个“静”字，而后者则突出了一个“酣”字。\n《二祖调心图》在表现手法上“删繁就简”，“虚实相生”，“无画处皆成妙境”，正是道家精神的体现。",[23,50,24,51,52,259,114,7,244,1226],"简笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23a98bd3b86105555a71ed545d41d263.jpg","纵35.5厘米，横129厘米",[119,204],{"id":1231,"slug":1232,"title":1233,"dynasty":45,"author":1234,"museum":20,"description":1235,"tags":1236,"thumbUrl":1237,"material":80,"size":1238,"collection":61,"collections":1239,"showCount":1240,"zanCount":11,"manualWeight":39,"mainColor":123},221397,"lin-wei-yan-mu-fang-tu-juan-quan-juan-li-gong-lin-221397","临韦偃牧放图卷全卷","李公麟","这是一幅宋朝画家李公麟临摹唐朝画家韦偃的作品。画幅为长卷形式，从右自左展开。在高低不平的土坡和广阔的平原间，牧者驱赶着大群马匹蜂拥而来，马嘶人叫，热闹异常。画面中段以后，马群逐渐散开成组各自活动，有的低头觅食，有的追赶嬉闹，有的奔跑，有的就地翻滚，还有几匹马走向远处的小河去饮水。众多的马匹姿态各异，生动自然。放马的牧人，有的骑在马上，有的穿戴较为整齐，有的则敞胸露怀赤足，在树荫里休息的牧人为契丹族，其中似乎还有等级的差别。整个画面的构图，前半部拥塞、紧张，后半部疏散、松弛，富于节奏感。\n全图共画了人一百四十余口、马一千二百多匹，可谓洋洋大观。\n画中的马匹和人物均用墨线勾勒，线条挺拔有力，色泽较浓重，坡石墨色稍淡，略有皴擦，再用赭石色渲染，加强了画面的气氛。构图和笔墨的变化。使整个作品主次分明、生动活泼，避免了呆板、重复和混乱。如此庞大的构图，若没有长时间的经营和缜密的运思，即使是临摹，也是难以设想的。\n李公麟的大部分绘画作品是画在纸上的，并不施色彩，“惟临摹古画，用绢素着色”（元·汤垕《画鉴》）。这件作品为临摹本，用绢素作画并施淡彩，与画史的记载完全吻合。唐朝画家韦偃已无可靠的作品存世，通过李公麟的这个摹本，也可以领略其绘画的风采。",[23,50,24,51,74,113,402,176,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc407cbff0db594e50f3614e4d2025047.jpg","纵46.2厘米，横429.8厘米。",[61,119,204],92,{"id":1242,"slug":1243,"title":1244,"dynasty":45,"author":91,"museum":110,"description":1245,"tags":1246,"thumbUrl":1247,"material":26,"size":101,"collection":37,"collections":1248,"showCount":1240,"zanCount":345,"manualWeight":39,"mainColor":123},219952,"li-nu-tu-yi-ming-219952","貍奴图","此作以工笔细绘幼猫，晕毫染素，将狸奴毛发的柔绒质感刻画入微，白棕毛色过渡自然柔和，仿佛能触到暖茸肌理。画师捕捉到幼猫乍然停驻的瞬间，碧眼圆睁，机警中带着娇憨稚气，似正留意周遭动静。蓬松长尾俏皮上扬，肉垫粉嫩的前爪轻抬，尽显稚态灵动。画面清简无赘饰，以素净绢底衬出小兽天真意趣，尽显写实传神的精妙，将幼猫软萌机警的鲜活情态定格于绢素之上，满溢悠然灵动的生机。",[23,50,24,51,27,26,29,7,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3beb66265cf8b96b721db868e2f7be6.jpg",[37],{"id":1250,"slug":1251,"title":1252,"dynasty":18,"author":1253,"museum":20,"description":1254,"tags":1255,"thumbUrl":1258,"material":118,"size":1259,"collection":35,"collections":1260,"showCount":1261,"zanCount":11,"manualWeight":39,"mainColor":40},219221,"duan-yang-jing-tu-yu-zhi-219221","端阳景图","余穉","本图借助对动植物的描绘来体现端阳时节大地回暖的场景。在日丽水暖的郊外，牡丹花、野菊花等植物竞相绽放，青蛙、蟾蜍和蜻蜓等植物在春光中跳跃、飞翔，一派生机盎然的欢悦景象。此图是作者任职宫廷之后所作，线条工细、匀整、流畅，设色淡雅富丽并充满装饰性。动植物造型精确且充满生趣，显示出作者较强的写实手法。",[23,24,27,26,31,323,216,1256,1257,7,1050,423],"青蛙","蜻蜓","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee229c4c1e5619fb234c345e8e4f6d14.jpg","纵137.3厘米，横68.8厘米",[35],91,{"id":1263,"slug":1264,"title":1265,"dynasty":336,"author":1266,"museum":310,"description":1267,"tags":1268,"thumbUrl":1270,"material":118,"size":1271,"collection":119,"collections":1272,"showCount":1261,"zanCount":39,"manualWeight":39,"mainColor":123},218359,"luo-han-tu-chou-ying-218359","罗汉图","仇英","这是一幅十八罗汉过海拜见龙王的画，笔触轻快，造型优美，但与仇英的风格不同。",[23,74,27,26,1269,259,114,55,57,896,7,230],"界画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa252c007a7e4f43338f663e8242a9940.jpg","24.3x321",[119],{"id":1274,"slug":1275,"title":1276,"dynasty":45,"author":1277,"museum":20,"description":1278,"tags":1279,"thumbUrl":1280,"material":137,"size":1281,"collection":61,"collections":1282,"showCount":1283,"zanCount":11,"manualWeight":39,"mainColor":123},221455,"si-yang-tu-chen-ju-zhong-221455","四羊图","陈居中","这是南宋画家陈居中创作的一幅极为生动的动物画。在很小的尺幅上，画家选取了一个日常的景象，在村郊野外的小土坡上，牧羊人正在小憩，两只白色的小山羊打闹嬉戏，一只似是占到了便宜，惹得另一只发火地低头撞来，另一只毛色略重的老羊似欲走来制止，又一只则立于土坡之上，沉静地俯视着下面所发生的一切。四只羊的组合仿佛是一个家庭，母亲正在看管着孩子，父亲则高高在上，保持着一家之主的威严，画家将动物之间的情爱描写得十分真实，又富有人世的生活意趣。在置景上力求简单明快，土坡只以墨笔勾出轮廓，略加擦染，几株小草与荆棘也安排得很疏阔，画面左上角画一株老干，侧生一棵新枝。画家亦注重细节的刻画，如立于树干上的两只小山雀，俯首观看，形态生动。全图无论是写物、写景，皆突出了一个“动”字，生活气息极为浓厚。\n图中山羊的形态描绘准确，体现了画家深厚的写生功底，如小山羊跳跃、抵撞的姿态，老山羊前蹄收缩、双耳上竖的细部动作，甚至翻转的双角，均表现得一丝不苟，体现了宋代院体绘画精工细致、刻划入微的风格特征。全图毫无板滞之气，画家抓住表现对象的主要特征，舍弃琐碎的细节，运用不多的笔墨和写意的手法追求言简意赅的艺术效果。\n此画在构图上受时代流风的影响，采用南宋院体山水的边角式布局法。画面以斜对角式区分，左下部分为全部景物，右上部分则全部留白，将所要表现的物体加以集中，使狭小的尺幅产生一定的空间感，虚实对比更加鲜明，以此增强画面的吸引力。\n在中国古代文字中，“羊”字与“祥”、“阳”相通，“吉祥”在古文中就写作“吉羊”；又《易经》中谓每年正月卦象为三阳在下，三阴在上，故古人称每年正月为三阳开泰之时，此成语也就成了常用的吉祥语。这幅画表现的四羊即寓意三阳在下，一阳在上，反映了祈盼吉祥如意的美好愿望。\n陈居中最擅长人马画，但对动物写生一类题材也很热衷，并刻画得细致生动，这幅带有吉祥寓意的《四羊图》页即代表了他在这一方面的艺术水平。",[23,24,50,27,26,368,7,215,30,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F231d6d11c8c4a722dd36f131bc7896c2.jpg","纵22.5厘米，横24厘米",[61,35,37],90,{"id":1285,"slug":1286,"title":1287,"dynasty":18,"author":350,"museum":110,"description":351,"tags":1288,"thumbUrl":1290,"material":33,"size":101,"collection":101,"collections":1291,"showCount":1292,"zanCount":39,"manualWeight":39,"mainColor":40},214848,"xie-sheng-ce-15-hua-yan-214848","写生册-15",[24,51,353,52,7,801,1289,358,75,244],"树枝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22de583f690d4844cea3aa5bdc79e136.jpg",[],89,{"id":1294,"slug":1295,"title":1296,"dynasty":18,"author":91,"museum":47,"description":1297,"tags":1298,"thumbUrl":1299,"material":101,"size":101,"collection":102,"collections":1300,"showCount":1301,"zanCount":39,"manualWeight":39,"mainColor":65},250539,"qian-long-kuan-qing-yu-bao-xiang-hua-wen-shou-niu-dai-gai-lian-yi-ming-250539","乾隆款青玉宝相花纹兽钮带盖奁","玉质清润莹白，整体器形端雅规整。盖顶兽钮圆浑生动，鬃毛隐现，气势沉稳。盖身浅琢缠枝宝相花纹，繁而不乱，柔婉舒展，满溢富丽之气。器腹绶带穿连宝相花团，饱满华贵，暗合吉祥意蕴，线条婉转流丽，雕工细腻入微。下承四兽足，朴拙稳重，与盖钮兽韵遥相呼应，将庄重形制与灵秀雕纹相融，尽显清代玉雕精妙工法，带着宫廷审美特有的华贵雅致，静静诉说着旧时匠心巧思与雅致意趣。",[313,94,95,7,460,289],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F188c12d4dce2189c2a6df06767061ade.jpg",[102],88,{"id":1303,"slug":1304,"title":1305,"dynasty":336,"author":91,"museum":20,"description":1306,"tags":1307,"thumbUrl":1308,"material":80,"size":1309,"collection":101,"collections":1310,"showCount":1311,"zanCount":39,"manualWeight":39,"mainColor":123},223339,"er-lang-shen-sou-shan-tu-juan-yi-ming-223339","二郎神搜山图卷","《搜山图》卷表现的是民间传说二郎神搜山降魔的故事，所以也称为《二郎神搜山图》。二郎神的故事在民间广泛流传，在许多文艺作品中也有反映。元代有《二郎神醉射锁魔镜》的杂剧，描写二郎神与九首牛魔王、哪吒及金睛百眼鬼比试高低，最后拿住二洞妖魔的故事。据记载，最早有北宋画家高益画的《鬼神搜山图》，受到皇帝的重视。以后明、清两代，不断有传本出现。\n此卷《搜山图》是南宋末或元初人的手迹。人物用工笔重彩，衣纹用铁线描，刚劲有力，形象刻画生动传神，非凡手可及。山林树木皴法豪纵，近乎南宋刘松年的风格。与同一题材的各种不同本子比较，此卷是个残本，其中缺少主神即二郎神部分，但是其绘画技巧却高出其它各本。图中描绘神兵神将们耀武扬威地搜索山林中各种魔怪。魔怪们均是各种野兽变的，有虎、熊、豕、猴、狐狸、山羊、獐、兔、蜥蜴、蛇及树精木魅等。这些妖怪，或是原形，或化为女子，他们都在神将们追逐下，仓惶逃命，或藏匿山洞，或拒绝受擒。而那些神将们则手持刀枪剑戟、纵鹰放犬，前堵后截，使妖怪无处逃身。本来，二郎神是作为正面人物来歌颂的，然而看了此卷之后，却得到了一个相反的印象。那些神兵神将，一个个凶神恶煞，使人们憎恶，而那些妖怪们却面目和善，那种惊怖逃生的内心刻画，令人同情。不知作者是有意还是无意，使观者自然地就会联想到，当时社会那些官兵对老百姓的欺压情形。",[23,24,51,74,27,26,114,532,263,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66a66aa3c0dc8d8069db69e347e0a460.jpg","53×561cm",[],87,{"id":1313,"slug":1314,"title":1315,"dynasty":18,"author":241,"museum":388,"description":1316,"tags":1317,"thumbUrl":1318,"material":729,"size":1319,"collection":35,"collections":1320,"showCount":1321,"zanCount":39,"manualWeight":39,"mainColor":40},237408,"song-lu-zhou-zhu-da-237408","松鹿轴","以简淡之笔绘苍松与雌鹿，构图简明，意境寥阔深远。右上自题“乙酉夏日写，八大山人”，钤“八大山人”、“荷园”二印。右下钤收藏印二，其一“大兴刘铨福家世守印”，另一印模糊不辨。乙酉为康熙四十四年，公元1705年，作者时年80岁。",[24,25,52,402,53,633,147,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d36fc960d2f3493e1ebe2d740dd1e76.jpg","182cmx88cm",[35],86,{"id":1323,"slug":1324,"title":1325,"dynasty":70,"author":91,"museum":1326,"description":1327,"tags":1328,"thumbUrl":1333,"material":380,"size":381,"collection":101,"collections":1334,"showCount":1321,"zanCount":11,"manualWeight":39,"mainColor":123},226317,"ku-zhu-shi-nan-pi-yi-ming-226317","窟主室南披","敦煌","莫高窟，俗称千佛洞，坐落在河西走廊西端的敦煌。它始建于前秦宣昭帝苻坚时期，后历经北朝、隋朝、唐朝、五代十国、西夏、元朝等历代的兴建，形成巨大的规模，有洞窟735个，壁画4.5万平方米、泥质彩塑2415尊，是世界上现存规模最大、内容最丰富的佛教艺术地。\n1961年，莫高窟被中华人民共和国国务院公布为第一批全国重点文物保护单位之一。1987年，莫高窟被列为世界文化遗产。\n莫高窟与河南洛阳龙门石窟、山西大同云冈石窟并称中国三大石窟，后加麦积山石窟称四大石窟。 2019年8月31日，由敦煌研究院等单位联合摄制的大型纪录片《莫高窟与吴哥窟的对话》在敦煌国际会展中心首映。纪录片以亚洲文明对话为题材，向人们展现了不同文明之间命运相通、文化相通、艺术相通的奇妙关联。\n2020年2月，为致敬奋斗在抗疫一线的医务工作者，景区在恢复运营后，对全国所有医护人员实行免费开放，直至2020年底。5月10日，莫高窟恢复开放。\n莫高窟始建于前秦宣昭帝苻坚时期，据唐朝《李克让重修莫高窟佛龛碑》一书的记载，前秦建元二年（366年），僧人乐尊路经此山，忽见金光闪耀，如现万佛，于是便在岩壁上开凿了第一个洞窟。此后法良禅师等又继续在此建洞修禅，称为“漠高窟”，意为“沙漠的高处”。后世因“漠”与“莫”通用，便改称为“莫高窟”。另有一说为：佛家有言，修建佛洞功德无量，莫者，不可能、没有也，莫高窟的意思，就是说没有比修建佛窟更高的修为了。\n北魏、西魏和北周时，统治者崇信佛教，石窟建造得到王公贵族们的支持，发展较快。\n隋唐时期，随着丝绸之路的繁荣，莫高窟更是兴盛，在武则天时有洞窟千余个。安史之乱后，敦煌先后由吐蕃和归义军占领，但造像活动未受太大影响。北宋、西夏和元代，莫高窟渐趋衰落，仅以重修前朝窟室为主，新建极少。\n元代以后敦煌停止开窟，逐渐冷落荒废。明嘉靖七年（1528年）封闭嘉峪关，使敦煌成为边塞游牧之地。清康熙五十七年（1718）平定新疆，雍正元年（1723）在敦煌设沙州所，三年（1725）改沙州卫，并从甘肃各州移民敦煌屯田，重修沙州城。乾隆二十五年（1760）改沙州卫为敦煌县，敦煌经济开始恢复。莫高窟开始被人们注意。\n清光绪二十六年（1900）发现了震惊世界的藏经洞。不幸的是，在晚清政府腐败无能、西方列强侵略中国的特定历史背景下，藏经洞文物发现后不久，英人斯坦因、法人伯希和、日人橘瑞超、俄人鄂登堡等西方探险家接踵而至敦煌，以不公正的手段，从王道士手中骗取大量藏经洞文物，致使藏经洞文物惨遭劫掠，绝大部分不幸流散，分藏于英、法、俄、日等国的众多公私收藏机构，仅有少部分保存于国内，造成中国文化史上的空前浩劫。",[1329,531,26,259,114,1330,7,147,176,532,1331,214,54,116,1332],"唐代","飞天","山峦","波浪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23cd3130d2f67f6a5e8f63d64a3488bc.jpg",[],{"id":1336,"slug":1337,"title":1338,"dynasty":45,"author":91,"museum":226,"description":1339,"tags":1340,"thumbUrl":1341,"material":118,"size":1342,"collection":35,"collections":1343,"showCount":1321,"zanCount":39,"manualWeight":39,"mainColor":123},219116,"wu-mao-tu-yi-ming-219116","五猫图","这幅画是一棵古老的柳树，从土壤的右下坡笔直向上延伸。 柳树周围画有五只猫。 母猫的皮毛颜色很好。 它看起来天真无邪，喜欢在草坡上玩耍。",[24,50,26,27,7,29,246,699,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd568342453b18257f81c6e57ff45b4c5.jpg","纵121横73厘米",[35],{"id":1345,"slug":1346,"title":1347,"dynasty":18,"author":411,"museum":110,"description":1348,"tags":1349,"thumbUrl":1350,"material":118,"size":1351,"collection":37,"collections":1352,"showCount":1353,"zanCount":345,"manualWeight":39,"mainColor":40},219302,"shi-jun-tu-zhi-ru-yi-cong-zhou-lang-shi-ning-219302","十骏图之如意骢轴","银鬃如瀑覆颈垂尾，肌理间星斑错落似落雪沾霜。骏马昂首而立，筋肉起伏藏于柔毫之下——西洋写实技法精准勾勒骨相，东方水墨晕染鬃毛显柔韵。绢本素净如宣纸，衬得如意骢神骏挺拔，姿态灵动若将嘶鸣。旁侧墨笔题跋与朱印相映，添文人雅趣。中西技法相融，既存西域良驹的雄健风骨，又含中式审美的含蓄意境，成鞍马画作中跨文化对话的传世妙品。",[24,51,25,27,26,176,7,738,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F38449328316c44de09d076a3ad08c00d.jpg","231.2x278.1",[37],85,{"id":1355,"slug":1356,"title":1357,"dynasty":45,"author":856,"museum":20,"description":1358,"tags":1359,"thumbUrl":1361,"material":137,"size":1362,"collection":61,"collections":1363,"showCount":1364,"zanCount":11,"manualWeight":39,"mainColor":123},221592,"feng-ying-zhi-ji-tu-zhou-li-di-221592","枫鹰雉鸡图轴","此图又称《鹰雉图》或《鹰窥雉图》，是传世宋画中罕见的巨幅，由南宋宫廷画家李迪创作。据左上方署款“慶元丙辰歲李迪畫”，知作于宋宁宗庆元二年（1196年）。\n画面作对角线构图，主体禽鸟雄鹰置于左上角枯枝巅，俯首下视，紧盯着右下角的锦雉。锦鸡张口鸣叫，正向草丛中窜逃。斜线的呼应关系和锦鸡奔向画外的动态，营造出强烈的紧张气氛，扣人心弦。画家着意刻画苍鹰的眼、喙、爪三个关键部位，目光圆瞪，钢喙如钩，爪尖扣进树皮，既突出了鹰的凶猛矫健秉性，又强调出捕捉猎物时的力之凝聚和意念之专注，可谓真实传神。雉的形象也逼真如生，仓惶奔逃的姿态，惊惧的目光，乍开的羽毛，尤其是蹬出后腿又收缩脚爪的动作，准确地刻画出急于逃命又难脱厄运的情状，可见作者体察生物及其捕捉瞬间之动态的敏锐洞察力和写生传神的高超表现力。\n作品的笔墨敷彩技巧也十分成熟。禽鸟工整精细，设色轻淡，承北宋崔白以来的院体花鸟传统画更增动感和生意。树干粗勾细染，斑纹点点，呈苍劲之质。枫叶、兰草、丛竹则细笔双勾，淡墨渲染，形体富有弹性，又疏密有致，画法遵循“宣和体”的写生法则。山石运斧劈皴，兼作笔实墨重的擦染，近李唐又存北宋之法。此图堪称宋代院体花鸟画的巨构杰作。",[23,24,51,25,27,26,31,7,727,1360,246,498],"雉鸡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4268072dfb8e29fae047930d5a892391.jpg","纵189厘米，横209.5厘米",[61,35,37],83,{"id":1366,"slug":1367,"title":1368,"dynasty":336,"author":91,"museum":1369,"description":1370,"tags":1371,"thumbUrl":1373,"material":118,"size":1374,"collection":37,"collections":1375,"showCount":1364,"zanCount":11,"manualWeight":39,"mainColor":123},219251,"dong-shan-wo-hu-tu-yi-ming-219251","冬山卧虎图","美国弗利尔美术馆","寒岩之上，猛虎蜷卧。斑纹以墨线精准勾勒，间杂赭色轻晕，皮毛的蓬松质感似触手可及。虎目微阖，似憩非眠，虽无咆哮之威，却藏沉潜气势。旁侧古松虬曲，枝干如铁，松针疏密有致；岩石皴法朴拙，斑驳处隐见残雪，透出冬日清寂。笔墨兼工带写，动物造型生动传神，山水布景简括古雅。整幅画于静谧中蕴张力，既见画师对生灵姿态的细腻捕捉，亦显对冬日山景的深刻体察，在沉郁色调里，铺展一段自然与生命的悠然对话。",[24,51,26,27,314,7,532,726,230,1372],"雪景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4902029b2d5488e3af7e90169c94e1c.jpg","26.1x40.6厘米",[37],{"id":1377,"slug":1378,"title":1379,"dynasty":70,"author":1380,"museum":47,"description":1381,"tags":1382,"thumbUrl":1383,"material":101,"size":101,"collection":101,"collections":1384,"showCount":1385,"zanCount":39,"manualWeight":39,"mainColor":123},227256,"xi-ma-tu-ye-li-yu-227256","戏马图页","李煜","李煜（937年5月5日－978年8月15日），又称李后主，为南唐的末代君主，徐州人。李煜原名从嘉，字重光，号锺山隐士、锺锋隠者、白莲居士、莲峰居士等。李煜在南唐灭亡后被北宋俘虏，但是却成为了中国历史上首屈一指的词人，获誉为“千古词帝”，作品千古流名。",[23,50,24,51,26,27,114,176,324,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb0f5c0df0888c4e88dad6808987fed8e.jpg",[],82,{"id":1387,"slug":1388,"title":855,"dynasty":45,"author":856,"museum":110,"description":1389,"tags":1390,"thumbUrl":1391,"material":80,"size":1392,"collection":61,"collections":1393,"showCount":1385,"zanCount":39,"manualWeight":39,"mainColor":123},221597,"feng-yu-gui-mu-tu-li-di-221597","《风雨归牧图》描绘的是两个牧童赶牛归家的场景，整个画面勾点结合，浓淡相济，层次丰富，朦朦胧胧，带来了凤雨欲来，细雾先到的清润之感。\n这幅画表现的是风雨刚来的一刹那，柳梢被风吹得摇摆，两个骑牛的牧童，急忙地往家跑。一个匍匐在牛背，用手扯住牧笠，挡住急风骤雨；另一个帽子已被风吹落，在迷濛的空间，可以依稀看到倾斜的雨流。诗堂有题诗一首写道：“冒雨衔风两牧儿，笠蓑低绾绿杨枝，深宫玉食何从得，稼穑艰难岂不知。”署款“缉熙殿书”，钤“御前之印”一玺。",[23,50,24,51,27,26,78,7,324,700,860],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F640cb098d037ce82eb11fa48ec2f370e.jpg","纵123.7厘米，横102.8厘米",[61,119,37],{"id":1395,"slug":1396,"title":1397,"dynasty":70,"author":197,"museum":110,"description":1398,"tags":1399,"thumbUrl":1400,"material":201,"size":1401,"collection":37,"collections":1402,"showCount":1385,"zanCount":11,"manualWeight":39,"mainColor":123},221076,"yuan-ma-tu-han-gan-221076","猿马图","此幅绘竹石树林，三猿戏于枝间石上，其下绘黑白双骏。画上宋徽宗题字和「御书」一玺，及理宗「缉熙殿宝」玺皆伪，当为后加。然画中不论猿、马、树石、枝叶，皆描绘细腻，或为南宋作品。",[23,50,24,51,25,1329,26,27,801,176,324,148,577,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad40c5024213011775af0c15a6fe1dac.jpg","136.8x48.4",[37,1403],"竹石精选",{"id":1405,"slug":1406,"title":309,"dynasty":18,"author":1407,"museum":110,"description":1408,"tags":1409,"thumbUrl":1410,"material":33,"size":1411,"collection":37,"collections":1412,"showCount":1385,"zanCount":39,"manualWeight":39,"mainColor":40},219477,"hu-tu-ma-fu-tu-219477","马负图","此作打破惯常的猛虎范式，坐虎圆颅圆眼，憨态尽显。以丝毛晕染绘皮毛，笔触细腻柔润，斑纹浓淡层次分明，将蓬松质感淋漓展现，褪去兽王的狞厉刻板，尽显稚态娇憨。\n背景浅绛绘就山野，危崖飞瀑隐于轻岚淡雾间，点染苍润草木，晕染出山谷空寂清宁。静虎坐卧于山石，稚拙憨态与山野幽寂相融，工写兼具，笔意温润雅致，把山林王者柔化成邻家稚兽，别出灵动画意，尽显悠然野趣。",[24,51,26,27,53,532,314,7,578,230,231],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90d96f61fde5de07de01651b35d7eae0.jpg","158.1×91.2",[37],{"id":1414,"slug":1415,"title":1416,"dynasty":45,"author":1417,"museum":20,"description":1418,"tags":1419,"thumbUrl":1420,"material":80,"size":1421,"collection":61,"collections":1422,"showCount":1423,"zanCount":39,"manualWeight":39,"mainColor":123},221580,"mu-niu-tu-ye-li-tang-221580","牧牛图页","李唐","宋代所谓“花鸟画”的范围比较狭窄，仅限于花和鸟。畜兽、竹石、鱼虫皆另立科目(山水中，树石、木屋也是各自立科的)。在当代，我们把中国画分为山水、人物、花鸟三大科，则树石、村落、楼观等多半归于山水。兽畜、竹石、蝶虫之类多归于花鸟。花鸟画实则是动、植物画，以花代表植物，以鸟代表动物。\n李唐的花鸟画在当时尤为突出。吴其贞《书画记》中记有李唐《梅竹禽雀图》，并云“甚剥落”，然“精彩尚在”。《严氏书画记》中还记有李唐的《古木寒鸦图》，他自己也说：“早知不入时人眼，多买胭脂画牡丹。”这一类作品虽很精彩，可惜，今天已不可见，记载亦不详。据历来的叙说，李唐“尤工画牛”(《图绘宝鉴》)，“善作山水人物，最工画牛”(《画继补遗》)。他当时的花鸟画成就可能大于山水和人物。本来，北宋画院的花鸟画成就是高于山水画的\n在记载中，李唐的画牛之作也确实多，如《桃林纵牧图》、《放牧图》、《春牧图》、《秋牧图》、《烟林春牧》、《风雨归牛图》、《三生图》等等。《清河书画舫》所记李唐的《桃林纵牧图》：“不知者谓为戴嵩。”戴嵩乃唐代画牛名家，当时及后代，皆称“韩马戴牛”，即韩干的马、戴嵩的牛。李唐的牛被人误认为是戴嵩所画，可见其精彩之至。还记“李唐尤工画牛，得戴嵩遗法”。",[23,50,24,51,353,495,26,78,215,214,75,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa528be30dbb6d13761b480f04ecd894e.jpg","61X63cm",[61,119,37],81,{"id":1425,"slug":1426,"title":1427,"dynasty":336,"author":91,"museum":992,"description":1428,"tags":1429,"thumbUrl":1434,"material":425,"size":1435,"collection":101,"collections":1436,"showCount":1437,"zanCount":11,"manualWeight":39,"mainColor":123},231541,"shan-hai-bai-ling-tu-yi-ming-231541","山海百灵图","此《山海百灵》图卷（签题：唐胡瓌《蕃兽图》真迹神品上上，卷前题：山海百灵）。画卷描绘诸多怪奇神兽，这些动物形象灵感应该来自《山海经》，卷后有一段跋描述此卷的传递情况。此卷大致绘于明代（待考），现藏于赛克勒美术馆。\n胡瓌(瓌，读作guī。汉字基本字义古同“瑰”。五代·后唐〕，山后契丹乌索固部落人。随李克用(856-908)入中原，定居范阳（治今河北涿县），生卒年不详。擅写北方游牧民族牧马、驰猎等生活，穹庐什器、射猎部属，纤悉形容备尽。所作用笔清劲，构图巧密，人物气质犷悍，形象各异。尤工画马，骨骼体状生动有神。",[23,24,74,26,27,53,532,7,314,176,1430,147,1431,951,801,263,148,1432,577,1433],"象","山羊","溪流","动物群像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb78ddfae72c871b93075fd0f391901d5.jpg","34.5x744厘米",[],80,{"id":1439,"slug":1440,"title":1441,"dynasty":45,"author":91,"museum":20,"description":1306,"tags":1442,"thumbUrl":1446,"material":137,"size":1447,"collection":101,"collections":1448,"showCount":1437,"zanCount":11,"manualWeight":39,"mainColor":123},223478,"sou-shan-tu-juan-yi-ming-223478","搜山图卷",[23,24,50,51,74,27,26,114,532,7,314,229,727,1443,131,263,230,214,1444,1445],"蛇","神仙","鬼怪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6d5ad08cdb1d23179ccbc0394feeea8b.jpg","纵53.3厘米，横533厘米",[],{"id":1450,"slug":1451,"title":1452,"dynasty":552,"author":91,"museum":110,"description":1453,"tags":1454,"thumbUrl":1455,"material":118,"size":101,"collection":37,"collections":1456,"showCount":1437,"zanCount":39,"manualWeight":39,"mainColor":123},218757,"ma-hu-dou-tu-yi-ming-218757","马虎斗图","荒野坡地间，虎躯如弓骤起，斑纹随扑跃之势流转，利爪前探、利齿微张，将猛兽的悍勇凝于一瞬。对面的马似遭突袭，后腿猛蹬沙砾，前蹄腾空欲踹，鬃尾怒扬如帚，肌肉紧绷的线条里满是求生的倔强。周遭荒草疏疏，枯木隐现，浅褐底色更衬出这场对峙的凛冽——没有多余渲染，却让观者仿佛听见虎啸马嘶，触到风里的紧张气息。笔法精准却不刻板，虎的威猛与马的刚烈形成强烈张力，寥寥数笔的环境勾勒，便将荒野争斗的野性拉满，尽显笔墨间蓬勃的生命力。",[23,24,27,26,314,176,7,230,231],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb750130b6ddf73afbbc1100e84494f1.jpg",[37],{"id":1458,"slug":1459,"title":1460,"dynasty":45,"author":91,"museum":20,"description":1461,"tags":1462,"thumbUrl":1464,"material":118,"size":1465,"collection":35,"collections":1466,"showCount":1467,"zanCount":345,"manualWeight":39,"mainColor":40},216750,"yuan-hou-zhai-guo-tu-yi-ming-216750","猿猴摘果图","此图绘深山野林中，三只猿猴攀援栖止于树枝上。其中两猿正品果嬉戏，另一猿右臂抓树，左臂摘取红果，形象生动可爱。作者运用极为工细的笔法，描绘猿猴茸茸的细毛、灵巧的动态以及老树的虬枝和枯叶，显示出深厚功力。图中坡石用小斧劈皴，枝叶用双钩填色，笔法精工巧丽。",[23,50,24,51,495,27,26,75,1463,263,358,7],"猿猴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb19385bb53dc3ac8f2ae0ebf08a7d2ed.jpg","纵25厘米，横25.6厘米",[35],79,{"id":1469,"slug":1470,"title":1471,"dynasty":45,"author":1472,"museum":47,"description":1473,"tags":1474,"thumbUrl":1478,"material":118,"size":101,"collection":249,"collections":1479,"showCount":1467,"zanCount":11,"manualWeight":39,"mainColor":40},215042,"ri-ben-xin-gui-shan-yuan-qi-hui-juan-niao-yu-seng-zheng-jue-you-215042","日本· 信贵山缘起绘卷","鸟羽僧正觉猷","画面如流水般铺展，墨色与淡彩交织出古雅韵致。图文交织的叙事里，每一折都藏着鲜活的情节——山间云雾轻笼，亭台楼阁隐现于林麓间，人物衣袂流转，或行或坐，神态生动如在眼前。山水晕染细腻温润，山石纹理、草木姿态皆透着自然灵趣；建筑结构精巧，红柱朱门点缀其间，添了几分庄重。绘卷以细腻笔触勾勒信仰与日常的交融，从山林到殿宇，从人物互动到景物铺陈，处处流露平安时代的审美意趣。它似一部流动的史书，让观者窥见千年前的生活与精神世界，韵味悠长，耐人寻味。",[23,1475,51,74,259,1269,26,114,532,896,1476,1148,176,7,214,263,232,1477],"古画","小桥","庭院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa988a8055981fce0c5bed6ccb375ce89.jpg",[249],{"id":1481,"slug":1482,"title":1483,"dynasty":1484,"author":91,"museum":47,"description":1485,"tags":1486,"thumbUrl":1488,"material":101,"size":101,"collection":521,"collections":1489,"showCount":1490,"zanCount":11,"manualWeight":39,"mainColor":65},244509,"liu-jin-hou-yi-ming-244509","鎏金猴","汉","此件小作将灵猴蜷身团坐的模样定格，前爪敛在胸前，圆首低垂，神态温顺憨稚。虽鎏金大多剥落，斑驳间露出胎体底色，残存的金箔却依旧晕着柔光，依稀可见当年的华贵精致。\n\n没有繁缛的纹饰雕琢，仅以凝练的造型将猿猴灵动娇憨的气质勾勒尽致，尽显工艺的写意传神。古人以极简的手法，捕捉住灵猴静憩的松弛意趣，残金旧痕里，藏着千年前的造物巧思，把对灵瑞之兽的喜爱凝缩于方寸之间。",[1484,1487,801,7,870,161,95],"鎏金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdf40c6e7d13aca7c8e6aa0ec5e54ce3.jpg",[521],78,{"id":1492,"slug":1493,"title":1494,"dynasty":45,"author":1495,"museum":110,"description":1496,"tags":1497,"thumbUrl":1501,"material":118,"size":1502,"collection":61,"collections":1503,"showCount":1490,"zanCount":11,"manualWeight":39,"mainColor":123},231052,"san-guan-chu-xun-tu-ma-lin-231052","三官出巡图","马麟","云气浩荡漫卷寰宇，巡行仪仗铺陈开三界威仪。尊神安坐牛舆，仙官神将扈从环伺，或腾云跨兽，或执旄持戟，旌旗翻卷如龙，神性肃穆融于缥缈云雾之间。\n\n笔墨苍劲古雅，设色沉敛厚重，以铁线描勾勒衣袂甲胄，须发纹路纤毫毕现。云雾晕染层层叠叠，虚实相生，将天界出行的宏阔盛景缓缓铺展。画面疏密有致，云间仙众、浪里神异错落排布，既恪守仪仗森严规制，又尽显仙道空灵意境，将神话中的巡游盛景定格于绢素之上，尽显工笔精致入微的意趣与神性之美。",[23,24,50,27,26,259,114,78,54,7,1498,232,1499,1500],"神话","仪仗","神性","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F318baad11558966bff3e3445d454be2c.jpg","174.2x122.9",[61],{"id":1505,"slug":1506,"title":1507,"dynasty":336,"author":1024,"museum":110,"description":1508,"tags":1509,"thumbUrl":1510,"material":26,"size":1511,"collection":119,"collections":1512,"showCount":1490,"zanCount":39,"manualWeight":39,"mainColor":123},222156,"fu-lu-shou-zhou-shang-xi-222156","福禄寿轴","商喜，字惟吉（一说恒吉），明朝人，生卒年月不详，宣德年间宫廷画家，善画人物、山水、花卉等。其作品有《关羽擒将图》、《岁朝图》、《明宣宗行乐图》及《四仙拱寿图》等。",[24,51,25,27,26,114,147,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc109f3513539842e3b9b3db723a0ee5.jpg","259.6x85",[119,204],{"id":1514,"slug":1515,"title":1516,"dynasty":45,"author":746,"museum":226,"description":1517,"tags":1518,"thumbUrl":1519,"material":59,"size":1520,"collection":35,"collections":1521,"showCount":1490,"zanCount":11,"manualWeight":39,"mainColor":123},216905,"yuan-hou-tu-mu-xi-216905","猿猴图","猿猴图是宋朝画家牧溪的一幅名作。这幅画描绘了一群猿猴在森林中的生活。牧溪在这幅画中展现了猿猴的各种姿态和表情，并通过森林的树木、花草和鸟类来增强画面的生动感。这幅画被认为是牧溪最优秀的作品之一，其中巧妙地融合了传统中国画风和西方透视画法。",[24,50,52,7,801,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd2f9647d72e31482e658c10b4cc0b24.jpg","88x33cm",[35],{"id":1523,"slug":1524,"title":1525,"dynasty":552,"author":91,"museum":110,"description":1526,"tags":1527,"thumbUrl":1529,"material":118,"size":1530,"collection":35,"collections":1531,"showCount":1532,"zanCount":39,"manualWeight":39,"mainColor":123},216210,"san-yang-kai-tai-tu-yi-ming-216210","三阳开泰图","三阳开泰图 中有三只羊的图像。这三只羊代表着三阳的出现，是象征和平、繁荣的象征。根据传统，三只羊通常被描绘成站立在一起、头朝上的形态，表示他们正在向天空中的女娲献上膜拜。\n\n这三只羊可能会有不同的造型，但通常都是描绘成充满活力、生机勃勃的样子。他们的毛发通常是乌黑色或棕色，身体健硕，眼神炯炯有神。在三阳开泰图 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。",[24,50,1528,27,26,368,712,590,497,7],"元代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F102a2a7077a6eff7a42cc886854ac759.jpg","163.5x100cm",[35],77,{"id":1534,"slug":1535,"title":1536,"dynasty":18,"author":1537,"museum":47,"description":1538,"tags":1539,"thumbUrl":1540,"material":380,"size":381,"collection":101,"collections":1541,"showCount":1542,"zanCount":11,"manualWeight":39,"mainColor":40},230858,"lin-tian-wang-song-zi-tu-yu-zhi-ding-230858","临天王送子图","禹之鼎","禹之鼎（1647年—1716年），中国清代画家。字尚吉，一字尚基，一作尚稽，号慎斋。后寄籍江都。擅山水、人物、花鸟、走兽，尤精肖像。初师蓝瑛，后取法宋元诸家，转益各师，精于临摹，功底扎实。肖像画名重一时，有白描、设色两种面貌，皆能曲尽其妙。形象逼真，生动传神。有《骑牛南还图》《放鹇图》《王原祁艺菊图》等传世。",[23,24,51,74,259,402,114,1444,54,7,113],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce2a2ab40be6165dd013479e508c193e.jpg",[],75,{"id":1544,"slug":1545,"title":1546,"dynasty":336,"author":1266,"museum":47,"description":1547,"tags":1548,"thumbUrl":1549,"material":101,"size":101,"collection":101,"collections":1550,"showCount":1542,"zanCount":39,"manualWeight":39,"mainColor":123},228439,"er-shi-si-xiao-tu-ye-chou-ying-228439","二十四孝图页","此作工致清雅，以细腻笔触绘就林间饲象图景。白象以淡墨皴擦晕染皮肤褶皱，肌理温润厚实，鼻卷白润之物，神态温驯静和。童子倚树而立，衣纹爽利简练，安然望向白象，神态松弛自若。古柳垂枝如幄，树身疤结刻画入微，惊掠的飞鸟打破林间静谧，动静相生，晕染出悠然古意。整幅设色调和雅致，无浓艳堆砌，将寻常伴象日常晕染出静穆恬然的古典氛围，尽显工笔画的精工雅致，于细节处可见精妙观察力，把畜兽憨态、人物安然与林间清景融为一体，平和之中藏着隽永的东方意趣。",[24,51,353,27,26,114,7,214,246],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff505fe06d0930a18151ddd26d291ddce.jpg",[],{"id":1552,"slug":1553,"title":1554,"dynasty":45,"author":1234,"museum":47,"description":1555,"tags":1556,"thumbUrl":1557,"material":59,"size":1558,"collection":61,"collections":1559,"showCount":1542,"zanCount":39,"manualWeight":39,"mainColor":123},218095,"bai-miao-shou-lie-tu-juan-li-gong-lin-218095","白描狩猎图卷","白描狩猎图卷是一幅巨大的屏风画，共有四卷，每卷长约10米，宽约1.5米。它描绘了一场盛大的狩猎活动，其中参加狩猎的人物有皇帝、皇后、王子和贵族，以及许多官员和太监。画面中还有各种各样的动物，包括骏马、鹿、鸟和兔子。\n\n李公麟的白描狩猎图卷以其精细的绘画技巧和丰富的内容而闻名。他使用了白色和黑色的墨水，在白色的底纸上绘制出细腻的线条。他还使用了许多细节，比如服装上的绣花和皇家徽章，以及动物身上的斑点和杂毛。\n\n白描狩猎图卷被认为是宋朝绘画史上的杰作，也是李公麟最著名的作品之一。它不仅是一幅精美的艺术品，还是对当时宋朝社会、文化和政治的重要记录。",[23,50,24,51,74,402,114,532,176,314,7,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fca98a46e48106d01d0de91429a75d903.jpg","36.8×819",[61],{"id":1561,"slug":1562,"title":1563,"dynasty":45,"author":91,"museum":47,"description":1564,"tags":1565,"thumbUrl":1568,"material":101,"size":101,"collection":101,"collections":1569,"showCount":1570,"zanCount":39,"manualWeight":39,"mainColor":123},223614,"zhu-que-shuang-tu-tu-yi-ming-223614","竹雀双兔图","《竹雀双兔图》是辽代佚名画家创作的绢本设色画，现藏于辽宁省博物馆。\n图绘双钩墨竹一丛，其中有长竹三竿，耸立其间，又有三只麻雀，分踞竹上：有的寻觅食物，有的静立下观，有的自理羽毛，神态各殊；丛竹之下生长的三株野花，左为蒲公英，中为地黄，右为白头翁，显得鲜艳肥大，引人注意；花前的两只灰兔为此图的主题：一只在吃草，一只在探望，神态逼真、活泼清新。\n图上画三竿翠竹，竹上落有三雀，一雀静立枝头，一雀用喙整理毛羽，另一雀侧身瞰视，神情各异。\n丛竹下画有蒲公英、地黄和白头翁三株野花及许多野花小草。\n两只苍兔蹲踞地上，一只在吃草，一只敛耳抬头张望。\n契丹族，是中国北方一支古老的民族，契丹人逐水草而居，以狩猎游牧为生。\n契丹神册元年（916年），耶律阿保机统一了契丹各部，建立了强大的辽王朝，先后与五代和北宋并立。\n其绘画作品，继承唐及五代传统，却又独具特色。\n花卉鸟兽是辽画中常见的题材。\n1974年5月，在辽宁省法库县叶茂台发掘了一座辽代萧氏贵族砖墓，规模较大，出土遗物较多，《竹雀双兔图》就在其中出土。\n关于《竹雀双兔图》的年代，因画上既无作者名款，也没有题识和收藏印记，只能从绢画本身加以分析研究，以确定流派与时间。\n由于画幅出土于辽墓之中，从墓室结构和数百件随葬品综合来考察，可以断定是辽代早期的墓葬，且不晚于辽景宗耶律贤时期，即北宋太宗赵炅的太平兴国年间（976—98年）。\n也就是说，画的制作年代不晚于这个下限。\n至于它的上限早到何时、关于画的作者族属问题， 做过考证，对此图的看法是“侧重出自契丹族画家之手”，这是有道理的。\n由于辽代绘画受到唐、五代画风的深刻影响，与宋文化有着密切的关系，北宋初期的作品，一般都不署名。\n但从作品本身观察，其技法虽带装饰意味，却很难说是出自一般民间画师之笔。\n整幅画作设色清秀，意境明快，静中有动，生机勃勃。\n从中不难看出，画面的装饰气味比较浓厚，生活气息也相当强烈，从中可窥见花鸟画刚刚摆脱从属地位，开始形成独立画种的特点；同时，也不难了解到辽代的绘画艺术与中原的密切联系，又别具一格，值得珍视。\n这幅作品在构图上很讲究均衡对称，如竹与竹、雀与雀、兔与兔之间的位置距离，都保持一定的平行对称的关系，共至连竹叶的对生，花草的奇偶相对，都是经过作者审慎安排的。\n但它不是搞绝对平均的对称，而是在对称中又有一定的变化，并不使你感到单调死板，而是更富有民间艺术均衡饱满的装饰性风味，体现了当时人民群众对艺术的爱好和审美习惯。\n图中虽无作者款印，但因出土的墓葬为辽代早期，即北宋太宗时期，画作的时代下限可靠，为研究五代、北宋早期、辽代的山水画、花鸟画及中原绘画的发展与影响提供了极为可信的第一手资料。\n1974年5月在辽宁省法库县叶茂台辽代7号墓，出土了《竹雀双兔图》。\n该图现藏于辽宁省博物馆。\n218年8月14日，辽宁省博物馆举办“中国古代绘画展”，《竹雀双兔图》在其中展出。",[23,24,50,51,25,27,26,590,1566,131,1567,31,7,216,644],"雀","荷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F01b9287a3d30581cccc1ff161cbfb278.jpg",[],73,{"id":1572,"slug":1573,"title":1574,"dynasty":552,"author":563,"museum":310,"description":1575,"tags":1576,"thumbUrl":1577,"material":118,"size":101,"collection":35,"collections":1578,"showCount":1570,"zanCount":11,"manualWeight":39,"mainColor":123},219321,"shuang-ma-tu-zhao-meng-fu-219321","双马图","双驹并立，一昂首嘶鸣似欲穿云，鬃毛飞扬如带劲风；一垂首静立若凝幽思，身躯敦实暗含沉稳。线条如篆籀般圆劲，勾勒出马身健硕肌理，淡墨晕染与浓墨点染相映，既显写实之功，又含文人写意之韵。古木虬枝盘结，根系深扎如铁，与马的灵动形成刚柔相济的张力。以书入画的笔意贯穿始终，每一笔皆带书法筋骨，让静态画面流动着笔墨生命力。画面不止状物，更藏文人对精神境界的追寻——既有驰骋天地的豪情，也有沉潜内省的淡然，在方寸间演绎出动静相宜的生命哲思。",[23,24,51,25,26,27,176,324,76,77,75,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fe56f2039c3f73dc94111684a5a5117.jpg",[35],{"id":1580,"slug":1581,"title":1582,"dynasty":552,"author":91,"museum":47,"description":1583,"tags":1584,"thumbUrl":1587,"material":380,"size":381,"collection":101,"collections":1588,"showCount":1589,"zanCount":39,"manualWeight":39,"mainColor":123},290742,"guan-yin-da-shi-xiang-zhou-yi-ming-290742","观音大士像轴","此作观音面容圆和悲悯，身披华饰璎珞，衣纹舒展流动，配色沉穆古雅，带着岁月晕开的温润质感。座下青狮龇牙威勐，却被观音掌心轻按敛了戾气，尽显柔能制刚的禅意。右下角善财童子合十礼拜，神态稚拙恭谨。\n\n远景以淡彩晕染山林云海，修竹挺翠，彩云舒卷，飞鸟穿空，将佛国清寂祥瑞融于山水间。笔墨工细兼具写意，线条婉转凝练，既恪守佛教造像的庄肃仪轨，又以灵动景致烘托出出尘禅韵，尽显古佛画沉静厚重的审美意趣。",[24,25,259,26,114,27,1585,7,1586,590,214],"观音","童子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12afaa29032eb7937f747f363c8b7f45.jpg",[],72,{"id":1591,"slug":1592,"title":1593,"dynasty":336,"author":1266,"museum":47,"description":1594,"tags":1595,"thumbUrl":1596,"material":380,"size":381,"collection":101,"collections":1597,"showCount":1589,"zanCount":86,"manualWeight":39,"mainColor":40},287415,"wu-xing-er-shi-ba-xiu-shen-xing-tu-juan-chou-ying-287415","五星二十八宿神形图卷","仇英（约1498年—约1552年）， 字实父，号十洲，原籍江苏太仓，后移居吴县（今苏州），明代绘画大师。\n仇英出身寒门，幼年失学，曾习漆工，后拜师周臣，成为画家。\n仇英博取众长，集前人之大成，形成自己独特的艺术风格。他山水、花卉、界画、人物、仕女无所不能，既工设色，又善水墨、白描，能运用多种笔法表现不同的对象。 时人把他与周臣、唐寅誉称为院派三大家；后人又把他与沈周、文徵明、唐寅并称为“明四家”。",[23,50,24,51,74,27,26,114,1498,54,7,76,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa4967584eda0c680dc86ba4f997b558d.jpg",[],{"id":1599,"slug":1600,"title":1601,"dynasty":18,"author":1602,"museum":226,"description":1603,"tags":1604,"thumbUrl":1605,"material":118,"size":1606,"collection":35,"collections":1607,"showCount":1589,"zanCount":11,"manualWeight":39,"mainColor":40},218958,"gao-shan-meng-hu-tu-gao-qi-pei-218958","高山猛虎图","高其佩","画面中山势巍峨，层峦叠嶂间寒云缭绕，尽显沉雄气象。猛虎悄然立于崖头，身形矫健，皮毛纹理以简劲笔触勾勒，凛凛威风藏于内敛姿态中。山石以焦墨皴擦，线条如铁线刚硬，留白处隐现雪意，添几分清寂冷峻。远处天际一抹残阳，为沉郁山景晕开暖意，却更衬虎之孤绝霸气。笔墨苍劲洒脱，山水雄浑与猛兽野性相融，静谧中藏磅礴之力，观之似闻山风猎猎、虎啸穿林，原始生机与威严扑面而来。",[24,25,52,532,314,7,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa45ada0cc9259f74c5941a8a767a7c3b.jpg","166x38cm",[35],{"id":1609,"slug":1610,"title":1611,"dynasty":336,"author":1612,"museum":110,"description":1613,"tags":1614,"thumbUrl":1616,"material":118,"size":1617,"collection":35,"collections":1618,"showCount":1589,"zanCount":39,"manualWeight":39,"mainColor":123},216217,"san-yang-tu-zhu-zhan-ji-216217","三羊图","朱瞻基","三羊图是明朝朱瞻基所作的一幅画。这幅画描绘了三只羊在草地上吃草，背景是一片美丽的山景。三羊图被认为是朱瞻基最优秀的作品之一，其细腻的笔巧和生动的写实手法得到了广泛的赞誉。这幅画象征着平静和安宁，也被认为是对中国传统和谐社会的赞颂。",[50,24,51,25,26,27,114,368,324,148,1615,7,340],"山坡","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66c63505c5c8038bbaf86c97b7a1cf2b.jpg","105.3x58.3cm",[35],{"id":1620,"slug":1621,"title":1622,"dynasty":18,"author":411,"museum":47,"description":1623,"tags":1624,"thumbUrl":1625,"material":137,"size":101,"collection":35,"collections":1626,"showCount":1627,"zanCount":11,"manualWeight":39,"mainColor":123},222776,"hua-bai-ying-zhou-lang-shi-ning-222776","画白鹰轴","郎世宁（Giuseppe Castiglione，1688.7.19-1766.7.16），原名朱塞佩·伽斯底里奥内，圣名若瑟，天主教耶稣会修士、画家，意大利米兰人。\n1715年（清康熙五十四年）来中国传教，随即入皇宫任宫廷画家，历经康熙、雍正、乾隆三朝，在中国从事绘画50多年，并参加了圆明园西洋楼的设计工作，为清代宫廷十大画家之一。 郎世宁擅绘骏马、人物肖像、花卉走兽，风格上强调将西方绘画手法与传统中国笔墨相融合，受到皇帝的喜爱，也极大地影响了康熙之后的清代宫廷绘画和审美趣味。\n其主要作品有《十骏犬图》《百骏图》《乾隆大阅图》《瑞谷图》《花鸟图》《百子图》《聚瑞图》《仙萼长春图册》《心写治平图》（《乾隆帝后妃嫔图卷》）等。",[23,24,50,25,26,27,214,7,726,246,578,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8821bbc34360056591a52a75a4e58a03.jpg",[35,37],70,{"id":1629,"slug":1630,"title":1631,"dynasty":45,"author":91,"museum":47,"description":1632,"tags":1633,"thumbUrl":1634,"material":101,"size":101,"collection":101,"collections":1635,"showCount":1636,"zanCount":345,"manualWeight":39,"mainColor":123},223655,"song-zi-tian-wang-tu-yi-ming-223655","送子天王图","此作为白描神品，以铁线描、兰叶描交错挥写，尽显吴带当风的流动韵致。\n画卷起首帝后侍从环侍，仪度端雅雍容；继而护法神将狞猛威严，流云焰气翻卷烘托出天界的诡谲神圣；中段天女执器缓行，身姿柔婉静穆；后段天王安坐肃穆，诸鬼神环伺拱卫，末了瑞兽载仙疾驰，灵动飞扬。\n全卷人物身份鲜明，神情各殊，帝王的沉凝、天女的温婉、神将的凶戾皆刻画入微，线条或刚劲如铁、或飘逸如丝，将天界仪卫的盛大庄严铺陈尽致，虽为摹本，依旧留存原作神采，是水墨线描的绝佳范本。",[23,50,24,51,74,402,259,114,54,7,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1875d213531142bdb5f15a8d47809ba.jpg",[],68,{"id":1638,"slug":1639,"title":240,"dynasty":18,"author":573,"museum":47,"description":1640,"tags":1641,"thumbUrl":1642,"material":380,"size":381,"collection":101,"collections":1643,"showCount":1644,"zanCount":39,"manualWeight":39,"mainColor":123},230894,"bai-lu-tu-shen-quan-230894","此图绘在柏树之下、溪流岸边，两只梅花鹿一立一卧，均仰视远方。图中鹿的描绘十分工整、细腻，山石的点染、溪波的勾勒也有类似笔调，尤为细致而并非完全写实，画面既真实又不泥于细节。",[23,24,50,25,27,26,7,147,245,324,230,423,801],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea79f7002a6ea446d7dfdde2fe39384c.jpg",[],67,{"id":1646,"slug":1647,"title":1648,"dynasty":336,"author":1649,"museum":110,"description":1650,"tags":1651,"thumbUrl":1652,"material":137,"size":1653,"collection":249,"collections":1654,"showCount":1644,"zanCount":39,"manualWeight":39,"mainColor":123},222038,"zhang-song-wu-lu-zhou-dai-jin-222038","长松五鹿轴","戴进","这幅画的主题是长松和鹿，长松代表长寿，鹿因与「禄」谐音，带有「福禄」或「俸禄」的意思，所以这张画具有祝寿或是祈福的功能。本画的构图与戴进一般作品不同，垂直的松林、形状像石笋的山峰和围绕的祥云几乎塞满画面全部的空间，让整幅画充满平面装饰的趣味。",[23,24,25,26,532,726,147,7,53,230,232],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffb8af83ff4d6f77521d790ed2136c0af.jpg","纵：142.5厘米 横：72.4厘米",[249,37],{"id":1656,"slug":1657,"title":1658,"dynasty":18,"author":241,"museum":47,"description":1659,"tags":1660,"thumbUrl":1661,"material":380,"size":381,"collection":101,"collections":1662,"showCount":1663,"zanCount":39,"manualWeight":39,"mainColor":40},287970,"song-shu-shuang-lu-tu-zhu-da-287970","松树双鹿图","描绘了一角山崖，崖边上一株古松遒然挺立，崖下一公一母两只梅花鹿亲密相偎。背景中的山崖及苍松画面疏淡，笔墨劲简；山崖上草石与古松以浓墨点画而出，近景处的双鹿则以淡墨着笔。外侧犄角雄健的公鹿于站立中作回首状，而内侧的母鹿墨色更淡，接近画幅底色，以缠绕公鹿的形态与公鹿亲密，情深状貌跃然纸上。松与鹿均表现超然的气质；而以一公一母两鹿如此亲密的形象入画，确是于超然中又见温情，似乎寓意作者既欲超脱又回顾留恋的情愫。",[23,24,50,51,25,52,7,147,726,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7008f1ca40741a720f4ee5a8350ea2da.jpg",[],66,{"id":1665,"slug":1666,"title":1667,"dynasty":45,"author":1668,"museum":47,"description":1669,"tags":1670,"thumbUrl":1671,"material":101,"size":101,"collection":101,"collections":1672,"showCount":1663,"zanCount":39,"manualWeight":39,"mainColor":123},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。",[23,50,24,51,27,26,7,214,324,497],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19cfe887d378e40901d42db72d3de1e7.jpg",[],{"id":1674,"slug":1675,"title":1676,"dynasty":45,"author":492,"museum":110,"description":1166,"tags":1677,"thumbUrl":1679,"material":80,"size":1680,"collection":82,"collections":1681,"showCount":1663,"zanCount":39,"manualWeight":39,"mainColor":40},221323,"hou-mao-tu-juan-yi-yuan-ji-221323","猴猫图卷",[23,50,24,51,74,27,26,801,29,7,75,1678],"器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F823207814807056484a74f5f2d92e6bb.jpg","纵31.9公分、横57.2公分",[82],{"id":1683,"slug":1684,"title":1685,"dynasty":18,"author":91,"museum":226,"description":1686,"tags":1687,"thumbUrl":1688,"material":118,"size":101,"collection":35,"collections":1689,"showCount":1663,"zanCount":39,"manualWeight":39,"mainColor":123},219273,"qun-hou-xi-shui-shuang-ping-yi-ming-219273","群猴戏水双屏","松枝虬曲横斜，松针如簇。枝间群猴灵动，或攀附树干探头探脑，或倒挂金钩似的垂落，长尾轻摆，神态憨然。树下涧边，几只小猴追逐打闹，或掬水顽劣，或投石逗趣，更有仰头望枝上同伴者，姿态各异，满是天真野趣。远处淡墨晕染出山水轮廓，一轮清月隐现天际，绢色沉润如古酿，笔墨简淡却意韵盎然。整幅画将猴群的活泼与山林的静谧相融，既见自然生机，又含悠然意韵，观之令人莞尔，心生清趣。",[24,51,25,52,26,7,801,726,577,532,1039,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbea5c0347eed9f967050d2b173b7446b.jpg",[35],{"id":1691,"slug":1692,"title":1693,"dynasty":881,"author":1694,"museum":1369,"description":1695,"tags":1696,"thumbUrl":1698,"material":118,"size":1699,"collection":35,"collections":1700,"showCount":1663,"zanCount":11,"manualWeight":39,"mainColor":123},218997,"qiu-ying-tu-guo-qian-you-218997","秋鹰图","郭乾佑","铁羽敛霜华，孤峙危岩之巅。目光如炬，俯瞰怒涛卷雪。苍溟之上，残阳如血，晕染出沉雄古意。浪涛拍岸，礁石嶙峋，似与雄鹰共守天地孤绝。笔触凝练，墨色层叠，将猛禽的傲岸与沧海的壮阔熔于一帧。静中藏动：鹰之沉稳如磐，浪之奔涌若雷；刚柔相济：铁喙利爪含锐，云涛雾霭蕴柔。古雅质感里，尽显五代画风的沉郁与雄健。此作以鹰为魂，以海为魄，于苍茫间见风骨，于动荡中显定力，不愧传世之品。",[24,51,26,27,7,214,30,56,1697],"夕阳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7349f8201c5a9ec1d079a27dc457270.jpg","纵142.9横76.2厘米",[35],{"id":1702,"slug":1703,"title":1704,"dynasty":18,"author":411,"museum":110,"description":1705,"tags":1706,"thumbUrl":1709,"material":137,"size":1710,"collection":35,"collections":1711,"showCount":1712,"zanCount":39,"manualWeight":39,"mainColor":40},222722,"shi-jun-quan-tu-zhi-ba-shan-xing-lang-lang-shi-ning-222722","十骏犬图之八睒星狼","睒星狼为宫廷名犬之一，为科尔沁四等台吉丹达里逊进献。绘睒星狼位于画面中央偏下位置，其身后则以配景形式绘有高大的树木和低矮的花草，色泽鲜丽，清晰细致。",[23,24,51,50,27,26,7,1707,1708,263,133,75],"名犬","桃花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F776979946ef2bb6e343e1385068093ab.jpg","246.6x163.8",[35,37],65,{"id":1714,"slug":1715,"title":1716,"dynasty":45,"author":91,"museum":110,"description":1717,"tags":1718,"thumbUrl":1719,"material":80,"size":1720,"collection":61,"collections":1721,"showCount":1712,"zanCount":39,"manualWeight":39,"mainColor":123},220236,"bian-zhuang-zi-ci-hu-1-yi-ming-220236","卞庄子刺虎1","宋人画卞庄子刺虎图，是从宋代遗存下来的古画，由于作品未留署名，尚不能确定作者是谁，有人推测是出自宋代李公麟之手！这幅画是一副寓意图，描绘的是两只老虎想吃一头牛，而卞庄又想猎杀两只老虎的场景，通过这些场景和最后结果的描绘想劝告人们做事不要只凭勇气，而没有智慧；另一方面的，也阐释出自己人“两只老虎”相争，最后却被别人得到利益。",[24,27,26,114,314,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff34154e0aa0ce30e7ee5f4a8eb6e91b1.jpg","39×169.1公分",[61],{"id":1723,"slug":1724,"title":1725,"dynasty":18,"author":1726,"museum":110,"description":1727,"tags":1728,"thumbUrl":1733,"material":33,"size":1734,"collection":37,"collections":1735,"showCount":1712,"zanCount":39,"manualWeight":39,"mainColor":40},219387,"feng-xing-tu-ai-qi-meng-219387","风猩图","艾启蒙","艾启蒙，（西元一七０八至一七八０年），字醒庵，波西米亚人。乾隆十年入如意馆，与朗世宁、王致诚同为画院供奉。善画，尤工翎毛，赐三品衔。山径之末，累石成穴，梧桐、丹桂、芙蓉，杂以野菊秋卉，风猩二，一蜷伏洞中，一逡巡洞口。笔墨遒细而秀润，设色雅淡而清丽，与邹一桂蒋廷锡笔画有契合处，为艾氏精心之作。",[24,50,51,27,26,7,801,132,1729,1730,659,230,1731,1732],"丹桂","芙蓉","洞穴","秋卉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6c6bb60e7e22ccacb4a0c5552b267af9.jpg","121x90",[37],{"id":1737,"slug":1738,"title":1739,"dynasty":1484,"author":91,"museum":47,"description":1740,"tags":1741,"thumbUrl":1743,"material":380,"size":381,"collection":101,"collections":1744,"showCount":1745,"zanCount":86,"manualWeight":39,"mainColor":123},223703,"long-wen-huan-yi-ming-223703","龙纹环","汉代是龙纹造型的真正定型期，在形式上达到了一个空前的高度，这一历史背景也充分反映在汉代玉器龙纹上。我们看到，汉代玉龙一改战国时期那种自由奔放、生机勃勃、姿态万千的特点，而逐渐趋于表现龙的凶猛威武之态、翻云覆雨之势、气韵生动之神采。\n此期龙纹大多与螭虎纹、凤纹组合或单独出现，作为玉璧、玉珩、玉璜、玉环、玉觿、韘形佩等器物的装饰纹样，并出现了四灵题材中的龙。单独成器的玉龙数量较少，上图龙体蜷曲呈“S”形，长尾上卷，器表遍布勾连纹以示龙鳞，身边饰以镂雕云纹。",[1742,94,95,54,7,99],"汉代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3798b35c91396fe861649c0c803042b6.jpg",[],63,{"id":1747,"slug":1748,"title":1749,"dynasty":45,"author":91,"museum":110,"description":321,"tags":1750,"thumbUrl":1755,"material":80,"size":329,"collection":101,"collections":1756,"showCount":1745,"zanCount":39,"manualWeight":39,"mainColor":65},223471,"xi-mao-tu-yi-ming-223471","戏猫图",[23,24,50,26,27,29,7,31,289,1751,323,1678,1752,1477,1753,326,231,1754,98],"牡丹","宠物","桌案","设色工笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F944be0ae10bb40132b87c6508e80870b.jpg",[],{"id":1758,"slug":1759,"title":1760,"dynasty":336,"author":91,"museum":337,"description":338,"tags":1761,"thumbUrl":341,"material":118,"size":1763,"collection":119,"collections":1764,"showCount":1745,"zanCount":11,"manualWeight":39,"mainColor":123},219701,"song-zi-guan-yin-yi-ming-219701","送子观音",[24,26,27,259,25,114,7,262,1762],"服饰","120.7x60.3cm",[119],{"id":1766,"slug":1767,"title":1768,"dynasty":336,"author":1612,"museum":110,"description":1769,"tags":1770,"thumbUrl":1771,"material":33,"size":1772,"collection":37,"collections":1773,"showCount":1745,"zanCount":11,"manualWeight":39,"mainColor":40},219301,"xi-yuan-tu-zhu-zhan-ji-219301","戏猿图","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。",[50,24,51,26,27,496,7,590,497,1148],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66456e94601929135286fec127ea8bba.jpg","纵162.3厘米，横127.7厘米",[37],{"id":1775,"slug":1776,"title":1777,"dynasty":336,"author":1778,"museum":310,"description":1779,"tags":1780,"thumbUrl":1781,"material":118,"size":1782,"collection":35,"collections":1783,"showCount":1745,"zanCount":345,"manualWeight":39,"mainColor":123},219028,"qun-lu-tu-wen-zheng-ming-219028","群鹿图","文徵明","层峦叠嶂间林木苍郁，群鹿嬉戏于溪畔石边，或卧饮清泉，或昂首远眺，或追逐嬉闹，姿态各异，灵动鲜活。鹿谐音“禄”，群鹿齐聚暗合福禄绵延的祥瑞寓意，藏着文人对顺遂生活的寄望。山石以淡墨皴染，线条清劲中见温润；树木勾勒细致，枝叶繁密却不杂乱；鹿群的轮廓与肌理刻画入微，神态毕肖。整幅画将山水的清幽与走兽的生机相融，尽显吴门画派雅致醇厚的格调，古旧绢色更添岁月沉淀的静谧之美，似在诉说自然与人文交织的诗意篇章。",[23,24,26,27,53,532,147,7,263,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e7960bcc17b6b77977da508ad692bfa.jpg","纵186.5横96厘米",[35],{"id":1785,"slug":1786,"title":586,"dynasty":45,"author":91,"museum":47,"description":1787,"tags":1788,"thumbUrl":1789,"material":118,"size":1790,"collection":61,"collections":1791,"showCount":1745,"zanCount":39,"manualWeight":39,"mainColor":123},219011,"mu-niu-tu-yi-ming-219011","一幅典型的南宋田园画，以边角料的方式绘制。一棵高大的树被描绘在河边的浅滩上，一头水牛低着头，一个牛仔试图通过攀爬牛角爬上牛背。",[23,50,24,51,495,52,26,78,246,30,1148,75,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc612d12f7fbf45193051cf350f77162.jpg","26x28",[61],{"id":1793,"slug":1794,"title":797,"dynasty":45,"author":746,"museum":226,"description":1795,"tags":1796,"thumbUrl":1798,"material":33,"size":1799,"collection":35,"collections":1800,"showCount":1745,"zanCount":122,"manualWeight":39,"mainColor":123},218941,"yuan-tu-mu-xi-218941","墨色晕染间，猿猴踞于山石之上，敛息凝神，似与周遭空寂相融。枯枝斜出，线条简劲如铁，牵起几分悠远禅意。山石以淡墨皴擦，肌理隐现却不刻意，留白处尽是天地的虚静。整幅画无多余笔墨，却在简淡中藏着深湛的禅思——物我两忘，心与境合。猿的眼神安详，仿佛已沉入永恒的静谧，连风都在此刻停驻。笔墨的疏朗与意境的幽远交织，恰似禅者的顿悟，于无声处叩击心灵。每一处淡墨的晕散、每一道线条的起落，都在诉说着禅画的精髓：不执于形，只追于心。山石的朴拙、猿的静定，共同织就一幅空灵的禅境图卷，引人踏入物我两忘的虚静之境。",[24,51,50,52,244,53,496,7,30,1289,1797],"杂草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a688cef2370db7643864b3746bd2747.jpg","129x80.5cm",[35],{"id":1802,"slug":1803,"title":1804,"dynasty":552,"author":91,"museum":226,"description":1805,"tags":1806,"thumbUrl":1808,"material":118,"size":1809,"collection":35,"collections":1810,"showCount":1811,"zanCount":39,"manualWeight":39,"mainColor":123},216751,"shi-hu-san-biao-tu-yi-ming-216751","十虎三彪图","这是一幅虎画长卷，名曰《十虎三彪图》，宋人佚名作，共画了十只虎，三只彪。\n\n龙生九子，各有不同。虎生三子，必有一彪。\n\n在传统文化里，龙虎都少不了一些衍生同类，彪是虎演化而来的。故事相传，母虎生有三虎崽，其中一虎崽格外凶狠彪悍，有吞食另外两只幼崽的能力，因此母虎日夜提防着凶虎崽和另外两只虎崽单独相处。",[23,24,51,74,52,53,314,1807,7,263,230],"彪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22319c2472e4a7063456b1ee2a4fb07f.jpg","27x349cm",[35],62,{"id":1813,"slug":1814,"title":1815,"dynasty":45,"author":492,"museum":226,"description":1816,"tags":1817,"thumbUrl":1818,"material":118,"size":1819,"collection":35,"collections":1820,"showCount":1811,"zanCount":11,"manualWeight":39,"mainColor":123},216669,"yuan-xi-tu-yi-yuan-ji-216669","猿戏图","枝间猿猱倒挂，长尾如丝垂悬，似欲探取下方轻物，姿态灵动若脱纸而出。虬枝盘曲如铁，缀以青果繁叶，墨色浓淡交错间，见苍劲中含生机。远山以淡墨皴染，近石用粗笔勾勒，虚实相映间拓开清旷空间。猿之毛发细劲蓬松，根根可见；果叶晕染鲜活，如沐朝露。笔墨工致却不失野趣，于方寸圆扇内凝注山林间的灵动瞬间——风过枝颤，猿眸流转，似能闻叶隙间的轻响。宋画的精微与诗意在此尽显：以细致笔触捕捉生命本真，用简淡意境传递自然野逸，让观者仿若置身深林，与这灵物共醉于片刻闲趣。风过枝摇时，灵猿的每一寸毛发都似在轻颤，果叶的脉络里藏着晨露的光，深林的野趣与宋人的雅致，尽凝于这一方圆幅中。",[24,50,26,27,7,801,324,230,532],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e09b8ae55b49ba935e0ab9aca615986.jpg","26x26cm",[35],{"id":1822,"slug":1823,"title":1824,"dynasty":552,"author":1825,"museum":110,"description":1826,"tags":1827,"thumbUrl":1829,"material":80,"size":1830,"collection":37,"collections":1831,"showCount":1832,"zanCount":11,"manualWeight":39,"mainColor":40},219725,"lian-shi-san-shu-tu-qian-xuan-219725","莲实三鼠图","钱选","纨扇形制的画面里，三鼠神态各异，或俯身嗅探、或啃食莲实，狡黠灵动的野趣跃然绢上，将小鼠的机警活泼描摹得细腻传神。衬景的秋梨肌理莹润，残败莲实带着翠色余韵，搭配缀露的红叶野果，晕开融融秋意。\n\n设色清润雅致，写实中带着文人情致，将寻常秋日小景赋予吉祥意涵，鼠兆多子、秋实喻富足，暗合岁稔年丰的美好祈愿。静穆秋实衬出动鼠的鲜活，工细笔致兼具雅致隽淡，把日常闲景绘得野趣盎然，藏着秋日里的闲雅生机。",[50,24,51,353,26,27,355,1828,358,7,31],"莲实","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c3462c462d5281290d856a9a109fae6.jpg","28.2x24.3",[37],61,{"id":1834,"slug":1835,"title":1836,"dynasty":336,"author":1837,"museum":1838,"description":1839,"tags":1840,"thumbUrl":1841,"material":1842,"size":1843,"collection":35,"collections":1844,"showCount":1845,"zanCount":39,"manualWeight":39,"mainColor":101},220761,"shuang-ying-tu-lin-liang-220761","双鹰图","林良","香港中文大学文物馆","《双鹰图》轴是林良水墨写意的杰出代表作。该作品应是作者中年时期作品，“院体”画花鸟代表作，没骨画法，工写兼具。构图简洁，着色低沉单一，凸显鹰隼兀立久视之大境界。双鹰上者气宇轩昂，目光如炬，一爪独立于枯枝之上，有傲视苍宇之威；下者挺身缩项，羽翼蓬振，双爪力着于苍岩宕石，目中有物，显欲搏四方之势。双鹰静中有动，动中蓄静，王者风范，鹰击长空。",[23,24,51,52,244,25,31,7,214,215,30,1289],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6a39e0bfd96c98a3be0dfa4c6416f5ee.jpg","纸本，水墨设色","130.2 × 74.5 cm",[35],60,{"id":1847,"slug":1848,"title":1849,"dynasty":881,"author":91,"museum":110,"description":1850,"tags":1851,"thumbUrl":1854,"material":118,"size":1855,"collection":119,"collections":1856,"showCount":1845,"zanCount":11,"manualWeight":39,"mainColor":123},216986,"xian-xiu-san-xing-tu-yi-ming-216986","线绣·三星图","画上绣有十九个人，场景从上到下分为四层，第一层从左到右分别是禄、福、寿三颗星。身穿绿色斗篷的 若 星挥舞着羽毛扇，一只鹿跪在他身边，嘴里叼着一朵花，鹿 与 若 谐音，代表着职业道路。中间站着的幸运星，身穿宽大的蓝袍，带着玉柄和带流苏的葫芦形皇冠，象征着运气的延续。右边是微笑着的慈祥老人--长寿星，手持绣有 福禄寿 字样的玉盘，前面是一只手持 寿 字的仙鹤，象征着长寿。",[1852,26,259,114,726,1476,147,643,262,7,1678,1853],"线绣","建筑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ea885cec07fde0e2c751ced9d734b95.jpg","194.3x111.2",[119],{"id":1858,"slug":1859,"title":1860,"dynasty":18,"author":91,"museum":110,"description":1861,"tags":1862,"thumbUrl":1863,"material":33,"size":1864,"collection":35,"collections":1865,"showCount":1845,"zanCount":11,"manualWeight":39,"mainColor":40},216208,"xuan-zong-yu-ti-hua-ma-yi-ming-216208","宣宗御题画马","宣宗御题画马 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视以书法用笔入画和诗、书、画的三结合。",[24,25,52,314,54,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ba15b6a022629488be8950a2002ec80.jpg",[],57,{"id":1941,"slug":1942,"title":1943,"dynasty":540,"author":91,"museum":47,"description":1944,"tags":1945,"thumbUrl":1946,"material":101,"size":101,"collection":166,"collections":1947,"showCount":1939,"zanCount":39,"manualWeight":39,"mainColor":40},242605,"shi-ding-yi-ming-242605","史鼎","立耳挺拔，圆腹敦实，柱足沉稳撑起古拙器形。腹身环绕分解式兽面纹，一对夔龙拱托中心兽面，线条弯折流转，狞厉纹饰带着上古祭祀的肃穆威严。铜色沉郁斑驳，周身包浆凝着岁月的厚重质感，仿佛还残存着宗庙的烟火余温。\n\n它将神权信仰熔铸于青铜之中，简约形制里藏着先民对天地先祖的敬畏。刚劲规整的纹饰排布，尽显青铜工艺的成熟造诣，把那个时代的狞美感与庄重感融为一体，静静诉说着上古文明的精神内核。",[160,161,95,544,164,7,289],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc753b0b48785108dbfd8edb5f87644eb.jpg",[166],{"id":1949,"slug":1950,"title":1951,"dynasty":336,"author":1612,"museum":110,"description":1952,"tags":1953,"thumbUrl":1955,"material":1956,"size":1957,"collection":35,"collections":1958,"showCount":1939,"zanCount":39,"manualWeight":39,"mainColor":123},222020,"hua-xia-li-nu-tu-zhou-zhu-zhan-ji-222020","花下貍奴图轴","此画构图呈对角线，所画的猫、湖石、秋花均在对角线上，可谓全幅构图别致，虚实结合。狸奴造型准确，画法先淡色涂染全身，背上的毛用干笔涂擦点簇而成，表现了狸奴细毛的质感。以焦墨点睛，炯炯有神。湖石则用长麻皮皴。",[23,24,51,25,26,27,29,1954,30,75,76,7,323],"菊花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F511c301cd9d9a27486446cb728c20d37.jpg","白纸本","纵41．5厘米，横39．3厘米",[35,37],{"id":1960,"slug":1961,"title":1962,"dynasty":45,"author":1277,"museum":47,"description":1963,"tags":1964,"thumbUrl":1965,"material":80,"size":1966,"collection":61,"collections":1967,"showCount":1939,"zanCount":345,"manualWeight":39,"mainColor":123},221512,"jin-ma-tu-chen-ju-zhong-221512","进马图","陈居中(生卒年不详)，南宋时期宫廷画家。在画史有关他的记载十分简略，元代夏文彦《图绘宝鉴》卷四中记有：“陈居中，嘉泰间画院待诏，专工人物、蕃马，布景著色，可亚黄宗道。”另据《画史会要》记载，陈居中曾在开禧三年(1207年)为崔丽人画像，悉知他在1207年尚任职于画院，并擅长画肖像。\n虽然有关陈居中的记载十分简单，但他留下的作品却比较多且十分精彩，这在南宋宫廷画家中是十分难得的。就目前所知确为其真迹的作品有《文姬归汉图》、《胡茄十八拍图》、《绝塞逢春图》、《进马图》、《四羊图》等。这些作品所表现的多为历史故事或少数民族风情题材，这与“专工人物、蕃马”的记载是相吻合的。\n这些作品的画法多样，技艺高超，笔法精细，形象传神，正如明人吴其贞在题陈居中《八骏图》时所评：“精彩逼真似唐画，系临史道硕、韩干之辈，为两宋人物第一神品也。”",[23,50,24,51,27,26,176,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b6e4e525e0769c2739e54550a170481.jpg","21×32",[61,35,37],{"id":1969,"slug":1970,"title":1971,"dynasty":298,"author":299,"museum":723,"description":1972,"tags":1973,"thumbUrl":1974,"material":101,"size":101,"collection":101,"collections":1975,"showCount":1939,"zanCount":39,"manualWeight":39,"mainColor":40},220539,"hui-shi-dong-jing-xu-bei-hong-220539","会师东京","群狮踞于高岭之上，鬃毛如戟张扬，或昂首怒号震彻云间，或沉身蓄力目光如炬，幼狮紧随母狮身侧，懵懂中带着悍勇。翻涌云海似乱世烽烟，将沉郁悲愤的底色铺陈满卷。\n\n以狮喻人，把满腔家国意气凝于笔端，干湿浓墨晕染雄狮肌理，苍劲铁线勾勒筋骨，让猛兽野性与民族魂灵相融，将驱除外侮、终得聚首的热望藏在狮群之中，笔墨间皆是山河重光的呐喊与期盼。",[24,52,26,7,951,230,232,244],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd235db2dab5b220d48376a2051048d02.jpg",[],{"id":1977,"slug":1978,"title":1979,"dynasty":45,"author":492,"museum":507,"description":1980,"tags":1981,"thumbUrl":1982,"material":59,"size":1983,"collection":61,"collections":1984,"showCount":1939,"zanCount":11,"manualWeight":39,"mainColor":123},219168,"ju-yuan-tu-yi-yuan-ji-219168","聚猿图","此卷绘秋冬之季群猿攀援、饮涧、嬉戏之情形。所绘大小、老幼、黑白群猿三十余只，亦是一数量不菲的群猿聚居图。岩壑间群猿或坐或走、或仰或卧，或倒挂或直立，作者将群猿日常习居的情形淋漓尽致地表现出来。该图笔力富有弹性，突出其运动感。",[23,603,24,51,74,52,532,7,801,53,27,263,148,1432,1731,356],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48b78cc151c53a8bbbe047d09cfe527b.jpg","纵41.3厘米，横146厘米",[61,204],{"id":1986,"slug":1987,"title":1988,"dynasty":45,"author":91,"museum":47,"description":1989,"tags":1990,"thumbUrl":1991,"material":118,"size":1992,"collection":61,"collections":1993,"showCount":1939,"zanCount":11,"manualWeight":39,"mainColor":192},218562,"pan-yuan-tu-yi-ming-218562","攀猿图","一只猴子爬上一棵树，一只手放在树上，另一只手尽量往下伸，几乎要够到下面的果实，但还是无法做到。猴子是用刺毛法画的，只用墨水勾画了手、脚和脸，轮廓准确、自然、生动，渲染得很好，显示了猴子的运动，与树上茂密的覆盖物形成了鲜明的对比。",[23,24,51,50,27,26,801,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5e173bdb3b32b390e92cbd82379d4ad.jpg","21x22",[61],{"id":1995,"slug":1996,"title":1997,"dynasty":45,"author":91,"museum":47,"description":904,"tags":1998,"thumbUrl":2000,"material":380,"size":381,"collection":101,"collections":2001,"showCount":2002,"zanCount":39,"manualWeight":39,"mainColor":123},227867,"pu-xian-pu-sa-tu-yi-ming-227867","普贤菩萨图",[23,24,51,25,259,26,114,7,27,1999,950],"莲花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb7baa4b163280a926f7c11272d4784ad.jpg",[],56,{"id":2004,"slug":2005,"title":2006,"dynasty":70,"author":91,"museum":1326,"description":1327,"tags":2007,"thumbUrl":2008,"material":380,"size":381,"collection":101,"collections":2009,"showCount":2002,"zanCount":11,"manualWeight":39,"mainColor":123},226320,"ku-zhu-shi-xi-pi-yi-ming-226320","窟主室西披",[531,259,26,114,896,214,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff39c4843a2414572c744e4aa24a54ad8.jpg",[],{"id":2011,"slug":2012,"title":2013,"dynasty":45,"author":91,"museum":433,"description":434,"tags":2014,"thumbUrl":2015,"material":26,"size":438,"collection":101,"collections":2016,"showCount":2002,"zanCount":11,"manualWeight":39,"mainColor":123},220241,"rui-guang-ta-si-tian-wang-xiang-4-yi-ming-220241","瑞光塔四天王像4",[50,24,27,26,259,114,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6228be4d803c0cec9fb87a8cbef04b3.jpg",[],{"id":2018,"slug":2019,"title":2020,"dynasty":18,"author":411,"museum":110,"description":2021,"tags":2022,"thumbUrl":2023,"material":118,"size":2024,"collection":37,"collections":2025,"showCount":2002,"zanCount":11,"manualWeight":39,"mainColor":40},219303,"shi-jun-tu-zhi-xue-dian-diao-zhou-lang-shi-ning-219303","十骏图之雪点雕轴","郎世宁（一六八八－一七六六）意大利人。十九岁，入天主教耶稣会为修士。曾习油画，兼习建筑。二十七岁来华，以绘事供奉内廷，历仕康熙、雍正、乾隆三朝。善画人物、花鸟，尤善犬马。科尔沁郡王诺们额尔和图于乾隆八（西元一七四三）年，进贡骏马一匹。",[24,50,25,26,27,176,7,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e84b14360acb49ba0390128d53f6779.jpg","238.2x270.6",[37],{"id":2027,"slug":2028,"title":2029,"dynasty":552,"author":91,"museum":226,"description":2030,"tags":2031,"thumbUrl":2032,"material":118,"size":2033,"collection":119,"collections":2034,"showCount":2002,"zanCount":11,"manualWeight":39,"mainColor":123},219007,"shou-lie-tu-yi-ming-219007","狩猎图","猎手策马前行，肩挎箭囊的弧度里藏着草原的风，暖黄衣袍与黑马的沉墨撞出视觉张力，粗砺笔触勾出游牧者的剽悍。猎犬腾跃紧随，四肢的动感与马的沉稳形成呼应，背景晕染的朦胧弱化了具体场景，却让狩猎的紧张感直抵人心。墨色的浓淡晕染出马匹的肌理，衣纹的褶皱里藏着动作的余韵，没有繁复修饰，却将猎场上的瞬间生机与豪迈气慨鲜活铺展——每一笔都是对生活本真的捕捉，仿佛能听见马蹄踏过草地的声响，看见猎手眼中的锐利与专注，让游牧民族狩猎时的粗犷与灵动，在岁月里静静流淌。",[24,26,114,176,7,533],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F14464278e09077cfad9f79eba8cf35e5.jpg","24.4x27.4cm",[119],{"id":2036,"slug":2037,"title":2038,"dynasty":336,"author":91,"museum":2039,"description":2040,"tags":2041,"thumbUrl":2042,"material":118,"size":2043,"collection":119,"collections":2044,"showCount":2002,"zanCount":39,"manualWeight":39,"mainColor":123},218451,"mao-nv-tu-yi-ming-218451","毛女图","费城艺术博物馆","飞瀑自崖间倾泻，溅起细碎水痕，苔石旁草木疏朗。毛女侧立，发髻簪着粉白小花，衣袂轻垂，眉目间透着悠然清寂。身旁灵鹿昂首，似与她共赏山光。山石以淡墨皴擦，肌理朴拙却藏层次；瀑布线条流畅，动静相衬。绢本的古雅色调，更添岁月沉淀的温润。画面简淡却意韵悠长，将毛女栖隐山林、与兽为友的传说，化作一卷仙逸之境，笔墨间满是山野的清旷与绝尘的况味。",[24,51,495,26,27,114,7,532,1148,30,423],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa13675267f743bc53cfd605358debfb0.jpg","21x21.4",[119],{"id":2046,"slug":2047,"title":2048,"dynasty":70,"author":91,"museum":1326,"description":1327,"tags":2049,"thumbUrl":2051,"material":380,"size":381,"collection":101,"collections":2052,"showCount":2053,"zanCount":345,"manualWeight":39,"mainColor":123},226346,"ku-zhu-shi-dong-pi-yi-ming-226346","窟主室东披",[531,259,26,27,114,1330,2050,1853,116,214,7],"神兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F869fcb1f31f310d321bb9bdc58817750.jpg",[],55,{"id":2055,"slug":2056,"title":2057,"dynasty":18,"author":350,"museum":47,"description":2058,"tags":2059,"thumbUrl":2061,"material":101,"size":101,"collection":101,"collections":2062,"showCount":2053,"zanCount":11,"manualWeight":39,"mainColor":40},224171,"tian-shan-ji-xue-tu-hua-yan-224171","天山积雪图","名画家说名画：李燕说华喦是河北美术出版社出版的一部作品。\n《名画家说名画:李燕说华喦》包括：天山积雪图、金屋春深图、松下观流图、苏米对书图、钟馗赏竹图、竹林七贤图、隔水吟窗图、曹松堂肖像、春宴图、钟馗嫁妹图、关山勒马图、渔家乐图、梅鹤图、渔夫晚归图内容。\n天山积雪图 金屋春深图 松下观流图 苏米对书图 钟馗赏竹图 竹林七贤图 隔水吟窗图 曹松堂肖像 春宴图 钟馗嫁妹图 关山勒马图 渔家乐图 梅鹤图 渔夫晚归图",[23,24,50,51,25,26,52,27,114,614,1900,2060,214,7],"雪","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F561d7fd76d8b44ae76dbc675b8ffbd77.jpg",[],{"id":2064,"slug":2065,"title":2066,"dynasty":336,"author":2067,"museum":110,"description":2068,"tags":2069,"thumbUrl":2071,"material":248,"size":2072,"collection":119,"collections":2073,"showCount":2053,"zanCount":11,"manualWeight":39,"mainColor":40},222521,"lao-zi-qi-niu-zhou-zhang-lu-222521","老子骑牛轴","张路","《老子骑牛图》人物的面部刻画得非常传神，衣纹的穿插也灵活巧妙，整个人物给人一气画成之感，形象生动而富有情致。",[23,24,2070,25,114,78,75,244,52,7,214],"水墨画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F206effd797ba2e6ba61c8c1c5ee3941c.jpg","纵101.5厘米 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.2厘米，横47.2厘米",[],{"id":2113,"slug":2114,"title":2115,"dynasty":45,"author":856,"museum":337,"description":2116,"tags":2117,"thumbUrl":2120,"material":80,"size":2121,"collection":61,"collections":2122,"showCount":2101,"zanCount":39,"manualWeight":39,"mainColor":123},221501,"chun-jiao-mu-yang-tu-li-di-221501","春郊牧羊图","《春郊牧羊图》为扇面小品，大不盈尺，绘春郊野外，羊群于坡岸吃草放牧的情景，羊群刻画生动，奔走俯首等姿态栩栩如生，有母子舔犊情深、有结伴奔跑嬉戏、有独自悠闲觅食。荒草并不丰茂，但却充满生机，平稳均衡的画面布局又隐藏着山坡横向的动感和柳树上扬下垂的起伏变化，而正在攀爬柳树的牧童，更是给看似安静的画面增添了活眼",[23,24,50,495,27,26,2118,368,7,114,700,1615,2119],"柳","郊野","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a238f37fd4e936610467a8de5665e84.jpg","24.1×24.8cm",[61,35,204],{"id":2124,"slug":2125,"title":2126,"dynasty":552,"author":563,"museum":1369,"description":2127,"tags":2128,"thumbUrl":2129,"material":118,"size":2130,"collection":119,"collections":2131,"showCount":2101,"zanCount":345,"manualWeight":39,"mainColor":40},220304,"shen-qi-tu-zhao-meng-fu-220304","神骑图","赵孟頫（1254年10月20日 －1322年7月30日 ），字子昂，汉族，号松雪道人 ，又号水晶宫道人（一说水精宫道人 ）、鸥波，中年曾署孟俯。吴兴（今浙江省湖州市）人，原籍婺州兰溪。南宋晚期至元朝初期官员、书法家、画家、诗人，宋太祖赵匡胤十一世孙、秦王赵德芳嫡派子孙。",[23,74,27,26,76,75,176,7,324,532],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F57852e2c7d3771acfec8f2e8b15502eb.jpg","16.8x87厘米",[119,37],{"id":2133,"slug":2134,"title":2135,"dynasty":45,"author":91,"museum":273,"description":2136,"tags":2137,"thumbUrl":2139,"material":118,"size":2140,"collection":61,"collections":2141,"showCount":2101,"zanCount":39,"manualWeight":39,"mainColor":123},218619,"yuan-lu-tu-yi-ming-218619","猿鹭图","在画山的一棵老松树上，一只猴子右手抱着一只苍鹭，左手挥舞着，似乎在吓唬坐在树顶的另一只苍鹭，尽管树顶的苍鹭确实受到了惊吓，它张着尖嘴，翅膀微微张开，似乎准备逃走了。紧握着的游隼张开的嘴，似乎在呼救。",[23,50,24,51,495,26,27,75,496,2138,726,577,30,246,214,7],"鹭","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe68a43a8dfe0798f567015c2597b7b30.jpg","23.3x23.8",[61],{"id":2143,"slug":2144,"title":2145,"dynasty":336,"author":91,"museum":110,"description":2146,"tags":2147,"thumbUrl":2148,"material":33,"size":2149,"collection":35,"collections":2150,"showCount":2101,"zanCount":39,"manualWeight":39,"mainColor":40},216216,"ming-ren-hua-suan-ni-tu-yi-ming-216216","明人画狻猊图","这幅画的主题是狻猊，它是古代中国神话中的一种强大的兽，被认为是一种深深联系着天地万物的神兽。在这幅画中，画家细致地描绘了狻猊的身体特征，并运用了各种色彩来表现狻猊的神秘和强大。这幅画是一个经典的代表作，展现了明朝画家对古代传统文化的热爱和尊重。",[24,50,51,26,27,7,951,246,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9d8a9122c3bb3c95220a73fd82916619.jpg","211.9x178.6cm",[35],{"id":2152,"slug":2153,"title":2154,"dynasty":881,"author":2155,"museum":992,"description":2156,"tags":2157,"thumbUrl":2158,"material":80,"size":2159,"collection":101,"collections":2160,"showCount":2161,"zanCount":39,"manualWeight":39,"mainColor":123},232620,"fan-bu-xue-wei-tu-juan-hu-qian-232620","番部雪围图卷","胡虔","胡瓌与胡虔父子的生卒年均不详，他们父子熟悉草原生活，专绘游牧民族形形色色的生活场景，内容包括卓歇、牧马、射骑、按鹰、撬幕、汲泉等，创作丰富，描绘极为传神生动。\n[五代·后唐]镶子，画番部人马有父风。其父用笔清而圆，虔得笔于父，熟而劲，伹清圆微劣于父。《图画见闻志、宣和画谱、真迹日录》",[23,24,51,74,27,26,114,176,7,215,246,76,77,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdb672acb1f1813c352c1c5db3e6cbe11.jpg","28.8×117厘米",[],53,{"id":2163,"slug":2164,"title":2165,"dynasty":336,"author":1266,"museum":47,"description":2166,"tags":2167,"thumbUrl":2169,"material":380,"size":381,"collection":101,"collections":2170,"showCount":2161,"zanCount":39,"manualWeight":39,"mainColor":40},228438,"lin-guan-xiu-bai-miao-luo-han-tu-juan-chou-ying-228438","临贯休白描罗汉图卷","所绘罗汉,有的庞眉大目,有的高颧隆鼻,面貌都是“胡貌梵相”,这种奇异之相,立意免俗。",[23,24,51,74,402,113,259,114,2168,314,801,7,230,55,75],"罗汉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f322aff8127d791c2c05a48d900a610.jpg",[],{"id":2172,"slug":2173,"title":2174,"dynasty":540,"author":91,"museum":47,"description":2175,"tags":2176,"thumbUrl":2178,"material":380,"size":381,"collection":101,"collections":2179,"showCount":2161,"zanCount":39,"manualWeight":39,"mainColor":65},226735,"ya-mu-fu-xin-fang-ding-yi-ming-226735","亚牧父辛方鼎","青铜器（Bronze Ware）在古时被称为“金”或“吉金”，是红铜与其他化学元素锡、铅等的合金，刚刚铸造完成的青铜器是金色，但因为出土的青铜因为时间流失产生锈蚀后变为青绿色，被称为青铜。\n青铜器的使用开始于新石器时代晚期的土耳其和伊拉克地区，及叙利亚古代TellRamad遗址出土的铜珠等。中国青铜器开始于马家窑至秦汉时期，以商周时期的器物最为精美。在中国仰韶文化早期和马家窑文化时期就已经出现。\n中国最初出现的是小型工具或饰物。夏代始有青铜容器和兵器。商中期，青铜器品种已很丰富，并出现了铭文和精细的花纹。商晚期至西周早期，是青铜器发展的鼎盛时期，器型多种多样，浑厚凝重，铭文逐渐加长，花纹繁缛富丽。随后，青铜器胎体开始变薄，纹饰逐渐简化。春秋晚期至战国，由于铁器的推广使用，铜制工具越来越少。秦汉时期，随着陶器和漆器进入日常生活，铜制容器品种减少，装饰简单，多为素面，胎体也更为轻薄。\n中国青铜器制作精美，在世界青铜器中享有极高的声誉和艺术价值，代表着中国5000多年青铜发展的高超技术与文化。\n我国商、周时代的青铜器具，不单是盛物用的容器，同时也是宗庙中的礼器。青铜器的数量可以表示出身份地位的高低，青铜器形制的大小也可以显示出权力的等级。青铜器中，最重要的器类就是鼎。远古的青铜器可以分为食器、酒器、水器、乐器四大类。食器中包括鼎、鬲等等。其中鼎是最重要的礼器。\n西周中晚期我国形成了列鼎制度，据《春秋公羊传》记载，天子用9鼎，诸侯用7鼎、卿大夫用5鼎、士用3鼎或1鼎。同时。与鼎一同出现的还有簋，通常为九鼎八簋，七鼎六簋，五鼎四簋，三鼎二簋。在西周中晚期的墓葬制度中，鼎为单数而簋为双数。青铜鼎随着时代的发展，形制也在发生变化。商代早期多为圆腹尖足，也有方鼎。到了中期出现了扁足鼎等等。商代晚期尖足鼎逐渐减少，圆腹柱足鼎开始居多，鬲鼎逐渐多了起来。《尔雅》记载“鼎之款足者，谓之鬲”。鬲鼎也称为分裆鼎，是鬲和鼎的混合体，鼎从商代开始铸有各式样的神秘纹饰，多为兽面纹，如饕餮纹、蝉纹、象纹等等，纹饰变化巧妙。容器内部铸有族徽或祖先的名字。\n青铜是铜和锡铅的合金。在中国古代早期的工艺美术中青铜工艺成为奴隶社会工艺美术的典型代表是我们的祖先对人类物质文明的巨大贡献。商周时期是中国历史上的青铜时代，它以品类丰富、造型优美、纹饰华丽、制作精巧、风格独特而著称。此时是冶炼铸造技术可以说有了突发猛进的发展，在应用上具有广泛的适用性。成为中国艺术史的一个组成部分。本文以商周时期的青铜器主要代表作品作品：《后母戊大方鼎》、《盂鼎》为例，从青铜器作为“礼器”的艺术精神与青铜器的造型、装饰艺术特点来谈谈商周青铜器艺术。\n中国古代青铜器，就使用规模、铸造工艺、造型艺术及品种而言。中国古代青铜器在世界艺术史上占有独特地位。商周时期是中国历史上的青铜时代，青铜流行于新石器时代晚期至秦汉时代。以商周器物最为精美，品种已很丰富器型多种多样，并出现了铭文和精细的花纹浑厚凝重。商周青铜器艺术装饰承接新石器时代艺术中若干精髓，经过长期绵延不断的变化，形成独特的体系，在成为中国艺术史的一个组成部分。商周时期，青铜的冶炼业作为生产力的标志而达到高峰。是中国古代青铜器发展的鼎盛时期。",[160,161,164,544,95,7,540,2177],"古代器物","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d488bc59abff2807dc7d206e50744f7.jpg",[],{"id":2181,"slug":2182,"title":2183,"dynasty":45,"author":91,"museum":47,"description":2184,"tags":2185,"thumbUrl":2186,"material":101,"size":101,"collection":102,"collections":2187,"showCount":2161,"zanCount":39,"manualWeight":39,"mainColor":65},221646,"yu-shi-fo-jiao-seng-lv-yi-ming-221646","玉饰（佛教僧侣）","青白玉质，局部俏色取洒金皮为僧侣披帛。圆雕僧侣丰面圆颅，神态憨稚平和，抬掌曲膝自在随性，身旁瑞兽蜷蹲依偎，灵动温顺。整器刀法圆融洗练，线条柔畅凝练，褪去宗教肃穆感，将佛门清宁与世俗意趣相融，温润玉质晕出莹润柔光，把宋人的文玩雅趣凝于方寸，消解禅门距离，尽显日常化的安然禅意，是宋代世俗化玉雕审美精巧体现。",[484,94,95,259,114,7,289],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdefc7923c68d894d2d55c6a8d8d9b2d.jpg",[102],{"id":2189,"slug":2190,"title":1265,"dynasty":18,"author":91,"museum":1369,"description":2191,"tags":2192,"thumbUrl":2193,"material":118,"size":101,"collection":119,"collections":2194,"showCount":2161,"zanCount":39,"manualWeight":39,"mainColor":123},218300,"luo-han-tu-yi-ming-218300","罗汉趺坐神兽身侧，衣袂如流云舒卷，线条婉转间藏松活之趣。光头映着古绢暗纹，长须皴染得苍劲有力，眉目低垂时，禅意便从眼角眉梢漫出。神兽造型奇崛，鬃毛卷曲似浪涛翻涌，双目圆睁却含温驯，与罗汉的静定相映成趣。设色淡雅，墨骨清晰，浅晕的赭石与石青点缀其间，恰如古寺晨钟里的一抹微光。岁月在绢上留下斑驳痕迹，却让这份禅意更显醇厚——动静相生的构图里，是超然物外的平和，亦是传统佛画对心性的温柔观照。",[24,51,25,259,27,26,114,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62bbeb3ee91439ac7a59fb3d67f3c6b0.jpg",[119],{"id":2196,"slug":2197,"title":2198,"dynasty":552,"author":91,"museum":110,"description":2199,"tags":2200,"thumbUrl":2201,"material":1956,"size":2202,"collection":101,"collections":2203,"showCount":2204,"zanCount":11,"manualWeight":39,"mainColor":123},291029,"hua-hu-zhou-yi-ming-291029","画虎轴","此画通幅描绘如真，渍染极得润厚的韵致。画无名款，旧签定为元人。惟据画风判断，与明代宫廷画风，颇多相近处，是以推断，该幅或出自明代良工之手。松林石涧间，一巨虎黄皮黑纹，毛色鲜丽，体态威武雄壮。虎之双眼，俱以金粉涂饰，并略染汁绿，显得格外神气逼人。其背隆起，宛如张弓欲发，隐然有即将出击之势。虎口微启，低吟而未啸。树梢，二山鹧见状，相与惊跃鸣叫，更为此猛虎出山的场景，平添紧张、不安的气息",[24,51,25,27,26,314,7,214],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F754b14053084a7cd4ca663a634e08e9c.jpg","165.5x45.3公分",[],52,{"id":2206,"slug":2207,"title":2208,"dynasty":336,"author":91,"museum":47,"description":2209,"tags":2210,"thumbUrl":2212,"material":380,"size":381,"collection":101,"collections":2213,"showCount":2204,"zanCount":39,"manualWeight":39,"mainColor":65},287648,"wen-shu-pu-sa-zuo-xiang-wu-se-cha-ban-yi-ming-287648","文殊菩萨坐像（无色差版）","中国雕塑是指具有中国特色且原产于中国的雕塑艺术品。中国雕塑（Chinese sculptures），为中国文化的重要组成部分。中国古代雕塑艺术的主要内容分别是陵墓雕塑（包括地上的纪念性石刻与墓室随葬俑）、宗教雕塑、民俗性及其他内容的雕塑。\n大型陵墓石刻肇始于汉代墓前的石人、石兽。存世的古代陵墓石刻主要为南朝宋、齐、梁、陈及唐、北宋、明、清各代帝陵和勋臣贵戚墓的遗存。北魏、辽、金、西夏等朝代陵墓遭严重破坏，仅有少量石刻遗留下来。南朝和唐代的作品代表了陵墓石刻的最高成就。自唐代乾陵起，以迄北宋，石刻的内容、配置方式，逐步形成定制，并为明、清两代所承袭。宗教雕塑主要保存于寺庙和石窟寺之内，由于寺庙毁损严重，石窟寺雕塑便成为宗教雕塑遗存的主要代表。石窟寺是开凿于山崖之上的宗教寺庙。以佛教为主，也有少量道教或其他宗教内容的造像。石窟形制源自印度，约于 3世纪传至中国。造窟风气最盛的时期为南北朝至唐代中期，约当5～8世纪。重要石窟多以皇室或勋臣贵戚雕造的大像为中心，由众多的窟、龛、摩崖造像等，构成庞大的石窟群。雕造的时间常延续10多个世纪。每个窟内又以立体雕塑本尊佛造像为中心，由弟子、菩萨（以后增加天王、力士）组成群像，四壁布满浮雕或壁画，形成浓厚的宗教氛围。由于造像和壁画、浮雕内容、样式的差异，而形成不同时期、不同地区的艺术风格。功能\n中国雕塑既可以是一个国家文化的标志和象征，又可作为该民族文化积累的产物。雕塑述说着民族发展的历史，凝聚着民族的精神和传统，代表着每一历史时期的精神面貌，反映着自古至今，人们的无限追求与执着信仰，展现价值观念及审美情趣。中国雕塑，城市建筑等，都是一个民族精神文明与物质文明最直观、最集中的表现。\n中国雕塑不仅仅是文化的产物，同时也是一个国际不可或缺的经济投资点。中国雕塑和其他其他国际建筑等共同构成世界高雅美丽的环境，使生活在城市中的人们受到优越的审美体验，感受到文化的魅力与美的精神，中国雕塑的存在影响了中国环境，提升了文化形象，产生了视觉空间的凝聚力，这就创造了一种对于环境的投资潜能。",[24,259,2211,26,27,114,7,551],"佛教","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d41534d13dcade9bfedf364d5ee228c.jpg",[],{"id":2215,"slug":2216,"title":2217,"dynasty":18,"author":411,"museum":110,"description":2218,"tags":2219,"thumbUrl":2220,"material":118,"size":2221,"collection":37,"collections":2222,"showCount":2204,"zanCount":345,"manualWeight":39,"mainColor":40},219421,"shi-jun-tu-zhi-ben-xiao-cong-zhou-lang-shi-ning-219421","十骏图之奔霄骢轴","郎世宁（一六八八－一七六六）意大利人。十九岁，入天主教耶稣会为修士。曾习油画，兼习建筑。二十七岁来华，以绘事供奉内廷，历仕康熙、雍正、乾隆三朝。善画人物花鸟，尤善犬马。翁牛特贝勒彭苏克于乾隆八（西元一七四三）年，进贡骏马一匹。郎氏奉命写生，大小尺寸与真马近似，故生动逼真。",[24,51,25,26,27,176,7,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F88cc43dc7390def7e0d6582757e42846.jpg","240x270.5",[37],{"id":2224,"slug":2225,"title":586,"dynasty":45,"author":91,"museum":110,"description":2226,"tags":2227,"thumbUrl":2238,"material":118,"size":2239,"collection":61,"collections":2240,"showCount":2204,"zanCount":39,"manualWeight":39,"mainColor":123},219014,"mu-niu-tu-yi-ming-219014","小河两岸溪流纵横，在树荫下草木茂盛，是放牧的好地方。牛群由六头牛组成，其中三头牛在争吵后相互厮打。而另外两个牧童则坐在牛背上，静静地交谈。笔力强劲，墨色厚重，画面没有标记，日期较晚。",[23,24,51,52,26,27,74,78,7,2228,263,700,230,1476,1432,532,2229,53,2230,2231,2232,231,2233,2234,2235,821,2236,2237],"牧童","淡墨","田园","野趣","平远构图","坡岸","小径","幼兽","静谧","自然","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd8dd986111c132cf50382a2bc3bf6d21.jpg","68.2x140.3",[61],{"id":2242,"slug":2243,"title":586,"dynasty":45,"author":91,"museum":507,"description":2244,"tags":2245,"thumbUrl":2248,"material":118,"size":2249,"collection":61,"collections":2250,"showCount":2204,"zanCount":39,"manualWeight":39,"mainColor":123},219013,"mu-niu-tu-yi-ming-219013","在池塘边的一棵柳树下，一头奶牛在舔她的小牛；不远处，一个牧童背靠着柳树睡觉，狭长的柳叶在风中飘动，温暖的阳光让春天的日子充满生机。这幅画是李唐和晏子平的遗作，他们都是著名的畜牧业画家，应该是大师级画家的作品。",[24,495,52,78,7,2228,699,2246,2247],"池塘","春日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa669771ee97905e8613b0c50bdb92e5a.jpg","24.7x25.6",[61],{"id":2252,"slug":2253,"title":2254,"dynasty":18,"author":91,"museum":47,"description":2255,"tags":2256,"thumbUrl":2259,"material":380,"size":381,"collection":101,"collections":2260,"showCount":2261,"zanCount":39,"manualWeight":39,"mainColor":123},289741,"hua-yuan-hua-shi-er-yue-ling-tu-ba-yue-tu-zhou-yi-ming-289741","画院画十二月令图八月图轴","仲秋园池盛景跃然绢上，水岸亭台层叠错落，高阁凌水而建，文人雅士凭栏游赏，或把盏叙谈，或极目远眺，尽得清秋舒展意趣。下方庭院间，棕榈奇石点缀雅致园景，廊下有人对坐弈棋，仆从往来奔走备事，将官宦世家的闲适日常铺陈开来。\n\n水面澹澹漾开，远岸林木疏朗，暮色初升晕染天际，把八月的闲雅氛围揉入边角细节。全作工笔细腻，设色清隽雅致，将仲秋游园的松弛意趣藏在人物情态里，把园林精巧意趣与太平岁月的悠然融于一体，尽显古典雅致的世家闲情。",[24,25,26,27,1269,114,896,2257,1148,263,1039,1477,230,7,2258],"亭","游乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6bcb28d920a01f8e8712b428cf940c7e.jpg",[],51,{"id":2263,"slug":2264,"title":2265,"dynasty":18,"author":91,"museum":47,"description":2266,"tags":2267,"thumbUrl":2271,"material":101,"size":101,"collection":102,"collections":2272,"showCount":2261,"zanCount":39,"manualWeight":39,"mainColor":40},250547,"qian-long-kuan-bi-yu-shuang-er-huo-huan-dai-gai-ping-yi-ming-250547","乾隆款碧玉双耳活环带盖瓶","此器玉色深沉苍润，匀净浓郁，取古铜壶形制。盖顶圆雕双象盘绕，憨态古朴，暗合太平有象的吉意。颈部对称高浮雕兽首衔活环，线条刚劲狞厉，带着青铜礼器的威严厚重。\n\n器身纹饰层次井然，上部以回纹为地，浮雕兽面纹，古雅庄重；腹部卷草夔纹婉转流畅，柔化了古拙气息。腹身阴刻诗文，刀工爽利落拓，为这件古意盎然的重器添了几分文人气韵。整器将青铜古意与玉雕精工完美相融，端庄浑厚，尽显宫廷治玉的雍容大气，是复古尚雅审美下的经典佳构。",[94,95,949,289,7,2268,2269,2270,313],"双耳","活环","带盖","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33c7b6d76e1f52bad21b6f3c7a630cbe.jpg",[102],{"id":2274,"slug":2275,"title":2276,"dynasty":18,"author":19,"museum":47,"description":421,"tags":2277,"thumbUrl":2279,"material":380,"size":381,"collection":101,"collections":2280,"showCount":2261,"zanCount":11,"manualWeight":39,"mainColor":40},235406,"tao-hou-tu-zhou-ren-yi-235406","桃猴图轴",[24,51,25,26,7,801,2278,1289,357],"桃","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc91447d55f5265c58f0b6e0a06c907bb.jpg",[],{"id":2282,"slug":2283,"title":2284,"dynasty":552,"author":1825,"museum":47,"description":2285,"tags":2286,"thumbUrl":2287,"material":1883,"size":2288,"collection":35,"collections":2289,"showCount":2261,"zanCount":345,"manualWeight":39,"mainColor":123},221705,"shu-tu-qian-xuan-221705","鼠图","他画的《黠鼠图》是目前我们所能见到的最早的一件画鼠作品。\n画中的老鼠正在偷食瓜果，每个老鼠的形态不一，笔触细腻，老鼠的狡黠形象跃于纸上。",[23,24,51,26,27,355,7,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d3d4a9ecece2b0a34a04e94dee2d0a5.jpg","24.3 27.3",[35,37],{"id":2291,"slug":2292,"title":2293,"dynasty":18,"author":91,"museum":226,"description":2294,"tags":2295,"thumbUrl":2298,"material":118,"size":2299,"collection":119,"collections":2300,"showCount":2261,"zanCount":122,"manualWeight":39,"mainColor":123},219453,"yuan-ren-qiu-lie-tu-yi-ming-219453","元人秋猎图","描绘了北方少数民族在高山密林间行军、围猎、休憩、露营的情形。\n画卷以人物活动为主线，山水树石作为场景铺垫，既是人物活动展开的背景，又形成各段情节之间的自然间隔和过渡。十二米的长卷中场面宏大，情景众多，共画有七百余人，人物身份不一，有的衣饰华贵，气宇轩昂，被众人簇拥，俨然王族之相。多数是兵将勇士之属，其中甚至还有女兵的身影。\n此卷布局繁密有序，山峦错落，画面是静止和片段性的，而人物活动则有一定的时间性和延续性，如何将二者结合就很考验画家的创作能力了。表现带有情节性和故事性的山水人物，中国传统绘画的惯用手段就是利用长卷的形式，画卷的展开赋予画面一种流动性，画中人物的活动随观赏者的目光而移动，时间的维度就在不知不觉中展开了。",[23,24,74,26,27,114,176,532,263,2296,533,2297,7],"帐篷","秋景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9edf607c039286a054fe9cb75697a771.jpg","纵59厘米，横1240厘米",[119,249],{"id":2302,"slug":2303,"title":2304,"dynasty":552,"author":2305,"museum":47,"description":2306,"tags":2307,"thumbUrl":2310,"material":380,"size":381,"collection":101,"collections":2311,"showCount":2312,"zanCount":11,"manualWeight":39,"mainColor":123},283620,"chu-jiang-jun-chu-lie-tu-juan-wang-meng-283620","楚将军出猎图卷","王蒙","王蒙（1308－1385年），字叔明，号黄鹤山樵、香光居士，吴兴（今浙江湖州）人。元朝画家。赵孟頫外孙。\n元末弃官，隐居杭州黄鹤山（今浙江杭州临平），自号“黄鹤山樵”，直至晚年才下山出仕，于明初任山东泰安知州。洪武十八年（1385年），因“胡惟庸案”牵累，死于狱中。\n王蒙的山水画受到赵孟頫的直接影响，后来进而师法王维、董源、巨然等人，综合出新风格。王蒙与黄公望、吴镇、倪瓒合称“元四家”。兼攻人物、墨竹，并擅行楷。存世作品有《青卞隐居图》《葛稚川移居图》《夏山高隐图》《丹山瀛海图》《太白山图》等。",[23,24,74,26,114,533,176,7,2308,230,215,2309],"猎犬","荒草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4ec6c80c7dc97ba90759e5c0fb4f398a.jpg",[],50,{"id":2314,"slug":2315,"title":2316,"dynasty":552,"author":2317,"museum":20,"description":2318,"tags":2319,"thumbUrl":2320,"material":137,"size":2321,"collection":119,"collections":2322,"showCount":2312,"zanCount":39,"manualWeight":39,"mainColor":123},221767,"er-ma-tu-juan-ren-ren-fa-221767","二马图卷","任仁发","元朝任仁发的《二马图》卷，是一幅有着明确讽刺内容的绘画作品，而且含义十分尖锐，下面试解释画面一二。\n画面很简单，画幅前边是一匹壮实、膘肥肉厚的花马，昂首，踏着轻快的碎步，尾巴扬起飘动，显得自在得意。随在这匹马后边的则是一匹骨瘦如柴的马，条条肋骨清晰可见，它低着头，步履蹒跚，尾巴卷缩着，显出吃力疲惫之态。画家以极其写实的手段，采用勾勒的笔法，描画了马匹的轮廓，线条极富表现力，然后赋以色泽，颇具唐人画马的传统。\n如果单纯从画面来看，画中描绘的只是两匹马，我们似乎不会感到这是一幅讽刺绘画，但是结合画幅后面作者自己的题记来看，其实它是对当时官场乃至社会的种种腐败黑暗提出了强烈的批评。只不过采用了隐喻、拟人的手法，曲折地表明了画家的态度和观点。这大概也是画家所处的时代决定的，因为像《二马图》这样的作品，当时除去作者本人以外，能看到的人可以说不会很多，这样的绘画活动仅仅只能算是个人行为，不会像现在的漫画作品能够发表于报刊上，影响面十分广大，变成了一种社会行为。\n这幅并无任何其他背景和道具的《二马图》卷，看似简单，其实寓意深刻。内容的关键在于画幅后面画家任仁发自己题写的一段文字。他在跋语中先叙述了所画的肥、瘦二马：“肥者骨骼權奇，縈一索而立峻坡，雖有厭飫芻豆之榮，寧無羊腸踣蹶之患。瘠者皮毛剝落，齧枯草而立風霜，雖有終身擯斥之狀，而無晨馳夜秣之勞。”在写完对两匹马的评语后，作者笔锋一转，进一步议论道：“世之士大夫，廉濫不同，而肥瘠系焉。能瘠一身而肥一國，不失其爲廉；苟肥一己而瘠萬民，豈不貽淤濫之恥歟？”看了这段跋语，我们才恍然大悟，原来任仁发是借用两匹马来评论官场的得失利弊。他将画中的肥马比喻成为官不正的贪官，他们吸食民脂民膏，故而肥壮；又将画中的瘦马比喻为廉明勤政的清官，因为忙于政务而累得皮毛剥落，骨瘦如柴。然后作者表明了应当以前者为戒、以后者为榜样的态度。明白了任仁发画这肥、瘦二马的用意之后，再仔细观察，就会发现，作者在画中还安排了一个不大为人注意的细节，那匹肥马马首挽着笼头，但是缰绳却松开了，拖在地上，而瘦马不但有笼头，缰绳还套在马颈上。一匹是没有约束的脱缰之马，失去了控制，就会无法无天，鱼肉百姓而肥己。另一匹是有约束的拴着缰绳的马，有了管束才能尽心尽力，克勤克俭。在这里任仁发似乎又进一步阐述了自己对于官吏管理的看法，其用心可谓十分良苦。其深刻含义就是如果一个社会缺乏了某种监督和制约的机制，腐败就将滋生。",[23,24,51,74,26,27,176,7,77,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc32de904e74241fc3d2e6288cfebb4fe.jpg","纵28.8厘米，横142.7厘米",[119,37],{"id":2324,"slug":2325,"title":2326,"dynasty":45,"author":91,"museum":47,"description":2327,"tags":2328,"thumbUrl":2329,"material":118,"size":101,"collection":119,"collections":2330,"showCount":2312,"zanCount":11,"manualWeight":39,"mainColor":123},218380,"feng-yuan-dang-xiong-tu-juan-yi-ming-218380","冯媛当熊图卷","殿宇的静穆被熊咆撕碎，尘雾里冯媛挺身挡在御座前。她衣袂轻扬却身姿如松，直面鬃毛贲张的猛兽——利爪前探的寒芒，映在她凝定的眼眸里。身侧嫔妃敛袖疾退，裙裾纷乱间露惶然神色；侍御持械却难掩惊惶，唯有她的身影如砥柱般屹然。御座上的帝王扶案屏息，目光锁在那抹决绝的背影上。\n\n古卷设色沉雅，线条流转间将刹那的紧张凝固：猛兽的凶戾、众人的惊惧、冯媛的无畏，在绢素上交织成一曲勇气的绝唱。笔墨不刻意渲染却动人心魄，于鬓发的微颤、衣褶的飘转处见风骨，让千年后的观者仍能触到那份临危不乱的赤诚——不是张扬的豪壮，是静水流深般的担当，在古雅的色调里静静发光。",[23,50,24,51,74,27,26,114,7,670],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64a9c747976af01358494e9c913d07cb.jpg",[119],{"id":2332,"slug":2333,"title":2334,"dynasty":18,"author":1726,"museum":20,"description":2335,"tags":2336,"thumbUrl":2338,"material":33,"size":2339,"collection":35,"collections":2340,"showCount":2312,"zanCount":39,"manualWeight":39,"mainColor":40},216233,"shi-jun-quan-tu-ai-qi-meng-216233","十骏犬图","图为乾隆皇帝在宫中豢养的欧洲纯种猎犬画像。作者以西方的素描技法，运用解剖学，以短细的笔触一丝不苟地刻画出猎犬健美的体态和皮毛的质感，具有极强的写实性。每幅图的对开上均标明犬名，对宫廷御用犬的研究具有极高的史料价值。图中的衬景山水是中国画家创作的。中西画家携手创作是乾隆朝宫廷绘画的一大特色。\u2028　　款署：“臣艾启蒙恭绘。”钤“臣艾启蒙”白文印、“恭画”朱文印。每图对开页有嵇璜书写的乾隆朝大学士汪由敦和梁诗正撰写的题赞。鉴藏印有“乾隆鉴赏”、“宜子孙”等。\u2028　　此图旧藏紫禁城内的乐寿堂。《石渠宝笈》著录。",[23,313,24,27,26,2337,75,7,927,230,324,1148],"楷书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ffec4435ecb0b05c797d72ed5d75aa9.jpg","纵24.5厘米，横29.3厘米",[35],{"id":2342,"slug":2343,"title":2344,"dynasty":45,"author":2345,"museum":273,"description":2346,"tags":2347,"thumbUrl":2349,"material":101,"size":101,"collection":61,"collections":2350,"showCount":2312,"zanCount":39,"manualWeight":39,"mainColor":2351},202162,"ben-du-tu-juan-liang-tu-shan-202162","奔犊图卷","梁秃山","画面以简括笔墨勾勒奔牛动态，牛身墨色浓淡相间，肌肉张力隐现，四蹄腾空似奋力疾奔，尾梢甩动更添动感。旁侧小兽身形小巧，与壮牛形成对比，衬出牛之奔势。背景树木枝干疏朗，坡石以淡墨晕染，留白处尽显空濛，营造出野逸之境。整幅画作笔墨极简却意趣盎然，于瞬间动态中捕捉生命活力，尽显南宋文人画的写意精神与自然意趣。",[24,52,74,78,7,263,2348,53,23],"坡石","https:\u002F\u002Fos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画中忽必烈着红衣白裘，乘着黑马。画中有十人，有弯弓搭箭，有驾鹰纵犬，人物分散，似做围猎状。\n《元世祖出猎图》中人物、马骑无论衣着、装备皆刻画精细，表情神态自然生动。 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、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。\n八大山人是宁献王朱权的后裔，大明宗室对鹿有极深的感情。古代的鹿象征至高无上的皇权地位。鹿在中国有着非常吉祥的寓意，它不仅代表长寿，还与“禄”字谐音，故国画中间常借画鹿传达贺寿或加官进爵之意。八大山人画鹿存世十余幅，大都画一两只鹿，而画群鹿及配山水至今仅见此一幅。",[24,51,25,52,402,633,147,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7891ac0bf8822102bdf85850797f6e1f.jpg","纸本 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。\n翟院深无作品流传于世，画中雪山崔巍，老木寒柯，气象萧疏，是一幅李成传派的宋画。",[23,24,2472,53,2473,215,230,1372,7],"山水画","雪山","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F213ef25e23b1ae0d2de584a8008fe774.jpg",[],{"id":2477,"slug":2478,"title":2479,"dynasty":45,"author":91,"museum":433,"description":434,"tags":2480,"thumbUrl":2481,"material":26,"size":438,"collection":101,"collections":2482,"showCount":2464,"zanCount":11,"manualWeight":39,"mainColor":123},220244,"rui-guang-ta-si-tian-wang-xiang-2-yi-ming-220244","瑞光塔四天王像2",[24,259,114,26,27,7,1040,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb05475f86835101e8ca6e59527097d99.jpg",[],{"id":2484,"slug":2485,"title":2486,"dynasty":45,"author":91,"museum":433,"description":434,"tags":2487,"thumbUrl":2488,"material":26,"size":438,"collection":101,"collections":2489,"showCount":2464,"zanCount":11,"manualWeight":39,"mainColor":123},220243,"rui-guang-ta-si-tian-wang-xiang-3-yi-ming-220243","瑞光塔四天王像3",[259,531,114,7,1040,26,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d6520b33166666ff109398c72410528.jpg",[],{"id":2491,"slug":2492,"title":2493,"dynasty":45,"author":2494,"museum":507,"description":2495,"tags":2496,"thumbUrl":2498,"material":33,"size":2499,"collection":35,"collections":2500,"showCount":2464,"zanCount":39,"manualWeight":39,"mainColor":123},219133,"pu-bian-you-lu-tu-ma-he-zhi-219133","瀑边游鹿图","马和之","瀑流如素练倾泻而下，溅起碎玉般的水花，山石间苔痕隐现。左侧枯树盘曲，枝桠似铁线勾勒，苍劲中藏清逸之姿。几只游鹿或低头饮泉，或侧耳听瀑，姿态悠然，与山林气韵相融。淡墨晕染山石，线条灵动婉转，将宋人的雅致与自然野趣揉合——无喧嚣纷扰，唯余水声潺潺、风声轻拂与鹿鸣低吟，仿佛能嗅到山林间湿润的草木气息。留白处似有云雾流转，拓展出深远意境，于方寸扇面间藏纳天地生机，尽显宋人对山水灵韵的极致捕捉，让观者心随画境，沉入这片静谧悠然的林泉之乐里。",[50,24,51,495,26,532,7,2497,230,1148,578],"枯藤老树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2f935cf5ded05b595572aec0df2933a.jpg","20.3x23.5cm",[35],{"id":2502,"slug":2503,"title":2504,"dynasty":336,"author":1649,"museum":110,"description":2505,"tags":2506,"thumbUrl":2507,"material":118,"size":2508,"collection":35,"collections":2509,"showCount":2464,"zanCount":11,"manualWeight":39,"mainColor":123},218808,"wan-niu-tu-dai-jin-218808","纨牛图","中国人对于牛的情感不同于对待其他动物，这种感情是复杂且深厚的。这不仅是因为牛的性格敦厚老实，更主要的还是因为对于一个历史悠久的农业国家，牛在农耕文明中一直都担任着十分重要的劳动力角色，它几乎是每一个农村家庭不可缺少的伙伴。",[24,50,25,26,27,114,78,7,246],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd2af2f1fd17bdb3ed688b14800f04d97.jpg","181x96.3cm",[35],{"id":2511,"slug":2512,"title":2513,"dynasty":45,"author":746,"museum":47,"description":2514,"tags":2515,"thumbUrl":2516,"material":101,"size":101,"collection":101,"collections":2517,"showCount":2518,"zanCount":39,"manualWeight":39,"mainColor":65},227716,"long-hu-tu-zhou-mu-xi-227716","龙虎图轴","牧溪，俗姓李，佛名法常，号牧溪，四川人，大概时间为宋末元初，具体生卒年月不祥，但有资料记载牧溪于公元1281年逝世。代表作品有《老子图》《松猿图》《远浦归帆图》《潇湘八景图》。",[50,24,51,25,52,54,314,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb229fdf17c2f47f0594e267085c31a4b.jpg",[],46,{"id":2520,"slug":2521,"title":2522,"dynasty":45,"author":1133,"museum":47,"description":2523,"tags":2524,"thumbUrl":2525,"material":101,"size":101,"collection":101,"collections":2526,"showCount":2518,"zanCount":39,"manualWeight":39,"mainColor":123},227412,"bai-yuan-xian-shou-tu-li-cheng-227412","白猿献寿图","李成（919~967年），字咸熙，号营丘，京兆长安（今陕西省西安市）人。五代宋初画家，与董源、范宽并称“北宋三大家”，苏州刺史李鼎的孙子。\n博学多才，胸有大志，无处施展，醉心于书画。乾德五年，病逝于陈州，时年四十九岁。\n擅于山水画，师承于荆浩、关仝，自成一家，喜欢画郊野平远旷阔的风景。平远寒林，画法简练，气象萧疏，好用淡墨，“惜墨如金”；绘画山石如卷动的云，人称“卷云皴”；绘画寒林，开创“蟹爪”法，对于山水画的发展有重大影响。作品有《读碑窠石图》《寒林平野图》《晴峦萧寺图》《茂林远岫图》等。",[23,24,51,50,26,27,7,801,578,230,214,532],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd21c51cd22e4004907bdc5e4839ebbe4.jpg",[],{"id":2528,"slug":2529,"title":2530,"dynasty":336,"author":91,"museum":337,"description":2531,"tags":2532,"thumbUrl":2533,"material":1883,"size":2534,"collection":101,"collections":2535,"showCount":2518,"zanCount":39,"manualWeight":39,"mainColor":65},223577,"hou-lu-tu-yi-ming-223577","猴鹿图","画面既有对峙的情绪，又不失诙谐，展示出猕猴调皮的一面。",[23,24,27,26,7,801,147,324,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3990bd328b807f7169b28a5e1559bb9a.jpg","17.8x22.2",[],{"id":2537,"slug":2538,"title":2539,"dynasty":881,"author":91,"museum":110,"description":2540,"tags":2541,"thumbUrl":2543,"material":201,"size":2544,"collection":249,"collections":2545,"showCount":2518,"zanCount":39,"manualWeight":39,"mainColor":123},223343,"wu-dai-ren-qiu-lin-qun-lu-zhou-yi-ming-223343","五代人秋林群鹿轴","在尽情展露盛夏的绿意之后，秋天这个令人舒爽怡然的季节跟著悄然到来，所有的树叶在此时染上了缤纷的色彩，深红、淡橘、浅黄、碧蓝……似乎要赶在严冬来临之前，释放所有的美丽。鹿群抵不住诱人的秋色，踩著轻快脚步进入这片色彩斑斓的秋林，瞧鹿儿所呈现的各种姿态，彷若与眼前丰美的景色唱和起舞。\n《秋林群鹿》主要在描写鹿群于秋林中活动的各式神情，作画的人已经佚失，只知道曾经是属于元代皇帝的收藏。从作品的形式风格而言，充满装饰趣味的空间陈置，以及如此丰富的色彩勾填，都不常见于人们所熟知的中国绘画作品中，有学者推测，这件作品与邻近国家如辽国，甚至更远的中亚之间，存有十分密切的关系",[23,24,25,26,2542,147,324,7],"秋林","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F66f45cd68073dee3a98e941f2ee82b50.jpg","118.4x63.8公分",[249,37],{"id":2547,"slug":2548,"title":365,"dynasty":45,"author":856,"museum":20,"description":2549,"tags":2550,"thumbUrl":2551,"material":1883,"size":2552,"collection":61,"collections":2553,"showCount":2518,"zanCount":122,"manualWeight":39,"mainColor":123},221560,"su-wu-mu-yang-tu-li-di-221560","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。",[23,50,24,51,495,26,402,114,368,7,324,497],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fceaa42b0901bb55ad17260f047b24a30.jpg","24.4x21.5厘米",[61,119,37],{"id":2555,"slug":2556,"title":2557,"dynasty":70,"author":197,"museum":110,"description":2558,"tags":2559,"thumbUrl":2560,"material":1956,"size":2561,"collection":249,"collections":2562,"showCount":2518,"zanCount":11,"manualWeight":39,"mainColor":123},221073,"yuan-ma-zhou-han-gan-221073","猿马轴","该幅无款，旧题唐代韩干作。韩干，大梁人（河南开封），亦有作长安或蓝田人。公元742－755年（天宝）召入宫中为供奉。曾师曹霸，以画马而得名，唐张彦远极为推崇之。此幅绘竹石树林，三猿戏於枝间石上，其下绘黑白双骏。画上宋徽宗题字和“御书”一玺，及理宗“缉熙殿宝”玺皆伪，当为后加。然画中不论猿、马、树石、枝叶，皆描绘细腻，或为南宋作品。",[23,24,25,27,26,7,801,176,324,230,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdf7b8bdb4c78758314a20784df579585.jpg","48.58X136.8",[249,204],{"id":2564,"slug":2565,"title":2566,"dynasty":45,"author":492,"museum":110,"description":2567,"tags":2568,"thumbUrl":2570,"material":118,"size":2571,"collection":61,"collections":2572,"showCount":2518,"zanCount":39,"manualWeight":39,"mainColor":40},218948,"qiao-ke-yuan-gua-tu-yi-yuan-ji-218948","乔柯猿挂图","图绘山野之中，两黑一白三只小猿猴在老柏树上嬉戏玩耍。形象生动，用笔细腻，应是从写生中得来。",[23,24,50,27,52,26,2569,1463,230,7,263],"古木","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3c73ab950f34a4402a9ba1c8dd4002e.jpg","24.2x26.4",[61],{"id":2574,"slug":2575,"title":2576,"dynasty":552,"author":91,"museum":47,"description":2577,"tags":2578,"thumbUrl":2580,"material":380,"size":381,"collection":101,"collections":2581,"showCount":2582,"zanCount":11,"manualWeight":39,"mainColor":40},290785,"xian-nv-zhou-yi-ming-290785","仙女轴","该幅绘女仙高髻素衣，趺坐蒲团，手拈笔毫，膝前置贝多叶，似欲书经传道。旁有筠篮系锄上，中贮芝草。一狮一虎伏侍在侧，状甚温驯，盖表现女仙道高，足以降服猛兽。",[24,25,114,115,314,7,2579,1498,26,75],"仙女","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdba9881fccc86160614489a9c319fe7b.jpg",[],45,{"id":2584,"slug":2585,"title":2586,"dynasty":45,"author":746,"museum":47,"description":2587,"tags":2588,"thumbUrl":2590,"material":380,"size":381,"collection":101,"collections":2591,"showCount":2582,"zanCount":11,"manualWeight":39,"mainColor":123},287573,"song-yuan-tu-mu-xi-287573","松猿图","此图绘两只黑猿踞于松干上，一成年猿将一幼猿拢于怀中，形象十分生动。画家用浓墨乾笔绘猿身皮毛，很真实地表现出蓬松的质感，墨猿刻画得较为工致，可见法常是有写生基础的。",[50,24,51,52,801,7,246,2589],"枯藤","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F785fa0ecef9736a94643b20966a7cfc7.jpg",[],{"id":2593,"slug":2594,"title":2595,"dynasty":540,"author":91,"museum":47,"description":2596,"tags":2597,"thumbUrl":2598,"material":101,"size":101,"collection":166,"collections":2599,"showCount":2582,"zanCount":39,"manualWeight":39,"mainColor":65},242812,"shou-mian-wen-gui-yi-ming-242812","兽面纹簋","双龙耳蜷曲灵动，中和了器身的沉穆厚重。兽面纹狞厉威严，双目突出极具张力，回纹勾连环绕，层层铺陈出上古的肃穆祭祀氛围。斑驳铜锈是岁月浸淫出的肌理，将崇神尚礼的庄重凝于一身。\n\n线条刚劲利落，器形端庄沉稳，狞厉的纹饰暗藏古人对天地神祇的敬畏，古朴质感里藏着跨越千年的文明回响，是青铜礼器中狞厉之美的典型缩影。",[160,164,7,95,289],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbee7e17535f86a46393733d49c4bd499.jpg",[166],{"id":2601,"slug":2602,"title":2603,"dynasty":45,"author":798,"museum":47,"description":2604,"tags":2605,"thumbUrl":2606,"material":101,"size":101,"collection":101,"collections":2607,"showCount":2582,"zanCount":39,"manualWeight":39,"mainColor":123},227831,"she-xiang-tu-mao-song-227831","麝香图","洞石旁蜀葵柔枝舒展，粉白淡紫的花晕漾开雅致生机，藏在花枝间的禽鸟敛羽小憩，暗生幽趣。狸奴踞坐于地，蓬松白毛似覆软雪，琥珀眼眸凝向幼崽，神态温静慵懒。三只乳猫两两嬉闹，稚拙灵动的憨态被描摹入微。\n\n设色秀妍清雅，笔致工细却不失灵韵，以圆形构图收拢庭院景致，将母猫育幼的日常温情定格成一方温柔剪影，把宋人的细腻闲情晕开在绢素之上，平和松弛的烟火暖意漫溢其间，尽显雅致柔和的审美意趣，将寻常里的治愈温情留存至今。",[23,50,24,51,495,27,26,29,7,644,30,231],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb6e654708b44e5b560820fa536d6656d.jpg",[],{"id":2609,"slug":2610,"title":2611,"dynasty":336,"author":91,"museum":20,"description":2612,"tags":2613,"thumbUrl":2614,"material":80,"size":2615,"collection":101,"collections":2616,"showCount":2582,"zanCount":11,"manualWeight":39,"mainColor":123},223384,"shuang-tu-tu-ye-yi-ming-223384","双兔图页","《双兔图页》是明代佚名创作的绢本设色画。",[23,24,51,495,27,26,7,131,590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd702801541ffb43e86522d41bd3b9e52.jpg","纵114.3厘米 横56厘米",[],{"id":2618,"slug":2619,"title":2620,"dynasty":18,"author":91,"museum":110,"description":2621,"tags":2622,"thumbUrl":2626,"material":33,"size":2627,"collection":37,"collections":2628,"showCount":2582,"zanCount":11,"manualWeight":39,"mainColor":40},219370,"wu-kuan-hua-yin-wo-quan-zhou-yi-ming-219370","无款花阴卧犬轴","花阴覆处，湖石嶙峋，几丛花草点缀其间，生机暗涌。群犬嬉戏成趣：一犬蜷身侧卧，颈间红绳系铃，眸光慵懒似梦；旁侧幼犬挤卧亲昵，绒毛软嫩如棉，另有小犬蹒跚学步，爪印浅浅印于草间。湖石皴法细腻，纹理毕现；花草设色淡雅，与犬之墨韵相映成趣。整幅画无喧嚣之态，唯有闲居之暖，似将时光凝于花阴下，藏住一段温柔的日常。笔触柔润却不失精准，将犬的憨态与场景的静谧融于一体，尽显生活中的细碎温情，让人观之忘俗。",[24,26,27,25,7,927,2623,30,644,423,2624,2625],"幼犬","阴景","多犬","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe4e148e8acfd6744eb02cf49cd8a5dd6.jpg","123.3x153.7",[37],{"id":2630,"slug":2631,"title":1265,"dynasty":336,"author":1649,"museum":110,"description":2632,"tags":2633,"thumbUrl":2634,"material":33,"size":2635,"collection":119,"collections":2636,"showCount":2582,"zanCount":39,"manualWeight":39,"mainColor":123},218463,"luo-han-tu-dai-jin-218463","明人画景，喜欢参透人物的真实，戴进这幅画中的罗汉手持法杖静静地坐在堂前，左手徐徐伸向猛虎，另一个僮仆侧身在门后窥视，表现出恐惧，而罗汉、猛虎却平静自如。人物的脸部刻画精细，生动传神；岩石上凿有大斧头，水墨淋漓，粗壮有力。笔触迅捷，推进有形，笔墨有聚有放，工作与书写之间刚柔相济，巧拙相间。",[23,24,51,25,259,402,52,114,314,7,590,324,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a316db5cd7b66cdcda9599be7778b79.jpg","113.9x36.7",[119],{"id":2638,"slug":2639,"title":2640,"dynasty":336,"author":2641,"museum":226,"description":2642,"tags":2643,"thumbUrl":2645,"material":59,"size":101,"collection":35,"collections":2646,"showCount":2582,"zanCount":39,"manualWeight":39,"mainColor":123},216955,"shi-liu-li-shu-tu-ge-shu-ying-216955","石榴栗鼠图","葛淑英","葛淑英（1565年－1628年）是一位中国明朝时期的画家。葛淑英出生于江苏省无锡市，是明朝最著名的女画家之一。她以其精湛的画技和绚丽多彩的作品而闻名。其中最著名的作品之一是《石榴栗鼠图》。\n\n《石榴栗鼠图》是一幅以石榴和栗鼠为主题的水墨画。在这幅画中，葛淑英用柔和的线条勾勒出了两只栗鼠的轮廓。这三只栗鼠正在咀嚼着一个石榴，举动自然，看起来很可爱。葛淑英用细腻的笔触描绘出了栗鼠的皮毛，使它们看起来栩栩如生。此外，画中还有一棵树，树上有许多绿色的叶子，为整幅画增添了一丝清新的气息。\n\n《石榴栗鼠图》展示了葛淑英对自然的描绘能力，也展示了她对生活细节的捕捉能力。这幅画不仅美观，而且充满了温暖的气息，是一件令人感动的艺术作品。",[50,24,51,25,27,26,355,7,2644],"石榴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faba5a7329abdb4f2ba88cf74167c31af.jpg",[35],{"id":2648,"slug":2649,"title":2650,"dynasty":45,"author":2651,"museum":47,"description":2652,"tags":2653,"thumbUrl":2657,"material":380,"size":381,"collection":101,"collections":2658,"showCount":2659,"zanCount":39,"manualWeight":39,"mainColor":123},288954,"xuan-cao-you-gou-tu-mao-yi-288954","萱草游狗图","毛益","毛益（公元12世纪）〔南宋〕昆山（今属江苏）人，一作沛（今江苏沛县）人，生卒年不详。孝宗乾道(1165-1173)间画院待诏，工画翎毛、花竹，尤能渲染，似欲飞鸣。",[24,27,26,2654,1027,2655,148,7,2656],"花鸟画","萱草","嬉戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4451ba617deffe2f59651d8c89fc4ce.jpg",[],44,{"id":2661,"slug":2662,"title":2663,"dynasty":336,"author":2664,"museum":20,"description":2665,"tags":2666,"thumbUrl":2667,"material":713,"size":2668,"collection":119,"collections":2669,"showCount":2659,"zanCount":11,"manualWeight":39,"mainColor":40},236480,"shan-shui-ren-wu-ce-guo-fen-ya-236480","山水人物册","郭汾涯","郭汾涯（约公元15世纪），明初时人，生卒年不详。能诗，善画山水、人物，宗唐、宋人画法，取马远、夏圭笔意。关于其生平，画史记载甚少，现只能从仅有的几幅传世作品，以及明初时的画风嬗变，来了解这位画家。\n此套《山水人物册》，每页自题七言诗一首，落款“汾涯”。册页中人物形神刻画生动，线条挺劲酣畅；山水以斧劈皴随意勾写，笔力遒劲；画树出枝峭拔、点叶爽辣，得南宋山水画遗风。\n明代初期画院复兴，提倡以古硬、雄厚、峻峭的风格来振作笔墨精神。在元朝被压制了多年的李、刘、马、夏画风，此时又开始活跃起来。宫廷内外，宗法者甚多。画风变南宋苍劲荒率为浑壮雄厚。画家们将贵族艺术引入民间，注重功力又不死守法度，变精严为放逸，顺应通俗艺术发展的时代潮流。这股势力影响范围广大，成为明代初期画坛实力最雄厚的画派——浙派。\n从这套册页中看，郭汾涯也是身处这股巨浪之中，但从画面中依然能体会到画家自觉与主动的一面，笔墨并非一味地追求粗放与草率，而是劲拔精简，笔下流露出画家掩饰不住的率真天性。画面还成功地将自然环境和人物活动富有情趣地结合在一起，给观者以强烈的艺术感染力。",[24,52,26,353,114,532,147,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F829e7d3f099522e9857d1983f1256050.jpg","纵38.8厘米，横60.4厘米",[119,37],{"id":2671,"slug":2672,"title":2673,"dynasty":336,"author":91,"museum":337,"description":2674,"tags":2675,"thumbUrl":2676,"material":101,"size":2677,"collection":101,"collections":2678,"showCount":2659,"zanCount":39,"manualWeight":39,"mainColor":123},223531,"mu-zi-lu-tu-yi-ming-223531","母子鹿图","此作设色古雅沉静，笔致工细柔和。坡岸之上，鹿抬首凝神，目光追随着翩跹彩蝶，周身斑点晕染匀净柔和，皮毛质感细腻宛然。苍松虬劲，针丛细密苍润，怪石皴刻朴拙古厚，衬出林间清寂之气。远景淡墨晕染出水泽远山，朦胧空濛将意境拉伸，方寸画幅饱含山野林泉的悠然意趣。兼具院体画的精工，又带着文人水墨的淡远意境，定格幽林闲静一刻，尽显山野生灵与林泉共生的悠然禅意。",[23,24,51,26,27,7,147,590,497,214],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1a708feb39d0df19f091d6ff9e9da8cc.jpg","24.1x26",[],{"id":2680,"slug":2681,"title":2682,"dynasty":1156,"author":2683,"museum":47,"description":2684,"tags":2685,"thumbUrl":2690,"material":101,"size":101,"collection":101,"collections":2691,"showCount":2692,"zanCount":39,"manualWeight":39,"mainColor":123},230476,"jiang-hu-shi-dai-feng-shen-lei-shen-tu-ping-feng-jiu-jing-bao-yi-230476","江户时代 风神雷神图屏风","酒井抱一","狞恶忿怒的面相搭配蓬乱如戟的须发，肌肉贲张的肢体满是狂暴力量感，风神腾跃于烟霭之上，握持系着风铎的绳索，青绸长带随罡风翻卷破空，仿佛能听见风铎清响混着呼啸长风。\n\n泥金笺底晕开暗沉烟霭，衬出神祇御风的缥缈动感，刚硬狞厉的面相与柔婉飘带形成强烈对冲，将风神席卷天地的威仪诠释得淋漓尽致。工写兼用的笔意，将无形罡风化为可视的磅礴威仪，静穆屏风之上，晕开浩荡天地气机，让人仿佛能触到扑面而来的浩荡天风。",[23,24,51,2686,26,114,2687,7,259,466,2688,2689,27,461],"屏风","神","神话形象","和风","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7a863bc1f73bf32374c8bc386a382b8e.jpg",[],43,{"id":2694,"slug":2695,"title":2696,"dynasty":70,"author":91,"museum":1326,"description":1327,"tags":2697,"thumbUrl":2699,"material":380,"size":381,"collection":101,"collections":2700,"showCount":2692,"zanCount":39,"manualWeight":39,"mainColor":123},226168,"ku-zhu-shi-zao-jing-yi-ming-226168","窟主室藻井",[531,1326,259,7,951,26,2698],"藻井","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf0b86238b96498c6a292cd931c6f8b4.jpg",[],{"id":2702,"slug":2703,"title":2704,"dynasty":298,"author":299,"museum":723,"description":2705,"tags":2706,"thumbUrl":2707,"material":101,"size":101,"collection":101,"collections":2708,"showCount":2692,"zanCount":39,"manualWeight":39,"mainColor":40},220540,"qun-niu-xu-bei-hong-220540","群牛","以淡墨晕染浅草萋萋，浓墨勾勒水牛筋骨肌理，将乡野牧歌揉进笔墨之间。三头壮硕水牛犄角虬劲，皮毛以枯湿浓淡的墨色晕染，厚重朴拙的神态呼之欲出，幼牛灵动稚嫩，与老牛形成鲜活反差，尽显天趣。\n\n赤脚牧童步履悠然，衣角轻扬，寥寥数笔便将乡间孩童的自在松弛刻画得淋漓尽致。画面留白恰到好处，上部题款填补疏朗空间，诗画相映成趣，将江南郊野寻常放牧的日常，晕染成满是生机的诗意图景，兼具写意笔墨的意趣与田园温情，满溢质朴动人的烟火意韵。",[24,51,52,26,78,114,216,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8efe1268ca4e88a89e6d9327f4fa9fe.jpg",[],{"id":2710,"slug":2711,"title":1525,"dynasty":45,"author":1825,"museum":110,"description":2712,"tags":2713,"thumbUrl":2714,"material":118,"size":2715,"collection":119,"collections":2716,"showCount":2692,"zanCount":345,"manualWeight":39,"mainColor":123},219308,"san-yang-kai-tai-tu-qian-xuan-219308","本幅画巨岩青松下，一童骑羊，手持斜挂鸟笼的梅枝，其后跟随二羊。「羊」与「阳」谐音，「三阳」为易经中的乾坤交泰卦象，显示天地间万物皆有生意，为吉祥表征。画中款题钱选，诗塘亦有清代姚文田敬书乾隆御制诗题，是为作者名称由来。然而本幅画风与元初文人画家钱选的作风差距甚远，应为明代晚期假托名家且具有吉庆意味的作品。",[24,51,26,27,114,7,633,230,76,2337,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8769a1d46532f390e5b84462dde32b02.jpg","122.4x49.9",[119],{"id":2718,"slug":2719,"title":2720,"dynasty":540,"author":91,"museum":47,"description":2721,"tags":2722,"thumbUrl":2723,"material":101,"size":101,"collection":166,"collections":2724,"showCount":2725,"zanCount":39,"manualWeight":39,"mainColor":123},242608,"wei-fu-yi-ding-yi-ming-242608","囗父乙鼎","立耳微张踞于口沿，束颈鼓腹下承三足，线条刚劲沉稳，尽显庄重古拙。腹身满饰兽面纹，纹样对称规整，浮雕线条狞厉威严，饕餮双目圆睁、犄角翻卷，将上古祭祀礼器的狞美感拉至极致，流转着神秘肃穆的巫祝氛围。\n\n青黑铜身晕开幽绿锈色，是岁月沉淀的斑驳印记，每一寸肌理都凝缩着先民的造物匠心，将祭祀重器的威仪与狞厉美学融为一体，静静诉说着那个时代的信仰与工艺巅峰。",[160,161,164,95,7,289],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ed71767b93979aa9d113a5c57407723.jpg",[166],42,{"id":2727,"slug":2728,"title":2729,"dynasty":336,"author":2730,"museum":47,"description":2731,"tags":2732,"thumbUrl":2733,"material":713,"size":2734,"collection":101,"collections":2735,"showCount":2725,"zanCount":39,"manualWeight":39,"mainColor":123},222699,"zhong-kui-jia-mei-tu-qian-gu-222699","钟馗嫁妹图","钱毂","钱维城（1720 —1772）于第二次南巡时陪同南下，不但于苏州绘「借山斋」一景，稍早经过家乡常州时，亦为乾隆皇帝绘制当地名胜苏轼「舣舟亭」，颇似御用的随行写生画家。此作描绘苏州虎邱一带的景致，承续「四王」山水风格，并揉合地貌与建筑，呈现出清代宫廷正统派山水画的风貌。乾隆皇帝于虎邱所题诗句「林泉印证真亲切，秀丽从来说虎邱」，显示出他以艺术品「即景印证」的习惯，并不囿于古代名迹，当朝词臣的画作亦可添助游兴。",[23,50,24,51,74,402,52,27,114,1445,7,1040,1762,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c26209f23737e8706df0896ba1b8b9f.jpg","33.3*257.5",[],{"id":2737,"slug":2738,"title":2739,"dynasty":45,"author":856,"museum":20,"description":2740,"tags":2741,"thumbUrl":2742,"material":137,"size":2743,"collection":61,"collections":2744,"showCount":2725,"zanCount":39,"manualWeight":39,"mainColor":40},221593,"lie-quan-tu-li-di-221593","猎犬图","犬类作为专门的绘画题材最早出现在北宋《宣和画谱》中的“鸟兽”一门。宋代不乏画犬的专家，如宫廷画家李迪、李嵩、赵永年等。此图描绘的是宫廷御用猎犬，步伐矫健而闲雅。画风追求工整写实、细腻华丽而又形神兼备的宫廷审美趣味，是宋代院画的典型作品。",[23,50,24,51,27,26,7,1027,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8b356f522e268e5858d309346e863d8.jpg","纵26.5厘米，横26.9厘米",[61,35,37],{"id":2746,"slug":2747,"title":2748,"dynasty":45,"author":91,"museum":110,"description":2749,"tags":2750,"thumbUrl":2751,"material":118,"size":2752,"collection":249,"collections":2753,"showCount":2725,"zanCount":39,"manualWeight":39,"mainColor":123},219927,"xi-shan-rui-xue-tu-zhou-yi-ming-219927","溪山瑞雪图轴","此作用全景式构图铺陈雪后山川，远景层岩覆雪，隐在烟霭之中，如琼楼玉宇浸在寒雾里，萧寒静谧。中景平林远渚，寒水如镜，板桥孤悬，策蹇旅人踏雪独行，为清寂天地添上一缕幽渺生趣。近景苍松挺拔，枝梢凝霜，山石以留白晕染摹写积雪厚重，墨色干湿浓淡铺陈开雪后清润空蒙的空气感。\n\n全图以水墨晕染替代重彩勾勒，以淡墨烘出空濛雪意，不着艳色，仅以墨色层次区分山林丘壑，将冬日山野的荒寒幽寂尽数铺陈，把雪后山乡的静谧澹泊揉进笔墨之间，尽显含蓄悠远的山水意趣。",[23,24,51,50,25,52,53,532,2060,726,1476,7,230,263,1432],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffc39c4cc1ff9e95f273a558411882121.jpg","131.5x56.9",[249],{"id":2755,"slug":2756,"title":2757,"dynasty":18,"author":91,"museum":110,"description":2758,"tags":2759,"thumbUrl":2760,"material":26,"size":2761,"collection":37,"collections":2762,"showCount":2725,"zanCount":39,"manualWeight":39,"mainColor":40},219365,"yuan-ben-lie-quan-zhou-yi-ming-219365","院本猎犬轴","猎犬身姿挺拔，黑缎般的背毛与浅棕四肢相映，尽显优雅矫健。颈间金纹项圈缀红饰，隐透宫廷驯养的尊贵。画师以工笔细描毛发纹理，尾梢卷曲如绒球，每根毫毛皆见匠心。素净绢底衬出犬的灵动，既写实传神，又暗含对生灵的细腻体察。画面无多余布景，简约中见精致，仿佛能感受到猎犬静立间蓄势待发的活力，尽显清代院体画的严谨与生动。",[24,25,26,27,7,1027,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24ee1d17944b0d5b85a5ac8ea9548254.jpg","120.5x158.3厘米",[37],{"id":2764,"slug":2765,"title":2766,"dynasty":45,"author":91,"museum":507,"description":2767,"tags":2768,"thumbUrl":2769,"material":248,"size":101,"collection":35,"collections":2770,"showCount":2725,"zanCount":345,"manualWeight":39,"mainColor":40},219089,"san-mu-tu-yi-ming-219089","散牧图","素净雪景铺展天地，淡墨晕染出苍茫清寂。枯树枝桠疏朗，似在寒风中轻颤；山石皴法简练，线条勾勒雪的厚重。几株老树苍劲，与留白雪地相映，更显悠远。牛群或缓步觅食，或嬉戏追逐，牧童骑于牛背，衣袂轻扬，尽展山野童趣。远处林峦朦胧，似隐似现，添了几分空濛。构图疏密有致，笔法细腻却不失洒脱，传递出人与自然相融的宁静之美，尽显雅致恬淡的意趣，仿佛能听见牧童的嬉笑声，随晚风消散在雪后的山林间。",[23,24,51,74,52,53,75,532,78,114,215,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0d87cbb3dc7c63f2731e50347052b00d.jpg",[35],{"id":2772,"slug":2773,"title":2774,"dynasty":336,"author":2775,"museum":20,"description":2776,"tags":2777,"thumbUrl":2778,"material":188,"size":2779,"collection":101,"collections":2780,"showCount":2781,"zanCount":11,"manualWeight":39,"mainColor":40},233838,"wo-you-tu-ce-shui-niu-shen-zhou-233838","卧游图册－水牛","沈周","此套图册分别绘仿倪山水、杏花、秋葵、秋柳鸣蝉、平坡散牧、栀子花、秋景山水、芙蓉、枇杷、秋山读书、石榴、雏鸡、秋江钓艇、菜花、江山坐话、仿米山水、雪江渔夫等山水、花鸟小景。\n根据末开画家自题，可知该册页的“卧游”之名源自南朝宋宗炳在居室四壁挂山水以当卧游的典故。然而不同于挂轴的是，该图册还可于卧床时仰面翻阅。 由此可见画家的绘制初衷和生活情趣。\n引首自书“卧游”，钤“沈氏启南”朱文印。鉴藏印：“士元珍藏”朱文印，“朱卧庵收藏印”朱文印，“查映山氏收藏图书”朱文印。\n仿倪山水，自题：“苦忆云林子，风流不可追。时时一把笔，草树各天涯。沈周。”钤“启南”朱文印。鉴藏印：“卧庵所藏”朱文印，“士元”朱文印，“昆山王成宪画印”朱文印，“映山珍藏”朱文印。\n杏花。自题：“老眼于今已敛华，风流全与少年差。看书一向糢糊去，岂有心情及杏花。沈周。”钤“启南”朱文印。鉴藏印：“卧庵所藏”朱文印、“昆山王成宪画印”朱文印。\n秋葵。自题：“秋色韫仙骨，淡姿风露中。衣裳不胜薄，倚向石阑东。沈周。” 钤“启南”朱文印。鉴藏印：“士元”朱文印，“卧庵所藏”朱文印，“昆山王成宪画印”朱文印。\n秋柳鸣蝉。自题：“秋已及一月，残声绕细枝。因声追尔质，郑重未忘诗。沈周。”钤“石田”白文印。鉴藏印：“昆山王成宪画印”朱文印、“士元”朱文印、“䒶机流动”朱文印。“卧庵所藏”朱文印。\n平坡散牧。自题：“春草平坡雨迹深，徐行斜日入桃林。童儿放手无拘束，调牧于今已得心。沈周。”钤“启南”朱文印两方。鉴藏印：“昆山王成宪画印”朱文印、“士元”朱文印、“之”“赤”朱文联珠印。\n栀子花。自题：“花尽春归厌日迟。玉葩撩兴有新栀。淡香流韵与风宜。帘触处、人在酒醒时。 生怕隔墙知。白头痴老子，折斜枝。还愁零落不堪持。招魂去、一曲（按：此字点去）阙小山词。右词寄小玉山，沈周。”钤“启南”朱文印，“吴言”朱文印。“石田翁”白文印。鉴藏印：“之”“赤”朱文联珠印，“朱卧庵收藏印”朱文印，“士元”朱文印，“卧庵所藏”朱文印。\n秋景山水。自题：“淡墨疏烟处，微踪仿佛谁。梅花庵里客，端的是吾师。沈周。”钤“启南”朱文印。鉴藏印：“士元”朱文印、“昆山王成宪画印”朱文印。\n芙蓉。自题：“芙蓉清骨出仙胎，赭玉玲珑轧露开。天亦要妆秋富贵，锦江翻作楚江来。沈周。”钤“启南”朱文印。鉴藏印：“士元”朱文印、“卧庵所藏”朱文印、“昆山王成宪画印”朱文印、“竹南藏玩”白文印。\n枇杷。自题：“弹质圆充饤，蜜津凉沁唇，黄金作服食，天亦寿吴人。沈周。”钤“启南”朱文印。鉴藏印：“士元”朱文印,“卧庵所藏”朱文印、“昆山王成宪画印” 朱文印。\n秋山读书。自题：“高木西风落叶时，一襟萧爽坐遥遥。闲披秋水未终卷，心与天游谁得知。沈周。”钤“启南”朱文印。鉴藏印：“昆山王成宪画印”朱文印、“士元”朱文印、“卧庵所藏”朱文印。\n石榴。自题：“石榴谁擘破，群琲露人看。不是无藏韫，平生想怕瞒。沈周。”钤“启南”朱文印。鉴藏印：“昆山王成宪画印”朱文印，“士元”朱文印，“卧庵所藏”朱文印。\n雏鸡。自题：“茸茸毛色半含黄，何独啾啾去母傍。白日千年万年事，待渠催晓日应长，沈周。”钤“启南”朱文印，“白石翁”白文印。鉴藏印：“士元”朱文印、“昆山王成宪画印”朱文印、“朱卧庵收藏印”朱文印。\n秋江钓艇。自题：“满池纶竿处处缘，百人同业不同船。江风江水无凭准，相并相开总偶然。沈周。”钤“启南”朱文印。鉴藏印：“昆山王成宪画印”朱文印，“卧庵所藏”朱文印。\n菜花。自题：“南畦多雨露，绿甲已抽新。切玉烂蒸去，自然便老人。沈周。”钤“启南”朱文印。鉴藏印：“之”“赤”朱文联珠印，“昆山王成宪画印”朱文印。\n江山坐话。自题：“江山作话柄，相对坐清秋。如此澄怀地，西湖忆旧游。沈周。”钤“启南”朱文印。鉴藏印：“之”“赤”朱文联珠印、“昆山王成宪画印”朱文印。\n仿米山水。自题“云来山失色，云去山依然。野老忘得丧，悠悠柱杖前。沈周。”钤“启南”朱文印。鉴藏印：“卧庵所藏”朱文印、“昆山王成宪画印”朱文印。\n雪江渔夫。自题：“千山一白照人头，簑笠生涯此钓舟。不识江湖风雪里，可能干得庙堂忧。沈周。”钤“白石翁”白文印。鉴藏印：“昆山王成宪画印”朱文印、“卧庵所藏”朱文印。\n题跋。自题：“宗少父四壁揭山水图，自谓卧游其间。此册方可尺许，可以仰眠匡床，一手执之，一手徐徐翻阅，殊得少文之趣。倦则掩之，不亦便乎？于揭亦为劳矣。真愚闻其言，大发笑。沈周跋。”钤“石田”白文印。鉴藏印：“昆山王成宪画印”朱文印，“芃园曹氏平生真赏”朱文印，“麓云楼书画记”朱文印，“康饴”朱文印，“只可自怡悦”白文印，“朱卧庵收藏印”朱文印，“依竹居士鉴赏书画印”朱文印。",[24,51,50,353,52,78,7,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F892357b8d795353c9df9c3dad573e9ae.jpg","纵27.8厘米，横37.3厘米",[],41,{"id":2783,"slug":2784,"title":2785,"dynasty":45,"author":2786,"museum":337,"description":2787,"tags":2788,"thumbUrl":2789,"material":2790,"size":2791,"collection":101,"collections":2792,"showCount":2781,"zanCount":11,"manualWeight":39,"mainColor":123},222677,"san-tu-tu-gong-ji-222677","三兔图","龚吉","用笔清新雅致，有沈铨的艺术风格。作者龚吉，生卒年不详，疑似沈铨的弟子或再传弟子。",[23,50,24,51,603,27,26,7,131],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6aaa73b140b8a6a8d234f073fbfbadd6.jpg","绢本水墨设色","67.3×40.6厘米",[],{"id":2794,"slug":2795,"title":2796,"dynasty":45,"author":91,"museum":2797,"description":2798,"tags":2799,"thumbUrl":2800,"material":248,"size":2801,"collection":119,"collections":2802,"showCount":2781,"zanCount":39,"manualWeight":39,"mainColor":123},218602,"shi-liu-luo-han-tu-yi-ming-218602","十六罗汉图","美国纳尔逊阿特金斯艺术博物馆","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。",[23,24,51,74,402,52,259,114,314,801,147,7,633,590,324,497,75,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcf090e8c5463c31d1dff3f90f8004b00.jpg","32.7x848.4",[119],{"id":2804,"slug":2805,"title":2806,"dynasty":18,"author":2807,"museum":20,"description":2808,"tags":2809,"thumbUrl":2810,"material":425,"size":2811,"collection":119,"collections":2812,"showCount":2813,"zanCount":39,"manualWeight":39,"mainColor":40},238295,"shi-liu-luo-han-ce-jia-quan-238295","十六罗汉册","贾全","贾全，生卒年不详，乾隆时供奉内廷。工画人物及马。此册画不同形象的罗汉十六尊。佛像采用中国传统人物画技法，勾线填色。人物神态平和，面部晕染有致，衣纹流畅，背景简率。",[24,51,353,26,27,52,259,114,7,532,1148,30,726],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9d73bf3f1eb13ad969126a5b8ecc69d.jpg","纵31.5厘米横25厘米",[119,37],40,{"id":2815,"slug":2816,"title":2817,"dynasty":45,"author":856,"museum":47,"description":2818,"tags":2819,"thumbUrl":2820,"material":101,"size":101,"collection":101,"collections":2821,"showCount":2813,"zanCount":11,"manualWeight":39,"mainColor":123},227958,"mu-yang-tu-juan-li-di-227958","牧羊图卷","此作用工写兼融之笔，铺展秋日郊原之景。沙渚浅坡晕染淡赭，细草缀以青绿，衬出疏阔静穆的荒寒氛围。林间枯木虬劲苍古，残叶间点缀秋红，暗合塞晚秋光。\n\n群羊姿态各异，或卧地慵憩，或垂首啮草，或两两相逐，毛发蓬松温润，刻画细腻灵动，尽显羊只闲适之态。整卷设色雅致柔和，既有院体画的精工写实，又暗含文人画的淡逸意趣，将牧羊日常化为悠远诗意，把塞北秋原的宁和生机，尽数融于长卷之中，意韵清寂悠长。",[23,24,50,51,74,27,26,53,368,7,324,246,700,1432,214,76,75,230,2233],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2dfddaef68b627b4fae245934cf60aa.jpg",[],{"id":2823,"slug":2824,"title":2825,"dynasty":45,"author":2826,"museum":47,"description":2827,"tags":2828,"thumbUrl":2830,"material":101,"size":101,"collection":101,"collections":2831,"showCount":2813,"zanCount":11,"manualWeight":39,"mainColor":123},227335,"song-li-tu-song-tian-227335","松栗图","松田","这幅小品以淡墨铺就底色，枯笔皴写松枝，苍拙老辣，自带山野清寂意趣。松鼠以浓墨破淡，晕染出蓬松柔润的绒毛，俯身探看，眼目灵动机警，将小兽憨然灵动的神态全然托出。松针攒簇、松果朴拙，简笔勾勒便生野趣。\n\n大片留白不着一笔，尽得山林空寂之味，将山野间一瞬的灵动定格，以小景见天地，尽显简淡中藏着的盎然生机，把文人画疏淡清雅的审美意韵融在尺幅之间。",[603,24,51,50,52,31,633,354,2829,7],"松果","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4546d1410a71aa3f9bc40f0b4509ba54.jpg",[],{"id":2833,"slug":2834,"title":2835,"dynasty":552,"author":91,"museum":2836,"description":2837,"tags":2838,"thumbUrl":2841,"material":118,"size":2842,"collection":37,"collections":2843,"showCount":2813,"zanCount":39,"manualWeight":39,"mainColor":123},219180,"lin-yuan-shuang-yang-tu-yi-ming-219180","林原双羊图","四川博物馆","此幅为纨扇，工笔。画面溪水静流，草木丛生，古树歪斜，一双羊正埋头觅食。纨色古雅。左上角钤朱文篆刻收藏印“刘氏春禧所藏”，右下角有朱文篆印“忠”字。无款，为元人所绘，稀有难觅。",[23,50,24,51,26,27,368,7,324,2839,2840,216,1900],"林","原","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fece76ddc27e36003fe0c487787bb73e0.jpg","纵26厘米，横27厘米",[37],{"id":2845,"slug":2846,"title":2847,"dynasty":18,"author":2848,"museum":110,"description":2849,"tags":2850,"thumbUrl":2852,"material":118,"size":2853,"collection":35,"collections":2854,"showCount":2813,"zanCount":39,"manualWeight":39,"mainColor":123},216212,"suan-ni-zhou-liu-jiu-de-216212","狻猊轴","刘九德","刘九德（Liu Jiude）是一位清朝的画家，他的狻猊图是他最著名的作品之一。狻猊图是一幅大型油画，描绘了一只狮子在草原上的场景。这幅画以其精细的细节、生动的色彩和传神的描绘而闻名。刘九德在创作狻猊图时，深受中国传统山水画的启发，并结合自己的独特艺术风格。狻猊图被认为是中国清朝时期最优秀的艺术作品之一，并被广泛收藏。",[24,51,25,26,27,7,2851,726,230,577],"狮","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fce7c5161fa971df7d7b5ae04c0307600.jpg","176.8x238.5cm",[35],{"id":2856,"slug":2857,"title":2858,"dynasty":18,"author":2859,"museum":47,"description":2860,"tags":2861,"thumbUrl":2863,"material":101,"size":101,"collection":101,"collections":2864,"showCount":2865,"zanCount":11,"manualWeight":39,"mainColor":123},236043,"qian-long-huang-di-xi-xiang-tu-zhou-ding-guan-peng-236043","乾隆皇帝洗象图轴","丁观鹏","此作以洗象场景铺陈，将禅门仪轨融于山林野趣。虬松苍劲盘桓，荫蔽出一方幽凉，巨象安驯仁厚，侍者持具涤扫，动作舒展自然。画面人物神态各殊，或静立垂目，或俯身劳作，衣袂翩跹雅致，敷色明柔妍丽。远景以淡墨晕出平沙烟岚，衬出清旷悠远的林下氛围。\n\n整作工笔精细雅致，线条婉转流畅，将肃穆礼佛之意揉入悠然山野图景，兼具规整细腻与空灵澹远，把清宁禅意与林下雅趣相融，观之如临其境，见一场祥和清寂的林间佛事，韵致悠长。",[24,25,27,26,114,950,314,7,532,263,230,2862],"植被","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e64a545b5a01030f15e8610b035d154.jpg",[],39,{"id":2867,"slug":2868,"title":2869,"dynasty":18,"author":2870,"museum":47,"description":2871,"tags":2872,"thumbUrl":2873,"material":101,"size":101,"collection":101,"collections":2874,"showCount":2865,"zanCount":39,"manualWeight":39,"mainColor":123},230192,"jiu-long-tu-ce-zhou-xun-230192","九龙图册","周璕","此作以水墨晕染铺就翻涌云海，虚实掩映间神龙破云而出。画师以浓淡变幻的墨色烘托出混沌氤氲的云气，将龙身隐没在烟岚之中，仅露威严龙首与遒劲鳞爪，藏头露爪间尽显神龙幽渺难测的神秘感。\n\n龙首刻画工细，眉须戟张，目光沉凝威严，鳞爪筋骨苍劲有力，与泼墨晕染的朦胧云海形成鲜明虚实对比。干湿浓淡的笔墨层次丰富，将神龙腾云的磅礴气势与云雾翻卷的空茫意境相融，尽显神兽潜藏天地间的慑人神威，把东方神龙的灵韵威严藏于烟云万象之中，是水墨绘龙的精妙之作。",[23,24,51,353,52,54,7,232],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F91e5ab036e4a2b558af5a0323993952a.jpg",[],{"id":2876,"slug":2877,"title":2878,"dynasty":1484,"author":91,"museum":47,"description":2879,"tags":2880,"thumbUrl":2881,"material":380,"size":381,"collection":101,"collections":2882,"showCount":2865,"zanCount":345,"manualWeight":39,"mainColor":123},223968,"lian-zhi-deng-yi-ming-223968","连枝镫","汉代青铜器产生于青铜时代的晚期，在我国青铜史上占有特殊的地位，体现出独特的设计思想和特征，具有卓越的科学功能，并对当今设计有很大的启示作用。\n汉代青铜器很多都是素纹，大部分还是铸造的，也有的花纹、铭文是用錾子雕刻的。比如汉代的鎏金杯子、奁、盒、碗等用具上的花纹，多是雕刻的。\n汉代以后至唐代的铜器，铸造的花纹很多，其中有打料的铜、金、银器，并且也有了大、小焊的技术。\n西汉初期（高祖至景帝），此时的青铜器，基本为素面。其鼎主要承自秦式，但一般三足更矮。敦盒形。\n壶有大小二型并存，大型壶腹下部略呈收缩之状，腹比秦壶要鼓；小型壶的腹部较瘦长，经常铸出变形螭纹。钫此时更流行，有的做得很讲究，通腹有镶嵌绿松石的三角云纹。\n鍪和蒜头壶继续流行。日用器皿中，高灯多见，豆式熏炉盛行，带钩显琵琶形、棒形、琴形讲究的多做成鎏金、错金银、镶玉或绿松石。\n西汉中期至东汉早期（西汉武帝至东汉章帝）是西汉青铜器最发达的时期，也是汉代青铜器新风格最终形成的时期。这时期最多见的青铜用器是鼎、壶、钫、尊、熨斗、带钩、铜镜。\n灯：古代照明器具。青铜灯出现于战国时期，而盛行于汉代。最著名的当属长信宫灯了，灯的样子很多，较普通的是有圆盘，盘内有钎，盘下有柱，柱下有圈足；也有盘下作雁足状的，盘用来盛油或插烛。\n另有一种灯自铭为“行灯”，它圆盘边有把，盘下有三短足。青铜灯最富感染力的当属那些铸成人形、禽形、兽形、树形的艺术造型灯。\n博山炉：古代焚香的器具。一般炉体作圆形，用来放香料，体下有高足，有的足还铸成人形或鸟兽形；炉盖均高而尖，雕镂成山峦形上有人物、走兽，象征海上仙山“博山”，故名“博山炉”。盛行于汉代。\n樽：古代盛酒的器皿，器作圆形，直壁，有盖，腹较深，下有三兽足，旁有铺首衔环耳。\n洗：盥洗用器皿。形状象盆，圆形、宽口沿，平或圆底，腹外多有铺首衔环耳，内底常用双鱼作装饰，并多铸吉语。盛行于汉晋。\n耳杯：古代饮酒器。多漆制，称“羽觞”。铜质者，器作椭圆形，腹壁有二环耳。\n熨斗：古式熨烫衣服的工具。形状为圆腹宽口沿，有长柄，盛行于汉魏。\n东汉中晚期（和帝至献帝）青铜器又有了新的变化。此时使用较多的铜器日用品有：钟、扁壶、盆、釜、鐎斗、灯、博山炉、炉、熨斗、尊、耳杯、虎子、车马器、带钩、铜镜、玺印等。\n此时青铜器的特点是比以前轻薄、错金银技术在青铜器装饰中几乎消失，鎏金仍多，鎏金器上出现了细线阴刻云纹。",[160,161,95,289,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17242abe763bb46c0e19633756e9ddaa.jpg",[],{"id":2884,"slug":2885,"title":2886,"dynasty":18,"author":573,"museum":20,"description":2887,"tags":2888,"thumbUrl":2890,"material":2891,"size":2892,"collection":35,"collections":2893,"showCount":2865,"zanCount":39,"manualWeight":39,"mainColor":123},223167,"feng-hou-tu-shen-quan-223167","蜂猴图","该作品描述了一只猴子在树上捅马蜂窝，两只猴子在树下注视，情节紧张而有趣的画面。\n这种具有吉祥寓意和祝福的绘画是沈铨特别喜爱的题材。 猴子的画法精工，形态生动，自识中提到是仿宋代画猿猴大师易元吉的笔法。背景山石画得较放，点苔先用墨点再用石绿，树叶多用夹叶法，再涂以白色或浅绛色。整幅画工笔与写意结合，色彩与水墨搭配，具有沈铨绘画的独特风格\n沈铨的绘画主要继承黄筌画派精工富丽的画法，并把多种绘画技法相融合，形成了自己的绘画面貌。他的花鸟走兽画对后世影响显著，尤其对日本绘画有着深远的影响。此幅绘画作于1742年，沈铨六十一岁，是其画风成熟时的杰作。",[23,24,51,25,27,26,532,801,7,2889,578,1148,148,263,577,356],"蜂","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff480761bd1622c88e4092910b66e54fa.jpg","绢本，立轴，设色","184cm 96.6cm",[35,37],{"id":2895,"slug":2896,"title":2897,"dynasty":336,"author":1266,"museum":110,"description":2898,"tags":2899,"thumbUrl":2900,"material":118,"size":2901,"collection":119,"collections":2902,"showCount":2865,"zanCount":39,"manualWeight":39,"mainColor":40},218224,"er-shi-si-xiao-ce-da-shun-xiao-gan-dong-tian-chou-ying-218224","二十四孝册-大舜孝感动天","孝感动天，《二十四孝》中第一个故事，讲述的是虞舜孝心感动上天。《二十四孝》全名《全相二十四孝诗选》，由历代二十四个孝子从不同角度、不同环境、不同遭遇行孝的故事集而成。",[24,51,353,27,26,114,532,7,214],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47767f7c756281e39cccf352de4644f8.jpg","31.2x22.3",[119],{"id":2904,"slug":2905,"title":2906,"dynasty":552,"author":91,"museum":110,"description":2907,"tags":2908,"thumbUrl":2911,"material":118,"size":2912,"collection":119,"collections":2913,"showCount":2865,"zanCount":39,"manualWeight":39,"mainColor":123},216205,"han-yuan-lie-qi-tu-yi-ming-216205","寒原猎骑图","蕃骑游猎草原上，野兽惊骇逃窜。二骑追逐夹击一鹿，正挽弓欲射，最引人注目，成为画幅之焦点。画风与明画院之人马作品相近似。",[23,24,50,51,26,532,114,176,7,53,2909,214,30,2910],"古道","荒原","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F45faf22c49aa6873d7c5bff973cba879.jpg","75x98.5cm",[119],{"id":2915,"slug":2916,"title":2917,"dynasty":1156,"author":91,"museum":47,"description":2918,"tags":2919,"thumbUrl":2923,"material":380,"size":381,"collection":101,"collections":2924,"showCount":2925,"zanCount":39,"manualWeight":39,"mainColor":40},289572,"huan-xi-tian-fo-xiang-yi-ming-289572","歡喜天佛像","这幅造像以象首与猪首护法为主体，二者身形丰腴饱满，遍身璎珞臂钏环身，装饰华丽精巧。画面线条古拙稚朴，带着民间画工的随性生动，设色厚重沉稳，虽历经岁月晕染褪色，依旧和谐耐看。\n\n二尊相向而立，姿态亲昵松弛，一人持卷似在念诵，一人托饼仿佛供养，打破传统佛造像的肃穆端庄，将密宗欢喜圆融的意趣融入其中，神性与世俗烟火气相融，传递出自在安乐的平和意蕴，尽显古朴灵动的异域宗教美术风情。",[23,259,2211,2920,114,7,950,2921,26,402,2922],"欢喜天","野猪","布料","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc01e603353edf1ea71753cc024af0a1a.jpg",[],38,{"id":2927,"slug":2928,"title":2929,"dynasty":540,"author":91,"museum":47,"description":2930,"tags":2931,"thumbUrl":2932,"material":101,"size":101,"collection":166,"collections":2933,"showCount":2925,"zanCount":11,"manualWeight":39,"mainColor":65},242709,"fu-yi-fang-ding-yi-ming-242709","父乙方鼎","立耳方腹，柱腿沉稳敦实，器型规整肃穆，自带上古礼器的威严厚重。口沿下浮雕兽面，涡纹蜷曲缠绕，狞厉兽面裹挟着神秘威慑感，腹身乳钉纹齐整排布如星芒密布，粗粝肌理衬出青铜冷硬质感，腿足兽面与器身纹饰呼应，层层铺展上古神权礼制的庄重。沉穆铜色裹着厚重包浆，带着岁月摩挲的痕迹，将商代青铜狞厉美学凝于一身，静静诉说着上古祭祀的庄严礼序，尽显庄重狞美的上古气象。",[160,164,161,95,289,7,544],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37fba942f18f720b4c0aafa4b440b04d.jpg",[166],{"id":2935,"slug":2936,"title":2937,"dynasty":45,"author":2938,"museum":47,"description":2939,"tags":2940,"thumbUrl":2944,"material":101,"size":101,"collection":101,"collections":2945,"showCount":2925,"zanCount":345,"manualWeight":39,"mainColor":123},232778,"xie-sheng-zhe-zhi-tu-juan-wu-bing-232778","写生折枝图卷","吴炳","吴炳，毗陵武阳人（今江苏省常州市），南宋光宗绍熙年间(1190-1194)画院待诏。光宗皇后李氏爱其画，恩赉甚厚，赐金带。工画花鸟，元代夏文彦《图绘宝鉴》谓其画“写生折枝，可夺造化，彩绘精致富丽”。所作谨守院体画风格。画迹有《春池睡鸭图》《山茶鹁鸽图》《鸳鸯瑞莲图》《宝珠玉蝶图》《折枝绛桃图》《折枝芍药图》《鸡冠花图》《玫瑰图》《长春图》《水仙图》等43件，著录于《南宋院画录》，均“简易有生趣”，“精彩如生”。",[23,50,24,51,74,27,26,822,2941,31,7,1050,2942,133,2943],"折枝","茄子","蝴蝶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F735550480f9fac0df96afc47240de032.jpg",[],{"id":2947,"slug":2948,"title":2949,"dynasty":18,"author":350,"museum":47,"description":2950,"tags":2951,"thumbUrl":2952,"material":101,"size":101,"collection":101,"collections":2953,"showCount":2925,"zanCount":39,"manualWeight":39,"mainColor":123},224189,"hua-niao-cao-chong-tu-ba-08-hua-yan-224189","花鸟草虫图八-08","这幅小品以空灵留白铺就底色，斜曳竹枝破开空寂，清隽湖石晕染出雅致青绿，与浅赭淡墨调和出柔和古雅的基调。石上狸猫团身酣眠，憨态宛然；石下乳犬抬首凝视，稚拙灵动，另有小犬伏于草间，野趣横生。\n作者以工写兼施之法，将小生灵的情态刻画入微，幽花细草点缀其间，把林下闲时的寻常小景晕染成充满悠然意趣的画卷，尽显恬淡治愈的文人雅韵，灵动雅致间定格住山野闲情。",[23,24,26,353,244,590,30,216,7,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fee46bd5b46ec743c1b27057c1a30d048.jpg",[],{"id":2955,"slug":2956,"title":2957,"dynasty":18,"author":411,"museum":110,"description":2958,"tags":2959,"thumbUrl":2960,"material":118,"size":101,"collection":37,"collections":2961,"showCount":2925,"zanCount":345,"manualWeight":39,"mainColor":40},219727,"shi-jun-tu-zhi-hong-yu-zuo-lang-shi-ning-219727","十骏图之红玉座","郎世宁，1688年生，1766年逝世，意大利米兰人。原名朱塞佩·伽斯底里奥内。年轻时在欧洲学习绘画，曾为教堂绘制圣像。清康熙五十四年（1715）作为天主教耶稣会的修道士来中国传教，到京后约于雍正元年（1723）进入如意馆，成为宫廷画家。他很好地融合了中西绘画技法，既讲究西方绘画中的立体效果，注意透视和明暗，重视写实和结构准确的合理性。由于他能画并精通建筑学，曾参与增修圆明园建筑工事。擅画肖像、走兽、花果、翎毛尤善画马。所作大多以西画法入绢纸，略参中法，以写实为工，专注形似。他将欧洲的绘画品种和方法传授给中国的宫廷画家，为中西文化艺术的交流作出了积极贡献，颇得皇家青睐",[50,24,51,27,26,738,176,7,75,80],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24534bc44ce45c061edd6f11765136ed.jpg",[37],{"id":2963,"slug":2964,"title":2965,"dynasty":18,"author":91,"museum":110,"description":2966,"tags":2967,"thumbUrl":2969,"material":26,"size":2970,"collection":37,"collections":2971,"showCount":2925,"zanCount":39,"manualWeight":39,"mainColor":40},219363,"dong-hai-xun-lu-tu-zhou-yi-ming-219363","东海驯鹿图轴","依据乾隆乙丑（1745）的御题，此画为宁古塔将军进献的东海所产驯鹿。体型如牛，性情温驯，与麋鹿非常接近。从画的尺幅看来，有描绘动物原寸大小的意图，与其他郎世宁所画的骏马、骏犬等以原寸表现的作法一样。画中驯鹿的眼睛有细腻的高光处理，另外对于毛色也有微妙地掌握，特别是驯鹿脸部神情的表达，似乎也让观者能感受它的驯良可爱性格。本图无款，然画法水准可能出自郎世宁。",[24,26,27,7,147,25,313,738,2968],"动物","https:\u002F\u002Foss.chuangqi.store\u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宁写生作品。由于他深谙动物的解剖结构，所以其笔下的名犬形象非常准确，且富于立体感。在笔法上，他以细碎的小笔触来表现动物皮毛的质感，使得入 画的名犬栩栩如生。\n十条品种高贵的名犬，分别命为：苍水虬、斑锦彪、金翅猃、蓦空鹊、墨玉璃、茹黄豹、睒星狼、霜花鹞、雪爪卢、苍猊犬。其中，前九条狗都属小头长吻、腰腹收缩、四肢细劲那类品种，均为出色的擅长奔跑的猎手，敏捷强壮，速度耐力惊人，成为皇帝一行围猎时的好帮手;最后那条威猛的苍猊犬，应当是藏獒。\n从画面上看，图中的犬，无疑是由画家郎世宁所绘，因为狗采用的是西方的素描画法，造型立体具有质感，欧洲风味很足;而图画背景部分的花草坡石，讲究皴法、勾勒，追求平面的装饰效果，与动物的画法相比较，二者有很大的差异，这应当是由供奉宫廷的中国画家用传统画法补画的，但署名只有郎世宁一人。作品用中国的毛笔、纸绢和色彩，却以欧洲的绘画方式来诠释动物的结构、体积感及皮毛的质感，使得动物造形准确、生动，立体效果强。在这幅作品中骏犬的描绘用素描式的方法，通过光影明暗的变化，来达到栩栩如生的效果。但环境的描绘却遵循中国绘画的传统技法，勾、皴、点、染，兼工带写，以工为主，营造出中国花鸟画所特有的清秀明丽的韵味。\n《十骏犬》册中的每幅图都有当朝的文职大臣的题诗赋词。据史料记载，乾隆皇帝拿到时，大加赞赏，百看不厌，爱不释手。这幅册页，艺术水准相当高，郎士宁使用的是中国的软笔，却按西画的透视和光感等技巧，把犬的形态和神态表现出来，体现了高超的写生功夫和创意能力，画得相当精细，栩栩如生，立体感极强。比如犬的毛是单笔渐入，虽然用的不是画油画的油彩，却根根呈现，逼真到让人忍不住触手去摸，中国画是散点透视，西画是高光点和近光点，一点透视。这种透视效果在这两幅册页中充分体现出来。这些技法对后来中国画的发展都有很大的影响。",[24,27,26,738,7,633,133,148,700],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F282319004ad80a2cd47a8365f76f3e47.jpg","纵246.6厘米，横163.9厘米",[],{"id":3018,"slug":3019,"title":3020,"dynasty":18,"author":1192,"museum":47,"description":3021,"tags":3022,"thumbUrl":3025,"material":101,"size":101,"collection":101,"collections":3026,"showCount":3007,"zanCount":39,"manualWeight":39,"mainColor":40},229039,"chan-chu-zha-meng-tu-ye-jiao-bing-zhen-229039","蟾蜍蚱蜢图页","设色清润雅致，绘就幽隅小景。修长鸢尾挺秀舒展，蓝白花瓣晕染细腻，斑纹纤毫毕现，尽显清雅之态。浅粉小花依偎坡边，柔婉动人。草畔小兽茸毛写实鲜活，正凝神窥伺翩飞蚱蜢，将刹那间的野趣定格于尺幅。整作工写兼融，草叶苍劲、花卉柔润、虫兽灵动相映成趣，悄然铺展出郊野一隅的鲜活生机，以细腻笔触勾勒物象情态，尽显恬淡雅致的自然意趣，于尺幅之间藏纳野逸悠然的生机之美。",[24,51,353,27,26,31,7,3023,3024,423],"蟾蜍","蚱蜢","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06d0f4e38e1f50913125f4aa5cc68db5.jpg",[],{"id":3028,"slug":3029,"title":3030,"dynasty":1156,"author":91,"museum":47,"description":3031,"tags":3032,"thumbUrl":3033,"material":101,"size":101,"collection":101,"collections":3034,"showCount":3007,"zanCount":39,"manualWeight":39,"mainColor":123},223615,"di-shi-san-yin-jie-tuo-zun-zhe-tu-yi-ming-223615","第十三因揭陀尊者图","半袒上身的尊者安坐崖间，高眉深目，虬髯微张，神情沉静威严，身后圆光晕染出清净圣格。身旁神兽昂首嘶吼，筋骨劲健灵动，动静之间形成鲜明反差，更衬出尊者静定无波的禅心。\n画作设色调和古雅，衣纹勾勒顿挫苍劲，晕染细致，既将织物厚重质感铺陈开来，又将尊者伟岸身形刻画入微。淡墨晕染山石云气，晕开幽寂清旷的禅意氛围。工写兼备之下，将尊者慈悲威严的气度与神兽悍勇神态尽皆展现，尽显古宗教绘画的肃穆高华与精湛笔力。",[23,24,51,25,259,27,26,114,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3a690d779abe88933909687b4c9e34c7.jpg",[],{"id":3036,"slug":3037,"title":3038,"dynasty":881,"author":3039,"museum":20,"description":3040,"tags":3041,"thumbUrl":3042,"material":3043,"size":3044,"collection":101,"collections":3045,"showCount":3007,"zanCount":39,"manualWeight":39,"mainColor":123},221173,"na-ga-xi-na-zun-zhe-tang-ka-bu-ben-guan-xiu-221173","那伽犀那尊者（唐卡布本）","贯休","贯休(832年-912年)，俗姓姜，字德隐，婺州兰溪(今浙江省兰溪市)人。唐末五代时期前蜀画僧、诗僧。七岁出家和安寺，日读经书千字，过目不忘。唐天复间入蜀，被前蜀主王建封为禅月大师，赐以紫衣。\n天复二年（902年），黄巢起义席卷大半个中国，兵火连年，战祸惨烈。古稀之年的贯休，带着对命运和时代的切肤之悟，做出了人生中一个重大决定：“一瓶一钵垂垂老，千水千山得得来。”他从黔中（今湖南怀化）出发，经三峡，沿长江逆流而上，于次年初春到达成都，度过了人生的最后十年。",[23,50,24,51,25,26,259,114,7,324,31,147,643,148,423,27,2922,1708],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37b41f5da4d64a7095b0f7c7ead52295.jpg","布本，设色","通高143厘米，宽89厘米，画心纵82厘米，横56厘米",[],{"id":3047,"slug":3048,"title":3049,"dynasty":18,"author":3050,"museum":110,"description":3051,"tags":3052,"thumbUrl":3053,"material":118,"size":3054,"collection":35,"collections":3055,"showCount":3007,"zanCount":11,"manualWeight":39,"mainColor":123},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。",[24,51,50,26,27,7,927,324,497,323],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc59a546e228caa4b665afbe19974a9f.jpg","42.2x56.8cm",[35],{"id":3057,"slug":3058,"title":3059,"dynasty":18,"author":91,"museum":47,"description":3060,"tags":3061,"thumbUrl":3064,"material":380,"size":381,"collection":101,"collections":3065,"showCount":3066,"zanCount":11,"manualWeight":39,"mainColor":123},267608,"cai-se-duan-xiu-he-lu-san-yang-mei-que-wen-ming-xing-pian-jia-yi-ming-267608","彩色缎绣鹤鹿三羊梅雀纹名姓片夹","绣法是以绣线横排，故名。如，特点是整齐、均匀，圆润；在绣叶瓣时，在中间分开，运用斜针成倒人字形；也有绣成中间针迹相交叠的形式；也可绣成中间作一钉线的绣法。排绣针法富有变化，刺绣出的花瓣、叶瓣得体逼真，用途较广。",[3062,2922,27,26,162,147,368,1566,633,712,31,7,3063,99],"刺绣","日用具","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa2b9155225671ffe2fe720d6ecd8bd8d.jpg",[],36,{"id":3068,"slug":3069,"title":3070,"dynasty":552,"author":3071,"museum":3072,"description":3073,"tags":3074,"thumbUrl":3075,"material":713,"size":3076,"collection":101,"collections":3077,"showCount":3066,"zanCount":39,"manualWeight":39,"mainColor":40},233767,"jiu-ge-tu-juan-zhang-wo-233767","九歌图卷","张渥","吉林省博物院","“九歌”的名称来源很早，据说在夏朝的时候就已经出现了，《离骚》《天问》和《山海经》中都曾经提到过它。《离骚》中说：“奏九歌而舞韶兮”。“韶”，相传是舜帝的舞曲，把它与“九歌”并举，可见都是远古的乐章。而《山海经》则说“九歌”是启（传说中大禹的儿子）从天上偷来的，这便给她添上了神话色彩。现存“九歌”，其实是楚国南部流传已久的一套民间祭神的乐歌，后来经过屈原的加工改写而创造出来一种独特的抒情诗。张渥的这幅画上有屈原的画像，可见他也是根据屈原的《九歌》来创作这幅作品的。\n屈原所作《九歌》是根据民间祀神乐曲加工润色而成的诗章。当时楚国的巫风兴盛，人们的娱乐生活往往和宗教祭祀杂糅在一起，通过所祀之神来表达自己的理想和愿望。屈原《九歌》从内容到风格形式，都保存着南方原始祀神民歌的基本格调，在长期的历史进程中一直闪耀着动人的光辉，并吸引着历代画家们以此为题材进行艺术创作。据传最早绘制《九歌图》的画家是宋代李公麟。元代画家张渥的《九歌图卷》历来被认为是李公麟原作的摹本，这从该画卷后的题款“临李龙眠九歌图”即可看出。 [4] 此图是张渥为好友言思齐（世贤）所作。\n展开画卷，首先映入眼帘的是发髻束起，身着广袖长服，拱手站立的屈原像。他庄重而坚毅、孤独而傲岸、感伤而执著的神韵跃然于纸上，令人感佩动容。在对主人公形象的塑造上，画家运用了以线条勾勒为主的白描手法，用笔苍老润洁，遒逸秀劲，勾勒简练畅意，古拙脱俗，使人物更加生动传神，而且令整幅画面极具一种装饰美。其后以篆书题写《渔父》一篇，这就使读者似乎看到了屈原被放逐后徘徊于江滨那种忧心国事的情怀，不由自主地把屈原的品格同他的《九歌》密切地联系起来。\n紧随屈原像后，作者依据《九歌》原诗的情节逐一绘制出东皇太一、云中君、湘君、湘夫人的形象。画家熟练地运用线条长短、迂回、曲直变化，流畅飞扬，宛似行云流水，人物形象充满了各自的不同神韵。大司命手执拐杖，头上几根洗练的线条和些许淡墨晕染，恰如其分地表现了纱巾透明的质感，其下的发髻隐约可见。衣裤则用比较劲秀而又略有不同的线描画成，使人觉得衣与裤的质料也有所差异。至于面部和双手，用笔更细、更淡、更柔、更富于变化，枯笔画成的须眉成功地表现了它的疏落和蓬松，一副老年人的沧桑感突现出来。少司命左手执笔，右手握卷，慈眉善目，飘浮于祥云之上。左一持杖侍女似正听其嘱咐。东君浓眉大眼，鬓须满脸，手持法器，立于祥云之上。\n在原诗中，东君是人们想象中的太阳神，张渥却捕捉住“举长矢兮射天狼”这一爱憎鲜明的情节，把太阳神和天狼星之间的矛盾冲突集中在一个画面上。太阳神被描绘成一个全副武装、魁梧雄伟的武士，一手持弓，一手握箭，翻身怒视天狼星，须眉怒张，强调了他的勇武；衣带飘拂，加强了动势的表现。天狼星则被画成一个小小圆球，仿佛摇摇欲坠。这种艺术处理充分显现了原诗中那种热爱光明、仇视黑暗的思想感情，比之孙承泽旧藏传李公麟《九歌图》中髭须飘洒、抱弓而立的东君，从思想内容到艺术技巧都增加了新的内容。河伯骑于海龟之上，其衣服帽带的飞扬，波涛的奔涌，把河伯迎风破浪前进的形象淋漓尽致地表现了出来。\n《山鬼》是屈原《九歌》11首诗中最摄人魂魄的一首，它出自楚国一个美丽凄婉的传说，描写一个美丽而幽怨的女神。画卷中的山鬼裸体骑赤豹于松林之中。《国殇》原诗用较多的篇幅描写将士们奋不顾身英勇作战的场面，画家则根据原诗精神，通过一个侧面，充满想象力地进行了生动的描绘：用苍郁的笔法略施渲染，绘成几株参天大树和树下挥戈而前的勇士，铠甲的明亮与树石的阴郁形成了鲜明的对比，从而突出了人物形象。树下走在最前面的人怒目仰视，张口狂呼，仿佛可以听到他叱咤风云的不息喊杀声。在他的身后，无数战士的头在树木的繁枝密叶间攒动。这里，画家的笔墨非常精练，能看到的只有几个被枝叶遮蔽得不完整的头部，但却突出了勇往直前的眼神，成功地运用了构图的掩映和读者的错觉，因而落墨不多却表现了千军万马不可压倒之势。\n《九歌图》人物的塑造特点是形象饱满，个性鲜明。例如，东皇太一是天之尊神。张渥将他塑造为一个王者的形象，高大威严，垂裳冠冕，一手捻须，一手若有所指。与他的高大不同，天女的形象则娇小纤弱，形成对比。又如，大司命是生命之神。张渥将他刻画成一个和蔼的长者，慈眉善目，扶杖驾云而来，全无命运之神的狞厉恐怖。再如，东君为日神。张渥将他描绘成一员武将，披挂整齐，举剑携弓，凝视前方的天狼星。\n《九歌图》不仅对于考订张渥画家的年表、纠正有关记述中的疏误有所裨益，而且为了解张渥的艺术成就提供了一件有价值的资料。\n壬子年为明洪武五年，张渥去世当在此之前。可见自1346年此图创作完成之后至明初的一段时间里，这件作品一直保存在言氏手中。此后《九歌图》在明代的流传情况并不清楚。\n清乾隆时期曾流入内府，画面上铃有乾隆、嘉庆、宣统的印玺多枚。\n清亡后，溥仪令宝熙等审定内府书画时将此卷列为上上，记录在审定内府书画目原稿中。此后，《九歌图》又以赏赐的方式被辗转运往长春的伪皇宫。1945年日本投降后，《九歌图》便一直保存在长春王世宜手中，1971年捐赠吉林省博物馆。",[23,24,51,74,402,114,7,314,1148,230,263],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F83685df6eeeedeb07127abdd163834aa.jpg","纵29厘米、横523.5厘米",[],{"id":3079,"slug":3080,"title":3081,"dynasty":18,"author":3082,"museum":47,"description":3083,"tags":3084,"thumbUrl":3092,"material":101,"size":101,"collection":101,"collections":3093,"showCount":3066,"zanCount":39,"manualWeight":39,"mainColor":123},224111,"yi-jian-shuang-lu-tu-qian-long-224111","一箭双鹿图","乾隆","画面中纵马弯弓的骑手利落射出箭矢，双鹿中箭颓然仆地，骏马昂首扬蹄，骑手身姿果决干练，将骑射的飒爽力道尽显无余。背景里苍松虬劲、层林尽染秋意，远山澹澹铺展，把围猎的迅疾动感揉入山野林泉的静穆悠远间。\n\n右上角题诗以笔墨追怀射猎快意，诗画相映，将驰骋校猎的豪情与秋日林野的清旷融为一体。写实笔触细致勾勒出鞍马、人物的衣饰肌理，既带着纪实性的鲜活，又晕染出诗意闲情，把骑射勇武和林下逸趣完美糅合，是兼具叙事感与审美性的精妙之作。",[23,24,26,27,114,176,147,7,532,3085,2542,3086,3087,3088,75,3089,3090,3091],"苍松","远山","骑射","围猎","题诗","豪情","诗意闲情","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d24e76a0609e08c272f52e9f257d0a4.jpg",[],{"id":3095,"slug":3096,"title":387,"dynasty":18,"author":19,"museum":388,"description":3097,"tags":3098,"thumbUrl":3099,"material":425,"size":3100,"collection":101,"collections":3101,"showCount":3066,"zanCount":39,"manualWeight":39,"mainColor":40},223223,"san-yang-kai-tai-tu-ren-yi-223223","这是清代著名画家任伯年的代表作品，所画人物形象用笔颇有新意，直接以色彩做画，略加勾线，表现出良好的西洋画素描功夫，对三羊的描绘亦表现出这一点，用浓淡结合的墨色勾勒三只姿态各异的羊，紧紧抓住羊的动态，形成繁简虚实的统一。同时，其画法又保持了中国画造型夸张与线条表现的基本艺术特征，以及书法一气贯通的意韵，可谓中国画艺术在近代融和中西、探求新路的成功之作",[23,24,26,52,244,7,368,216,1697,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04307a52460e0e28b559ac3ccee2c932.jpg","145cmx75cm",[],{"id":3103,"slug":3104,"title":3105,"dynasty":298,"author":299,"museum":723,"description":3106,"tags":3107,"thumbUrl":3108,"material":101,"size":101,"collection":101,"collections":3109,"showCount":3066,"zanCount":39,"manualWeight":39,"mainColor":40},220531,"xin-sheng-ming-huo-yue-qi-lai-xu-bei-hong-220531","新生命活跃起来","画面以淋漓水墨绘就奔腾雄狮，鬃毛肆意飞卷，四肢舒展腾跃，将百兽之王的雄健悍勇尽数铺展。作者以写实造型融入写意笔墨，精准捕捉雄狮迸发的蓬勃力道，野性生命力跃然纸面。\n\n背景山石苍简古拙，虬松横斜造势，以简淡衬雄浑，让醒狮冲破沉郁，似要踏过山巅，暗喻着挣脱桎梏的觉醒之气。整幅画将民族精神寄于狮形，借跃动醒狮传递出冲破混沌、昂扬奋进的时代强音，笔墨刚柔并济，把写意的洒脱与造型的精准相融，让猛兽的野性与新生的朝气交织碰撞，成为那个时代民族心气的生动注脚。",[24,52,244,7,951,726,230,298],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1e2f73da70e9963040779c5153e13dd7.jpg",[],{"id":3111,"slug":3112,"title":3113,"dynasty":18,"author":411,"museum":110,"description":3114,"tags":3115,"thumbUrl":3116,"material":118,"size":3117,"collection":37,"collections":3118,"showCount":3066,"zanCount":345,"manualWeight":39,"mainColor":40},219423,"shi-jun-tu-zhi-chi-hua-ying-zhou-lang-shi-ning-219423","十骏图之赤花鹰轴","郎世宁（一六八八－一七六六）意大利人。十九岁入天主教耶稣会为修士，习画与建筑。二十七岁来华传教，召入内廷供奉。善画人物、花鸟，尤善画马。郎氏奉写生边疆藩臣进贡之良马，以与真马近似之大小尺寸绘之，生动逼真。画成于乾隆八年（一七四三）。",[24,50,25,26,27,176,7,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F148a10de8ec028577bca1ae64f04eaac.jpg","234.6x270.8",[37],{"id":3120,"slug":3121,"title":3122,"dynasty":45,"author":91,"museum":110,"description":3123,"tags":3124,"thumbUrl":3126,"material":118,"size":3127,"collection":61,"collections":3128,"showCount":3066,"zanCount":39,"manualWeight":39,"mainColor":40},218853,"lv-rong-mu-di-tu-yi-ming-218853","绿茸牧羝图","画中有一群肥羊在草地上玩耍，两棵柳树枝叶茂盛，在风中摇曳，一个牧羊少年站在树枝上用赶羊棍逗弄小鸟，让人觉得是一个快乐的年。这幅画画得很密，但羊群太厚了，以至于它们显示变现。",[23,24,26,27,80,368,700,324,3125,7],"牧","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F329bebc3a227441ca972027caf511e53.jpg","22.6x23.8",[61,37],{"id":3130,"slug":3131,"title":3132,"dynasty":18,"author":411,"museum":3133,"description":3134,"tags":3135,"thumbUrl":3136,"material":137,"size":3137,"collection":35,"collections":3138,"showCount":3139,"zanCount":39,"manualWeight":39,"mainColor":40},238081,"zhu-yin-xi-ling-tu-zhou-lang-shi-ning-238081","竹荫西狑图轴","沈阳故宫博物院","郎世宁，西名加斯提里阿纳Giuseppe，意大利美朗诺市人。于康熙五十四年(1715)来华传教，时年27岁，召入内廷为画院供奉，历仕三朝。画法参酌中西，善写生，人物、花鸟，奕奕有神，尤工画马，如百骏图、名马图、武功图至今有声世界。郎氏初本欲将西法输入中国，因不为清帝所喜，遂创折衷画法。一时从之学者甚众，流风至今未绝。卒年七十八。《故宫郎世宁画集》。郎世宁的主要活动在乾隆时，除了画弘历的肖像外，为清宫画了不少战功图，也画马、画花卉。郎世宁参酌中西画法，设色艳丽，精工细致。",[50,24,51,25,26,27,590,323,927,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62af978560aaab5bcd5e5a1dd51cf3f2.jpg","246×133厘米",[35,37],35,{"id":3141,"slug":3142,"title":3143,"dynasty":18,"author":241,"museum":47,"description":3144,"tags":3145,"thumbUrl":3146,"material":101,"size":101,"collection":101,"collections":3147,"showCount":3139,"zanCount":39,"manualWeight":39,"mainColor":40},230278,"za-hua-ce-zhu-da-230278","杂画册","此帧以极简笔墨绘就松下双鹿，苍松横斜，枯干缀以寥寥松针，山石空灵淡远。双鹿姿态悠然，犄角挺秀，躯体线条清劲凝练，于幽寂山隅流露自在生机。\n\n配书题诗笔致圆劲古雅，朴拙疏朗，诗画相生，将世外丘壑的清逸冷寂尽藏其间。清冷笔墨下暗涌细腻意趣，荒简构图里饱含澹泊襟怀，尽显简远空灵的禅意逸韵，将天地生灵与林泉幽境融为一体，尽释超然物外的文人意趣。",[24,51,353,52,147,7,726,230,76,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7626f6421259e86c2bb63e5b96a3926d.jpg",[],{"id":3149,"slug":3150,"title":3151,"dynasty":70,"author":91,"museum":3152,"description":3153,"tags":3154,"thumbUrl":3155,"material":3156,"size":101,"collection":101,"collections":3157,"showCount":3139,"zanCount":39,"manualWeight":39,"mainColor":123},217285,"jiang-mo-bian-dun-huang-tu-juan-2-yi-ming-217285","降魔变·敦煌图卷-2","法国国家图书馆","这段长卷似展开的故事卷轴，每一帧都藏着生动叙事。左侧人群神态各异，或专注聆听，或低声私语，衣袂飘飘间尽显古朴气韵；中间帐内围坐的人物神情热烈，帐幔褶皱线条婉转如流水。画面中段，狮子与牛的搏斗尤为夺目：鬃毛飞扬，四肢腾跃，力量感透过简练线条迸发，动态张力跃然纸上。右侧莲台之上，主尊端坐，弟子环绕神情肃穆，天人持物侍立，枝叶掩映间更添庄严。整幅画作以线为骨，设色古朴，人物呼之欲出，将故事起承转合融于流动画面，尽显古代画者的叙事智慧与艺术匠心。",[24,74,26,402,1326,259,114,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9de888ad6cd2d57d419e846ba4083149.jpg","设色,拓本",[],{"id":3159,"slug":3160,"title":3161,"dynasty":336,"author":3162,"museum":226,"description":3163,"tags":3164,"thumbUrl":3165,"material":118,"size":101,"collection":35,"collections":3166,"showCount":3139,"zanCount":11,"manualWeight":39,"mainColor":123},216727,"lu-tu-zhou-yuan-216727","鹿图","周渊","周渊（1352年－1419年）是明朝时期的一位学者，他在明朝时期撰写了一本名为《鹿图》的书。这本书的主要内容是关于中国历史的，其中包括有关周渊所生存的时代的历史事件和人物的记录。周渊还编写了许多其他的书籍，其中包括《古今图书集成》、《汉学义谈》和《顺治图书》。周渊是明朝时期著名的历史学家和文学家，他在当时期对中国历史的研究和记录有着很大的贡献。",[24,25,26,27,7,147,324,133,148],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20428cbe62ec60d3b6feb86ebda3315c.jpg",[35],{"id":3168,"slug":3169,"title":3170,"dynasty":18,"author":655,"museum":47,"description":656,"tags":3171,"thumbUrl":3173,"material":380,"size":381,"collection":101,"collections":3174,"showCount":3175,"zanCount":39,"manualWeight":39,"mainColor":40},236377,"xu-gu-song-shu-pu-tao-shan-ye-xu-gu-236377","虚谷松鼠葡萄扇页",[24,51,495,26,52,7,354,3172,31],"葡萄","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F250ff96f9b0cc51a3c44c944ddd83da6.jpg",[],34,{"id":3177,"slug":3178,"title":3179,"dynasty":552,"author":563,"museum":47,"description":3180,"tags":3181,"thumbUrl":3182,"material":80,"size":3183,"collection":101,"collections":3184,"showCount":3175,"zanCount":39,"manualWeight":39,"mainColor":123},232641,"yu-lie-tu-quan-juan-zhao-meng-fu-232641","羽猎图全卷","赵孟頫[fǔ]（1254年10月20日 [1] －1322年7月30日 ），字子昂，汉族，号松雪道人 ，又号水晶宫道人（一说水精宫道人 ）、鸥波，中年曾署孟俯。吴兴（今浙江省湖州市）人，原籍婺州兰溪 。南宋晚期至元朝初期官员、书法家、画家、诗人，宋太祖赵匡胤十一世孙、秦王赵德芳嫡派子孙。\n赵孟頫于南宋末年曾任真州司户参军。宋亡后隐居不仕。至元二十三年（1286年），赵孟頫经行台侍御史程钜夫举荐，赶赴大都，受元世祖赏识，授兵部郎中。此后历任集贤直学士、济南路总管府事、江浙等处儒学提举、翰林侍读学士等职，累官翰林学士承旨、荣禄大夫。自世祖至武宗、仁宗、英宗四朝皆加礼敬。晚年逐渐隐退，延祐六年（1319年）借病乞归。至治二年（1322年），赵孟頫逝世，年六十九。获赠江浙中书省平章政事、魏国公，谥号“文敏”，故称“赵文敏”。著有《松雪斋文集》等。\n赵孟頫博学多才，能诗善文，通经济之学，工书法，精绘艺，擅金石，通律吕，解鉴赏。在绘画上，他开创元代新画风，被称为“元人冠冕”。其绘画取材广泛，技法全面，山水、人物、花鸟无不擅长。其书取法钟繇、“二王”、李邕、赵构等，于篆、隶、真、行、草诸体皆擅，尤以楷书、行书著称；其书风遒媚、秀逸，结体严整、笔法圆熟，创“赵体”书，与欧阳询、颜真卿、柳公权并称“楷书四大家”。此外，赵孟頫倡导师法古人，强调“书画同源“。其绘画、书法和画学思想对后代影响深远",[23,50,24,74,26,53,532,1900,263,114,176,7,214,148,2862],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F674047754fa47615d0bb779ab25db07a.jpg","44.5x463.5厘米",[],{"id":3186,"slug":3187,"title":3188,"dynasty":336,"author":3189,"museum":47,"description":3190,"tags":3191,"thumbUrl":3192,"material":380,"size":381,"collection":101,"collections":3193,"showCount":3175,"zanCount":345,"manualWeight":39,"mainColor":40},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。",[23,24,51,74,26,27,259,114,324,497,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e1cf1e9b43a8c99aefbe58ee4ad433a.jpg",[],{"id":3195,"slug":3196,"title":3197,"dynasty":70,"author":3198,"museum":47,"description":3199,"tags":3200,"thumbUrl":3201,"material":380,"size":381,"collection":101,"collections":3202,"showCount":3175,"zanCount":39,"manualWeight":39,"mainColor":65},227078,"yi-yu-lai-wang-tu-ye-yan-li-ben-227078","异域来王图页","阎立本","此幅应为伪本",[23,24,50,51,353,26,27,114,7,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdfae74aa3a781c82197b6a3cd63ac32.jpg",[],{"id":3204,"slug":3205,"title":3206,"dynasty":45,"author":91,"museum":47,"description":3207,"tags":3208,"thumbUrl":3210,"material":101,"size":101,"collection":101,"collections":3211,"showCount":3175,"zanCount":345,"manualWeight":39,"mainColor":123},223643,"liao-gui-tu-yi-ming-223643","蓼龟图","此作构图疏淡清寂，以淡赭铺陈出秋日汀洲的柔和底色。坡石间灵龟敛息静伏，背甲纹理勾勒写实，憨态稚拙尽显。旁侧蓼花柔茎舒展，青绿叶片晕染雅致，淡紫碎花垂曳生姿，下方蓝紫小花点缀水岸，野趣悠然。\n画作工写相融，灵龟与花木刻画精细，设色清雅柔和，大片留白烘托出幽谧空寂的意境，尽显宋人小品的雅致意趣，将郊野闲逸之景凝于尺幅间，藏着对自然细微之美的敏锐体察，晕开悠然沉静的田园诗意。",[23,50,24,51,353,27,26,31,7,1126,3209,30,423],"蓼草","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9b574896c7d5eafa0c0c152a688c269.jpg",[],{"id":3213,"slug":3214,"title":3215,"dynasty":45,"author":1417,"museum":110,"description":3216,"tags":3217,"thumbUrl":3218,"material":80,"size":3219,"collection":37,"collections":3220,"showCount":3175,"zanCount":39,"manualWeight":39,"mainColor":123},219923,"ru-niu-tu-zhou-li-tang-219923","乳牛图轴","一位牧童趴伏于母牛背上，小牛跟随在后，引颈低呼，老牛摇尾相应，母子亲情，描写欲活。本幅并无作者款印，裱绫有清代鉴赏家梁清标所书之题签，云：「李晞古乳牛图」。不过本幅牛体、皴石之用笔皆与李唐（西元1049－1130年）画风有别，或属明代早期之作。李唐，字晞古。河南孟县人。擅山水、人物，也长于画牛。徽宗朝进入画院，高宗建炎年间，授成忠郎衔任画院待诏。",[23,24,50,51,25,27,26,78,7,231,148],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1c355d617f6a550dbb9e6d783bb802e6.jpg","46.4x62.5",[37],{"id":3222,"slug":3223,"title":3224,"dynasty":45,"author":91,"museum":47,"description":3225,"tags":3226,"thumbUrl":3229,"material":101,"size":101,"collection":166,"collections":3230,"showCount":3231,"zanCount":345,"manualWeight":39,"mainColor":65},243022,"liu-jin-zun-yi-ming-243022","鎏金尊","整体作羊车之形，羊角蜷曲虬劲，羊首双目圆睁，颔下微启，神态静穆威严。羊身满饰错金勾连云纹，细密纹饰在青铜底色之上熠熠生辉，勾勒出古雅华贵的气韵。\n\n器物将礼器形制与车舆结构相融，四轮运转灵动，既承载了青铜礼器的庄重质感，又兼具陈设实用的巧思。造作追摹上古青铜意趣，细节处尽显工巧，错金工艺精熟，让纹饰疏密有致，古韵盎然，尽显造器时的精湛技艺与审美意趣，是仿古青铜造像中的精巧之作。",[484,1487,161,95,78,7,3227,164,3228,160],"轮","饮酒器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefbd18de257463a16e7bb3697be21074.jpg",[166],33,{"id":3233,"slug":3234,"title":1088,"dynasty":1089,"author":91,"museum":47,"description":1090,"tags":3235,"thumbUrl":3236,"material":380,"size":381,"collection":101,"collections":3237,"showCount":3231,"zanCount":39,"manualWeight":39,"mainColor":123},226720,"yu-cong-yi-ming-226720",[1089,94,95,164,7,289],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F248e5f5d616c7b5e7f0f62a48e6fb5a8.jpg",[],{"id":3239,"slug":3240,"title":3241,"dynasty":45,"author":91,"museum":20,"description":1306,"tags":3242,"thumbUrl":3243,"material":137,"size":1447,"collection":101,"collections":3244,"showCount":3245,"zanCount":39,"manualWeight":39,"mainColor":123},232880,"sou-shan-tu-yi-ming-232880","搜山图",[23,50,24,74,27,26,114,7,314,532,263,148,214,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7401df44a2b2e19ed21e9557d2cba183.jpg",[],32,{"id":3247,"slug":3248,"title":3249,"dynasty":336,"author":1266,"museum":47,"description":3250,"tags":3251,"thumbUrl":3252,"material":101,"size":101,"collection":101,"collections":3253,"showCount":3245,"zanCount":11,"manualWeight":39,"mainColor":123},228454,"shou-lie-tu-ye-chou-ying-228454","狩猎图页","平沙莽莽，疏枝斜挑天际，尽显荒寒萧索。虬髯猎手身着劲装，背负箭囊，俯身控马急驰，目光如炬锁向前方奔逃的猎物，满屏皆是紧绷的狩猎张力。\n\n画师以劲挺利落的铁线描勾勒人马身形，沉凝的绢底晕染出辽远荒滩，淡墨轻扫便将塞外旷野的空寂铺陈开来。猎手的剽悍果决与猎物的仓皇奔窜形成强烈对冲，动静之间，将北地游猎的飒爽快意尽数渲染，笔简意足，苍劲疏朗的野趣扑面而来，把刹那间的狩猎定格成永恒的生动画卷。",[24,50,51,353,27,26,114,176,7,263,533],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe8084374c281962b0ebac2a54ed3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g-lu-tu-zhou-yuan-231491","雪中鹿图","虬曲老梅横亘画幅上端，朱红花朵破开沉褐底色，积雪凝缀枝梢，晕开冬日清寒。白鹿身形劲健修长，莹润雪色皮毛以淡墨晕染而出，犄角舒展，垂首静立在覆雪坡石间，安然沉静，与周遭萧寒景致浑然相融。枯涩墨线勾勒梅枝苍劲筋骨，淡墨轻晕出积雪的蓬松虚灵，冷色调底纸烘托出冬夜荒寂空濛，冷冽氛围里，白鹿的温驯清逸更显动人，将冬日的萧寒与生命静雅相融，晕开一卷幽淡空寂的林泽冬景。",[24,51,50,25,26,7,147,2060,324,216,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2d6ce42914c8804d95d64ffa52147924.jpg","179.7x92.4厘米",[],{"id":3404,"slug":3405,"title":3406,"dynasty":552,"author":563,"museum":574,"description":3407,"tags":3408,"thumbUrl":3410,"material":3411,"size":3412,"collection":35,"collections":3413,"showCount":3353,"zanCount":39,"manualWeight":39,"mainColor":40},220892,"yin-ma-tu-zhao-meng-fu-220892","饮马图","浙江省博物馆举办的《守望千年：唐宋元书画珍品特展》将于明天闭幕，此展共展出浙江省博物馆和辽宁省博物馆36件国宝级书画珍品，其中就有元代赵孟頫的《饮马图》。\n赵孟頫是浙江吴兴(今浙江湖州)人，现在湖州建有“赵孟頫故居旧址纪念馆”。他身处宋末元初的历史时期，在中国传统书画艺术的领域中，继往开来，对于元代新的绘画高峰的开创、发展，作出了无与伦比的贡献，成为一个时代的画学宗师。辽宁省博物馆藏有6件赵孟頫的书画作品，这次选送4件精品参展。《饮马图》清时收入内府，溥仪在逊位前，以赏赐的名义盗运出宫，后藏于长春伪满洲国皇宫。日本投降后，溥仪携逃被截，上交东北文管会，后归东北博物馆(即今辽宁省博物馆)收藏。\n《饮马图》卷纵25厘米，横59.8厘米，纸本，水墨。图绘奚官饮马的情景：一奚官弯腰曲臂，双手提着满装饮水的木桶，吃力地向前移步。对面的木柱上系着一马，昂首抬腿，急不可待。场景极其生动。构图简练，无一赘物。勾线细劲圆润，略加晕染，无论人物的着装、神态，还是马匹的结构、动态，都十分地严谨，简洁，透出唐代鞍马画的优雅气息，给人以视觉享受，也可以从中感悟赵孟頫“作画贵有古意。若无古意，虽工无益”的艺术追求。他对自己的鞍马画很有信心，“自谓不愧唐人”。\n唐代是我国传统人物画的鼎盛时期，当时画山水还只是作人物画的背景，稚拙而未完善。五代、北宋，山水画渐趋成熟，进入元代，绘画的主流转向山水画，名家辈出，形成又一座高峰。但人物画和花鸟画相形冷落。赵孟頫年轻时显然钟情于鞍马画，于是慨叹道：“宋人画人物不及唐人远甚。予刻意学唐人，殆欲尽去宋人笔墨。”赵孟頫这里指责的，是他年轻时亲身感受的南宋宫廷画院的院体绘画，如他陈述：“今人但知用笔纤细，傅色浓艳，便自为能手。殊不知古意既亏，百病横生，岂可观也。”南宋确实也很少鞍马画传世。那么我们再来欣赏传世的赵孟頫的鞍马画，如北京故宫博物院的《人骑图》、《浴马图》、《秋郊饮马图》，纽约大都会博物馆的《人马图》，台北故宫博物院的《调良图》，加上这幅《饮马图》等，可以大致看到赵孟頫鞍马画的风格，体会赵孟頫崇尚的“古意”所在。赵孟頫自述：“吾所作画，似乎简率，然识者知其近古，故以为佳。”\n一个是“虽工无益”，一个是“似乎简率”。我想，这就是宣告从宋的写实转向元的写意的一场绘画革新的展开。",[23,24,51,74,52,27,176,114,75,76,77,3409,7],"篆书","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad93279af47ffd0b84592f068b874842.jpg","纸本设色，手卷","900×26cm",[35,37],{"id":3415,"slug":3416,"title":3417,"dynasty":18,"author":1726,"museum":20,"description":3418,"tags":3419,"thumbUrl":3420,"material":118,"size":3421,"collection":35,"collections":3422,"showCount":3353,"zanCount":39,"manualWeight":39,"mainColor":123},219343,"jin-yun-zhui-tu-ai-qi-meng-219343","锦云骓图","绢本之上，骏马静立却藏矫健之姿。白褐相间的毛色如锦云裁缀，晕染间显西洋光影之妙，线条勾勒又含东方工笔之精。鬃毛纤毫毕现，似有风掠过；尾梢垂落如瀑，暗蕴沉实力度。马目圆睁神凝，肌肉线条隐于细腻笔触下，既见体格之健硕，更显灵性之鲜活。背景素净无华，恰以留白衬出主体的雍容生动。整幅画融中西技法于一炉，既承传统鞍马画的气韵风骨，又添写实求真的细腻质感，将骏马的神骏与优雅尽展纸上，堪称清代鞍马图中兼具技艺与意趣的精品。",[23,50,24,51,27,26,176,7,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe1fde2ff5f4c2ca6c9075550a4f9c5b2.jpg","纵229横276厘米",[35,37],{"id":3424,"slug":3425,"title":3426,"dynasty":552,"author":91,"museum":110,"description":3427,"tags":3428,"thumbUrl":3429,"material":118,"size":3430,"collection":35,"collections":3431,"showCount":3353,"zanCount":39,"manualWeight":39,"mainColor":123},218784,"bai-xiang-yan-qing-zhou-yi-ming-218784","百祥衍庆轴","红衣人物骑羊缓行，衣袂轻扬间透着悠然意趣。群羊或奔或卧，或抵角嬉戏，姿态鲜活如临其境，百只灵畜聚首暗合“百祥”之寓。苍松虬劲，枝桠舒展如盖；梅枝疏影横斜，点点花苞隐现，为画面添了几分清逸古雅。整幅画以灵动笔触绘就一派吉庆祥和的盛景，松梅相映衬出衍庆绵长，尽显传统民俗中对美好生活的殷殷祈愿，笔墨间藏着岁月沉淀的温润与厚重，将质朴的祝福凝于绢素之上，流转千年仍动人心弦。",[24,51,25,26,27,114,7,633,712,1528,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04ccc5d8dab1d863025e1345af25e34f.jpg","102.9x65cm",[35],{"id":3433,"slug":3434,"title":3435,"dynasty":18,"author":128,"museum":310,"description":3436,"tags":3437,"thumbUrl":3438,"material":118,"size":3439,"collection":101,"collections":3440,"showCount":3353,"zanCount":39,"manualWeight":39,"mainColor":40},218336,"shen-xian-gu-shi-tu-ce-3-leng-mei-218336","神仙故事图册-3","这一卷是一幅关于神仙故事的画。笔触做得非常好，人物也很自然，比例匀称。虽然色彩强烈，但并没有压倒性的效果，而且景观、动植物和工具都被描绘得非常巧妙。",[23,24,51,353,27,26,114,55,324,7,259,313],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71d868c90b4a5cfb55ce8fe0fb510ec9.jpg","38x42",[],{"id":3442,"slug":3443,"title":3444,"dynasty":157,"author":91,"museum":47,"description":3445,"tags":3446,"thumbUrl":3448,"material":101,"size":101,"collection":166,"collections":3449,"showCount":3450,"zanCount":39,"manualWeight":39,"mainColor":123},243339,"shou-xing-ma-shi-yi-ming-243339","兽形马饰","此件青铜饰作疾奔之姿，躯体舒展劲健，四肢迈开裹挟着苍劲气势。兽首狞厉张扬，巨口大开似呼啸长风，立耳昂扬尽显悍勇。浅浮雕卷云纹错落点缀周身，与圆浑的轮廓相映，将上古野性凝于青铜。\n\n青绿铜锈覆身，晕开岁月斑驳痕迹，每一处锈蚀都是时光镌刻的印记，诉说千年前车马辚辚的往昔。它不再是冰冷饰件，是古人心目中勇武刚健精神的具象，将驰骋天地的豪情熔铸进方寸青铜之中，尽显古拙狞厉的造物美学与匠心巧思。",[157,160,161,95,3447,99,7],"兽形","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48c64e7ec3c9e59dd77439e5bb77bb8b.jpg",[166],29,{"id":3452,"slug":3453,"title":3454,"dynasty":157,"author":91,"museum":47,"description":3455,"tags":3456,"thumbUrl":3457,"material":101,"size":101,"collection":166,"collections":3458,"showCount":3450,"zanCount":39,"manualWeight":39,"mainColor":65},242801,"long-wen-ding-yi-ming-242801","龙纹鼎","此鼎立耳柱足，器形方正沉稳，古拙庄重尽显礼器威仪。腹身纹饰上下分层，上层游龙盘绕穿梭，间嵌兽首，线条狞厉古朴，带着上古独有的神秘狞美感；下层乳钉排布齐整，规整肃穆，与灵动龙纹形成动静反差。深褐铜身晕染苍绿锈色，将千余年岁月沉淀其上，仿佛仍带着上古祭祀的肃穆气息，把先民对天地的敬畏与礼制的庄严，凝固在这一方青铜之中。",[160,161,164,544,95,54,7,289],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4654100291913645362a7cd48ef94583.jpg",[166],{"id":3460,"slug":3461,"title":3462,"dynasty":336,"author":3463,"museum":20,"description":3464,"tags":3465,"thumbUrl":3466,"material":1883,"size"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玉兔呈祥”起源于“遇兔呈祥”。\n\n《淮南子》中有这样的记载，月中有桂树，果实每年四五月后飘落人间。因玉兔是月中仙童，所以人们常将兔子隐于桂树丛中，先找到的，会有“蟾宫折桂”的祥兆。",[23,50,24,51,3494,27,26,131,7,2589,75],"册页","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc1c09a8d4be96ac742975ab827a34a8.jpg",[],{"id":3498,"slug":3499,"title":3357,"dynasty":45,"author":746,"museum":47,"description":3500,"tags":3501,"thumbUrl":3502,"material":101,"size":101,"collection":101,"collections":3503,"showCount":3450,"zanCount":39,"manualWeight":39,"mainColor":123},227715,"hu-tu-tu-zhou-mu-xi-227715","牧溪是南宋著名的画僧，他的画作大多拙稚粗细，自由放逸。由于太过自由且有悖传统而入不了中国主流的收藏殿堂，其洒脱不拘泥于形式的风格反而在日本备受推崇。\n\n牧溪是南宋著名的画僧，他的画作大多拙稚粗细，自由放逸。由于太过自由且有悖传统而入不了中国主流的收藏殿堂，其洒脱不拘泥于形式的风格反而在日本备受推崇。",[24,25,52,314,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ce9881e58fd85ecc62bf9a234ad398d.jpg",[],{"id":3505,"slug":3506,"title":3507,"dynasty":336,"author":3508,"museum":110,"description":3509,"tags":3510,"thumbUrl":3511,"material":26,"size":3512,"collection":119,"collections":3513,"showCount":3450,"zanCount":39,"manualWeight":39,"mainColor":123},219311,"shi-ba-ying-zhen-xiang-zhou-ding-yun-peng-219311","十八应真像轴","丁云鹏","祥云裹挟金芒倾泻而下，漫卷的云海间，十八应真或骑狮踞象，或趺坐参禅，或执杖笑谈，神态各异如活现眼前。衣纹线条精谨流畅，兽形憨态与威严并存，群像错落间藏着疏密有致的章法。淡墨晕染出缥缈的云雾与波澜，将神圣与世俗的气息悄然融合——既见罗汉的庄严法相，亦有生动活泼的人间意趣。每一处细节皆见匠心：或眉眼间的慈悲，或兽足踏浪的灵动，都在泛黄的绢本上沉淀出时光的厚重，尽显传统人物画的精妙神韵。",[24,51,25,259,114,7,402,26,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2a6776ed79f7001c79a87c79325b796.jpg","109.1x50.9",[119],{"id":3515,"slug":3516,"title":3517,"dynasty":336,"author":3518,"museum":110,"description":3519,"tags":3520,"thumbUrl":3527,"material":33,"size":3528,"collection":35,"collections":3529,"showCount":3450,"zanCount":39,"manualWeight":39,"mainColor":40},218794,"bai-lu-tu-zhang-hong-218794","百禄图","张宏","张宏，字君度，号鹤涧，江苏吴县人。生于明神宗万历七年（西元一五七七年），至清圣祖康熙八年（西元一六六八年）尚健在。工山水，笔意古拙，墨法清润。人物写意，天然入格。\n本幅画乔松古柏，岩鹿群游。款：「辛巳秋八月，吴门张宏写。」鹿向被认为是长寿之仙兽，且「鹿」「禄」「柏」「百」谐音，故题名「百禄」，以取富贵爵禄之意。",[24,52,26,53,532,7,147,726,230,1148,263,823,3521,2358,1432,148,3522,3371,3523,3524,466,3525,3526,244,27],"兼工带写","鹿群","山景","自然景观","明代风格","笔墨技法","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89428a5fc63b071b5b27d40c46585043.jpg","170.4x77.2cm",[35],{"id":3531,"slug":3532,"title":1397,"dynasty":70,"author":197,"museum":47,"description":3533,"tags":3534,"thumbUrl":3536,"material":380,"size":381,"collection":101,"collections":3537,"showCount":3538,"zanCount":39,"manualWeight":39,"mainColor":65},289728,"yuan-ma-tu-han-gan-289728","此幅绘竹石树林，三猿戏於枝间石上，其下绘黑白双骏。画上宋徽宗题字和“御书”一玺，及理宗“缉熙殿宝”玺皆伪，当为后加。然画中不论猿、马、树石、枝叶，皆描绘细腻，或为南宋作品。",[23,24,50,25,26,176,801,7,324,3535,590],"怪石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb614ad486de6c7330220220d7021323.jpg",[],28,{"id":3540,"slug":3541,"title":3542,"dynasty":336,"author":1266,"museum":47,"description":1594,"tags":3543,"thumbUrl":3546,"material":380,"size":381,"collection":101,"collections":3547,"showCount":3538,"zanCount":39,"manualWeight":39,"mainColor":123},288006,"yuan-xi-tu-juan-chou-ying-288006","猿戏图卷",[23,24,74,27,26,949,532,801,726,214,3544,2358,7,3545],"奇石","猿戏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F173b1647909b1d0665386cc866230520.jpg",[],{"id":3549,"slug":3550,"title":3551,"dynasty":157,"author":91,"museum":47,"description":3552,"tags":3553,"thumbUrl":3555,"material":101,"size":101,"collection":166,"collections":3556,"showCount":3538,"zanCount":39,"manualWeight":39,"mainColor":65},242685,"zuo-yong-fang-ding-yi-ming-242685","作用方鼎","它造型方正端凝，立耳挺拔敛括，四足敦实沉稳，稳稳托举起器身，自带古朴威仪。器身浅浮雕饕餮纹，线条狞厉古拙，晕开上古的神秘肃穆，仿佛藏着先民对天地神祇的敬畏崇仰。\n\n铜锈深浅交织，褐痕与翠色错落斑驳，是时光浸蚀留下的独特印记。它曾作为礼器，承载宗法礼制的庄严厚重，将实用功能与神性礼意融于一体。沉默的青铜肌理，凝缩着青铜时代的匠心风骨，静静诉说着远去的礼制风华。",[160,164,544,161,289,3554,95,7],"饕餮纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8846e73da0d3095b1e0c062eb5cddd41.jpg",[166],{"id":3558,"slug":3559,"title":3560,"dynasty":18,"author":350,"museum":47,"description":3561,"tags":3562,"thumbUrl":3565,"material":101,"size":101,"collection":101,"collections":3566,"showCount":3538,"zanCount":39,"manualWeight":39,"mainColor":40},230167,"ba-ge-song-shu-tu-hua-yan-230167","八哥松鼠图","此作用笔兼工带写，冬日枯枝横斜，两只八哥相偎私语，墨色翎毛纤毫毕现，亲昵柔婉之态呼之欲出。下方松鼠曳着蓬松长尾，圆目灵动憨态可掬，驻足枝上似正侧目探看。\n\n淡墨晕染危石枯藤，飘零残叶点染出清寂冬意，留白空灵疏朗，将荒寒萧索的氛围铺陈开来。却以小生灵的鲜活暖意破了冷寂，静中藏动，虚实相生。软毛的蓬松温软、翎羽的油亮劲挺、枯木的苍劲淡远相映成趣，把冬日荒林间的盎然生趣刻画得精妙入微，尽显灵秀雅致的笔墨意趣。",[23,24,51,25,26,31,7,30,214,3563,3564,52,27],"枯枝","落叶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c918a99a17b3d55a87fe514827c97c0.jpg",[],{"id":3568,"slug":3569,"title":3570,"dynasty":298,"author":299,"museum":723,"description":3571,"tags":3572,"thumbUrl":3573,"material":101,"size":101,"collection":101,"collections":3574,"showCount":3538,"zanCount":39,"manualWeight":39,"mainColor":40},220552,"ce-mu-xu-bei-hong-220552","侧目","浓墨横扫铺就雄狮鬃毛，野性肌理顺着笔势翻涌，紧绷的躯体如蓄势待发的弓弦，它侧目紧盯岩下蜿蜒长蛇，目光冷冽，将猛兽的警惕与威严尽数释出。画家以中西合璧之法，淡赭晕染狮身塑造体积感，焦墨点睛攫住神态，写实的狮爪紧扣危岩，力量感喷薄欲出。\n岩下长蛇灵动蜿蜒，恰好反衬出雄狮的沉凝沉稳，枯笔皴擦险石，烘托出肃杀的对峙氛围。整作跳脱传统走兽画的柔媚格调，以雄健笔力寄寓不屈气魄，将写意意境与写实造型相融，定格荒野中的张力瞬间，让猛兽的生命野性跃然纸面，尽显笔底的精神重量。",[24,52,26,7,951,1443,30],"https:\u002F\u002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，字曾三，号鲁亭，江苏常熟人，余珣之子，清代著名画家。曾受业于蒋廷锡。乾隆（1736—1795）时与唐岱、周鲲同祗候内廷，善花鸟、虫鱼、翎毛，间亦参用西法，赋色妍丽，尤善画蝶，工兰竹水仙，所作叠邀高宗睿题，藏于石渠宝笈。",[24,51,353,26,7,532,230,263,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9544dfd446f8c2df9428c8857d17029f.jpg",[35,37],{"id":3981,"slug":3982,"title":3983,"dynasty":18,"author":411,"museum":110,"description":3984,"tags":3985,"thumbUrl":3986,"material":1883,"size":3987,"collection":101,"collections":3988,"showCount":3961,"zanCount":345,"manualWeight":39,"mainColor":123},232674,"shi-jun-tu-da-wan-liu-lang-shi-ning-232674","十骏图大宛骝","有郎世宁的签名，但真正的艺术家不详。\n目前还不清楚这个复制品是什么时候完成的。\n朱塞佩·卡斯蒂廖内，S.J. （中文名郎世宁；1688年7月19日－1766年7月17日），意大利耶稣会兄弟，中国传教士，曾在康熙、雍正、乾隆三位皇帝的朝廷担任画家。他的绘画风格融合了欧洲和中国的传统。\n后来的艺术评论家认为他的马画是最具表现力的。作品《百骏图》被公认为中国十大名画之一。",[24,51,27,26,176,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa244b888acd8e18e452db1d877f7b2c9.jpg","231x274厘米",[],{"id":3990,"slug":3991,"title":1768,"dynasty":45,"author":3992,"museum":47,"description":3993,"tags":3994,"thumbUrl":3995,"material":101,"size":101,"collection":101,"collections":3996,"showCount":3961,"zanCount":39,"manualWeight":39,"mainColor":123},227982,"xi-yuan-tu-xia-gui-227982","夏圭","画面以边角取景，右侧老槎盘曲，苔痕苍古，藤蔓附枝斜曳，左侧苍猿长臂勾挂柔条，探身悠荡，圆目灵动，肢体舒展如在乘风嬉游。\n\n以水墨晕染出空茫寒寂的汀渚水岸，淡墨扫出远天荒阔，枯笔勾勒长草随风偃仰，将猿猴的跳脱野趣，融于萧疏冷逸的江天氛围中。简劲洗练的笔墨衬出灵猿鲜活生机，虚实相映间，把山野幽趣藏在淡远空寂里，于尺幅间写尽林皋间自在天真的意趣。",[23,45,24,51,50,52,26,7,801,324,498,216,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4f519ea9d84cee61338c616ca4061ccf.jpg",[],{"id":3998,"slug":3999,"title":4000,"dynasty":45,"author":91,"museum":110,"description":4001,"tags":4002,"thumbUrl":4004,"material":1883,"size":4005,"collection":101,"collections":4006,"showCount":3961,"zanCount":39,"manualWeight":39,"mainColor":123},223427,"song-ren-pi-pa-yuan-xi-tu-zhou-yi-ming-223427","宋人枇杷猿戏图轴","从画面上来看，枇杷树的枝干上下各一段，并未相接，观赏时却有著相连的感觉，这种画外之意，正是作者别出心裁的安排。而其沈着的用色、劲健的用笔则将树干的扭曲斑剥、树叶的转折、石头的坚硬和猿身黝黑的绒毛表现得栩栩如生，像可以触摸一般。然只生动地画出物象的形貌仍不够，必须掌握其情态，方算传神，因此画中黑猿，挂在枝干上的一只，手尾紧握，好似在荡秋千一般，另一只则悠闲地坐在树干上，和牠相互凝望，情意相系。\n老树擎空，突出画幅，其枝垂挂，复返画中。画幅中的枝干，笔不连而意连，足见画家布局之匠心。一猿攀枝摇荡，如戏秋千。一猿则踞干悠闲旁观，真能得猿猴动息之情。画技精湛，特善用墨，曲尽黑猿毛色之状，树石描绘精采、用色雅正，尤有过人处，是宋无款作品中之巨幅精品。易元吉的猴猫图突显毫芒毕现的用笔功夫，本画则用墨功夫一流。",[23,50,24,51,25,27,26,7,801,4003],"枇杷","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F62ef7c2e9e1f091b0edc125c19b59367.jpg","165x107.9厘米",[],{"id":4008,"slug":4009,"title":4010,"dynasty":45,"author":91,"museum":110,"description":4011,"tags":4012,"thumbUrl":4019,"material":59,"size":4020,"collection":101,"collections":4021,"showCount":3961,"zanCount":39,"manualWeight":39,"mainColor":123},223424,"song-ren-ping-chou-hu-du-zhou-yi-ming-223424","宋人平畴呼犊轴","树叶和芦矛经霜成了赭黄色，秋意已深。在平原上游散着一大一小两头牛，小牛被遗落在后，急了便高耸着鼻子呼唤。母牛停下了脚步，回过头来等候着，足见母子情深。画家描绘小牛的鸣叫，张着唇吻，屈着前足，背高高的耸起，尾却朝上轻摇。对牛在鸣叫时骨骼筋络的反应，研究观察得非常精细，使人看了，仿佛也可以听到小牛的呼叫声。诚为一南宋无款佳作",[23,24,51,25,26,27,78,7,215,1797,4013,148,231,4014,4015,4016,4017,217,646,4018,738],"平野","田野","水牛","犊牛","枝干","细笔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faf1f0accd9c0ce6a2dcc5675ccf7d880.jpg","97x52.4",[],{"id":4023,"slug":4024,"title":1611,"dynasty":45,"author":91,"museum":20,"description":4025,"tags":4026,"thumbUrl":4027,"material":1883,"size":4028,"collection":101,"collections":4029,"showCount":3961,"zanCount":39,"manualWeight":39,"mainColor":123},223332,"san-yang-tu-yi-ming-223332","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。",[23,24,50,51,484,27,26,7,368,324,497,216],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b7a68d3cb18be30324ec6098db75923.jpg","21.2x20厘米",[],{"id":4031,"slug":4032,"title":4033,"dynasty":881,"author":3039,"museum":20,"description":3040,"tags":4034,"thumbUrl":4036,"material":3043,"size":3044,"collection":101,"collections":4037,"showCount":3961,"zanCount":11,"manualWeight":39,"mainColor":123},221174,"a-shi-duo-zun-zhe-tang-ka-bu-ben-guan-xiu-221174","阿氏多尊者（唐卡布本）",[23,24,51,4035,26,27,259,114,896,7],"布本","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f51f8facfe834d20be27d8506a1c48d.jpg",[],{"id":4039,"slug":4040,"title":4041,"dynasty":552,"author":91,"museum":110,"description":4042,"tags":4043,"thumbUrl":4044,"material":118,"size":4045,"collection":119,"collections":4046,"showCount":3961,"zanCount":39,"manualWeight":39,"mainColor":123},219291,"ying-zhen-xiang-yi-ming-219291","应真像","群像错落间，罗汉神态各显其趣：驯虎者威而不厉，持卷者沉静如渊，与沙弥依偎者暖意融融。衣纹线条流转细腻，似能触到布料的柔软褶皱；古雅色调晕染出岁月的沉香。头光淡隐，添几分神圣；人物间的细微互动，藏着鲜活的烟火气。或低眉沉思，或浅笑低语，或凝神观物，每一处笔墨都透着匠心——既守宗教画的庄严底色，又赋人物以生动性情。驯虎的张力、读经的静谧、依偎的温情，在方寸间交织成一幅既有神圣感，又含人间温度的画卷，尽显古画笔墨的神韵与人文情怀。",[24,51,25,259,27,26,114,314,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe9c05ff75807c73351c05eabf82799b4.jpg","157.6x79.6",[119],{"id":4048,"slug":4049,"title":4050,"dynasty":45,"author":2651,"museum":47,"description":2652,"tags":4051,"thumbUrl":4052,"material":380,"size":381,"collection":101,"collections":4053,"showCount":4054,"zanCount":39,"manualWeight":39,"mainColor":123},288994,"mu-zi-quan-tu-mao-yi-288994","母子犬图",[50,24,51,27,26,927,7,3544,231],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd31dab7edd927a3828f05cca548ddcfa.jpg",[],22,{"id":4056,"slug":4057,"title":4058,"dynasty":45,"author":1234,"museum":47,"description":4059,"tags":4060,"thumbUrl":4062,"material":380,"size":381,"collection":101,"collections":4063,"showCount":4054,"zanCount":39,"manualWeight":39,"mainColor":40},287562,"fa-hai-ling-shan-tu-ce-li-gong-lin-287562","法海灵山图册","李公麟（1049～1106），北宋舒州（今属安徽桐城）人，宋代杰出画家。字伯时，号龙眠居士、龙眠山人，享年五十七岁。熙宁三年（公元1070年）进士。\n出身名门大族，家藏古器名画法书甚多，自幼知识渊博，好古善鉴，多识奇字，自夏商以来钟鼎尊彝皆能考订世次，辨别款识。长于诗文，行楷书有晋人风。与王安石、苏轼、米芾、黄庭坚为至交，系驸马王诜之座上客。熙宁三年（1070）中进士，为中书门下省删定官，后官至朝奉郎。元符三年（1100）病痹告老，居家乡桐城龙眠山，号龙眠居士。一生勤奋，作画无数，人物、史实、释道、士女、山水、鞍马、走兽、花鸟无所不能，无所不精。人物、道释深得吴道子旨趣，运笔如行云流水，造型正确，神态飞动；山水气韵清秀，得王维正传；着色山水追李思训心法；画马过韩干。能集诸家之长，得其大成，师法自然，大胆创新，自成一家，被后代敬为第一大手笔、百代宗师。",[24,51,353,402,52,259,114,7,4061],"云气","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F615dcc4db7d29779a95fe40b8b73442d.jpg",[],{"id":4065,"slug":4066,"title":4067,"dynasty":540,"author":91,"museum":47,"description":4068,"tags":4069,"thumbUrl":4070,"material":101,"size":101,"collection":166,"collections":4071,"showCount":4054,"zanCount":39,"manualWeight":39,"mainColor":65},242845,"zi-wei-gu-yi-ming-242845","子囗觚","敞口微撇如盛放莲瓣，腰腹修挺纤秀，圈足敦实沉稳，线条舒展流转，带着上古器物独有的狞厉庄重。中段兽面纹饰古朴刚劲，线条凝练威严，带着图腾特有的神性力量。铜绿锈迹深浅晕染，如岁月在器身镌刻的斑驳印记，晕开三千年的时光余韵。它曾承装清酒，伴祭礼乐肃穆，如今褪去烟火气，冷硬青铜里沉睡着古早的信仰与匠心，静静诉说着先民的工艺造诣，将古文明厚重的余味凝于器身之间。",[160,3228,164,161,95,7,54,289],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6464c93a2bb0fa2bfa3fba1c68c8802.jpg",[166],{"id":4073,"slug":4074,"title":4075,"dynasty":336,"author":91,"museum":47,"description":4076,"tags":4077,"thumbUrl":4078,"material":101,"size":101,"collection":101,"collections":4079,"showCount":4054,"zanCount":11,"manualWeight":39,"mainColor":123},235681,"tao-cheng-chan-gong-yu-tu-tu-zhou-yi-ming-235681","陶成蟾宫玉兔图轴","此作图绘仙乡秘境，一轮素月悬于空濛天际，清辉铺洒四野。玉兔静伏于青竹之侧，茸毛细密柔润，红眸澄澈灵动，憨态可掬，为清冷画面晕开一抹柔温。\n\n青绿山石晕染雅致，水流蜿蜒有声，远山瀑布垂挂如练，浅绛淡青交织出幽谧空寂的氛围感。数竿修竹挺秀清疏，枯木虬枝添了几分古意，与题诗相映成趣，诗画相融，晕染出出尘的仙家意韵。\n\n笔墨兼工带写，设色古雅沉静，将缥缈蟾宫的清寂与鲜活生机揉和一处，尽显古典雅致的仙境意趣。",[24,25,26,27,532,590,131,1039,1148,230,578,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F199c4e3ce8b760deb87b3e87847a32a2.jpg",[],{"id":4081,"slug":4082,"title":4083,"dynasty":552,"author":2386,"museum":110,"description":4084,"tags":4085,"thumbUrl":4086,"material":80,"size":4087,"collection":101,"collections":4088,"showCount":4054,"zanCount":39,"manualWeight":39,"mainColor":123},231384,"yuan-shi-zu-chu-lie-tu-liu-guan-dao-231384","元世祖出猎图","《元世祖出猎图》属于全景式大尺幅作品，取材于元世祖行猎的场面，即元世祖忽必烈与帝后及其侍从狩猎情景。 [2] 画中忽必烈着红衣白裘，乘着黑马。画中有十人，有弯弓搭箭，有驾鹰纵犬，人物分散，似做围猎状。\n《元世祖出猎图》中人物、马骑无论衣着、装备皆刻画精细，表情神态自然生动。所画人和马作各种不同的姿态，转侧俯仰，富有变化。\n《元世祖出猎图》画北方沙漠地带，一片黄沙坡地，景色单调。在沙丘无垠的远方，正有一列骆驼驮队横越。近处人骑数众，或张弓射雁；或手架猎鹰；或绳携猎豹，皆为马上行猎之状。其中骑着黑马、身穿白裘的，应为元世祖，与世祖并驾的妇女，似为帝后，其余八人，应是侍从，其中尚有中亚黑奴一名。这些人中，其中一人正弯弓搭箭，瞄准着空中苍鹰。而其他猎手则顺着世祖身后著红服者所指示的方向，作注目远眺状，像在前方已发现了猎物，他们正蕴酿着纵马围歼的计划。\n《元世祖出猎图》有人物、鞍马、鹰、狗、骆驼等，其中对人物、鞍马刻画尤为详尽。主要人物或许皆由写生肖像而来，老少不一，神情各异，甚至连脸部肤色亦不尽相同。马匹的塑造、除分别敷以黑、白、红、黄、赭、灰等不同色彩外，各马匹姿态亦无雷同者，马之透视变化、结构关系皆合于解剖；元世祖乘骑，虽作原地站立，无大的动姿，但生动雄健，风骠不凡。\n该图取其部分，画家对画面上几十个人物进行了精雕细刻，各尽其态。尤对位于或靠近中央地方的元世祖刻画尤为入微。图中御青马，戴貂冠，着红衣披白裘，脚蹬皮靴，昂然坐在马上者，即是元世祖忽必烈，他侧身远视，气魄雄伟，他的头略微向左偏转，双目凝视远方，坚定而又泰然，和元世祖并辔而立的可能是帝后，她身穿白袍，在坐骑红缨佩饰的映衬下，显得非常优美，和元世祖刚毅伟岸的身姿形成对比。其余四人为猎人，在世祖右侧边上的一人正弯弓搭箭，瞄准着空中苍鹰，而其他猎手顺着世祖身后着红服者所指的方向，作注目眺状。好像在前方已发现了猎物，他们正酝酿着纵马围歼的计划。在前景以及世祖和帝后的两侧共八名侍从，有的腰携箭菔，有的手持猎鹰，有的弯弓寻羽，他们或纵犬、或持矛、或扬鞭，姿态或仰或俯，坐骑盍去不同。背景，远处画得十分简括，一队商旅行驼出没于山丘之中，黄沙浩瀚，朔漠无垠，一派北国风光，顿时使人恍然，如临雄关塞外的辽阔大漠之中。\n画家在此画中充分发挥了线条的表现力量，无论是线条的劲挺与柔和，还是运笔疾迟轻重，皆臻妙境。画幅上的人物、鞍马刻画尤为详尽，老小不一，神态各异，脸部肤色也不同，尤其是元世祖的画像如写生肖像画。马的塑造不仅色彩不同，姿态也不雷同，有的低首啃草，有的站立歇息，有的昂首远望。世祖乘骑的黑马原地站立无动势，但生动雄健，风骠不凡，即对于人物和坐骑的每一个细部， 以及繁复的装饰花纹和细如游丝的马鬃，都交待得一丝不苟， 历历在目。\n构图上，《元世祖出猎图》采用了俯视手法，场面空旷壮观，远处沙丘间，点缀着一列骆驼，增强了画面层深效果。猎队人物聚散、交叠之布局，也生动自然，富有狩猎场面所特有的生活气息。此图画面构图疏密得当，错落有致，人物互相呼应，前景、中景、远景安排得层次分明，画面详略、虚实关系处理得十分成功。\n清初文学家纳兰揆叙：《题元世祖岀猎图》\n至元天子英武姿，校猎每以秋冬期。我今展图如见之，沙漠惨淡移于斯。星斿蔽野虹作旗，厩马既秣车既脂。至尊前行后阏氏，茸帽压顶裘反披。名王部长络绎随，臂弓腰箭千夫驰。北风似弩雪似簁，踆乌匿影顽云痴。鸿鹄纷拏苍隼饥，雉飞入草鹰在枝。银麞缟鹿熊豹麋，狡兔封豕狐与狸。洞胸饮羽血淋漓，焚林捣穴靡孑遗。就中射虎者为谁，引满一发穿其颐。目光磹怒未弛，懦怯乍覩犹惊疑。归来穹庐帟幕施，酪浆湩乳倾金巵。燎毛燔肉土锉炊，琵琶发声羗苗吹。酒酣耳热欢融怡，寒气忽转春迟迟。厥初穷兵辟坤维，乘胜直抵西海湄。于阗乞降迨龟兹，角端示警殊不知。从畋已寓阵法奇，止齐步伐皆得宜。月来日往绵岁时，此画完整无缺亏。偶然浏览浑忘疲，便觉满室生凉飔。壮观咫尺慰所思，何待振策游边陲。\n《元世祖出猎图》不仅是一件出色的人物鞍马画，而且还透露出蒙元时代的社会文化特征。\n蒙元时期出土的服饰实物资料有限，《元世祖出猎图》是研究蒙元服饰的重要艺术参考资料。",[50,24,51,26,27,114,176,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ad24bc0e5340dde489652972b9951d3.jpg","纵：182.9公分，横：104.1公分",[],{"id":4090,"slug":4091,"title":686,"dynasty":70,"author":687,"museum":47,"description":4092,"tags":4093,"thumbUrl":4095,"material":101,"size":101,"collection":101,"collections":4096,"showCount":4054,"zanCount":39,"manualWeight":39,"mainColor":123},227249,"dou-niu-tu-dai-song-227249","《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 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创作的纸本设色画，现藏于 。\n此图绘乾隆皇帝行乐生活的一个场面。\n画中乾隆扮作普贤菩萨，高坐莲座。\n侍者扮作玉女、金童及天王，分立两旁。\n几位僧侣仆人正在洗刷一头白象，准备搭上毛毡锦垫，以供“菩萨”骑用。\n画下三位僧人，一位正在清扫，另二位正在传接经书，欲呈献皇帝。\n此图设色艳丽，气氛和谐。\n此图中的弘历乾隆帝和大象占据画幅的中心主要位置，起到突出主题的作用。\n画幅上端坡行堤岸，左右两侧各有二棵苍松，尤其是左侧两棵巨松，树干粗壮，交叉曲直向上，枝叶茂密，乾隆在巨松荫下观看洗象。\n画幅下端似一片丘陵地带，山岗亘连，花草丛生，还画有二位长老。\n弘历坐在宝椅上，身着一身佛装。\n作者自识：“乾隆十五年六月臣了观鹏恭绘。\n”下钤“臣观鹏”、“恭画”二印；画面上方钤有“乾隆御览之宝”一印。\n该图取材于佛教故事，表现普贤菩萨观看诸圣徒为其坐骑白象洗刷的情景。\n乾隆皇帝受佛学大师三世章嘉活佛的影响，数十年倾心于佛学研习。\n他为了表示对佛教的信仰，不仅大建佛寺，译佛经，造法器及写经自修，而且还将自己比喻成佛教中菩萨的化身，罩上一层神秘的宗教光环。\n他命宫廷画家或画佛喇嘛，绘制了多幅他扮作菩萨的画像，此图便是其中之一。\n此图画于乾隆十五年（175年），时弘历（即乾隆帝）4岁。\n此画将乾隆喻作法力无边、救苦渡难的菩萨， 其主旨不言而喻。\n图中人物面部以西法绘成，富有写实感，具有肖像画性质。\n画法很细致，当出自供奉宫廷的意大利画家郎世宁之手。\n弘历端坐宝位上，人物造型明显大于其他人物，神态肃穆。\n面部以西洋技法，立体感较强，故从风格和水平来看，乾隆像当出自郎世宁的手笔。\n至于其他人物和景致，均为丁氏所绘制，如人物造型的今张、奇古，及屈曲颤动的线条等。\n构图也是中国传统形式。\n总体来看，此画绘制精细，色泽华丽，中西合壁。\n画面取云雾缥缈、山泉粼粼、木石山花骨秀清逸之处为背景，突出仙界气氛。\n人物衣褶皆用战笔流水描，宛转卷曲，古拙奇趣。\n人物面部用淡色晕染，富有体积感，尤其乾隆的面部，更具有写实的意味。\n研究员李湜：此图在设景布势上富于机巧，以曲水为脉，将树石、惠草连成一体，同时也将众多的人物圈聚在一起，进而突出了乾隆皇帝的主体位置。\n图中人物的衣纹勾线瘦挺颤掣，曲转顿挫，富于动感，它不仅丰富了画面的视觉效果，同时，也准确地勾勒出不同状态下人物的各种形体变化。\n全图设色艳丽，富有装饰感，带有 高贵典雅的特征。\n丁观鹏，生卒年不详，顺天（今北京）人。\n雍正时供奉内廷。\n擅画道释、人物和山水，画学同宗丁云鹏，有出蓝之誉。\n画风工整细致。\n传世作品有《仿顾恺之洛神图》《弘历洗象图》《乞巧图》。",[23,24,51,25,27,26,114,7,950,314,532,263,4289],"石头","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa997e0e055cd600a62b3aec5fc5facab.jpg",[],{"id":4293,"slug":4294,"title":4295,"dynasty":552,"author":4296,"museum":47,"description":4297,"tags":4298,"thumbUrl":4300,"material":101,"size":101,"collection":101,"collections":4301,"showCount":4274,"zanCount":39,"manualWeight":39,"mainColor":40},228053,"bai-miao-jie-bo-tu-juan-wang-zhen-peng-228053","白描揭钵图卷","王振鹏","此作用纯白描演绎佛教故事，铁线描劲挺匀细如游丝盘桓。画面中众天魔女施百般神通、力士悍然围护，围绕钵盂拉扯对抗，将救子的焦灼与护法的沉凝刻画尽致，人物神态各殊，动静对冲间戏剧张力拉满。布景简淡清逸，衬出道释故事的庄严氛围感。卷后长题跋笔意跌宕，书画合璧，尽显此作的极致造诣，将宗教叙事与笔墨意趣完美融合，是白描人物画的典范之作。",[23,50,24,51,74,402,27,259,114,7,263,230,1040,4299,76,75],"旗帜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9ee76ff91c7c036c27dda83ba2b0fe54.jpg",[],{"id":4303,"slug":4304,"title":4305,"dynasty":18,"author":91,"museum":20,"description":4306,"tags":4307,"thumbUrl":4311,"material":4312,"size":4313,"collection":101,"collections":4314,"showCount":4274,"zanCount":11,"manualWeight":39,"mainColor":40},223366,"guang-xu-nian-jian-bai-duan-di-guang-xiu-san-yang-kai-tai-gua-ping-xin-yi-ming-223366","光绪年间白缎地广绣三阳开泰挂屏心","此挂屏心是在白色缎地上施五彩绣。画面中一轮红日高挂，草木葱郁，山石玲珑，3只羊嬉戏于湖边草地上，9只瑞鸟飞鸣栖息于花间树梢，展现出一派春光明媚、万物滋生的美好景象。作品采用了洒插针、辫子股针、扭针、刻鳞针、打籽针和风车针等针法，针工细密，有较强的立体感。三只羊形态各异，刻画逼真，羊身上用辫子股针绣成一圈圈凸起的圈线，颇具毛绒感。画面施以浅驼、驼、古铜、沉香、灰、驼黄、黄、绿、蓝、石青和大红等色，色彩艳而不俗，富于装饰性，充分体现了广绣独特的风格。\n此挂屏心的主题以“羊”与“阳”的谐音寓意“三阳开泰”，作为新年伊始的祝福。此为广绣的杰作。",[23,313,4308,3062,26,368,7,214,324,55,4309,4289,700,133,4310],"广绣","太阳","挂屏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7ff1a6d481f46a46864196ab03a7f3b.jpg","屏心","高67厘米，宽52厘米",[],{"id":4316,"slug":4317,"title":4318,"dynasty":45,"author":91,"museum":273,"description":4319,"tags":4320,"thumbUrl":4321,"material":118,"size":101,"collection":37,"collections":4322,"showCount":4274,"zanCount":39,"manualWeight":39,"mainColor":123},219744,"liu-xia-shuang-niu-tu-yi-ming-219744","柳下双牛图","画中柳树下悠闲的南方水牛，一母一子，尽管母牛背向而站，但眼神紧盯着小牛，而小牛似乎正围着母牛撒欢。另一侧，农夫辛勤的在水田里劳作。",[24,495,52,26,78,7,246,2118],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd182958fae8609b7da0dda8ab0764823.jpg",[37],{"id":4324,"slug":4325,"title":4326,"dynasty":45,"author":492,"museum":4327,"description":4328,"tags":4329,"thumbUrl":4330,"material":59,"size":4331,"collection":35,"collections":4332,"showCount":4274,"zanCount":11,"manualWeight":39,"mainColor":40},218930,"shan-yuan-ye-zhang-tu-yi-yuan-ji-218930","山猿野麞图","上海龙美术馆","此图构图简洁而野趣盎然，卷末有二麞尤佳。树作点叶，石法略具北宋意趣。",[23,50,24,51,74,27,26,53,1900,2839,496,7,263,230,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F919a264d0f1a26f0fbb04a3eac5b8bd0.jpg","25x73cm",[35],{"id":4334,"slug":4335,"title":4336,"dynasty":552,"author":91,"museum":455,"description":4337,"tags":4338,"thumbUrl":4339,"material":118,"size":101,"collection":35,"collections":4340,"showCount":4274,"zanCount":39,"manualWeight":39,"mainColor":123},216603,"shuang-yuan-tu-yi-ming-216603","双猿图","双猿相偎于岩畔，毛发以淡墨晕染，绒绒质感似触手可及。一猿侧首依偎，一猿抬眸远眺，憨然亲昵的神态里，藏着自然生灵的脉脉温情。近景山石以简劲皴擦勾勒，肌理分明；背景远山用淡墨轻笼，如隔烟霞。左侧大片留白似氤氲水气，引视线向深远处漫溯，让静谧氛围在空濛中缓缓流淌。墨色浓淡相济，古绢底色晕着时光沉韵，刚劲的山石与柔润的猿身形成刚柔对撞，却又在淡远意境里相融。整幅画不追繁复，以极简笔墨捕捉生灵之趣，将自然的恬淡与温情凝于绢素，读之如沐山风，心渐沉静。",[24,495,52,7,801,30,532],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa75dc0ca0ebe129ccaa05f98ca77435c.jpg",[35],{"id":4342,"slug":4343,"title":4344,"dynasty":336,"author":4268,"museum":47,"description":4345,"tags":4346,"thumbUrl":4347,"material":380,"size":381,"collection":101,"collections":4348,"showCount":4349,"zanCount":11,"manualWeight":39,"mainColor":123},290880,"wu-lu-tu-zhou-wang-zhao-290880","五鹿图轴","画面中，五只鹿伫立在弥漫浓雾的山野之间，身体互相紧靠，有的回首张望，有的则是低头作嚼草状。一旁生长着松、竹的植物和色彩斑烂的花卉，周围则环绕岩石及河流。白鹿在古代被视为象征长寿的仙兽，当牠与长青的松、竹画在一起，通常有为人祝寿、贺吉祥的意涵。\n鹿身上的毛色，由浓淡、长短不一的墨线画成，加上细微的渲染，毛皮的质感看起来自然生动。对比之下，周围的树、石以及云霭，则是以粗放快速的笔法或是大片水墨渲染来表现，让画面充满了奇诡变化的气氛。这幅作品旧传为明代陈淳画，可是由这些笔墨的技巧来判断，应该出自浙派画家汪肇的手笔。他另外有一幅〈松鹿图〉（日本私人收藏）流传下来，与本幅的风格相当接近。汪肇擅长以淡墨烘染云海，制造自然瞬息万变的效果，这也是他自号为「海云」的由来。",[24,51,25,7,147,27,26,726,230,231],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F16ca000543247c0dd42e1e0e9e72342f.jpg",[],19,{"id":4351,"slug":4352,"title":4353,"dynasty":552,"author":91,"museum":110,"description":4354,"tags":4355,"thumbUrl":4357,"material":118,"size":4358,"collection":119,"collections":4359,"showCount":4349,"zanCount":39,"manualWeight":39,"mainColor":123},290744,"xi-ying-tu-zhou-yi-ming-290744","戏婴图轴","儿童生性活泼好奇﹐在他们的眼裏﹐每样事物都新奇有趣﹐都想要探索、尝试。而游戏﹑玩具﹐不仅能启发心智，也能锻练强健的体魄﹐是他们用以探索世界的工具。儿童在嬉戏中﹐生动活泼的姿态，专注喜悦的表情，稚拙可爱的模样，不只让人心生怜爱，更能感受到童稚世界的无忧无虑，是画家喜好的题材，这种以孩童嬉戏为主题的画作，称为《婴戏图》。\n南宋以後﹐文人画发达﹐不再重视精描细绘的写实工夫，画家在描绘孩童时﹐不是将孩童画得老气横秋﹐便是画得身小而貌壮，少年老成，无法掌握儿童纯稚的神韵﹐故以婴戏画知名的画家锐减。而婴戏图中孩童纯真可爱的形象，特别能表现节庆欢乐的气氛，有祈福求安的意义，此幅婴戏图，画冬日一孩童骑一羊﹐在羊群中嬉戏，设色穠丽﹐描写工细﹐画面生动，富有生活情趣。",[24,26,27,114,4356,368,7,633,712],"戏婴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa72e70c165dd262e8aede4cfe1ac85d.jpg","90.4x56.1",[119],{"id":4361,"slug":4362,"title":4363,"dynasty":45,"author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及二十八星宿对应的人物神怪图像。每星宿一图，或人或兽，或人身兽首，每图前有篆书说明。今仅存上卷的五星和 “角” 至 “危” 十二宿。此内含三种卷本。\n“五星二十八宿” 中的 “五星” ， 亦可称五纬， 即中国古代天文学中的金、 木、 水、 火、 土五大行星。 其中， 金星古称明星， 又名太白金星；木星， 古称岁星； 水星， 古称辰星； 火星， 因其时明时暗， 行踪不定， 古称荧惑星； 土星， 古称镇星、 填星、 信星等。 “二十八宿” ， 源于道教文化。二十八宿， 其中东方青龙七宿是角、 亢、 氐、 房、心、 尾、 箕； 北方玄武七宿是斗、 牛、 女、 虚、 危、室、 壁； 西方白虎七宿是奎、 娄、 胃、 昴、 毕、 觜、参； 南方朱雀七宿是井、 鬼、 柳、 星、 张、 翼、 轸。",[23,313,27,26,402,77,75,113,114,176,7,259,1498,76,3717,4536,4537],"神形","鞍马","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff4cf4849e8cdfb46d12f18ed03910394.jpg","26.5x70.9",[],{"id":4542,"slug":4543,"title":4544,"dynasty":336,"author":1266,"museum":273,"description":4545,"tags":4546,"thumbUrl":4547,"material":118,"size":4548,"collection":101,"collections":4549,"showCount":4461,"zanCount":39,"manualWeight":39,"mainColor":123},219778,"lin-song-ren-hua-ce-2-chou-ying-219778","临宋人画册-2","《临宋人画册》凡十五开，题材涉及了山水画、花鸟画、仕女图、文人画、界画、鞍马等，乃为仇英临摹宋人的集成之作，画风皆为典型的南宋院体风格，而其中数开现在尚可找到宋画原作，两相对照，确实可见仇英落笔乱真的妙技；又如其中《滕王阁》之类的扎实界画工夫，在文人画逸笔草草的时代，早已难得一见。",[50,24,51,495,27,26,113,114,115,287,7,324,216,134,1678],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b3411bd2288e57ce8b2f954e1d79e30.jpg","27.2x25.5厘米",[],{"id":4551,"slug":4552,"title":4553,"dynasty":336,"author":4554,"museum":310,"description":4555,"tags":4556,"thumbUrl":4557,"material":118,"size":4558,"collection":101,"collections":4559,"showCount":4461,"zanCount":11,"manualWeight":39,"mainColor":65},218373,"ri-ben-luo-han-tu-dui-fu-2-ji-shan-ming-zhao-218373","日本· 罗汉图对幅2","吉山明兆","这是一幅中国元代风格的笔触和色彩的虎形浮雕僧人画。他在东福寺工作，是寺庙的看门人，负责打扫殿堂和点灯，被称为兆殿司。他学习了中国宋元的绘画技巧，用笔有力，色彩浓重。",[23,24,26,114,314,259,25,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3aeb101a0ae115d9b9e4aacc84c9843.jpg","107.2x50.2",[],{"id":4561,"slug":4562,"title":4563,"dynasty":336,"author":1266,"museum":110,"description":4564,"tags":4565,"thumbUrl":4566,"material":118,"size":4567,"collection":101,"collections":4568,"showCount":4461,"zanCount":39,"manualWeight":39,"mainColor":40},218178,"chun-xiao-tu-3-chou-ying-218178","纯孝图-3","仇英是中国明朝时期的一位著名画家。他出生于江苏省的一个艺术世家，从小就对绘画和书法有浓厚的兴趣。仇英擅长画花鸟，尤其擅长画山水。他的画作以精细的笔法和精致的画风著称，并且被认为是当时中国画坛的佼佼者之一。\n\n整幅画渲染出了浓浓的母爱之情和孝顺之心。它成为了中国传统文化中关于孝道的经典代表作之一，并被广泛收藏和喜爱。",[24,51,26,27,114,7,950,214,532,324,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71bda439eb3eb85356e82377734aec1d.jpg","32.8x21.9",[],{"id":4570,"slug":4571,"title":4572,"dynasty":18,"author":128,"museum":47,"description":4573,"tags":4574,"thumbUrl":4575,"material":713,"size":101,"collection":101,"collections":4576,"showCount":4461,"zanCount":39,"manualWeight":39,"mainColor":65},217108,"bai-miao-luo-han-8-leng-mei-217108","白描罗汉-8","冷枚（约1669年—1742年），字吉臣，号金门画史，山东胶州人，焦秉贞弟子。清代宫廷画家。善画人物、界画，尤精仕女。所画人物工丽妍雅，笔墨洁净，色彩韶秀，其画法兼工带写，点缀屋宇器皿，笔极精细，亦生动有致。",[24,51,353,402,259,114,54,7,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ee241b07d6ac200b816c2628412bce6.jpg",[],{"id":4578,"slug":4579,"title":4580,"dynasty":336,"author":3518,"museum":20,"description":4581,"tags":4582,"thumbUrl":4583,"material":33,"size":4584,"collection":35,"collections":4585,"showCount":4461,"zanCount":39,"manualWeight":39,"mainColor":40},216927,"hua-niu-shan-ye-zhang-hong-216927","画牛扇页","张宏（1577—？年），字君度，号鹤涧，江苏苏州人。善画山水，师法沈周而略有变化，画风苍秀，亦善人物。",[24,495,52,78,699,114,7,700],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2ccc76923873475685601e9d35f19f81.jpg","纵17.6cm，横61.8cm",[35],{"id":4587,"slug":4588,"title":4589,"dynasty":1156,"author":91,"museum":47,"description":4590,"tags":4591,"thumbUrl":4592,"material":380,"size":381,"collection":101,"collections":4593,"showCount":4594,"zanCount":39,"manualWeight":39,"mainColor":40},289584,"xian-miao-guan-yin-pu-sa-xiang-2-yi-ming-289584","線描觀音菩薩像-2","此作用铁线描勾勒瑞兽，笔意古朴稚拙。鬃毛以繁复卷曲的线条铺陈，与躯干凝练简省的勾勒形成鲜明对比，将瑞兽凶悍威严的神态烘托尽致。瑞兽目眦怒张，阔鼻獠牙尽显雄悍，上扬舒展的长尾与稳健雄健的步态相得益彰，寥寥数笔便将其灵动气势与祥瑞神性尽显。简淡线条里蕴藏生动气韵，尽显早期白描的写意特质，拙朴之间带着古雅意趣，把瑞兽的雄姿勾勒得形神兼备。",[23,24,51,402,7,259],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4fc17d38768c01bfc68e35f4a040b703.jpg",[],17,{"id":4596,"slug":4597,"title":4598,"dynasty":336,"author":1266,"museum":47,"description":1594,"tags":4599,"thumbUrl":4600,"material":380,"size":381,"collection":101,"collections":4601,"showCount":4594,"zanCount":39,"manualWeight":39,"mainColor":40},288004,"bai-miao-luo-han-tu-juan-shang-bu-chou-ying-288004","白描罗汉图卷(上部)",[23,50,24,74,402,114,259,2168,314,726,230,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6e592b366e3e837b966fe799cfea109.jpg",[],{"id":4603,"slug":4604,"title":4605,"dynasty":336,"author":4606,"museum":47,"description":4607,"tags":4608,"thumbUrl":4609,"material":380,"size":381,"collection":101,"collections":4610,"showCount":4594,"zanCount":39,"manualWeight":39,"mainColor":123},287782,"shi-ba-ying-zhen-tu-ce-zheng-zhong-287782","十八应真图册","郑重","郑重，字千里，号无著，歙（今安徽歙县）人，流寓金陵（今南京）。好楼居，日事香茗。善写佛像，必斋沐而后举笔。丁云鹏推为赵伯驹后身。亦画山水小景。摹仿宋、元体均精妍。万历四十年（1612）临王蒙葛仙移居图，顺治五年（1648）作《十月岭梅图》。《无声诗史、歙县志、故宫书画集、风雨楼扇粹》。",[23,50,24,51,353,26,114,259,2211,2168,314,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb7fcdd0b5d1f912efbbf72fe3df14b2.jpg",[],{"id":4612,"slug":4613,"title":4614,"dynasty":1484,"author":91,"museum":47,"description":4615,"tags":4616,"thumbUrl":4619,"material":380,"size":381,"collection":101,"collections":4620,"showCount":4594,"zanCount":39,"manualWeight":39,"mainColor":123},255797,"hua-xiang-zhuan-yi-ming-255797","画像砖","汉砖上的雕饰，包罗万象，繁复美观。无论是彩绘或是浮雕图像都生动活泼，线条灵活；其中表现的故事都是当时社会的缩影，在四川省彭山发现的汉墓中，有一种圹砖是专供筑墓或建隧道使用的，在结构中似乎已经知道应用物理学上的圆柱中空的道理。",[1742,4617,3670,95,4618,7,176,114],"砖","浮雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0db40afcf2519ca39291dc98fad7dbdf.jpg",[],{"id":4622,"slug":4623,"title":539,"dynasty":540,"author":91,"museum":47,"description":4624,"tags":4625,"thumbUrl":4626,"material":101,"size":101,"collection":166,"collections":4627,"showCount":4594,"zanCount":39,"manualWeight":39,"mainColor":65},242779,"shou-mian-wen-ding-yi-ming-242779","铜绿如苔，层层晕染出时光的沉迹。折沿立耳沉稳端方，稳稳撑起古朴气场。腹身兽面纹线条回环狞厉，隐着上古祭仪的肃穆巫风，纹饰深浅间，是炉火淬炼的匠心刻度。三足挺拔敦实，承起周身厚重，将沉雄气度凝于青铜骨血之中。它带着炉火烧铸余温沉默伫立，把古早的信仰与狞厉庄严，封存在铜锈肌理，静诉跨越千载的青铜时代记忆。",[160,161,95,7,164,544],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd920dd2b241d9f06cb8813b354fb6f5b.jpg",[166],{"id":4629,"slug":4630,"title":3143,"dynasty":18,"author":241,"museum":47,"description":4631,"tags":4632,"thumbUrl":4633,"material":380,"size":381,"collection":101,"collections":4634,"showCount":4594,"zanCount":39,"manualWeight":39,"mainColor":40},237627,"za-hua-ce-zhu-da-237627","朱耷（1626年—约1705年），原名朱统𨨗，字刃庵，号八大山人、雪个、个山、人屋、道朗等，出家时释名传綮，汉族，江西南昌人 。明末清初画家，中国画一代宗师。",[24,52,244,29,7,353],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Febc002e57067588dbb34eab8750c58c3.jpg",[],{"id":4636,"slug":4637,"title":4638,"dynasty":18,"author":4639,"museum":47,"description":4640,"tags":4641,"thumbUrl":4642,"material":380,"size":381,"collection":101,"collections":4643,"showCount":4594,"zanCount":39,"manualWeight":39,"mainColor":40},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。",[24,51,25,26,52,27,53,496,633,643,7,31,497],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F43115bb694f41ed4c625527a75b066e4.jpg",[],{"id":4645,"slug":4646,"title":4647,"dynasty":1156,"author":91,"museum":47,"description":4648,"tags":4649,"thumbUrl":4652,"material":380,"size":381,"collection":101,"collections":4653,"showCount":4594,"zanCount":39,"manualWeight":39,"mainColor":40},231687,"ping-an-shi-dai-e-gui-cao-zhi-yi-ming-231687","平安时代 恶鬼草纸","此卷以幽谲笔致铺陈幽冥幻景，起首狞厉恶鬼赤面焰发，拖拽拷打罪者，怪骇形貌带着慑人的怖气。继而转绘冥境丘泽，精怪盘桓、寒鸟掠空，荒寂山景藏着隐秘的妖异氛围。后半段落回人间宅邸，鬼魅附着日常起居，悄然撕开阴阳两界的缝隙。\n\n笔墨简淡古拙，残褪的朱红晕开岁月斑驳，将佛教果报之说揉入和风怪谈，以稚拙线条勾勒出旧时代对幽冥的想象，让泛黄纸本载着千年的畏怖诡奇，铺展出一场跨越阴阳的怪幻绘卷。",[23,74,402,26,114,1445,7,54,532,1853,4650,4651],"室内场景","室外场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71db9ddecacf189990a84725835b6d52.jpg",[],{"id":4655,"slug":4656,"title":4657,"dynasty":1156,"author":91,"museum":47,"description":4658,"tags":4659,"thumbUrl":4660,"material":380,"size":381,"collection":101,"collections":4661,"showCount":4594,"zanCount":39,"manualWeight":39,"mainColor":123},231643,"shi-ting-shi-dai-jiu-tu-ping-feng-di-1-ping-yi-ming-231643","室町时代 厩图屏风第1屏","左侧林园寒梅绽雪，仙鹤临水伫立，石畔流泉衬出幽寂古雅的闲趣。右侧厩房内，仕女团坐低语，栏中骏马昂首腾跃，仆从正打理鞍辔，将宅邸日常的烟火气静静铺展。\n\n古旧柔和的色调晕开岁月的质感，细腻线条勾勒出骏马的矫健昂扬与仕女的温婉神态，将林泉雅致与俗世日常相融，动静交织，晕染出旧日宅邸里平和悠然的浮生图景，藏着沉缓静谧的古韵意趣。",[24,26,27,2686,176,114,162,712,1148,1476,1853,1477,263,55,643,7,287,4448,700],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0bdcb98befae1e2d016d8577385a6c21.jpg",[],{"id":4663,"slug":4664,"title":4665,"dynasty":552,"author":91,"museum":47,"description":4666,"tags":4667,"thumbUrl":4668,"material":101,"size":101,"collection":101,"collections":4669,"showCount":4594,"zanCount":39,"manualWeight":39,"mainColor":123},228195,"shi-liu-shen-jun-tu-yi-ming-228195","十六神骏图","画面群骏错落排布，姿态鲜活灵动，或引颈伫立、或俯首啜饮、或扬蹄疾行，亦有两马偎依嬉闹。骏马毛色各异，斑纹勾勒细腻写实，筋骨晕染柔和自然，将神骏膘肥体健的身姿刻画入微。\n\n红衣骑者神情悠然，控马徐行，与群马相映成趣。浅淡墨色晕染沙岸浅滩，古雅底色衬出悠长留白意境，尽显画工精妙，将良骏灵动神采尽数铺展，尽显古朴雅致的画中逸趣。",[23,50,24,51,74,26,27,114,176,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd6cb686b05759e704136a50854c09ba.jpg",[],{"id":4671,"slug":4672,"title":4673,"dynasty":45,"author":4466,"museum":47,"description":4674,"tags":4675,"thumbUrl":4676,"material":101,"size":101,"collection":101,"collections":4677,"showCount":4594,"zanCount":39,"manualWeight":39,"mainColor":123},227712,"hu-tian-ju-le-tu-juan-gong-kai-227712","壶天聚乐图卷","龚开（1222年～约1302），宋末元初画家，字圣予（一作圣与），号翠岩，晚号龟城叟、岩叟，人称龚高士。淮阴龟山（今属江苏省淮安市洪泽区老子山镇）人 。景定年间曾任两淮制置司监当官。他是一位诗文书画都擅长的文人画家，山水画师法米芾、米友仁，人物、鞍马则学曹霸，亦能画梅、菊等花卉。喜欢用水墨画鬼魅及钟馗，“怪怪奇奇，自成一家”，开明清写意画之先河。从现存作品看，其特点是用笔粗重、墨色淋漓，造形比较夸张，画上多题诗及跋语。抒情寓意，寄托遗老的怀抱。",[23,50,24,51,74,52,402,114,532,263,4061,7,801],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4894a30ae63717fc0a21742c8b4efc20.jpg",[],{"id":4679,"slug":4680,"title":2696,"dynasty":70,"author":91,"museum":1326,"description":1327,"tags":4681,"thumbUrl":4683,"material":380,"size":381,"collection":101,"collections":4684,"showCount":4594,"zanCount":39,"manualWeight":39,"mainColor":123},226496,"ku-zhu-shi-zao-jing-yi-ming-226496",[1326,531,2698,2211,7,4682],"装饰画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F03b0f4a0f5e4b87ae81202f2d3c8a6c3.jpg",[],{"id":4686,"slug":4687,"title":4688,"dynasty":18,"author":4689,"museum":600,"description":4690,"tags":4691,"thumbUrl":4692,"material":137,"size":4693,"collection":101,"collections":4694,"showCount":4594,"zanCount":11,"manualWeight":39,"mainColor":123},222804,"yang-tu-zhao-fu-222804","羊图","赵福","此画绘制了五只羊在野外寻吃玩耍的情景，岸上、河边水草丰富。一棵树静立河边，虬枝绿叶，生机勃勃。远处河面广阔，一片苍茫。",[23,24,51,26,27,7,368,324,230,700],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F34fcfa0a17edf603e84901a66ac413fa.jpg","24.8×25cm",[],{"id":4696,"slug":4697,"title":4698,"dynasty":881,"author":3039,"museum":20,"description":3040,"tags":4699,"thumbUrl":4700,"material":3043,"size":3044,"collection":101,"collections":4701,"showCount":4594,"zanCount":39,"manualWeight":39,"mainColor":123},221170,"shi-liu-luo-han-xiang-jia-li-jia-zun-zhe-tang-ka-bu-ben-guan-xiu-221170","十六罗汉像-迦哩迦尊者（唐卡布本）",[23,259,114,26,2922,2168,7,55,230,27,1999],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F296b35c35faa149f88713e23c32761f1.jpg",[],{"id":4703,"slug":4704,"title":4705,"dynasty":298,"author":299,"museum":723,"description":4706,"tags":4707,"thumbUrl":4709,"material":4710,"size":101,"collection":101,"collections":4711,"showCount":4594,"zanCount":39,"manualWeight":39,"mainColor":40},220558,"yin-du-niu-xu-bei-hong-220558","印度牛","以大块沉郁油色铺就水牛躯体，敦实厚重的轮廓尽显巨兽的慵懒与野性张力，它们静卧滩涂，将午后倦怠松弛尽数揉进肌理笔触里。水泽漾着柔润的灰调波光，沿岸枯苇舒展浅黄身姿，暖调砂土托衬出郊野湿暖的呼吸感。作者将西式光影色块与东方写意意境相融，以松弛笔触晕染出郊野静穆氛围，没有刻意雕琢的繁复细节，却把自然野趣的质朴生机晕开在画布之上，让观者仿佛踏入这方慵懒午后的水畔郊原，呼吸裹挟着水汽的暖柔野风。",[3473,26,738,78,7,700,4708,216],"水域","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd0501893091f8b1be6af1a55908721b.jpg","油彩",[],{"id":4713,"slug":4714,"title":4715,"dynasty":336,"author":4716,"museum":273,"description":4717,"tags":4718,"thumbUrl":4719,"material":101,"size":101,"collection":119,"collections":4720,"showCount":4594,"zanCount":39,"manualWeight":39,"mainColor":4721},203332,"ren-wu-ce-guo-xu-203332","人物册","郭诩","画面中四人围坐，神态各异，或抚腮凝听，或侧身畅谈，眉宇间尽是放达之态。侧畔白犬静卧，为雅集添了几分生趣。笔墨简括洒脱，淡墨晕染衣纹，线条灵动勾勒轮廓，人物神情刻画入微，寥寥数笔便传出文人聚谈的闲适意韵，尽显水墨写意的隽永之妙。",[24,114,52,353,75,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8167de9b805407d62ffe2595c6a66075.jpg",[119],"c5baa9",{"id":4723,"slug":4724,"title":4725,"dynasty":18,"author":4726,"museum":273,"description":4727,"tags":4728,"thumbUrl":4729,"material":101,"size":101,"collection":249,"collections":4730,"showCount":4594,"zanCount":39,"manualWeight":39,"mainColor":4731},202042,"chu-ping-chi-shi-tu-zhou-lv-xue-202042","初平叱石图轴","吕学","画面以枯树虬枝为视觉焦点，枝干交错间墨点叶丛，苍劲中透着生机。山石皴染结合，纹理自然质朴。牧童或坐于坡间或行于道旁，羊群嬉戏于浅草坡地，动态鲜活灵动。工笔细腻勾勒人物与兽形，线条流畅精准；设色淡雅温润，晕染层次丰富。整体氛围宁静悠远，尽显田园野趣与自然意韵，于方寸立轴间藏乡村闲逸之态。",[24,27,26,114,215,7,53,532,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb4a99b8ad355ae75aeaed0a298c9f801.jpg",[249],"987f67",{"id":4733,"slug":4734,"title":4735,"dynasty":1156,"author":4736,"museum":47,"description":3002,"tags":4737,"thumbUrl":4738,"material":380,"size":381,"collection":101,"collections":4739,"showCount":4740,"zanCount":39,"manualWeight":39,"mainColor":65},290020,"wen-shu-pu-sa-xiang-shi-ting-shi-dai-290020","文殊菩萨像","室町时代",[23,24,259,2211,114,7,26,25,551],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F82f713809382178423e59a645c2e5e20.jpg",[],16,{"id":4742,"slug":4743,"title":4744,"dynasty":336,"author":4745,"museum":20,"description":4746,"tags":4747,"thumbUrl":4748,"material":380,"size":381,"collection":101,"collections":4749,"showCount":4740,"zanCount":39,"manualWeight":39,"mainColor":123},289996,"chan-gong-yu-mian-tu-tao-cheng-289996","蟾宫玉免图","陶成","陶成（生卒年未详），字孟学，号雪湖仙人，宝应（今江苏宝应）人。成化七年（1471年）举人。生性疏狂，多才艺，诗文古朴。书善四体，善画花鸟人物，山水多用青绿，浓丽蔚拔，喜作勾勒，竹兔与鹤鹿均妙，随意画山水、花鸟、人物，都非常接近南宋人。芙蓉称为神品，为世人所珍藏。\n陶成的绘画、书法造诣极高，与沈周、文徼明、唐寅、仇英“明四家”并称于世，有人甚至把他列于唐伯虎之上。明代文学家，书画鉴赏家李开先对陶成推崇备至、评价甚高。他的《中麓画晶》分明代画家为五等，陶成就雄冠其首。明韩昂《图绘宝鉴续编》云，陶成”书工篆隶直草，诗人奇古，画山川多用青绿，尤喜作钩勒，竹、兔与鸹、鹿，皆妙。 由其胸中洒然也”。明十才子之一李梦阳在其《观序上人所藏陶成画菊石歌》中，称赞陶成的菊花、岩石画远远超出了当时的菊石专家计汝和、徐霖。诗中说： “陶生画菊石，潦草笔有力…近时名手计汝和，此生笔力方之过。江柬徐霖学画石，效颦差胜王与何。”故而有这样的说法： “得黄金百不如云湖画一幅。”",[24,25,26,27,131,323,30,263,1498,31,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcd4b722fcfb2bc6a3de37c4f98356ed1.jpg",[],{"id":4751,"slug":4752,"title":4753,"dynasty":336,"author":91,"museum":47,"description":4754,"tags":4755,"thumbUrl":4757,"material":380,"size":381,"collection":101,"collections":4758,"showCount":4740,"zanCount":39,"manualWeight":39,"mainColor":123},283630,"qi-lin-tu-yi-ming-283630","麒麟图","此作以细腻写实之笔，将远道而来的异兽定格于绢素之上。画面右侧的异域使者深目高鼻，身着朱红劲装，神情恭谨牵绳引兽。长颈鹿身形修挺劲健，皮毛晕染柔和自然，斑纹清晰，肌理骨骼暗藏笔底，将其温驯却又不凡的姿态传神勾勒。\n左上题跋笔致端稳，详述贡兽始末，兼具纪实性与装饰美感。整作工致典雅，既承继了明代院体画的写实风骨，亦留存下明初远洋朝贡的鲜活印记，将外交盛典的庄重与异兽的新奇精妙相融，是兼蓄艺术审美与史料价值的珍贵之作。",[24,50,51,25,27,26,114,7,4756,2337,75],"麒麟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcdac7a74157a0e02cb351eb104fa6ffa.jpg",[],{"id":4760,"slug":4761,"title":4762,"dynasty":1484,"author":91,"museum":47,"description":4763,"tags":4764,"thumbUrl":4765,"material":101,"size":101,"collection":166,"collections":4766,"showCount":4740,"zanCount":39,"manualWeight":39,"mainColor":40},243244,"qing-gai-jing-yi-ming-243244","青盖镜","此镜铜色沉凝古雅，包浆厚重温润，尽显岁月浸润的质感。圆钮居中央，瑞兽环绕腾挪，身姿矫健灵动，毛发肌理纤毫毕现，尽显匠者精湛范模功力。外圈铭文笔意方正朴拙，与兽纹虚实相映，规整布局让镜面条理分明，既有金石古拙之气，又不失灵动生气。\n\n整体形制饱满厚重，将古人对祥瑞的祈愿熔铸于青铜之上，静默承载着千年前的审美意趣，是兼具工艺价值与审美价值的古镜佳作。",[1742,160,161,95,7,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faef6973611f27af41e0313a7201b2400.jpg",[166],{"id":4768,"slug":4769,"title":4770,"dynasty":336,"author":91,"museum":47,"description":4771,"tags":4772,"thumbUrl":4774,"material":380,"size":381,"collection":101,"collections":4775,"showCount":4740,"zanCount":39,"manualWeight":39,"mainColor":40},236476,"wang-zi-yuan-pu-tao-song-shu-shan-yi-ming-236476","王子元葡萄松鼠扇","虬曲葡萄老枝顺着扇面弧度舒展，翠叶错落缀于藤蔓之间，紫葡垂坠，色晕柔润鲜活，尽显果蔬饱满娇态。\n\n画面中央的松鼠蜷身枝桠，茸毛纤毫毕现，圆目灵动专注，憨态尽显，似正觊觎垂挂的葡萄，将林间小兽的机敏活泼勾勒传神，野趣横生。\n\n此作用水墨淡彩晕染于笺上，古雅温润，笔墨兼具工致与写意。枝叶藤蔓写意洒脱，松鼠则描摹入微，二者相融成趣，将林泉幽趣凝于盈尺扇面，静中生韵，尽显小品画的灵动雅致。",[24,51,495,31,26,27,3172,354,356,4773,7],"叶片","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f4f53a381313d2cdd585b1132221923.jpg",[],{"id":4777,"slug":4778,"title":727,"dynasty":45,"author":4779,"museum":992,"description":4780,"tags":4781,"thumbUrl":4782,"material":713,"size":101,"collection":101,"collections":4783,"showCount":4740,"zanCount":39,"manualWeight":39,"mainColor":123},231492,"ying-li-you-231492","李猷","善画頭，筿长于鹰鹘，精神态度，曲尽其妙。世所作多搏搦狐兔凫鹭之属，流血淋漓，颇乖好生之意。猷尽反之。学画二鹰坐于枯株之上，貌甚闲暇，略无鸷猛惨烈之状，而不失英姿劲气，可尚也。《画继》",[24,50,51,27,26,31,214,7,215],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdc548a4d2d416a195470fd81f3d0e166.jpg",[],{"id":4785,"slug":4786,"title":4787,"dynasty":1156,"author":4788,"museum":47,"description":4789,"tags":4790,"thumbUrl":4794,"material":380,"size":381,"collection":101,"collections":4795,"showCount":4740,"zanCount":39,"manualWeight":39,"mainColor":40},230646,"you-hua-titian-landscape-with-st-theodore-overcoming-the-dragon-google-art-project-ti-xiang-230646","油画-Titian---Landscape-with-St.-Theodore-Overcoming-the-Dragon---Google-Art-Project","提香","提香·韦切利奥，又译提齐安诺·维伽略（ Tiziano Vecelli或Tiziano Vecellio，约 1488\u002F1490年 – 1576年8月27日 ），英语系国家常称呼为提香（Titian），他是意大利文艺复兴后期威尼斯画派的代表画家。\n提香出生于意大利东北部阿尔卑斯山地区的卡多列。10岁时随兄长到威尼斯，在乔凡尼·贝利尼的画室学画，与画家乔尔乔内是同学。\n在提香所处的时代，他被称为“群星中的太阳”，是意大利最有才能的画家之一，兼工肖像、风景及神话、宗教主题绘画。他对色彩的运用不仅影响了文艺复兴时代的意大利画家，更对西方艺术产生了深远的影响",[3473,2435,259,114,54,7,532,4791,263,4792,148,4793],"城堡","云朵","风景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7cb8dcd1c64b95edbfe31e5fad71dc4.jpg",[],{"id":4797,"slug":4798,"title":4799,"dynasty":336,"author":91,"museum":47,"description":4800,"tags":4801,"thumbUrl":4802,"material":101,"size":101,"collection":101,"collections":4803,"showCount":4740,"zanCount":39,"manualWeight":39,"mainColor":123},228781,"fang-li-tang-bai-niu-tu-juan-yi-ming-228781","仿李唐百牛图卷","此作取景平远雅致，水岸林皋间意趣悠然。左侧群牛或立或卧，于浅滩闲散憩息，肌理厚重朴拙，憨态尽显。右侧童子策杖徐行，与近旁食草的牛只相映成趣，野逸生机扑面而来。\n\n林木皴染兼具苍劲与秀润，枯木虬枝疏密错落，新发柔条轻拂水岸，尽显春日郊野的清润之气。设色淡雅沉稳，赭石与墨色晕染出古绢沉静质感，追摹院体笔意又融入牧歌式恬淡，铺陈出物我相忘的山野闲趣，尽显旧朝牧放题材的风雅余韵。",[23,24,51,74,26,114,78,7,263,532,113,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e62a1ad2b0378e674fd4cb6fc02c2d3.jpg",[],{"id":4805,"slug":4806,"title":4807,"dynasty":157,"author":91,"museum":47,"description":1090,"tags":4808,"thumbUrl":4812,"material":380,"size":381,"collection":101,"collections":4813,"showCount":4740,"zanCount":39,"manualWeight":39,"mainColor":123},226878,"bi-yu-long-xing-pei-yi-dui-yi-ming-226878","碧玉龙形佩（一对）",[4809,94,4810,95,54,7,4811],"周代","碧玉","佩饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F971f4f29ba6001266bd999181161d700.jpg",[],{"id":4815,"slug":4816,"title":4817,"dynasty":336,"author":91,"museum":47,"description":4483,"tags":4818,"thumbUrl":4820,"material":380,"size":381,"collection":101,"collections":4821,"showCount":4740,"zanCount":39,"manualWeight":39,"mainColor":123},223954,"qia-si-fa-lang-shi-xi-tu-wan-yi-ming-223954","掐丝珐瑯狮戏图碗",[340,4485,4819,289,951,7],"珐琅器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb3d5366ce88475585c3deb3b8e48c7d0.jpg",[],{"id":4823,"slug":4824,"title":4825,"dynasty":45,"author":1234,"museum":47,"description":4826,"tags":4827,"thumbUrl":4828,"material":713,"size":4829,"collection":101,"collections":4830,"showCount":4740,"zanCount":39,"manualWeight":39,"mainColor":40},221401,"fa-hai-ling-shan-tu-3-li-gong-lin-221401","法海灵山图3","尤工人物，能分别状貌，使人望而知其为廊庙、馆阁、山林、草野、闾阎、臧荻、占舆、皂隶。至于动作态度、颦伸俯仰、大小善恶、与夫东西南北之人才分点画、尊卑贵贱、咸有区别，非若世俗画工混为一律。贵贱研丑止以肥红瘦黑分之。大抵公麟以立意为先，布置缘饰为次，其成染精致，俗工或可学焉，至率略简易处，则终不近也",[23,50,24,51,484,402,114,7,75,259],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F628dab8802c2613ee52979a59c9847da.jpg","23x299cm",[],{"id":4832,"slug":4833,"title":4834,"dynasty":4835,"author":299,"museum":273,"description":4836,"tags":4837,"thumbUrl":4838,"material":101,"size":101,"collection":35,"collections":4839,"showCount":4740,"zanCount":39,"manualWeight":39,"mainColor":4840},203077,"mao-shi-pi-pa-tu-zhou-xu-bei-hong-203077","猫石枇杷图轴","近代","憨态可掬的猫蜷卧于嶙峋石上，黑白毛色以墨色浓淡晕染，层次分明，双目灵动有神；旁侧枇杷枝桠舒展，墨叶苍劲，橙黄果实鲜亮饱满，设色明快。石头以大写意笔触挥写，线条粗犷洒脱，与猫的细腻刻画形成对比，兼具中西画之所长——猫的造型写实生动，石与枇杷则尽显写意神韵。笔墨简练却形神兼备，画面生机盎然，意趣横生，尽显对生活细节的捕捉与艺术表现力。",[24,51,25,29,4003,497,52,26,244,738,7,31,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7d6695b3eee8f7d17e4dfd3db012c9c4.jpg",[35],"c5b5a1",{"id":4842,"slug":4843,"title":4844,"dynasty":45,"author":91,"museum":47,"description":4845,"tags":4846,"thumbUrl":4847,"material":380,"size":381,"collection":101,"collections":4848,"showCount":4849,"zanCount":11,"manualWeight":39,"mainColor":123},290716,"shan-hua-mo-tu-zhou-yi-ming-290716","山花墨兔轴","本幅绘野菊粟穗，一只墨兔伸著脖子，昂首嗅探，仿佛可以感觉到鼻息微动，栩栩如生。墨兔以墨色染成，并以浓淡不同的墨笔在深浅处丝出葺葺细毛，形态极为生动。 本幅无作者款印，旧签称其出自宋人之手，然野菊、粟竿的用笔均与宋人不类，当为晚期画家根据宋代画稿所绘之作。",[24,51,25,27,7,131,659,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F043da57a89f7fedb4b409cb584404fa2.jpg",[],15,{"id":4851,"slug":4852,"title":4853,"dynasty":552,"author":3071,"museum":47,"description":4854,"tags":4855,"thumbUrl":4857,"material":380,"size":381,"collection":101,"collections":4858,"showCount":4849,"zanCount":39,"manualWeight":39,"mainColor":123},290616,"shi-liu-bi-da-shi-xiang-zhou-zhang-wo-290616","十六臂大士像轴","这是一幅白描画，一只似犬又似麒麟的动物（图2）乘云而来，法相庄严的十六臂观音端坐在莲台上。全作画得极为精细，人物轮廓和衣纹都用流畅的细线钩描，头发的发丝和莲瓣的纹理也描写入微，衣上和锦垫上的图案又绘制得一丝不苟。画幅右下角有张渥的款题，不过和张渥的真迹《九歌图》比较，发现这轴大士像的衣纹线条缺乏潇洒飘逸的韵致，应该不是张渥的亲笔。",[24,51,25,259,402,52,114,7,75,2211,4856],"大士像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedfea0193712440e58a078090c6e290e.jpg",[],{"id":4860,"slug":4861,"title":4862,"dynasty":45,"author":1234,"museum":47,"description":4059,"tags":4863,"thumbUrl":4864,"material":380,"size":381,"collection":101,"collections":4865,"showCount":4849,"zanCount":11,"manualWeight":39,"mainColor":123},287967,"xun-shou-tu-ye-li-gong-lin-287967","训兽图页",[24,50,51,114,7,52,402,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffa7beec104c5977bf4ad00ef0106ff5e.jpg",[],{"id":4867,"slug":4868,"title":4869,"dynasty":18,"author":91,"museum":47,"description":4870,"tags":4871,"thumbUrl":4874,"material":380,"size":381,"collection":101,"collections":4875,"showCount":4849,"zanCount":11,"manualWeight":39,"mainColor":123},273899,"hong-se-sha-xiu-yun-wen-fei-hu-qi-yi-ming-273899","红色纱绣云纹飞虎旗","是传统刺绣形式之一。它是在方格纱的底料上严格按格数眼进行刺绣的。不仅图案美丽，而且随 着线条横、直、斜的不同排列作丰富的变化，但花纹间的空眼必须对齐。\n以素纱为绣底，绣时须按格或数眼绣制。绣法垂直进行，以大套小的几何图案，绣满全幅，用色一般以每一几何形为单位。刺绣步骤：以波浪纹为例。从纹样边缘第一眼起针，跨过六个眼，在第七个眼下针，以后每针均往下移一个眼，绣到第十针后，每针均向上移一个眼，直至与第一眼相并列时，再往下移，如此循环往复，即成波浪形。第二皮波浪纹绣法相同，落针的针迹要在第一皮原针眼中，以后类推，直至绣满。",[4872,3062,2922,4299,314,7,116,4873,26],"纱绣","飞虎","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1f7d2d49641e11b1c35b340119b1ef9.jpg",[],{"id":4877,"slug":4878,"title":4879,"dynasty":45,"author":91,"museum":47,"description":4880,"tags":4881,"thumbUrl":4883,"material":101,"size":101,"collection":166,"collections":4884,"showCount":4849,"zanCount":11,"manualWeight":39,"mainColor":123},243030,"cuo-jin-zun-yi-ming-243030","错金尊","此瑞兽尊身形敦圆憨态可掬，双耳竖立灵动有神，双目错金点缀，熠熠然似含温驯神采。周身以错金技法缠绕云纹，线条舒展婉转，在苍绿铜锈晕染下，金纹于古铜底色中若隐若现，恍如将流云凝锢在兽身之上。\n\n背部盖身相融，兼具礼器实用与陈设雅趣。沉敛铜色裹着斑驳锈迹，将岁月的厚重凝铸其中，静穆间尽显造物的精妙意趣，把礼制内涵与审美情致揉合在一方铜塑，尽显古朴雅致的悠悠气韵。",[45,160,161,4882,95,7],"错金","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4893a14c382f8563f3f3212c6dd8f5ec.jpg",[166],{"id":4886,"slug":4887,"title":3912,"dynasty":45,"author":91,"museum":47,"description":4888,"tags":4889,"thumbUrl":4890,"material":101,"size":101,"collection":166,"collections":4891,"showCount":4849,"zanCount":39,"manualWeight":39,"mainColor":65},243025,"cuo-jin-yin-xi-zun-yi-ming-243025","此作取瑞羊为形，体态丰腴饱满，站姿沉稳温顺，眉目间透着灵秀憨态。器身以错金银工艺装饰，金银丝蜿蜒嵌入铜身，勾绘出柔婉舒展的卷云纹覆裹躯干。颈间纹饰更见匠心，金线银线交错排布，似华贵项圈，在深褐古铜底色的映衬下，金银光泽流转，古朴又雅致。\n\n整体仿古却不泥古，褪去上古礼器的肃穆厚重，添了宋人的文雅灵动。青铜的苍古质感与错金银的细腻华美相融，将瑞兽之灵与工艺之巧合二为一，尽显仿古造物的精妙意韵。",[484,160,3915,161,95,7,3228,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F56e15b33d6a150d1226adc0ea2f6a24c.jpg",[166],{"id":4893,"slug":4894,"title":4895,"dynasty":336,"author":4896,"museum":47,"description":4897,"tags":4898,"thumbUrl":4900,"material":101,"size":101,"collection":249,"collections":4901,"showCount":4849,"zanCount":39,"manualWeight":39,"mainColor":123},239225,"ju-jie-shan-shui-zhou-ju-jie-239225","居节山水轴","居节","居节(约1524-1585后)〔明〕字士贞，一作贞士，号商谷、西昌逸士，吴县(今江苏苏州)人。少时从文嘉学画，文徵明见其运笔，惊喜之余，遂授以法，为文徵明高足弟子。所作山水意象简远，有来人韵致，字与诗亦自师门来。尚气节，虽贫困只以丹青自娱，不屑仰事侯门。晚年因触犯织造太监孙隆，家破，在苏州虎丘南村僦屋数间，仍萧然自适。或绝粮，则旦起写《疏松远岫》一轴，令童子易米以炊，后竟以穷死。后人珍视其画，认为可与朱朗、侯懋功相颉颃。传世作品有隆庆二年(1568)作《品泉诗意图》，图录于《中国名画》；万历二年(1574)作《松荫观瀑图》轴、十一年(1583)作《云岚松色图》卷现藏故宫博物院；《万松小筑图》轴藏上海博物馆；嘉靖四十年(1561)作《潮满春江图》轴藏镇江市博物馆；万历九年(1581)作《松壑高闲图》轴藏香港虚白斋。能诗，著有《牧豕集》。《明画录》卷四谓其：“年六十，竞以穷死。”",[50,24,51,25,52,53,532,230,263,215,4899,2234,7],"房屋","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F00f9bf572940e82f9e72b15c28a474de.jpg",[249],{"id":4903,"slug":4904,"title":4905,"dynasty":336,"author":4906,"museum":47,"description":4907,"tags":4908,"thumbUrl":4909,"material":101,"size":101,"collection":101,"collections":4910,"showCount":4849,"zanCount":39,"manualWeight":39,"mainColor":123},237890,"ba-xian-tu-zhou-zheng-wen-lin-237890","八仙图轴","郑文林","郑文林，号颠仙，明代画家，闽侯（今属福建）人。生卒年不详。活动时期约在嘉靖间（1522—1566）。工山水、人物，与汪肇、钟礼、张路等均为浙派后期名家。继蒋嵩之后，多用焦墨枯笔，点染粗豪，板重颓放，尤其是人物。《图绘宝鉴续纂》卷一以颠仙与袁尚统（字叔明，苏州人）并列一条目，谓两人“画人物俱野放”，并被吴派讥评为“狂邪”，其实颠仙所作有其独特风格。\n传世作品有《二仙图》轴、《女仙图》轴，现均藏中央美术学院；《群仙图》轴藏广州美术馆；《牧人瑞梦图》轴藏美国高居翰景元斋；《渔童吹笛图》轴、《柳荫人物图》轴均流入日本。图1以泼墨侧锋，拖泥带水，尽情挥写乱石老柳，以细碎之笔，密点柳叶，疾写杂草。人物造型，偏头斜目，举止怪诞，神情诙谐，更以颤笔写衣纹，颠狂之气，跃然画外。此幅图吸取牧溪、梁楷天然之趣，而舍浙派生硬之弊，构成此图动人的艺术特点。",[24,51,25,402,52,26,114,7,670],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fef0a8e170982fb918e1e9f25239c19f8.jpg",[],{"id":4912,"slug":4913,"title":4914,"dynasty":18,"author":1602,"museum":20,"description":4915,"tags":4916,"thumbUrl":4918,"material":101,"size":101,"collection":35,"collections":4919,"showCount":4849,"zanCount":39,"manualWeight":39,"mainColor":40},236324,"zhi-tou-za-hua-ce-gao-qi-pei-236324","指头杂画册","高其佩（1660年—1734年，一作1672年—1734年），字韦之，号且园、南村、书且道人，别号颇多，另有山海关外人、创匠等。铁岭（今属辽宁）人，汉军镶黄旗人。清代官员、画家，指画的开山祖师。康熙时以荫由宿州知州迁四川按察使，雍正间擢都统，后罢去。工诗善画，所绘人物山水，均苍浑沉厚，尤善指画，晚年遂不再用笔。",[24,50,51,353,4917,52,7,147],"指头画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4644590c273401b8475d62ee7d26da69.jpg",[35,204],{"id":4921,"slug":4922,"title":4923,"dynasty":18,"author":1192,"museum":20,"description":4924,"tags":4925,"thumbUrl":4933,"material":137,"size":4934,"collection":101,"collections":4935,"showCount":4849,"zanCount":39,"manualWeight":39,"mainColor":192},236134,"li-chao-xian-hou-gu-shi-tu-jiao-bing-zhen-236134","历朝贤后故事图","历史故事是清代宫廷绘画中的重要题材之一。此套图册题材取自历代有良好德行的皇后、太后的故事，人物包括西周文王之母太任、西周武王之母太姒、东汉明帝明德马皇后、东汉和帝和熹邓皇后、北宋仁宗慈圣曹皇后、北宋英宗宣仁高皇后、明仁宗诚孝张皇后。她们在身为皇后或太后期间，有的勤俭仁厚、贤淑孝顺，有的不问政事、不佞外戚。画家绘此画册就是借她们的懿德来宣传封建的伦理纲常，给宫廷里的妃嫔们树立行为楷模。在12开的册页中，所绘仕女形象柔弱，设色浓艳，富有装饰性。图上建筑物的绘制采用欧洲焦点透视的方法，有别于中国的传统界画。每开对题是由梁诗正书写的弘历在皇子时期所作的诗句，记录了这些皇后、太后的事迹和对她们的评价。",[24,26,27,353,114,115,7,726,4926,4927,577,1477,134,4928,4929,263,4299,4930,4931,230,4932],"假山","石阶","衣饰","路径","古代服饰","庭院景观","绿植","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20536eaae71a5f285010637b4ffe3142.jpg","纵30.8厘米，横37.4厘米",[],{"id":4937,"slug":4938,"title":4939,"dynasty":45,"author":1277,"museum":47,"description":4940,"tags":4941,"thumbUrl":4942,"material":80,"size":4943,"collection":101,"collections":4944,"showCount":4849,"zanCount":39,"manualWeight":39,"mainColor":123},232883,"ren-wu-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ynasty":45,"author":91,"museum":47,"description":1090,"tags":5020,"thumbUrl":5022,"material":380,"size":381,"collection":101,"collections":5023,"showCount":4849,"zanCount":11,"manualWeight":39,"mainColor":123},227281,"liao-jin-yu-long-shou-yi-ming-227281","辽、金 玉龙首",[94,95,54,7,289,5021,98],"辽金风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5ecbb1121c76156eef234115f76fde8.jpg",[],{"id":5025,"slug":5026,"title":5027,"dynasty":881,"author":91,"museum":47,"description":5028,"tags":5029,"thumbUrl":5030,"material":101,"size":101,"collection":101,"collections":5031,"showCount":4849,"zanCount":39,"manualWeight":39,"mainColor":123},227268,"xing-hu-tu-li-zhou-yi-ming-227268","醒虎图立轴","这幅水墨虎作，以淡墨晕染勾勒尽显写意妙趣。作者以灵动劲挺的墨线写出虎身毛发丝缕，浓淡墨色铺陈区分肌肉起伏，褪去猛虎惯常的凶戾张扬，将其初醒时慵懒松弛之态刻画入微，沉静姿态下暗蕴百兽之王的沉凝威严。\n画面边角缀以枯折枝桠与寒草，晕染出荒萧寒寂的氛围，与卧虎的静穆融为一体。整作不施重彩，凭藉古绢底色与水墨层次营造出古雅沉静的意境，简淡笔墨间暗藏雄浑气韵。",[23,24,51,25,52,314,7,3563],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcfd03bfdd9f3579aa0c7a5c1ea73e975.jpg",[],{"id":5033,"slug":5034,"title":5035,"dynasty":1484,"author":91,"museum":47,"description":1090,"tags":5036,"thumbUrl":5037,"material":380,"size":381,"collection":101,"collections":5038,"showCount":4849,"zanCount":11,"manualWeight":39,"mainColor":123},224079,"yu-bi-xie-yi-ming-224079","玉辟邪",[1484,94,95,7,289],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd04e946d92e45558335d435be7523c8.jpg",[],{"id":5040,"slug":5041,"title":5042,"dynasty":552,"author":91,"museum":600,"description":5043,"tags":5044,"thumbUrl":5045,"material":5046,"size":5047,"collection":101,"collections":5048,"showCount":4849,"zanCount":39,"manualWeight":39,"mainColor":123},223401,"si-shui-tu-yi-ming-223401","四睡图","图绘丰干、寒山、拾得三位僧人与一虎酣睡之景。二人坐姿入睡，一人半躺酣睡，一虎卧于三人之中，安详寂静；远处祥云朵朵，松青柏翠，所绘树杆皆以祥云形状，显示出浓浓的禅意。",[23,24,51,25,52,27,53,76,75,114,1205,7,263,230,246,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fed90f15e151f2dd9dc88df95bfd31a45.jpg","纸本，水墨","77.8×34.3cm",[],{"id":5050,"slug":5051,"title":5052,"dynasty":18,"author":3623,"museum":273,"description":5053,"tags":5054,"thumbUrl":5055,"material":188,"size":101,"collection":101,"collections":5056,"showCount":4849,"zanCount":39,"manualWeight":39,"mainColor":123},222667,"shang-bo-hua-ji-xuan-huang-shen-222667","上博画集选","黄慎（1687年6月14日—1772年），福建宁化人，初名盛，字恭寿，恭懋，躬懋、菊壮，号瘿瓢子，别号东海布衣。家贫，遂学画，擅长人物、山水、花鸟。他的人物画题材十分广泛和丰富，它不仅画神仙佛道和历史名人，也擅长从民间生活中取材，塑造了纤夫 、乞丐、流氓、渔民等下层人民的形象，这在古代的画家当中是十分难得的。康熙间至扬州卖画，人争客之。是中国清代杰出书画家，为“扬州八怪”之一。与郑燮友善。擅草书，后以狂草笔法作画。亦能诗。有《蛟湖诗钞》。\n黄慎14岁时，父亲客死湖南，两妹相继夭折，家境十分穷困，为生计，母亲命其学画，为人写真。16岁时，离家从师，他勤奋苦学，悉心钻研，画艺日进。\n黄慎擅长人物、山水、花鸟，并以人物画最为突出，题材多为神仙佛道和历史人物，也有一些现实生活中的形象，多从民间生活取材，不少作品塑造了纤夫、乞丐，流民、渔民等下层人物形象，如《群乞图》取材现实生活，描写灾荒年中，乞丐们流落街头，受人欺凌的悲惨画面，表现出他对人民疾苦的同情。画神仙佛道如《醉民图》，多操大幅，用笔设色，泼辣大胆，于迷离扑朔中见形象神韵。描绘文人生活的有《东坡玩砚图》，用笔迅疾，衣纹顿挫，线条硬折，墨公浓淡相间，人物轩昂、富有气势，为其成熟后的代表画风。\n他的花鸟画宗法徐渭，亦纵逸泼辣挥洒自如，如《瓶梅图》《菊蟹图》等。他的山水虽“不以山水名”，但山水画有一定的造诣，大幅和小景都各尽其妙，潇洒有致，山水代表作如《渔归图》，两株柳树，“姿态婀娜劲挺，耸立奇峭山岩，淡墨轻赭横扫出沙滩，中景两只渔船，一笔勾出船舷，船中人物，神态右辨，画面左角草书题画诗三行，诗、书、画、印紧相配合，自然贴切。\n黄慎擅草书，书法学“二王”，更得怀素笔意，从章草脱化而出，其栖劲运笔亦用于绘画之中，故画面多干枯、飞白和迅疾之迹，黄慎的草书，点画纷披，散而序，评者说它象疏景横斜，苍藤盘结，具有“字中有画”之趣，他的书法出于章草，颇难认识，故而仿效者不多，但他不趋时尚，敢于标新立异。 他的草书不昧古法，又难辨古人踪迹，不强调章法的疏密聚散，而以方折顿挫的笔法，忽断忽连，顾盼呼应，凸显铿锵有声的点画节奏感，呈现一幅落英缤纷珠丸跳荡逸趣迭生的画面感。其代表作《草亭飞万竹诗草书轴》章法奇异如松柏之剪影，点画浓淡如花叶之缠枝，真非书非画，亦书亦画，堪称奇观。\n\n个人成就:\n黄慎的诗文、狂草书法，绘画被称三绝。曾先后三次到扬州，居留较长，与郑板桥、李（善）等往来友善，为“扬州八怪”之一。\n他年方十八、九时寄身萧寺，白天作画，夜间从佛光明灯下刻苦读书，技艺大进。凡人物、花鸟、山水、楼台、虫鱼等，无一不能，但他并不以这些为满足，一次看他先生的作品说：“吾师绝技难以争名矣，志当自立以成名，岂肯居人后哉！”\n他自己总结一生走过的道路，感慨地说到：‘余自十四、五岁时便学画，而时时有鹘突于胸者，仰然思，恍然悟，慨然曰：‘余画之不工，以余不读书之故。’于是折节发愤，取毛诗、三礼、史汉、晋宋间文，杜韩五言诗及中晚唐诗，熟读精思膏以继晷，而又于昆虫草木四时推谢荣枯，历代制度衣冠礼器，细而致于夔 蛇凤，调调刁刁，罔不穷厥形状，按其性情，豁然有得于心，应之于手，而后乃今始可心言画矣。”正是这种凝思结想、废寝忘食、苦攻不辍，黄慎才从一个小画工成长为一位“诗画名大江南北”的名家。\n”郑板桥为诗赠之：“家看古庙破苔痕，惯写荒涯乱树根，画到精神飘没外，更无真相有真魂。”\n黄慎还是一位诗才画艺俱全的艺术家，他的诗作，情韵清远，如 岩绝 ，烟凝霭积，能非凡境，并著有《蛟湖诗钞》一书传世。\n黄慎早年师从上官周，多作工笔。山水宗元黄公望、倪瓒、中年以后，吸取徐渭笔法，变为粗笔写意，并草书章草，尝以狂草书法入画笔姿放纵，气象雄伟深入古法，但也有笔过伤韵者。\n作品行情:\n黄慎书画流传较多，大多藏于国内各大博物馆内。北京故宫院藏有多幅，如《漱石捧砚图》，扬州博物馆藏的《渔归图》等。\n黄慎的绘画创作在雍正年间说名扬于世，“尺纸容缣，世争宝之”。可见他的作品在当时已有较高的价格，另外黄慎对自己的绘画，常作分类自评，凡最得意者题上诗，次者则识以岁月，再次者只署“瘿瓢”二字。\n现今黄慎作品流入市场是比较多的，20世纪80年代末即开始拍卖，以后每年都出现过，价格起伏不大，比较稳定，但不太高，与八怪中其他画家水平相当，低于吴门四家。\n作为画家的黄慎，对后世的影响——清代的闵贞、近代上海的王震、广东的苏六朋、福建的李霞、李耕和辽南的李楚材都曾师法黄慎。齐白石也非常倾心黄慎——“余在黄镜人处获观《黄瘿瓢画册》，始知余画犹过于形似，无超然之趣。决定从今大变。人欲骂之，余勿听也；人欲誉之，余勿喜也”。“前朝之画家，不下数百人之多，瘿瓢、青藤、大涤子外，皆形似也。惜余天资不若三公，不能师之”。",[23,24,51,25,26,52,114,7,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd81018d64cf71fed1ad05ceec3b3e046.jpg",[],{"id":5058,"slug":5059,"title":5060,"dynasty":45,"author":1234,"museum":47,"description":5061,"tags":5062,"thumbUrl":5063,"material":713,"size":4829,"collection":101,"collections":5064,"showCount":4849,"zanCount":39,"manualWeight":39,"mainColor":40},221403,"fa-hai-ling-shan-tu-li-gong-lin-221403","法海灵山图","李公麟(1049-1106)，北宋著名画家。字伯时，号龙眠居士。汉族，舒州(今安徽舒城县人) 。李龙眠既李公麟，字伯时，祖籍安徽舒城， 因安庆桐城郊外有一龙眠山，李公麟曾长居于山下，所以又自号龙眠居士或龙眠山人。神宗熙宁三年进士，历泗州录事参军，以陆佃荐，为中书门下后省删定官、御史检法。\n好古博学，长于诗，精鉴别古器物。尤以画著名，凡人物、释道、鞍马、山水、花鸟，无所不精，时推为宋画中第一人。李公麟因风痹致仕，归居龙眠山庄，自作《山庄图》，为世所宝。传世作品有《五马图》《维摩诘图》等。",[23,50,24,51,402,259,114,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbd0e4ae53972ab8c5be07470292ac407.jpg",[],{"id":5066,"slug":5067,"title":5068,"dynasty":4835,"author":5069,"museum":273,"description":5070,"tags":5071,"thumbUrl":5072,"material":101,"size":101,"collection":35,"collections":5073,"showCount":4849,"zanCount":39,"manualWeight":39,"mainColor":5074},203125,"mao-shi-tu-zhou-pan-tian-shou-203125","猫石图轴","潘天寿","画面以大块淡赭色泼写孤石，笔触苍劲朴拙，石面肌理随墨色浓淡自然晕染。石上卧猫以黑白二色勾勒，墨块凝练，双目点染朱红，憨态中透着机警。上方留白处题款与印章错落，笔墨相生，尽显文人画意趣。整作构图奇崛，虚实相生，于简约中见雄健气象，是潘天寿花鸟走兽题材的典型之作。",[24,25,26,29,30,52,75,31,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c8d01e737f45658063d967ccb26be7d.jpg",[35],"dacbbe",{"id":5076,"slug":5077,"title":5078,"dynasty":4835,"author":299,"museum":273,"description":5079,"tags":5080,"thumbUrl":5081,"material":101,"size":101,"collection":204,"collections":5082,"showCount":4849,"zanCount":39,"manualWeight":39,"mainColor":5083},202874,"ma-tu-zhou-xu-bei-hong-202874","马图轴","画中骏马昂首伫立，鬃尾如墨浪翻飞，四蹄踏地却暗含腾跃之姿。水墨挥洒间，浓墨劲扫筋骨轮廓，淡墨晕染肌肉肌理，额颈留白似月华轻覆，既塑雄健体魄，又显灵动气韵。背景以简笔扫出沙地，更衬主体苍劲。整作笔墨洒脱精准，将马的骜放精神与生命张力凝于尺幅，尽显写意之妙与对生灵的深刻体悟。",[24,52,176,25,51,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b30160329f93d176f65d5ed48f2d6e1.jpg",[204],"ccbead",{"id":5085,"slug":5086,"title":5087,"dynasty":552,"author":91,"museum":47,"description":5088,"tags":5089,"thumbUrl":5090,"material":380,"size":381,"collection":101,"collections":5091,"showCount":5092,"zanCount":39,"manualWeight":39,"mainColor":123},290899,"hu-zhou-yi-ming-290899","虎轴","此画通幅描绘如真，渍染极得润厚的韵致。画无名款，旧签定为元人。惟据画风判断，与明代宫廷画风，颇多相近处，是以推断，该幅或出自明代良工之手。松林石涧间，一巨虎黄皮黑纹，毛色鲜丽，体态威武雄壮。虎之双眼，俱以金粉涂饰，并略染汁绿，显得格外神气逼人。其背隆起，宛如张弓欲发，隐然有即将出击之势。虎口微启，低吟而未啸。树梢，二山鹧见状，相与惊跃鸣叫，更为此猛虎出山的场景，平添紧张、不安的气息。",[24,51,25,52,26,314,7,532,230,231,50],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcfa32d80abd84bff6536c89b106cb3b.jpg",[],14,{"id":5094,"slug":5095,"title":5096,"dynasty":70,"author":5097,"museum":47,"description":5098,"tags":5099,"thumbUrl":5100,"material":380,"size":381,"collection":101,"collections":5101,"showCount":5092,"zanCount":39,"manualWeight":39,"mainColor":123},288997,"shi-shi-tu-tao-yin-288997","十狮图","陶訚","画中五狮神采各异，昂首咆哮者尽显悍勇，扑跃嬉闹者流露灵动，劲挺的鬃毛笔触蓬松，将瑞狮健硕肌理勾勒得栩栩如生。古雅沉郁的棕褐底色烘托墨色狮身，工细晕染与写意笔意相融，尽显雄浑气魄。\n\n瑞狮作为镇护瑞兽，承载着祈福安宅的意涵，整幅画作刚柔并济，线条兼具苍劲与灵动，画师以精妙笔力将盛世意气凝于绢素。题跋文辞相映，让逸闻与画中神采交织，古韵悠悠，是兼具审美价值与民俗意趣的传世佳作。",[24,51,25,26,7,2851,76,2337,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7fa098b20a352ed7e42b9280a7eca81.jpg",[],{"id":5103,"slug":5104,"title":5105,"dynasty":336,"author":91,"museum":47,"description":5106,"tags":5107,"thumbUrl":5109,"material":380,"size":381,"collection":101,"collections":5110,"showCount":5092,"zanCount":39,"manualWeight":39,"mainColor":123},288161,"hu-bao-huan-le-tu-yi-ming-288161","虎豹欢乐图","这幅作品以视觉错构的巧思见长，将古松山石的轮廓与虎豹身形虚实相融。水墨晕染下，苍劲松枝与嶙峋岩峦，恰好勾勒出憨态可掬的虎豹形象，打破了走兽画的写实桎梏。\n\n画家以兼工带写的笔法，把兽类的灵动憨稚藏于山林肌理间，不见森然凶戾，反显天真谐趣。留白铺就林涧幽寂底色，苍润墨色晕出山野苍莽质感，观者需在虚实掩映间辨形寻味，让山林野趣与巧思创意浑然一体，尽显小品画作的别致意趣。",[23,24,52,314,229,726,7,5108,51],"欢乐","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F753705f41366ef970406282d0414ec02.jpg",[],{"id":5112,"slug":5113,"title":5114,"dynasty":272,"author":91,"museum":47,"description":5115,"tags":5116,"thumbUrl":5120,"material":380,"size":381,"collection":101,"collections":5121,"showCount":5092,"zanCount":11,"manualWeight":39,"mainColor":65},253355,"tao-huang-you-gou-yi-ming-253355","陶黄釉狗","黄釉是汉族传统的陶瓷装饰艺术。最早出现于唐代，当时安徽淮南寿州窑、河南密县窑等都烧黄釉。但正色黄釉，还是宋代汝窑的高温黄釉——茶叶末釉。明代的黄釉有新的发展，洪武时的老僧衣即茶叶末的衍化；始于宣德的浇黄，更是明代杰出的黄釉；嘉靖以后，又有鱼子黄、鸡油黄等。入清后有康熙的淡黄，以及其后的菜尾、鼻烟、金酱等。",[5117,3670,5118,7,1027,5119],"隋代","陶塑","黄釉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc9cc57704e2f0192a1dfdf275ad8d009.jpg",[],{"id":5123,"slug":5124,"title":5125,"dynasty":157,"author":91,"museum":47,"description":5126,"tags":5127,"thumbUrl":5128,"material":101,"size":101,"collection":166,"collections":5129,"showCount":5092,"zanCount":39,"manualWeight":39,"mainColor":40},242720,"chu-ding-yi-ming-242720","楚鼎","高挑立耳挺拔舒展，束颈鼓腹形制规整沉浑，兽首衔托鼎足，威严厚重。器身满饰细密蟠虺纹，线条萦回往复，带着先秦特有的狞厉古拙之美，将上古礼乐的肃穆庄重凝于青铜之上。暗沉包浆覆裹器表，沉淀着悠悠岁月的厚重质感，兽首纹饰刻画精细凌厉，棱角冷峻利落，尽显楚地青铜工艺的卓绝造诣。整器静穆沉稳，将礼制的庄严与楚式匠心融于一体，静静诉说着千年前的礼乐风华。",[160,161,164,544,95,157,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f18373643ffc7e66b6bde4d87fa27b5.jpg",[166],{"id":5131,"slug":5132,"title":5133,"dynasty":18,"author":2859,"museum":47,"description":5134,"tags":5135,"thumbUrl":5138,"material":380,"size":381,"collection":101,"collections":5139,"showCount":5092,"zanCount":39,"manualWeight":39,"mainColor":123},239358,"lin-luo-han-tu-juan-ding-guan-peng-239358","临罗汉图卷","丁观鹏，生卒年不详（生于康熙晚期，约卒于乾隆三十五年[1770年]以后），清代画家，艺术活动于康熙末期至乾隆中期，顺天（今北京）人。丁观鹏雍正四年（1726）进入宫廷成为供奉画家，他擅长画人物、道释、山水，亦能作肖像，画风工整细致，受到欧洲绘画的影响，其弟丁观鹤同时供奉内廷。\n丁观鹏擅长画道释人物，也善画山水。曾与弟弟观鹤同供奉于南熏殿。他的画作清宫收藏很多。与陈枚等六家合作《庆丰图》卷，《太平春市图》卷，与陈枚、孙硝合作《丹台春晓图》卷等，均辑入《石渠宝笈》。传世作品有：《摹宋人雪渔图》和《仿韩 七子过关图》，均辑入《中国历代名画集》。",[23,24,51,74,26,27,113,75,114,259,54,314,7,176,1430,147,263,230,262,5136,5137,459,2968],"侍从","车辇","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F89a77006da2a741773d5c2053a0a1462.jpg",[],{"id":5141,"slug":5142,"title":5143,"dynasty":18,"author":91,"museum":47,"description":5144,"tags":5145,"thumbUrl":5146,"material":101,"size":101,"collection":35,"collections":5147,"showCount":5092,"zanCount":11,"manualWeight":39,"mainColor":40},230331,"qing-shi-quan-tu-ce-shi-kai-yi-ming-230331","清十犬图册-十开","《十犬图册》是清代画家佚名创作的一幅绢本设色画。\n此图册为乾隆时期的宫廷画家所绘，表现猎犬“守则有威，出则有获”，“骨相多奇，仪表可嘉”的主题。\n画法工整，具有一定的程式。\n对开有内廷侍臣陈邦彦、王图炳、励廷仪、张廷玉、蒋廷锡、张照、薄海等书写的《山海经》及晋傅休奕的《走狗赋》、唐杜甫的《天狗赋》等诗赋。",[24,51,353,27,26,7,927,246,30,77,76,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F51e2d3c8edc551956dced1e277f84ec6.jpg",[35],{"id":5149,"slug":5150,"title":5151,"dynasty":336,"author":91,"museum":47,"description":5152,"tags":5153,"thumbUrl":5154,"material":101,"size":101,"collection":101,"collections":5155,"showCount":5092,"zanCount":39,"manualWeight":39,"mainColor":123},228780,"fang-li-tang-bai-niu-tu-yi-ming-228780","仿李唐百牛图","此作以长卷铺展郊野牧歌，百头水牛形神各异，或缓步山径、或卧息林麓、或就水嬉游，尽显野性生机。村童三两，或骑牛徐行、或滩间闲坐，稚态可掬。平远山水间，枯木疏林、浅坡村居晕染出淡远乡野意趣。笔墨朴雅清润，勾勒皴擦简淡灵秀，于苍旧绢色里晕开田园闲逸，将牧放日常的悠然意致尽数铺陈，写生状物精妙，尽显古雅的山野生机之美。",[23,24,51,74,26,113,78,532,263,114,1476,1148,30,53,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F84587f45aecfd3e120826fe52fe1e9fc.jpg",[],{"id":5157,"slug":5158,"title":5159,"dynasty":45,"author":1417,"museum":47,"description":5160,"tags":5161,"thumbUrl":5162,"material":101,"size":101,"collection":101,"collections":5163,"showCount":5092,"zanCount":39,"manualWeight":39,"mainColor":123},227968,"niu-tu-li-tang-227968","牛图","此作用边角构图铺展意境，淡墨晕染出山峦烟岚空蒙的朦胧质感，远山隐于虚淡暮色之中，将山野荒陂的清寂悠远铺陈开来。\n\n坡岸间三头水牛成为画面生机所在，两头抵角嬉闹，憨态尽显，另一头闲步缓行，悠然自得，将乡野牧歌的松弛意趣揉入淡远山水间。笔墨苍简疏朗，舍去繁复勾勒，以极简笔意烘托出空灵静谧的氛围感，尽显宋人简淡野逸之美，平朴画面藏着悠然禅意，将山野闲趣融于山水烟岚之中。",[23,24,26,532,78,7,53,1331,700],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd74b8ed2232c30132e78af099212babd.jpg",[],{"id":5165,"slug":5166,"title":5167,"dynasty":540,"author":91,"museum":47,"description":2175,"tags":5168,"thumbUrl":5170,"material":380,"size":381,"collection":101,"collections":5171,"showCount":5092,"zanCount":39,"manualWeight":39,"mainColor":65},226767,"xi-zi-sun-fu-yi-bian-zu-ding-yi-ming-226767","析子孙父乙扁足鼎",[160,161,95,7,289,164,544,1092,5169],"商代风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0b06e5570abe3b4d3c3ab9af6bae8f0f.jpg",[],{"id":5173,"slug":5174,"title":5175,"dynasty":45,"author":91,"museum":47,"description":5176,"tags":5177,"thumbUrl":5178,"material":380,"size":381,"collection":101,"collections":5179,"showCount":5092,"zanCount":39,"manualWeight":39,"mainColor":5180},221633,"yu-jian-yi-ming-221633","玉剑","中国宋代是一个手工业和工商业空前发展兴盛的时代，国富民强，文化发达。此时期的玉器正处在一个承前启后的转折阶段。两宋玉器承袭两宋画风，通常画面构图复杂，多层次，形神兼备，有浓厚绘画趣味，完成了由唐玉偏重工艺性、雕塑性向宋玉偏重绘画性、艺术性的转变。此时的皇家用玉品种丰富多样，佩饰类有玉束带、玉佩，用具有玉辂，玉磬，礼器有玉圭、玉册等等。内廷专设有玉作，玉料由西域诸国进贡。民间用玉也较前朝为盛，大量出现各种玉佩饰，玉用器。皇家、官僚及民间均风行收藏古玉，古董行开始出现伪造或仿造古玉之风气。因此，宋玉又被分为古玉、时作玉、伪古玉和仿古玉。 　两宋及其同期或稍后的辽金玉文化去除了隋唐五代繁杂的外来文化因素，又继承和发展了隋唐玉文化的市庶化、艺术化特色，特别是融会了两宋绘画的特点和技巧。宋代肖生玉在崇尚写实主义的院画影响下追求形体及运动的准确表现，以显示其内心世界。花鸟玉佩多做隐起、镂空的对称处理，富有生活气息。双勾的经文诗词等铭刻玉器盛极一时。辽金玉器也是由汉族玉工碾成，但其题材却富有边疆民族特色和游牧生活气息，以契丹、女真两族生活为主题的春水佩和玉秋山为其杰出代表，均有着形神兼备的艺术造诣。宋、辽、金都出现了前所未见的有情节、有背景的景观式构图，以镂空起突等法碾琢的悬塑性或立体的肖生玉器。它是这一时代玉器的新兴形式，有着鲜明的时代特点，还出现了受道教影响的神仙题材和“龟游”一类祥瑞玉器。总之，此时期玉器的特点是：玉如凝脂、构图繁复、情节曲折、砣碾遒劲、空灵剔透、形神兼备，是我国玉文化的第二个高峰期。",[484,94,1040,95,7,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F70d2d9fcf8a8e9816a80a85ecd61e1e7.jpg",[],"FFFFFF",{"id":5182,"slug":5183,"title":5184,"dynasty":45,"author":1234,"museum":47,"description":4826,"tags":5185,"thumbUrl":5186,"material":713,"size":4829,"collection":101,"collections":5187,"showCount":5092,"zanCount":39,"manualWeight":39,"mainColor":40},221399,"fa-hai-ling-shan-tu-10-li-gong-lin-221399","法海灵山图10",[23,24,51,353,402,52,114,314,7,259],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F725f11f1ed26c5803d3d59bbefa94a81.jpg",[],{"id":5189,"slug":5190,"title":5191,"dynasty":45,"author":5192,"museum":5193,"description":5194,"tags":5195,"thumbUrl":5196,"material":118,"size":5197,"collection":101,"collections":5198,"showCount":5092,"zanCount":11,"manualWeight":39,"mainColor":123},220117,"shi-liu-luo-han-tu-di-liu-zun-zhe-jin-da-shou-220117","十六罗汉图-第六尊者","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。",[23,24,51,27,26,259,114,7,324,148],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa6c1868aa60b9e727ed886750beeeefb.jpg","118.8×51.7cm",[],{"id":5200,"slug":5201,"title":5202,"dynasty":45,"author":492,"museum":110,"description":5203,"tags":5204,"thumbUrl":5205,"material":5206,"size":5207,"collection":101,"collections":5208,"showCount":5092,"zanCount":39,"manualWeight":39,"mainColor":123},219487,"san-yuan-de-lu-tu-yi-yuan-ji-219487","三猿得鹭图","画在深山悬崖上的一棵老桂花树上，黑、灰、白三只猿正在捉小白鹭。 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意思是。",[24,603,27,26,31,7,801,2138,263,323,214,25],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa52192bd8849e9471b8b5eddc6dd495.jpg","设色,绢本","72.7x32.1",[],{"id":5210,"slug":5211,"title":5212,"dynasty":4835,"author":846,"museum":273,"description":5213,"tags":5214,"thumbUrl":5215,"material":101,"size":101,"collection":119,"collections":5216,"showCount":5092,"zanCount":39,"manualWeight":39,"mainColor":5217},203168,"xun-hu-shi-nv-tu-zhou-zhang-shan-ma-203168","驯虎仕女图轴","画中仕女温婉伫立，衣纹流转如行云，眉目含情带浅笑，尽显柔婉风姿；卧虎伏于其侧，斑纹劲利，毛发蓬松，虽静卧却虎目炯炯，隐透威猛。笔墨技法上，仕女以细腻线条勾勒，设色淡雅清润；老虎则工写结合，皮毛质感毕现，虎姿生动传神。构图疏密有致，留白处与右侧题跋相映，添空灵之韵，驯虎主题奇趣横生，柔与刚的碰撞在画面中和谐交融，尽显两位画坛名家的联袂妙思。",[24,25,26,114,115,314,7,27,3526,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e29d7f12d098347df74e7977aadcc52.jpg",[119],"e0d3c2",{"id":5219,"slug":5220,"title":5221,"dynasty":18,"author":91,"museum":47,"description":5222,"tags":5223,"thumbUrl":5226,"material":380,"size":381,"collection":101,"collections":5227,"showCount":5,"zanCount":39,"manualWeight":39,"mainColor":65},249872,"qian-long-kuan-qia-si-fa-lang-hua-hui-wen-pan-she-lu-duan-xiang-xun-yi-ming-249872","乾隆款掐丝珐琅花卉纹盘蛇甪端香熏","景泰蓝（Cloisonne），中国的著名特种金属工艺品类之一，到明代景泰年间这种工艺技术制作达到了最巅峰，制作出的工艺品最为精美而著名，故后人称这种金属器为“景泰蓝”。景泰蓝正名“铜胎掐丝珐琅”，俗名“珐蓝”，又称“嵌珐琅”，是一种在铜质的胎型上，用柔软的扁铜丝，掐成各种花纹焊上，然后把珐琅质的色釉填充在花纹内烧制而成的器物 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与顾文彬子顾承相友善，曾为设计怡园。1888年54岁时双目失明，后病卒于苏州。与任熊、任颐时称“三任”，合任预为“四任”，并为海上画派代表画家之一。\n任薰作画题材广泛，对人物、山水、花卉、翎毛、走兽（马、羊等）无所不能，更擅长花鸟、人物。粗写意、细双勾。技法初学其兄谓长，后吸取陈老莲的传统技法。用笔沉着力。\n在构图上有其特长，在大小不同的画面上，创作出许多新颖、宽广、意境深远的作品，尤其适应扇面上的表现技法，能笔随意转，在极小的团扇、折扇画面上，开拓出广阔、妙趣盎然的意境。\n任薰作品在结构上比较严谨，很重视疏密虚实的主从关系，无论一人、一花、一鸟的主从关系都能巧心安排得体。平淡中亦能出奇，宁静中又能生动。画面上给人一种空灵明快之感。\n他的另一特点是工于着色，浓淡相宜，清新可爱，绝无柔媚习气。\n他尤长于使用重彩着色，能把对比鲜明的色彩调和统一起来，使画面上的景色更显壮丽，又能从鲜艳色彩中透出古朴的意趣。任薰人物画，线条遒劲圆韧。尤其晚年人物衣褶，运笔如同书法中行草，似有行云流水之感，形态多奇伟的身躯，出乎 寻常容貌，带有性格的神态，别出心匠。\n任薰作品在香港拍卖较多，1986年即有作品参加拍卖，1986年5月一件《双钩花鸟册》（共十二张）卖到45000港元。1989年5月又拍卖过两幅作品，一幅扇面《钟馗》以24200港元成交，另一幅《秋景山水》轴也是24000港元。1990年11月拍卖的一件《花卉草虫画集》册页价格偏低，只有17600港元，第二年9月是一件册页则达到12万港元，这是一件八开山水人物册页，山水人物比他的花卉草虫要珍贵得多。\n任薰作品也在纽约拍卖，1989年拍卖的《人物》四屏立轴卖到18700美元，1990年11月拍卖的一幅《仕女》扇面是1540美元。1992年6月纽约苏富比公司又推出两幅任薰作品，一为山水轴（128.6*60.3），作于1876年，估价不高，为1200－1500美元，以1700美元成交。另一幅人物轴（92.7*41.3公分）由于起价太高而未拍出。",[23,24,51,26,27,114,532,896,263,7,55,1476,1148],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4a6b02a2a93b694310e08a39e6c70fa4.jpg",[],{"id":5391,"slug":5392,"title":5393,"dynasty":18,"author":4689,"museum":600,"description":5394,"tags":5395,"thumbUrl":5396,"material":137,"size":5397,"collection":101,"collections":5398,"showCount":5,"zanCount":39,"manualWeight":39,"mainColor":123},222803,"you-tu-zhao-fu-222803","犹图","图绘院落一角，湖石耸立，形状奇特，石上方一树枝伸出，白花朵朵点缀枝头；湖石四周杂草丛生，前方二只狗相互对望，淡黄色毛浓密，体格健壮。技法上，狗的毛发以细皴绘制，惟妙惟肖，湖石以深蓝色晕染，更显立体感。",[23,24,27,26,7,30,644,324,700],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F876d1b2cf62983e4ca8dfa4acb71cb2c.jpg","24.4×24cm",[],{"id":5400,"slug":5401,"title":1265,"dynasty":552,"author":2317,"museum":20,"description":5402,"tags":5403,"thumbUrl":5404,"material":80,"size":5405,"collection":101,"collections":5406,"showCount":5,"zanCount":39,"manualWeight":39,"mainColor":123},221774,"luo-han-tu-ren-ren-fa-221774","任仁发（1254—1327），字子明，一字子垚，号月山，青浦（今属上海市）人。元代画家、水利家，书学李北海，画学李公麟。擅长人物画，所画人物笔墨苍润，生动传神。\n2016年12月4日，任仁发画作《五王醉归图》卷亮相拍场，最终以3.036亿元成交。保利拍卖执行董事赵旭在接受采访时表示，该作品“成交价创今年中国艺术品在全球的最高成交纪录”。",[23,50,24,51,402,26,114,259,7,289],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fba18eee5c0b749925dc80a6231c025.jpg","41.5x210.7cm",[],{"id":5408,"slug":5409,"title":5410,"dynasty":45,"author":1234,"museum":47,"description":4826,"tags":5411,"thumbUrl":5412,"material":713,"size":4829,"collection":101,"collections":5413,"showCount":5,"zanCount":39,"manualWeight":39,"mainColor":40},221400,"fa-hai-ling-shan-tu-2-li-gong-lin-221400","法海灵山图2",[23,50,24,51,402,52,259,114,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9af87f3e8854855ed0e419c0fca193f3.jpg",[],{"id":5415,"slug":5416,"title":5417,"dynasty":18,"author":128,"museum":47,"description":4573,"tags":5418,"thumbUrl":5419,"material":713,"size":101,"collection":101,"collections":5420,"showCount":5,"zanCount":39,"manualWeight":39,"mainColor":65},217097,"bai-miao-luo-han-23-leng-mei-217097","白描罗汉-23",[24,51,353,402,259,114,7,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa88326be31883c012da479ea6fe37389.jpg",[],{"id":5422,"slug":5423,"title":5424,"dynasty":18,"author":128,"museum":47,"description":4573,"tags":5425,"thumbUrl":5426,"material":713,"size":101,"collection":101,"collections":5427,"showCount":5,"zanCount":39,"manualWeight":39,"mainColor":65},217092,"bai-miao-luo-han-25-leng-mei-217092","白描罗汉-25",[24,51,353,402,259,114,7,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae87cb08c6691b4d5a1a90f8ca399a93.jpg",[],{"id":5429,"slug":5430,"title":4295,"dynasty":552,"author":91,"museum":273,"description":5431,"tags":5432,"thumbUrl":5433,"material":101,"size":101,"collection":119,"collections":5434,"showCount":5,"zanCount":11,"manualWeight":39,"mainColor":5435},203432,"bai-miao-jie-bo-tu-juan-yi-ming-203432","这幅长卷以纯然白描绘就，线条如铁线银钩，刚柔相济。画面铺陈宗教故事场景，神佛、力士、鬼怪等群像错落，神态各异：或怒目执兵，或从容布道，衣袂飘举间尽显动态韵律。核心揭钵处结构紧凑，冲突感暗蕴，周围人物排布层次分明，背景树木山石以简洁皴法衬出，虚实相生。虽无设色，却凭精准线条勾勒服饰纹理、兵器细节，繁而不乱，气韵生动，尽显元代白描人物画的精湛技艺，细节处见匠心，是宗教题材与白描技法结合的经典之作。",[23,24,74,402,259,114,7,263,230,1040,262,1853],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7abaea60018e5534e2d30ee714ba48c3.jpg",[119],"8f6a38",{"id":5437,"slug":5438,"title":5439,"dynasty":18,"author":573,"museum":273,"description":5440,"tags":5441,"thumbUrl":5442,"material":101,"size":101,"collection":37,"collections":5443,"showCount":5,"zanCount":39,"manualWeight":39,"mainColor":5444},203050,"hua-niao-zou-shou-tu-ce-shen-quan-203050","花鸟走兽图册","寒林雪霁，枯木虬枝覆雪，苍劲中透着疏朗；青柏翠叶点缀其间，为素净冬日晕开一抹生机。岩畔溪流潺潺，水纹细腻如织，似携泠泠清音。几只小兽（兔与狸）或卧雪小憩，或探头觅食，兽毛晕染层次分明，姿态憨态可掬又灵动鲜活。画作工笔精谨，线条勾勒精准流畅，设色淡雅温润，雪景留白与墨皴山石、染叶树木相映成趣，将冬日山林的静谧与生命的意趣完美相融，尽显自然之美与笔墨匠心。",[27,26,1372,7,131,403,1148,230,353,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffdfc54864e26cf2b0420329f42874c07.jpg",[37],"b3a07f",{"id":5446,"slug":5447,"title":5448,"dynasty":881,"author":91,"museum":47,"description":5449,"tags":5450,"thumbUrl":5451,"material":380,"size":381,"collection":101,"collections":5452,"showCount":5453,"zanCount":39,"manualWeight":39,"mainColor":123},290378,"fu-hu-luo-han-zhou-yi-ming-290378","伏虎罗汉轴","主题与关键字：罗汉（应真、尊者）、枴杖、虎、竹 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的山水画风和置景技巧。\n该卷堪称是现存最长的画马图，代表了明人画马的最高艺术成就。\n遗憾的是，许宝其人被画史疏漏，这卷杰作被深藏于皇宫大内，久不为世人所知。\n许宝（生卒年不详），明代画家。\n画史无载。\n存世画作有《百马图》，现存故宫博物院。",[23,24,74,26,27,53,176,7,263,230,700,1432,532],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd9cb3ca3a9a8b62711cebe01b4011b3a.jpg",[],{"id":5471,"slug":5472,"title":2316,"dynasty":552,"author":2317,"museum":20,"description":2318,"tags":5473,"thumbUrl":5474,"material":137,"size":2321,"collection":101,"collections":5475,"showCount":5453,"zanCount":39,"manualWeight":39,"mainColor":123},233828,"er-ma-tu-juan-ren-ren-fa-233828",[24,51,74,27,26,176,7,77,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1058010d2a8e2e377aa7c701fb014f9b.jpg",[],{"id":5477,"slug":5478,"title":5479,"dynasty":336,"author":1014,"museum":47,"description":5480,"tags":5481,"thumbUrl":5482,"material":101,"size":101,"collection":101,"collections":5483,"showCount":5453,"zanCount":39,"manualWeight":39,"mainColor":123},228483,"wen-dao-tu-ye-tang-yin-228483","问道图页","此作为绢本设色团扇小品，取边角式构图，右侧古木虬曲苍劲，疏枝带叶，晕染出清寂秋意。江岸石径之上，策鹿老翁宽袍缓行，神态悠然自得，侍童负杖紧随其后，主仆二人身影闲逸萧散。远景江波澹澹，远山隐现于烟霭间，留白烘托出悠远空寂的林下氛围。\n\n笔墨清简写意，人物线条简练传神，老者的安闲与灵鹿的轻跃相互映衬，将文人幽游林泉的隐逸雅趣，融于咫尺团扇之中，尽显萧散淡远的林下高致。",[23,24,51,353,26,114,532,324,147,7,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F63ec7fe90818314ddf0126d45643bc90.jpg",[],{"id":5485,"slug":5486,"title":5487,"dynasty":552,"author":91,"museum":47,"description":5488,"tags":5489,"thumbUrl":5491,"material":101,"size":101,"collection":101,"collections":5492,"showCount":5453,"zanCount":11,"manualWeight":39,"mainColor":65},228207,"han-lin-mu-yang-tu-yi-ming-228207","寒林牧羊图","此作用枯淡笔墨铺就冬日荒林野趣，老木虬枝盘曲苍劲，枯槎交错伸展，枝桠间漫着清寂萧寒之气。寒林以浓淡墨色层叠排布，晕染出悠远静谧的林野纵深，将冬日郊野的空旷萧索尽数铺开。下方缓坡错落起伏，羊群或垂首啮草，或缓步闲游，为冷寂林野晕开细碎生机。整体笔墨简劲苍润，以留白衬出郊野清阔空寂的氛围，于萧寒之中暗蕴悠然意趣，尽显简远萧散的林下幽情。",[24,532,52,53,25,215,368,230,5490,263,7],"坡地","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffef393f39116b943b3c6158679749db8.jpg",[],{"id":5494,"slug":5495,"title":5496,"dynasty":70,"author":91,"museum":47,"description":5497,"tags":5498,"thumbUrl":5499,"material":101,"size":101,"collection":101,"collections":5500,"showCount":5453,"zanCount":39,"manualWeight":39,"mainColor":123},227226,"jiang-mo-bian-yi-ming-227226","降魔变","【 唐 佚名 《降魔变文》 】卷，纸本设色，27.5×571.5cm，法国国家图书馆藏。此卷敦煌遗物在1908年被法国的希伯和所盗取。画面从笔墨和造型上看应当是真正的唐代人物宗教故事画，虽非名手所作，但也是珍贵的文物，为研究唐代人文宗教历史提供了第一手材料。\n画卷中的国王、外道和佛弟子的形象特征鲜明。描绘了外道如何向国王口出狂言，扬言自己本领高强，要取代佛弟子的地位。他们制造显现出离奇的景象、恐怖的物事、吓人的声音、惊惧的场面，企图威慑佛弟子；佛弟子则神态平静，在淡然默语之中，展现神通，一一予以粉碎、消除、化解、冲刷得干干净净。国王看到这一切，当然心悦诚服，欣喜异常。外道则黔驴技穷，一筹莫展，最终不得不遵从国王的旨意，归顺了佛弟子。",[23,24,51,74,259,26,27,402,114,7,54,214,263,230,2296,1853],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23dd62430861a3914d1d4d7d6ab142ba.jpg",[],{"id":5502,"slug":5503,"title":5504,"dynasty":881,"author":3039,"museum":20,"description":3040,"tags":5505,"thumbUrl":5506,"material":3043,"size":3044,"collection":101,"collections":5507,"showCount":5453,"zanCount":39,"manualWeight":39,"mainColor":123},221161,"shi-liu-luo-han-xiang-fa-na-po-si-zun-zhe-tang-ka-bu-ben-guan-xiu-221161","十六罗汉像-伐那婆斯尊者（唐卡布本）",[23,24,51,259,114,27,26,2922,54,7,1269],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F569a3a85f7f82a7de7a82f30e44853d2.jpg",[],{"id":5509,"slug":5510,"title":5511,"dynasty":18,"author":91,"museum":226,"description":5512,"tags":5513,"thumbUrl":5514,"material":118,"size":101,"collection":101,"collections":5515,"showCount":5453,"zanCount":39,"manualWeight":39,"mainColor":123},219271,"qun-hou-xi-shui-shuang-ping-er-yi-ming-219271","群猴戏水双屏(二)","松枝虬曲如铁，斜逸于空濛山影间，瀑布自崖巅倾泻而下，溅起碎玉似的水花。山石之上，群猴情态鲜活：或相偎亲昵，或探臂戏波，或追逐跃动，灵动身姿与潺潺流水相映成趣。墨色浓淡交错，细致勾勒出猴毛的蓬松纹理与山石的苍劲质感，流水则以婉转线条摹写奔腾之势。古雅绢本的暖棕底色，衬得画面静谧而富有生机，仿佛能闻猴啼与水声相和，尽显自然野趣与生命的鲜活意趣，将山林间的灵动瞬间凝于笔端。",[24,51,25,52,27,53,532,801,1148,578,148,726,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd01f16953ecc4f7107f745ae261e1887.jpg",[],{"id":5517,"slug":5518,"title":5519,"dynasty":45,"author":91,"museum":455,"description":5520,"tags":5521,"thumbUrl":5522,"material":248,"size":5523,"collection":101,"collections":5524,"showCount":5453,"zanCount":39,"manualWeight":39,"mainColor":40},214945,"dao-zi-mo-bao-ren-wu-bai-miao-hua-38-yi-ming-214945","道子墨宝人物白描画-38","《道子墨宝》原作是一套古代民间画工制作道教壁画的白描画稿。画稿分三部分，第一部分描绘的是诸神朝谒；第二部分是阴曹地府中审判“罪犯”的景象，既所谓的“地狱变相图”；第三部分为搜山图。画稿伪托唐代画圣吴道子作，但从画稿的内容和画中人物的服饰等细节可以断定它不可能是唐代的作品。这套册页原无题，多达五十开的册页，每幅原作右上部位都有用白粉写的简化字符编号，表示一至五十，显然是民间画师用的稿本。",[23,50,24,51,402,114,314,7,259,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8e7a7ac24e5dd5839f7e788e1096e808.jpg","34.2*38.4",[],{"id":5526,"slug":5527,"title":5528,"dynasty":552,"author":91,"museum":47,"description":1935,"tags":5529,"thumbUrl":5530,"material":380,"size":381,"collection":101,"collections":5531,"showCount":5532,"zanCount":39,"manualWeight":39,"mainColor":123},290723,"san-yang-kai-tai-tu-zhou-yi-ming-290723","三羊开泰图轴",[24,25,26,27,114,368,712,214,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7e88d911caee4e2fde858e14a5305243.jpg",[],11,{"id":5534,"slug":5535,"title":5457,"dynasty":881,"author":91,"museum":47,"description":5536,"tags":5537,"thumbUrl":5538,"material":380,"size":381,"collection":101,"collections":5539,"showCount":5532,"zanCount":39,"manualWeight":39,"mainColor":123},288514,"qiu-lin-qun-lu-tu-yi-ming-288514","秋林漫染，丹红、莹白与墨绿交织晕开，将深秋的层林意韵铺陈开来。林泽之间，群鹿姿态各异，或昂首缓行，或垂耳憩息，灵动身影栖于幽寂林间，让萧疏秋景染上鲜活野趣。\n古雅厚重的设色带着朴拙质感，将秋意的清寂与生灵的暖意相融，把山野林麓的静谧生机娓娓道来。画面兼具山水的悠远层次与花鸟的细腻意趣，笔触苍古，意境澹然，藏着秋日林野独有的荒疏温柔。",[24,50,25,26,7,147,2542,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6f0e7a22edefcd1e0615fddd912d838.jpg",[],{"id":5541,"slug":5542,"title":5543,"dynasty":45,"author":1234,"museum":47,"description":4059,"tags":5544,"thumbUrl":5546,"material":380,"size":381,"collection":101,"collections":5547,"showCount":5532,"zanCount":11,"manualWeight":39,"mainColor":123},287966,"ren-wu-tu-ye-li-gong-lin-287966","人物图页",[24,51,26,114,7,5545,1498,27],"瑞兽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe3dd95c1ba31aafac05813fc60320fea.jpg",[],{"id":5549,"slug":5550,"title":5551,"dynasty":336,"author":91,"museum":47,"description":5552,"tags":5553,"thumbUrl":5555,"material":380,"size":381,"collection":101,"collections":5556,"showCount":5532,"zanCount":39,"manualWeight":39,"mainColor":123},287406,"di-wang-xiao-xiang-li-zhou-yi-ming-287406","帝王肖像立轴","这幅肖像画工致写实，老者面容清癯苍劲，鬓发染霜，神色端凝持重，尽显宦海沉潜出的沉稳威严。\n\n朱红朝服庄重沉穆，胸前方补缂丝精妙，瑞兽身姿矫健灵动，云纹缠缀其间，晕色细腻匀称，尽显织造匠心。乌纱翼善冠制式严整，玉带銙雕琢精巧，腰间垂饰摇曳有度，细节处恪守明代官服典制。\n\n画面背景素净简雅，将视觉焦点全然交付于人物，以细腻笔触精准勾勒出官员的身份气度，恪守仪轨又传神写照，让观者得见明代士大夫的端方风骨。",[23,24,25,114,5554,27,26,670,7],"肖像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F781a7ea58be4997776a6331947cec0ff.jpg",[],{"id":5558,"slug":5559,"title":5560,"dynasty":18,"author":91,"museum":47,"description":5561,"tags":5562,"thumbUrl":5565,"material":380,"size":381,"collection":101,"collections":5566,"showCount":5532,"zanCount":39,"manualWeight":39,"mainColor":123},260977,"qing-hua-qi-lin-tu-bi-tong-yi-ming-260977","青花麒麟图笔筒","青花瓷（blue 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Nirvāṇa），佛教术语，合文作𢌽，又译为泥洹、涅槃那、涅盘那、泥盘那、昵缚男，意译为熄灭、灭、灭度、寂灭、无为、解脱、自在、安乐、不生不灭等，新译作般涅槃（巴利语：pari-nibbāna，梵语：pari-nirvāṇa），又译为般泥洹、波利昵缚男、入灭、入灭度、圆寂。佛教教义认为涅槃是将世间所有一切法的自体性都灭尽的状态，所以涅槃中永远没有生命中的种种烦恼、痛苦，上座部佛教的见解是从此不再受后有，也就是不再有下一世的六道轮回。这个术语最早源自于古印度婆罗门教，当时众说纷纭。佛教认为外道无法实证何谓涅槃，在无佛教的时代只有佛和辟支佛可以亲证涅槃。释迦牟尼菩萨降生后，出家成佛转法轮，教导弟子佛法，才开始有声闻圣弟子四果阿罗汉实证涅槃。佛陀和阿罗汉舍寿后，会取证无余涅槃界，进入不生不灭状态，也称为涅槃，一般更常用般涅槃（意思是“进入涅槃灭度”，即“入灭”）表达，意思是肉身死亡后，进入不生不灭的涅槃状态。时至今日，当有佛教上师、沙门、比丘、比丘尼等修行者过世时，许多人会尊称他们涅槃了。大乘见地是佛菩萨能在涅槃中同时度众生，佛菩萨的涅槃叫“无住涅槃”",[23,24,50,259,26,27,114,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F36001c315841694e4c562c3be81f2ce2.jpg","216x179.4厘米",[],{"id":5634,"slug":5635,"title":5636,"dynasty":18,"author":1726,"museum":47,"description":5637,"tags":5638,"thumbUrl":5639,"material":101,"size":101,"collection":101,"collections":5640,"showCount":5532,"zanCount":39,"manualWeight":39,"mainColor":40},228969,"shi-jun-quan-tu-ce-shi-kai-ai-qi-meng-228969","十骏犬图册十开","《十骏犬图》是清代画家 创作的纸本设色画册，共1开，现藏于 。\n册页左边为以诗经体和辞赋体所作的题赞，其中六则出自梁诗正，四则出自汪由敦；右边一律先画犬，再加配河景山水。\n每开背景中虽皆可见遒劲的林木（松木、墨竹、柳树、梅花和灌木等）、怪石、溪涧或幽静的水岸，但形态皆不相同。\n所绘之犬姿态迥然，或低头饮水、或伫立沉思、或回首遥望。\n该册共十对开，顺序依次为：第一睒星狼、第二霜花鹞、第三墨玉螭、第四蓦空鹊、第五苍水虬、第六斑锦彪、第七雪爪卢、第八金翅猃、第九漆点狻、第十茹黄豹。\n款署：“臣艾启蒙恭绘。\n”钤“臣艾启蒙”白文印、“恭画”朱文印。\n每图对开页有嵇璜书写的乾隆朝大学士汪由敦和梁诗正撰写的题赞。\n图上钤有“乾隆鉴赏”、“三希堂精鉴玺”、“石渠宝笈”等印。\n据文献记载，当初朝廷为了供皇帝行猎围场之需要，宫廷特设“鹰狗处”。\n《啸亭续录》云：“鹰狗处，向在东华门内长街，设总统二人，以侍卫兼之，蒙饲御前鹰狗以备搜弥之用，其牧人皆以世家子弟充之，许其蟒袍纬帽，为执事人中之品最高者。\n壬戌今上以其非急务，命迁于东安广内长房。\n”从这段记载中可知，艾启蒙笔下所画的猎犬，多是“鹰狗处”豢养的猎犬，可谓是皇帝的宠物。\n艾启蒙仅仅是画有猎犬，而这些猎犬所处的环境，这些背景并非出自艾启蒙之手，而是为中国宫廷画家所作。\n这套画册虽只署艾启蒙一人，实际上是有中国画家的参与其事的。\n作者以西方的素描技法，运用解剖学，以短细的笔触一丝不苟地刻画出猎犬健美的体态和皮毛的质感，具有很强的写实性。\n如犬的身体，用多次烘染，分出受光和背光面：尤其注重皮毛质感的表现，注意猎犬的解剖结构，更突出了犬的真实感。\n这些都显示了欧洲绘画的特点，但从每幅画面上看，背景中所绘树石、坡陀等，从造型到技法，仍是典型的中国画。\n画家经多年来的观察和周密的研究，根据每一名犬的不同特性，将十条名犬分别安排于不同季节的自然环境中，十名犬的神情不一，曲尽其态、有正面、有侧面、有站立的、有卧伏的、有散步的、有蹲着的、有抬脚搔首的，也有跃跃欲扑的等。\n在毛皮色彩和斑纹上也各不相同，有红色的、白色的、黑色的、黄色的、棕色的，还有杂色的。\n正是这些不同的姿态和诸多的色彩，给绘画带来了活跃的气氛，引人注目。\n但总体来说所有的猎犬其共同之处都是腿长身细，腹部收缩，劲瘦有力，劲健灵动，擅长奔跑，肌肉肋骨，描绘逼真。\n每幅图的对开上均标明犬名，对宫廷御用犬的研究具有很高的史料价值。\n此图旧藏紫禁城内的乐寿堂。\n《石渠宝笈》著录。\n现藏于北京故宫博物院。\n艾启蒙（178—178年），字醒庵，原名Igntius Sickltart，波西米亚（今属捷克）人，天主教耶酥会传教士。\n乾隆十年（1745年）来华供奉内廷。\n他在清宫师从郎世宁，专擅绘人物、走兽和翎毛，力图在技法上达到中西合璧，在宫中产生了一定的影响。",[24,51,353,27,26,7,532,246,590,148,76,75,53],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F19f257f9a3674de63db64c41e1f3e40f.jpg",[],{"id":5642,"slug":5643,"title":2135,"dynasty":45,"author":492,"museum":47,"description":5644,"tags":5645,"thumbUrl":5646,"material":101,"size":101,"collection":101,"collections":5647,"showCount":5532,"zanCount":39,"manualWeight":39,"mainColor":123},227535,"yuan-lu-tu-yi-yuan-ji-227535","易元吉（生卒年不详，公元11世纪左右），字庆之，湖南长沙人。北宋时期著名画家。天资颖异，灵机深敏，尤善画猿猴，并因此而闻名天下。古代绘画评论家把獐猿画看成是易元吉的专工独诣，认为是“世俗之所不得窥其藩”的绝技。",[23,24,26,27,7,801,214,324,498],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04cd6b97e915aeed8c1ec2cec2231d8a.jpg",[],{"id":5649,"slug":5650,"title":5651,"dynasty":540,"author":91,"museum":47,"description":2175,"tags":5652,"thumbUrl":5653,"material":380,"size":381,"collection":101,"collections":5654,"showCount":5532,"zanCount":39,"manualWeight":39,"mainColor":65},226764,"you-yi-ming-226764","卣",[160,161,95,759,164,3228,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3a65ad9ed50bb2b0d2f2af5c2cd9a25.jpg",[],{"id":5656,"slug":5657,"title":5658,"dynasty":540,"author":91,"museum":47,"description":2175,"tags":5659,"thumbUrl":5664,"material":380,"size":381,"collection":101,"collections":5665,"showCount":5532,"zanCount":39,"manualWeight":39,"mainColor":123},226760,"ya-chou-fu-bing-jue-yi-ming-226760","亚丑父丙爵",[160,3228,5660,5661,5662,759,5663,1092,7],"兽首","雕刻纹饰","青铜铸造","器形","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3c4cce97748176dda709b094315696ce.jpg",[],{"id":5667,"slug":5668,"title":5669,"dynasty":18,"author":2377,"museum":47,"description":5670,"tags":5671,"thumbUrl":5673,"material":380,"size":381,"collection":101,"collections":5674,"showCount":5532,"zanCount":39,"manualWeight":39,"mainColor":65},224130,"fu-luo-han-kanakavatsa-tang-ka-224130","佛罗汉Kanakavatsa","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。",[259,26,27,114,324,230,55,7,5672,949],"日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F104cace312feb421db8b1985ddc37e4b.jpg",[],{"id":5676,"slug":5677,"title":5678,"dynasty":157,"author":91,"museum":47,"description":2175,"tags":5679,"thumbUrl":5680,"material":380,"size":381,"collection":101,"collections":5681,"showCount":5532,"zanCount":39,"manualWeight":39,"mainColor":123},224075,"yi-yue-yi-yi-ming-224075","夷曰匜",[160,161,95,164,289,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fedcdced744435eb978350ef6bd820b22.jpg",[],{"id":5683,"slug":5684,"title":5035,"dynasty":1484,"author":91,"museum":47,"description":1090,"tags":5685,"thumbUrl":5687,"material":380,"size":381,"collection":101,"collections":5688,"showCount":5532,"zanCount":39,"manualWeight":39,"mainColor":123},223970,"yu-bi-xie-yi-ming-223970",[94,95,5686,7],"圆雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4150b4cef4d482eebcd3ada7f1c3c3d4.jpg",[],{"id":5690,"slug":5691,"title":5692,"dynasty":18,"author":5693,"museum":110,"description":5694,"tags":5695,"thumbUrl":5700,"material":5701,"size":5702,"collection":101,"collections":5703,"showCount":5532,"zanCount":39,"manualWeight":39,"mainColor":40},222854,"wan-tun-chun-mu-dong-gao-222854","万屯春牧","董诰","董誥（1740年－1818年），字雅倫，號蔗林，浙江省杭州府富陽縣（今浙江省杭州市）人，生於順天府（今北京市），清代大臣、書畫家。工部尚書董邦達長子，與其父有“大、小董”之稱。\n乾隆二十九年（1764）中舉，隔年會試，名列一甲第三，得中探花，乾隆帝將其改為二甲第一，作金殿傳臚，形降實升。嘉慶四年（1799），董誥六十歲，以從庶吉士、編修、工部侍郎、軍機大臣、東閣大學士等，擢為文華殿大學士（即宰相），欽賜“紫禁城騎馬”。直軍機先後四十年。董誥精書法，善繪畫，更通曉軍事。他五次歸還故里，生活簡樸，平易近人，從不倨傲，深為鄰里稱道。董誥卒於嘉慶二十三年（1818），終年七十九歲。\n董誥死後六天，嘉慶帝親臨祭奠，所寫哀詩中有“只有文章傳子侄，絕無貨幣置田莊”之句，並親自撥款建立“董公祠”。",[23,24,26,27,53,532,353,1331,263,1432,7,176,700,215,30,1148,2234,5696,5697,2233,5698,5699],"春景","牧畜","苔点","浅绛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a982e7c4080b31bce2c30a9be63ca83.jpg","纸本 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从简单的装饰品发展到古代宗教祭拜、礼仪用品，再到象征高尚道德品质的装饰品，最后上升为丰富的艺术鉴赏作品，深入反映了不同历史时期的社会发展演变过程。",[340,94,95,314,7,289],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffcea9cd2ee32e6d7f743dc0693564ba4.jpg",[],{"id":5770,"slug":5771,"title":5772,"dynasty":528,"author":91,"museum":47,"description":1090,"tags":5773,"thumbUrl":5776,"material":380,"size":381,"collection":101,"collections":5777,"showCount":5746,"zanCount":39,"manualWeight":39,"mainColor":123},250288,"yu-pan-chi-wen-pei-yi-ming-250288","玉蟠螭纹佩",[94,95,99,54,7,5774,5775],"蟠螭纹","南北朝风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6608ebcdfd0f5aa597d9f10c1430ee4f.jpg",[],{"id":5779,"slug":5780,"title":5781,"dynasty":272,"author":91,"museum":47,"description":5782,"tags":5783,"thumbUrl":5784,"material":380,"size":381,"collection":101,"collections":5785,"showCount":5746,"zanCount":39,"manualWeight":39,"mainColor":123},245102,"shen-shou-wen-jing-yi-ming-245102","神兽纹镜","中国铜镜的制作和使用具有悠久的历史，根据考古发掘，年代最早的铜镜为4000多年前的齐家文化。从齐家文化至西周末春秋早期制作的铜镜，多以纹饰简单、形体小、种类少。此一时期为中国铜镜制作早期阶段。\n春秋中晚期开始，我国铜镜制作和使用就发展起来了，特别是战国时期，铜镜的种类复杂，题材广泛，制作工艺精细，包括此时期铜镜的合金成分，其锡含量是最适合铜镜的使用，这些充分反应了铜镜在此时期制作技术已达到成熟阶段。汉代开始铜镜得到了进一步的发展，这时期的铜镜出现了新的类型，铭纹也正逐渐成为铜镜的纹饰组成部分，反映了汉代铸镜业的发达及铜镜商品化的发展。\n隋唐时期是中国铜镜高度发展时期，此时的铜镜突破了以往圆形与方形的传统形式，出现了菱花形、葵花形铜镜。特别是盛唐时期铜镜工艺精湛，著名的瑞兽葡萄镜更是闻名于世，这一时期铜镜发展达到了顶峰。\n从唐末，五代起中国的铜镜艺术日趋衰落，宋、金、元时期的铜镜，从造型、纹饰和合金成分上都有不同于传统铜镜的特点。明，清时期虽然铜镜还在人们日常生活当中使用，但到清代中后期随着玻璃的使用，铜镜逐渐退出了历史舞台。当今虽然不再有人使用铜镜整装容，但古代铜镜给予我们的除了收藏价值，还有对古代形制、纹饰、铭文、艺术、制作工艺、成分等等的研究价值。中历收藏品鉴定中心，为我国合法第三方专业鉴定平台，证书得到了专业人士及社会各界的高度认可，藏品鉴定可咨询。",[160,161,95,7,289],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb8ef4db829ab75420e58bce1f87a57f0.jpg",[],{"id":5787,"slug":5788,"title":5789,"dynasty":552,"author":91,"museum":47,"description":5790,"tags":5791,"thumbUrl":5792,"material":101,"size":101,"collection":166,"collections":5793,"showCount":5746,"zanCount":39,"manualWeight":39,"mainColor":123},244658,"zhi-da-kuan-xu-yi-ming-244658","至大款盨","方口敦实，双龙耳昂首探向两侧，古拙苍劲，带着雄浑威仪。器身层层弦纹环绕，简约凝练尽显素朴沉静，口沿浅回纹盘桓流转，勾勒出上古礼器的肃穆余韵。底座云纹柔婉卷舒，中和了整体厚重感，刚柔相衬。幽黑包浆凝着岁月浸润的温润，褪去商周青铜的狞厉锋芒，转而流露摹古复古的雅致内敛，以沉静姿态追慕三代礼制风雅，将古意与内敛审美意趣相融，尽显端方朴拙的器物之美。",[160,161,95,164,289,7,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8b6bef859300e62c2c228a8e0deb321a.jpg",[166],{"id":5795,"slug":5796,"title":3912,"dynasty":45,"author":91,"museum":47,"description":5797,"tags":5798,"thumbUrl":5799,"material":101,"size":101,"collection":166,"collections":5800,"showCount":5746,"zanCount":39,"manualWeight":39,"mainColor":65},243210,"cuo-jin-yin-xi-zun-yi-ming-243210","这只瑞兽身形敦圆憨态可掬，首融羊牛之姿，弯角轻贴颅侧，耳郭错金饰纹醒目雅致，颈间项圈嵌饰金片，古雅华贵。躯体以错金银勾勒出舒展卷云，婉转游走于沉穆的青铜胎体之上，明暗交织，古意悠然。器背设注水之口，将礼器功用藏于灵动瑞兽形骸，浑朴中见精巧心思。青铜色泽厚重沉静，错金的亮泽在古铜色里暗闪微光，复刻三代青铜雅韵，将复古意趣与实用功能揉为一体，尽显摹古造器的精妙造诣，浑朴古雅又暗含巧思。",[3915,161,95,7,78,164,3228],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b0c95a4dcebaa057d74c72bc8a7444c.jpg",[166],{"id":5802,"slug":5803,"title":5804,"dynasty":45,"author":91,"museum":47,"description":5805,"tags":5806,"thumbUrl":5809,"material":101,"size":101,"collection":166,"collections":5810,"showCount":5746,"zanCount":39,"manualWeight":39,"mainColor":123},243032,"cuo-yin-yan-di-yi-ming-243032","错银砚滴","此件瑞兽砚滴，身形敦厚朴拙，昂首伫立，静穆沉稳。错银丝勾勒周身卷云纹，眉眼肌理间纹饰细腻灵动，颈间错金线圈环绕，更添华贵古韵。背部带钮小盖精巧雅致，既为注水之需，又让器型浑然一体。古铜胎身带着斑驳绿锈与红褐包浆，晕开岁月浸漫的痕迹，将瑞兽威仪凝为案头雅物，把文房清趣与复古意韵相融，尽显雅致沉静的宋式审美，静立间晕开隽永悠长的古典意趣。",[45,5807,161,95,7,78,5808],"错银","砚","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb222a043e2a876e449c2455a7a833ab9.jpg",[166],{"id":5812,"slug":5813,"title":5814,"dynasty":540,"author":91,"museum":47,"description":2175,"tags":5815,"thumbUrl":5816,"material":380,"size":381,"collection":101,"collections":5817,"showCount":5746,"zanCount":39,"manualWeight":39,"mainColor":123},243015,"si-gong-gai-yi-ming-243015","兕觥盖",[160,540,289,3228,7,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3dd0f60b4bda0fc9a2a0526aeec3eceb.jpg",[],{"id":5819,"slug":5820,"title":5821,"dynasty":18,"author":5822,"museum":20,"description":5823,"tags":5824,"thumbUrl":5825,"material":101,"size":101,"collection":101,"collections":5826,"showCount":5746,"zanCount":39,"manualWeight":39,"mainColor":123},239151,"ku-mu-shuang-ma-zhou-zhang-mu-239151","枯木双马轴","张穆","此作用笔苍劲老辣，古木虬曲皲裂，枯桠斜出，尽现岁月摧折的荒寒之态。下方双马相映成趣，卧马抬首亲昵蹭触，立马垂首呼应，神态温驯灵动。以水墨晕染出骏马皮毛蓬松的质感，将其膘肥体健描摹入微，写实功力尽显。\n\n画面搭配残墙疏竹与坡石点缀，烘托出萧寂清冷的幽澹意境，将鞍马写生的传神意趣与枯木山水的荒疏雅致相融，尽显静谧空寂的氛围感，是兼具笔墨意趣与写生功力的精妙之作。",[50,24,51,25,52,53,403,176,7,577,4289],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F49598c324ef7b67fd933a8197f8fbf65.jpg",[],{"id":5828,"slug":5829,"title":5830,"dynasty":336,"author":91,"museum":47,"description":5831,"tags":5832,"thumbUrl":5833,"material":101,"size":101,"collection":101,"collections":5834,"showCount":5746,"zanCount":39,"manualWeight":39,"mainColor":123},234696,"ming-ren-song-lin-wan-shan-yi-ming-234696","明人松林纨扇","扇面画的历史源流，据张彦远《历代名画记》记载，三国时，曹操就有请杨修为其画扇的故事。到了唐代画扇之风更为盛行，当时的扇子还是圆形的，故称团扇。宋代宫廷画家更是画扇成风，且留下扇面画也很多，扇子的形制出现了芭蕉形的扇子。集书法、绘画于一扇，则始于明代，这是因为折扇形式的出现。国人历来都有这种习性，一件实用品总要给它艺术化，扇面画就是这样经过明清书画家的匠心经营，从而逐步确定了其作为一种独特的艺术品种而广泛普及、流传下来，继而也逐步形成了扇面画独立的审美体系。及至清代、民国，扇面画都是书画家乐于染翰和文人雅士乐于把玩、收藏的艺术品。",[24,495,26,532,633,324,230,53,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffab455c347d55fb44751c40020af2b13.jpg",[],{"id":5836,"slug":5837,"title":5838,"dynasty":1156,"author":5839,"museum":47,"description":5840,"tags":5841,"thumbUrl":5842,"material":380,"size":381,"collection":101,"collections":5843,"showCount":5746,"zanCount":39,"manualWeight":39,"mainColor":40},231629,"shi-ting-shi-dai-qing-shui-si-yuan-qi-hua-juan-xia-tu-zuo-guang-xin-231629","室町时代 清水寺缘起画卷(下)","土佐光信","室町时代（1338~1573）的著名大和绘（注1）画师土佐光信（1434~1525）向来被尊为妖怪画的开山宗师。室町时代，虽然中国宋元时期的宫廷水墨画（区别于“唐绘”，被称之为“汉画”）受到幕府的推崇，但以土佐光信为代表的正统大和绘画师也借鉴中国画的技巧，为势渐衰退的大和绘注入了新的活力。室町时代的大和绘取材已具有明显的世俗化特征，也更加注重装饰效果（这在一定程度上成为其后“浮世绘”诞生的先导），土佐光信的《百鬼夜行绘卷》正是充分体现了这两个特点的作品。",[24,51,74,26,27,1269,259,76,2337,77,114,896,1476,1148,176,7,532,2257,214,263,1853],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F58f10bbfc70d13b3adf7dcbe26b3fe0f.jpg",[],{"id":5845,"slug":5846,"title":5847,"dynasty":336,"author":91,"museum":110,"description":5848,"tags":5849,"thumbUrl":5850,"material":929,"size":5851,"collection":101,"collections":5852,"showCount":5746,"zanCount":39,"manualWeight":39,"mainColor":123},231534,"gong-xiang-tu-yi-ming-231534","贡象图","据媒体报道，6月2日21时55分，来自西双版纳的野象群继续向北迁移，已进入昆明市晋宁区。大象要是进入城市怎么办？这成为一个让人无比担心的问题。毕竟历史上，曾发生过大象进城的事。\n南朝梁天监六年（507年）三月，有3头大象进入了建邺（今南京）。当时，梁朝与北魏之间正在钟离（今安徽凤阳）这个地方厮杀得热闹。当此紧要关头，为何会有大象入城？这3头大象又是从何而来？\n南北朝时期，那时的气候比现在还要温暖，加之长江下游地区江河湖泊较多，水草肥美，江南之地非常适合野象的栖息。进城的野象，自然是来自于城池和聚落之外，广袤的原野。\n而再往前数300年，江南还发生过一件被写入史书并流传至今的故事：202年左右，官渡之战刚刚发生不久，曹操打败了人生大敌袁绍，曹操的儿子曹冲方五六岁，这时，孙权向曹操赠送了一头巨象。\n孙权是在211年建石头城的，而202年左右，他已接替孙策的位置，此时正驻守吴郡。赠送曹操大象，恰是就地取材之举，这则历史记录也说明位于江南的太湖流域是野象栖息之地。\n而至于曹操，当时应在许都。东汉建安元年（公元196年），曹操挟天子以令诸侯，以“洛阳残破”为由迁都于许昌（位于河南省中部），即称许都。曹操得到孙权赠送的大象后，兴致高昂，“欲知其斤重”，还要称大象的重量。于是就有了曹冲称象的故事。\n学者们从这件事推断，此时河南已很少甚至没有大象了。要知道，在更古早的时候，这里曾是野象的聚集地。甚至河南的简称“豫”这个字中便保留了大象的踪迹。河南自古为“豫州”，古文字学家徐中舒认为，“豫”，为“象邑”二字的合文，“豫当时以产象得名，与秦时之象郡以产象得名者相同”。\n而在上世纪30年代，河南安阳殷墟，曾发现大象遗骨。当时学者都认为那是从东南亚输入进来的，但随着更多文献资料和考古遗址的发掘，中原有野象的论调成为主流。在商代，有“商人服象，为虐于东夷”的记载；周武王灭商，入主中原后，“驱虎豹犀象而远之”。这也说明当时的中原之地，是不缺乏大象的。\n而据历史地理学家考证，在远古时代，大象的活动范围甚至到达北京附近。只是后来随着人类活动的频繁，以及气候的变化，畏寒的大象活动边界逐渐从北向南退却，到了晋代，在长江下游地区，野象的主要栖息地最北已退至江淮流域了。南朝梁承圣元年（552年），也就是侯景之乱结束的这一年，有数百野象流窜于淮南之地，规模巨大。在这一时期，南京城有野象进入，也就不奇怪了。除了507年3头大象进入南京城之外，在稍早的492年、493年，还有“象至广陵”的记载。广陵，即现在的扬州。学者们认为，这都说明当时野象数量较多。\n但是，长江下游毕竟是一个以平原为主的地区，北面与黄淮平原相连，没有大山阻挡北来的寒流，加之由于长江下游开发较早，人类活动较多，大概从17世纪30年代起，长江下游地区便没有野象的踪迹了，野象所达到的最北之地，已退到了浙江钱塘江以南。\n在长江下游之外，因为地形或人口稀少等原因，野象的退却要稍慢一些。四川盆地更为特殊，它在群山环绕之中，气候温暖，河流丰沛，历史上那里的野象就非常之多。位于成都东北广汉市的三星堆遗址，每一次发掘都能发现大量象牙，即为明证。\n1986年，三星堆两大祭祀器物坑相继出土。其中，一号祭祀坑出土了13件象牙，二号祭祀坑出土了67件象牙。随着发掘工作的继续，在其他坑陆续也有象牙出土。2021年3月，三号祭祀坑又出土了127件象牙，在四号祭祀坑也发现了疑似被烧过、呈现出炭灰色的象牙。加之5月28日出土的10件象牙，三星堆共出土了200余件象牙。\n2001年的春天，在与三星堆文化一脉相承的金沙遗址中，考古人员发现了数量惊人的象牙。它们朝向一个方向，层层叠叠累在一起，沉默无声地震惊了世界。从断面可以看到，这些堆积的象牙多达8层。经过估计，其重量可达两三吨。保存完好、数量如此众多的象牙有规律地堆积，这不仅在中国，在世界上也是首次。\n按照我们今天的认知，亚洲象生活在热带地区，常见于南亚和东南亚。而在我国，亚洲象仅分布于云南省南部。但古籍上的记载却与我们现在的认知不同。\n《山海经·海内南经》中有“巴蛇食象”一说，文字记载：“巴蛇食象，三岁而出其骨，君子服之，无心腹之疾。”此处的“巴蛇”就是指《山海经·海内经》中“西南巴国之蛇”。《山海经·海内经》中记载：“西南有巴国，又有朱卷之国，有黑蛇，青首，食象。”郭璞在此注：“即巴蛇也。”\n由此可见，巴蛇即是生活在西南的青首黑身的蛇。传说巴蛇能够吞食大象，三年才吐出大象的骨头来。而人服食了巴蛇的肉，能够治疗心腹部的疾病。按照《山海经》的记载，古蜀不仅有巨蛇，还有大象。\n若说《山海经》带有神话传说的色彩，不那么让人信服，那么在《国语·楚语》中也有大象相关的记载：“巴浦之犀、牦、兕、象，其可尽乎。”可见在当时，古蜀地区不仅有大量的象，还有犀牛、牦牛、兕（形状似水牛，通身青黑色，长着一只角的动物）。",[24,27,26,25,114,7,1678],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95a8bfad94371db1175d4efedbedba86.jpg","123x51厘米",[],{"id":5854,"slug":5855,"title":5856,"dynasty":45,"author":91,"museum":47,"description":5857,"tags":5858,"thumbUrl":5859,"material":101,"size":101,"collection":101,"collections":5860,"showCount":5746,"zanCount":39,"manualWeight":39,"mainColor":123},230989,"bian-zhuang-ci-hu-yi-ming-230989","卞庄刺虎","绢色沉雅古旧，笔意柔婉细腻。两只幼虎滚作一团，扭打嬉闹，憨态尽显。虎身斑纹晕染匀净，鬃毛细笔轻勾，蓬松柔润感呼之欲出，全然不见山君凶猛戾气，唯有稚拙亲昵的鲜活意态。浅草以淡墨轻勾，疏密错落间衬出幼虎娇憨身形，将林间顽童般的嬉闹瞬间凝于绢素之上，以温柔笔触消解了虎的威肃，把宋人的雅致意趣揉入这方小景，平淡里漫溢出鲜活生机，旧时光的温润意蕴随绢色缓缓晕开。",[24,26,27,314,7,25,590],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc5b3dea2b70d90c1b3344cbb5f13a467.jpg",[],{"id":5862,"slug":5863,"title":5864,"dynasty":45,"author":91,"museum":47,"description":5865,"tags":5866,"thumbUrl":5867,"material":101,"size":101,"collection":101,"collections":5868,"showCount":5746,"zanCount":39,"manualWeight":39,"mainColor":123},227937,"gao-shi-mi-lu-tu-yi-ming-227937","高士麋鹿图","此作用边角式构图铺展幽境，苍松斜曳出枝，笔墨老辣苍劲，松针细密尽显写生功底。暮色如墨晕染，空濛氤氲间，林下高士凭石闲坐，身侧童子垂手侍立，石上炉烟轻扬，似正煮茶清谈。浅水之畔麋鹿垂首徐行，动静相映。整幅以水墨晕出夜色沉凝，将幽居林泉、物我两忘的雅意融于尺幅。简淡空灵间禅意暗生，尽显宋代文人寄情丘壑、追慕清远的林下风流，是南宋小品山水以景抒怀的精妙之作。",[23,24,51,27,26,114,7,633,497,532],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F06cd72897f04ff40824e6b0698e83573.jpg",[],{"id":5870,"slug":5871,"title":5872,"dynasty":1484,"author":91,"museum":47,"description":2879,"tags":5873,"thumbUrl":5875,"material":380,"size":381,"collection":101,"collections":5876,"showCount":5746,"zanCount":11,"manualWeight":39,"mainColor":123},224004,"qin-tong-shou-er-bian-hu-yi-ming-224004","秦铜兽耳扁壶",[160,161,7,5874,289,872],"兽耳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d69e8130c8c6aa7ac10d81afec030f5.jpg",[],{"id":5878,"slug":5879,"title":5880,"dynasty":70,"author":91,"museum":47,"description":5881,"tags":5882,"thumbUrl":5884,"material":380,"size":381,"collection":101,"collections":5885,"showCount":5746,"zanCount":39,"manualWeight":39,"mainColor":65},223827,"shuang-luan-jing-yi-ming-223827","双鸾镜","唐代是中国古代铜镜制造的鼎盛时期，唐镜不仅继承了汉魏的文化传统，而且吸收了边疆民族的艺术成就，同时对外来（主要是波斯、印度）文化中的优秀部分也兼收并蓄，融汇一体，构图更加精细，使铜镜艺术达到了一个新的高峰。铸镜业是唐代最精细的工艺，每逢八月五日（唐玄宗生日）人们都将铜镜作为礼品送人，祝福长寿，这一天被定名为“千秋金鉴节”（金鉴指铜镜）。",[132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[1] 学明代的丁云鹏笔法，有出蓝之誉。雍正四年(1726)进入宫廷为画院处行走，是雍正、乾隆朝画院高手，与唐岱、郎世宁、张宗苍、金廷标齐名。造诣深湛，得乾隆帝赏识，曾为《圣制诗》初集、二集、三集之多幅画卷题诗。在宫廷画院五十年左右，作品近二百件。传世作品有完成于乾隆三十二年(1767)《法界源流图》卷，纵33厘米，横1635厘米，该卷场面宏大，人物众多，描金设色，精细绚丽，为中国佛教艺术瑰宝、世界佛教艺术明珠，现藏吉林省博物馆；乾隆十三年(1748)作《乞巧图》卷藏上海博物馆；二十六年(1761)作《无量寿佛图》轴、《宝相观音图》轴藏故宫博物院；三十五年(1770)八月作《说法图》轴藏西柏林民俗博物馆。弟丁观鹤，亦供奉内廷，工人物。\n丁观鹏擅长画道释人物，也善画山水。曾与弟弟观鹤同供奉于南熏殿。他的画作清宫收藏很多。与陈枚等六家合作《庆丰图》卷，《太平春市图》卷，与陈枚、孙硝合作《丹台春晓图》卷等，均辑入《石渠宝笈》。传世作品有：《摹宋人雪渔图》和《仿韩 七子过关图》，均辑入《中国历代名画集》。",[23,24,51,74,27,26,259,114,7,76,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F33462f506791dea193935fc09761881f.jpg",[],{"id":6179,"slug":6180,"title":6181,"dynasty":18,"author":2859,"museum":3072,"description":6182,"tags":6183,"thumbUrl":6184,"material":188,"size":6185,"collection":101,"collections":6186,"showCount":5993,"zanCount":39,"manualWeight":39,"mainColor":40},223318,"fa-jie-yuan-liu-tu-jing-pian-1-ding-guan-peng-223318","法界源流图镜片-1","此卷是丁观鹏奉乾隆之命于乾隆三十二年创作，是以宋代张胜温所画的《梵像图》摹成两卷，第一卷名为《蛮王礼佛图》，第二卷为《法界源流图卷》。图卷以释迦牟尼为中心，以对称的方式绘佛祖达几百人，人物神态丰富，栩栩如生。",[23,24,259,27,26,402,114,7,262,1762,230],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2206b1370f2abc417507fe6904e131fd.jpg","全卷长33＊1635cm",[],{"id":6188,"slug":6189,"title":6190,"dynasty":18,"author":1602,"museum":20,"description":6191,"tags":6192,"thumbUrl":6193,"material":6194,"size":6195,"collection":101,"collections":6196,"showCount":5993,"zanCount":39,"manualWeight":39,"mainColor":40},222645,"shuang-jun-tu-gao-qi-pei-222645","双骏图","《清高其佩双骏图轴》是清代画家高其佩创作的一幅国画，系其临终之作。该画描绘画、两匹无拘无束的骏马在尽性滚尘、蹭痒，构图自然且得体。\n《清高其佩双骏图轴》是高其佩的指画精品，系其临终之作。画两匹无拘无束的骏马在尽性滚尘、蹭痒，极为生动。其手法粗放豪爽，画风朴拙野悍。构图自然且得体，似不经意却胜过苦心经营。",[23,24,3940,26,52,176,324,700,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdab957a64b2087ef2638cc880ff75039.jpg","绢本，淡设色","纵185cm，横131.5cm",[],{"id":6198,"slug":6199,"title":6200,"dynasty":336,"author":2067,"museum":273,"description":3267,"tags":6201,"thumbUrl":6202,"material":713,"size":6203,"collection":101,"collections":6204,"showCount":5993,"zanCount":39,"manualWeight":39,"mainColor":40},222497,"shang-bo-hua-ji-xuan-36-5-zhang-lu-222497","上博画集选36-5",[23,24,51,353,52,244,402,114,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F72fdffae96a1f085b3cb7ee84b7dd0ea.jpg","55.88厘米 27.94厘米",[],{"id":6206,"slug":6207,"title":3143,"dynasty":336,"author":4716,"museum":273,"description":6208,"tags":6209,"thumbUrl":6210,"material":713,"size":6211,"collection":101,"collections":6212,"showCount":5993,"zanCount":39,"manualWeight":39,"mainColor":40},221931,"za-hua-ce-guo-xu-221931","郭诩（1456—1532），字仁弘，号清狂道人，江西泰和人。工书画，善山水，尝遍历名山，曰“岂必谱也，画在是矣。”同时江夏吴伟、北海杜堇、姑苏沈周俱以画名，莫不延颈原交，天下竟传清狂画，风之百金。有贵人欲多得诩画，诩瞠目数屋梁不对。固索，辄跮跖狂趋，叫奡跳号去。弘治（一四八八至一五零五）中徵天中善画者，应诏京师。宸濠召与语，辄辞谢之。往依王守仁献画题诗所见志。又善杂画，信手作人物，辄有奇趣。七十三岁尚作磨镜图。他的作品传世不多，八开《杂画册》现藏上海博物馆，《琵琶行》图轴藏北京故宫博物院。\n山水、人物，风格豪放，笔法师略，清细柔和，墨气轠然，尤是绘古人清士。题署简逸，缙绅无不重之。与吴伟齐名，为吴伟、沈周、杜堇所推重。 花鸟杂画，信手拈来，颇有奇趣。草虫书法工写兼备，其画风在明中期 别成一格。",[23,50,24,51,52,244,402,114,7,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F895fab28e99ec04a00e8f71ae1d48a7d.jpg","纵28.5 厘米横46.5 厘米",[],{"id":6214,"slug":6215,"title":6216,"dynasty":45,"author":91,"museum":47,"description":6217,"tags":6218,"thumbUrl":6219,"material":380,"size":381,"collection":101,"collections":6220,"showCount":5993,"zanCount":39,"manualWeight":39,"mainColor":123},221630,"diao-zhui-lao-shu-yi-ming-221630","吊坠（老鼠）","尚玉之风，千古一同，南宋时亦然，对玉器的尊崇更在金器之上。追求时尚、讲究品位的社会风尚，使得玉器成为帝王将相、士夫富贾的珍爱之物。\n历经数千年的发展，南宋的玉器走向世俗化。南宋经济发展，城市繁荣，商业贸易发达，手工业兴盛。新兴市民阶层的消费需求不断提高，民间碾玉作坊和买卖玉器的店铺林立。《西湖老人繁胜录》记载，临安有一家“七宝社”，经营玉带、玉碗、玉花瓶、玉束带、玉劝盘、玉轸芝、玉绦环等玉器，多是人们日常生活中使用的衣饰、酒具、花器等实用器。\n南宋玉器一方面是以仿生器、花鸟纹为主的自然写实风格，惟妙惟肖，浪漫天真，布局设计亦受宋代花鸟画的影响；但另一方面，在恢复礼乐制度的影响下，受士大夫金石学的学术旨趣导向，玉作呈现出复古的特征，多有玉卣、玉璧、玉带钩等仿古器形，纹饰则流行螭虎纹、云纹、谷纹等。其中，璧环类玉器原为礼器，然而南宋时或多成为寄托复古情怀之物，一些小型器也或为佩饰。",[45,94,95,355,7,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F975b271e62d460846aa7a18335bc5645.jpg",[],{"id":6222,"slug":6223,"title":6224,"dynasty":45,"author":2494,"museum":574,"description":6225,"tags":6226,"thumbUrl":6227,"material":137,"size":6228,"collection":101,"collections":6229,"showCount":5993,"zanCount":39,"manualWeight":39,"mainColor":123},221454,"lu-song-san-pian-ma-he-zhi-221454","鲁颂三篇","《鲁颂三篇》分别为《閟宫》、《駉》和《有駜》，缺少《鲁颂》中的第四篇《泮水》，《駉》中呈现出在青山绿水中众多马匹；《有駜》描绘的是鲁公和群臣宴会饮酒的场景；《閟宫》描绘鲁公建成宏伟庙宇的壮观景像。旧传赵构书，马和之画。",[23,50,24,51,74,402,1269,114,896,176,7,532,263,2257,75,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c93d532e107749e9c2ec1d277d48845.jpg","25.5X297.3cm",[],{"id":6231,"slug":6232,"title":6233,"dynasty":881,"author":3039,"museum":20,"description":3040,"tags":6234,"thumbUrl":6236,"material":3043,"size":3044,"collection":101,"collections":6237,"showCount":5993,"zanCount":39,"manualWeight":39,"mainColor":123},221169,"shi-liu-luo-han-xiang-bo-tuo-luo-zun-zhe-tang-ka-bu-ben-guan-xiu-221169","十六罗汉像-跛陀罗尊者（唐卡布本）",[23,24,51,259,114,26,2922,314,7,6235,30],"荷花","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e87a35090383287dc1fb271d13fa681.jpg",[],{"id":6239,"slug":6240,"title":6241,"dynasty":45,"author":6242,"museum":226,"description":6243,"tags":6244,"thumbUrl":6246,"material":118,"size":6247,"collection":249,"collections":6248,"showCount":5993,"zanCount":39,"manualWeight":39,"mainColor":40},220085,"feng-nian-kao-mu-tu-ma-kui-220085","丰年考牧图","马逵","平野铺陈，林木错落间，百畜悠然信步，牧童嬉游往来，村舍田畴点缀远近，将乡野的恬然生机缓缓铺展。\n笔墨工致细腻，设色古雅柔和，群畜姿态神韵各异，或卧或驰、或饮或嬉，尽写真淳野趣，村人日常悠然自洽，宛若一卷鲜活的乡居牧歌长卷。\n它以全景构图承载古朴田家意趣，尽显雅致格调，带着千年前的烟火暖意，将丰年里的太平牧歌，永远定格在绢素之上。",[23,50,24,51,74,26,27,114,78,176,7,263,4014,1148,214,4899,2228,6245],"农耕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F79e2dd3e38e9ba50937357bec0d35a38.jpg","24×160",[249],{"id":6250,"slug":6251,"title":6252,"dynasty":336,"author":1266,"museum":110,"description":6253,"tags":6254,"thumbUrl":6255,"material":118,"size":6256,"collection":101,"collections":6257,"showCount":5993,"zanCount":39,"manualWeight":39,"mainColor":40},214894,"di-wang-dao-tong-wan-nian-tu-ce-16-chou-ying-214894","帝王道统万年图册-16","绘伏羲、神农、黄帝、少昊、舜、后稷、大禹、夏启、商汤、商高宗武丁、周文王、周武王、周成王、汉高祖、汉文帝、汉武帝、汉明帝、宋孝宗、宋太祖、宋仁宗等",[23,24,51,353,26,949,27,114,532,726,1039,7,230,55,1148],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f2210df041ffad4bd91c680c314e4b1.jpg","32.5*32.6",[],{"id":6259,"slug":6260,"title":3143,"dynasty":18,"author":19,"museum":273,"description":6261,"tags":6262,"thumbUrl":6263,"material":101,"size":101,"collection":119,"collections":6264,"showCount":5993,"zanCount":39,"manualWeight":39,"mainColor":6265},203220,"za-hua-ce-ren-yi-203220","画面中，虬髯男子赤脚斜倚虎旁，衣衫随意，眉宇间尽是放达不羁；素衣女子端坐其后，神情温婉娴静。猛虎慵懒趴伏，斑纹以淡墨晕染，姿态温顺如寻常伴兽，消解了猛兽的凶戾感。笔墨兼工带写，人物衣纹简练流畅，面部刻画细腻传神，墨色浓淡相宜，设色清雅脱俗。整体氛围静谧超然，似隐者与虎为友，尽显尘外之趣，于方寸册页间藏着生动意趣。",[24,52,26,114,314,7,353,51,3521,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4c64243e47b065840dce87417245d922.jpg",[119],"e1d2cc",{"id":6267,"slug":6268,"title":6269,"dynasty":4835,"author":5069,"museum":273,"description":6270,"tags":6271,"thumbUrl":6272,"material":101,"size":101,"collection":204,"collections":6273,"showCount":5993,"zanCount":39,"manualWeight":39,"mainColor":6274},202912,"zhi-hua-tu-jiu-tu-zhou-pan-tian-shou-202912","指画秃鹫图轴","此作以指代笔，墨韵淋漓间尽显秃鹫雄姿。焦墨泼洒写羽毛，浓淡干湿交错，蓬松中透苍劲；喙眼勾勒锐利，神形毕肖。秃鹫踞于孤石之巅，石体以粗放笔触皴擦，墨点错落，与猛禽气势相契。背景留白空灵，更衬主体沉雄霸悍。整体风格简劲老辣，尽显大写意精髓，于方寸间藏万钧之力。",[24,51,25,3940,52,30,214,7,23],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4517b0f8027d532fbdc79e1308ce6d99.jpg",[204],"bbb4ac",{"id":6276,"slug":6277,"title":6278,"dynasty":1484,"author":91,"museum":47,"description":6279,"tags":6280,"thumbUrl":6283,"material":380,"size":381,"collection":101,"collections":6284,"showCount":6285,"zanCount":39,"manualWeight":39,"mainColor":40},281121,"ju-chao-liu-jun-mu-shi-yang-ke-shi-yi-ming-281121","居巢刘君墓石羊刻石","西汉的石刻很少见，据宋尤袤《砚北杂记》说：“闻自新莽恶称汉德，凡有石刻，皆令仆而磨之，仍严其禁。大多采用阴线刻和阳线刻两种雕刻方式。\n”赵明诚《金石录》仅著录《居摄两坟坛》、《五凤刻石》两种。其他西汉石刻是清以后才陆续发现的，所以伪刻较多。近人徐森玉《西汉石刻文字初探》所收集计有十种，有《霍去病墓石刻字》、《莱子侯刻石》等十种。以上石刻仅仅是作为坟坛、宫殿的计时标志，属于“小品”性质。从以上西汉的时刻来看，隶书的波磔还不明显，严格的讲，都非正规的汉隶碑刻，其实，西汉的隶书已经成熟，具有波磔挑笔。可以从1972年山东临沂银雀山汉墓出土的《孙子兵法简》、《孙膑兵法简》中看到，笔画都带有燕尾波挑。\n东汉“碑碣云起”。刻碑之风盛行的原因之一是，当时的门生故吏很多，为府主歌功颂德，或封山祭祀之用。自郦道元《水经注》便见诸于著录，有三百多件，碑刻、拓片流传至今者（包括近所发现）的约有二百余种。清代朱彝尊在《跋汉华山碑》中把汉隶分成三种类型风格：方正、流丽、奇古。其实从形制上可以分为碑刻和摩崖两大类。从艺术特点上可以把其分为：典雅、秀逸、拙朴、雄浑、纵肆、平整、古峭、奇谲。它们的代表作品分别为：《史晨碑》、《乙瑛碑》，《礼器碑》、《曹全碑》，《张迁碑》，《西狭碑》，《石门颂》，《熹平石经》，《裴岑碑》，《夏承碑》。",[95,6281,7,6282],"石羊","石刻","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Faa60b570fa2acdc19ef5ded3058a9f7f.jpg",[],8,{"id":6287,"slug":6288,"title":6289,"dynasty":18,"author":91,"museum":47,"description":3060,"tags":6290,"thumbUrl":6292,"material":380,"size":381,"collection":101,"collections":6293,"showCount":6285,"zanCount":39,"manualWeight":39,"mainColor":6294},273927,"lv-se-duan-xiu-yun-fu-wen-fei-hu-qi-yi-ming-273927","绿色缎绣云蝠纹飞虎旗",[3062,2922,4299,314,7,116,6291,26,4873],"蝠纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc8ce65f4486e98fec30175fb5eca3373.jpg",[],"0D904F",{"id":6296,"slug":6297,"title":6298,"dynasty":18,"author":91,"museum":47,"description":1090,"tags":6299,"thumbUrl":6301,"material":380,"size":381,"collection":101,"collections":6302,"showCount":6285,"zanCount":39,"manualWeight":39,"mainColor":65},273629,"zi-tan-mu-bian-zuo-bi-yu-yun-long-wen-cha-ping-yi-ming-273629","紫檀木边座碧玉云龙纹插屏",[6300,436,94,95,54,7,289],"插屏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b45a9ee0bf984e81412d84823d56943.jpg",[],{"id":6304,"slug":6305,"title":6306,"dynasty":18,"author":91,"museum":47,"description":6307,"tags":6308,"thumbUrl":6312,"material":380,"size":381,"collection":101,"collections":6313,"showCount":6285,"zanCount":39,"manualWeight":39,"mainColor":40},269053,"bai-duan-di-guang-xiu-san-yang-kai-tai-gua-ping-xin-yi-ming-269053","白缎地广绣三阳开泰挂屏心","此作为祥瑞主题的刺绣精品，以三羊铺陈核心意境，三只瑞羊姿态各异，或徐行或伫立，形神兼备，尽显灵动安然。背景里百鸟翔集于虬枝松石间，朝日浮空，流云轻绕，花树错落、溪草扶苏，铺展出一派清和明媚的春日盛景。\n\n它运用多样岭南刺绣针法，施色妍丽雅致却不失柔和，翎羽纤毫毕现，羊身绒毛蓬松写实，草木山石层次饱满，将广绣的精巧工细发挥到极致，把新春吉庆寓意融在生机盎然的雅致图景中，是清代吉祥题材刺绣的上乘之作。",[3062,4308,4310,6309,368,214,6310,7,6311,263,230,133,26,27,2922],"三阳开泰","禽鸟","红日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F25c0bf5c7983518097e615fa65998026.jpg",[],{"id":6315,"slug":6316,"title":6317,"dynasty":18,"author":91,"museum":47,"description":3060,"tags":6318,"thumbUrl":6322,"material":380,"size":381,"collection":101,"collections":6323,"showCount":6285,"zanCount":11,"manualWeight":39,"mainColor":40},267268,"huang-se-duan-xiu-tai-shi-shao-shi-bai-niao-chao-feng-wen-huo-ji-biao-tao-yi-ming-267268","黄色缎绣太狮少狮百鸟朝凤纹活计-表套",[2922,99,3063,2851,7,3062,6068,214,6319,6320,6321],"表套","缎绣","活计","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8124e07e7b0d6ee8e05e16bb5e97f99c.jpg",[],{"id":6325,"slug":6326,"title":6327,"dynasty":1484,"author":91,"museum":47,"description":4615,"tags":6328,"thumbUrl":6330,"material":380,"size":381,"collection":101,"collections":6331,"showCount":6285,"zanCount":39,"manualWeight":39,"mainColor":192},255296,"shuang-she-wen-chang-fang-zhuan-yi-ming-255296","双蛇纹长方砖",[1742,6329,4618,1443,7,1092],"砖雕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6f25688db8d8e7edf12a893d54b66613.jpg",[],{"id":6333,"slug":6334,"title":6335,"dynasty":540,"author":91,"museum":47,"description":1090,"tags":6336,"thumbUrl":6337,"material":380,"size":381,"collection":101,"collections":6338,"showCount":6285,"zanCount":11,"manualWeight":39,"mainColor":40},252282,"qing-yu-hu-yi-ming-252282","青玉虎",[94,314,7,95,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab4da3b8358330d9a1f6942d82850993.jpg",[],{"id":6340,"slug":6341,"title":6342,"dynasty":540,"author":91,"museum":47,"description":2175,"tags":6343,"thumbUrl":6345,"material":380,"size":381,"collection":101,"collections":6346,"showCount":6285,"zanCount":39,"manualWeight":39,"mainColor":123},245335,"ya-0007-fang-zun-yi-ming-245335","亚『0007』方尊",[160,161,95,164,7,54,543,6344],"纹饰繁复","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe0da724fc84c0740a8a112d4b72fa978.jpg",[],{"id":6348,"slug":6349,"title":6350,"dynasty":1484,"author":91,"museum":47,"description":6351,"tags":6352,"thumbUrl":6353,"material":101,"size":101,"collection":166,"collections":6354,"showCount":6285,"zanCount":39,"manualWeight":39,"mainColor":40},244971,"zhu-xing-pai-shi-yi-ming-244971","猪形牌饰","以青铜为骨，将野猪憨猛灵态凝缩方寸。敦实躯体饱满厚重，四肢蜷曲似蓄势待发，尾盘鬃毛盘绕虬结，古拙线条勾勒出兽类的悍野生趣。沉郁包浆覆于周身，晕染开千年岁月痕迹。挂钮一体成型，穿孔精巧，兼具装饰性与实用性，藏着对牲畜的原始崇拜，暗合上古游牧族群的精神祈愿，粗粝肌理间，晕开汉时草原与中原交融的独特风情，静默承载着往昔游牧日常的鲜活剪影。",[161,95,7,99],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9e9ca0c80c5ee18a1fc8a902cd414e21.jpg",[166],{"id":6356,"slug":6357,"title":6358,"dynasty":1484,"author":91,"museum":47,"description":6359,"tags":6360,"thumbUrl":6361,"material":101,"size":101,"collection":166,"collections":6362,"showCount":6285,"zanCount":39,"manualWeight":39,"mainColor":40},244841,"hu-xing-pei-shi-yi-ming-244841","虎形佩饰","此佩饰以朴拙古雅的造型，将猛虎蓄势沉潜之态凝于铜胎。没有繁复纹饰，仅以浑朴块面勾勒猛兽轮廓，沉敛的躯体暗藏野性张力，三爪化作涡旋卷云，狞厉又带着古朴意趣。\n\n颈间挂环饰以绳纹，和敦实虎身形成质感反差。躯体上的小圆孔既是铸造痕迹，又似为古兽注入一丝灵动，是千年前匠人的随性巧思。\n\n它褪去华饰，将上古瑞兽崇拜融于方寸，沉凝铜锈裹着汉时古朴风尚，粗粝包浆漫着旧时光的厚重余温，把勇武威慑的意象藏在极简造型之中。",[1742,161,95,99,314,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc226aadaf9290bf2226492419e169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汉三个阶段。汉镜纹饰的主要种类有草叶纹镜、蟠龙纹镜、百乳镜、连弧纹镜、规矩镜、多乳禽兽纹镜和变形四叶镜等。",[1742,160,161,95,54,314,7,1092,6377],"古朴","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f760359d60a6f8f88011a89b3fb998c.jpg",[],{"id":6381,"slug":6382,"title":6383,"dynasty":157,"author":91,"museum":47,"description":6384,"tags":6385,"thumbUrl":6386,"material":101,"size":101,"collection":166,"collections":6387,"showCount":6285,"zanCount":39,"manualWeight":39,"mainColor":123},243576,"hu-shou-che-xia-yi-ming-243576","虎首车辖","铜绿覆身，凝着千年风霜。虎首昂立，轮廓狞厉威严，卷纹隐现于颌侧，将兽的凶犷融于实用器型之间。它曾扼住车軎，销定车马行止，在辚辚车马声里见证过王朝舆服的礼制风华。朴拙的青铜肌理，带着铸刻时的手工温度，褪去了仪仗的煊赫，只剩斑驳锈迹诉说往昔岁月，将狞厉古拙的审美与实用功能，凝缩成这一方沉凝的古物。",[160,161,95,314,7,157,289],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9491aeca8642fbb692fde55454f68549.jpg",[166],{"id":6389,"slug":6390,"title":6391,"dynasty":336,"author":91,"museum":47,"description":6392,"tags":6393,"thumbUrl":6395,"material":101,"size":101,"collection":166,"collections":6396,"showCount":6285,"zanCount":39,"manualWeight":39,"mainColor":65},243044,"niu-zun-yi-ming-243044","牛尊","这尊青铜牛体态敦实健壮，犄角劲挺上扬，双目圆睁有神，鼻间系带刻画细致，将耕牛温驯却不失雄健的气质尽显。牛身褶皱肌理写实自然，背负束帛鞍垫，上承方座，兼顾礼器的功能性与日常牲畜的意趣。\n\n整体包浆厚重古雅，铜色沉穆温润，历经岁月仍线条流畅饱满。没有繁复纹饰堆砌，凭借洗练造型勾勒出耕牛质朴憨拙的神韵，暗含对农耕之本的敬意，是写实性与礼制实用性兼具的青铜佳作。",[340,160,161,95,738,7,78,164,6394],"盛酒器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3934c0ad4f507ffa24a8d631e960fef4.jpg",[166],{"id":6398,"slug":6399,"title":6400,"dynasty":336,"author":91,"museum":47,"description":6401,"tags":6402,"thumbUrl":6403,"material":380,"size":381,"collection":101,"collections":6404,"showCount":6285,"zanCount":39,"manualWeight":39,"mainColor":123},238575,"ming-ren-sheng-ping-yi-zan-tu-bing-shu-zan-ce-yi-ming-238575","明人升平翊赞图并书赞册","此作为工笔重彩叙事佳构，以山林为幕铺陈朝贡图景。左侧神将腾跃林间，虎豹灵怪穿梭苍松之下，蛮荒山野的灵动，衬出番邦地界的异域氛围。右侧帐前番众躬身拜伏，天朝使者仪容端方，仪仗整肃，宾主揖让间尽显华夷尊卑。\n\n设色承袭唐宋院体古雅厚重之风，矿物颜料晕染沉稳鲜亮。衣甲纹饰精细入微，宝光翎羽历历可见，异兽毛发根根分明，匠造之功尽显。整作以朝仪为轴，静穆的使节仪仗与灵动的林野异兽形成强烈张力，将威服四夷的升平气象融于尺幅之间，藏着彼时华夷秩序的鲜活想象。",[24,26,27,353,114,532,314,54,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc38da54dd37147457c27cad44b5d43e2.jpg",[],{"id":6406,"slug":6407,"title":6408,"dynasty":45,"author":91,"museum":110,"description":6409,"tags":6410,"thumbUrl":6411,"material":59,"size":4020,"collection":101,"collections":6412,"showCount":6285,"zanCount":39,"manualWeight":39,"mainColor":123},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 ……",[24,51,26,27,78,7,324,216,497,4014],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c3a60a9cd87946a5051cb9b8246487f.jpg",[],{"id":6414,"slug":6415,"title":6416,"dynasty":1156,"author":91,"museum":47,"description":6417,"tags":6418,"thumbUrl":6419,"material":380,"size":381,"collection":101,"collections":6420,"showCount":6285,"zanCount":39,"manualWeight":39,"mainColor":5180},230748,"bi-yu-xi-yi-ming-230748","碧玉玺","印章，用作印于文件上表示鉴定或签署的文具，一般印章都会先沾上颜料再印上，不沾颜料、印上平面后会呈现凹凸的称为钢印，有些是印于蜡或火漆上、信封上的蜡印。制作材质有 玉石、金属、木头、石头等。印章是中国传统文化的代表之一\n明代（1368～1644年）皇帝、王府之宝用玉箸篆玉印。这种篆书“笔画两头肥瘦均匀，末不出锋”，乃“篆书正宗也”（清?陈沣《摹印述》）。御宝舍两宋九叠文而直溯唐以上之玉箸篆，意味着九叠文禁锢公印的冰山已经松动。\n此外，明代内阁印用玉箸文银印，直钮，方一寸七分，厚六分；将军印用柳叶文，平羌、平蛮、征西、镇朔等将军印用螭鼎文，皆银印虎钮，方三寸三分，厚九分；其余百官印都用九叠文，铜印直钮，这类印比重最大。如故宫博物院藏明洪武二十二年（1389年）造“朵颜卫都指挥使司之印”。\n明代直钮已由两宋长方形板状钮变为上小下大的椭圆柱状，加高到8厘米左右，形成后世俗称的“印把子”。明代官印背款皆凿年款及编号。\n应该指出，两宋之时，九叠文中所谓的“九”是—个概数，极言其多，不一定确有九叠，也可能只有五叠、七叠，叠即一字中横画的层数。但明代九叠文中绝大多数确有九层横画。\n清代百官印等级区分同样十分严格，印章普遍有所增大。其字体有蒙古文楷书、满文、汉篆等。最常见的是汉满文对照同时出现在印面上，这也是清公印的一大特点。其中汉篆中，九叠文不太兴盛，出现了玉箸篆、悬针篆、柳叶篆、芝英篆等等。",[94,75,95,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7661149b7f7b7019fb475e21315e0ee3.jpg",[],{"id":6422,"slug":6423,"title":6424,"dynasty":1156,"author":91,"museum":47,"description":6425,"tags":6426,"thumbUrl":6428,"material":380,"size":381,"collection":101,"collections":6429,"showCount":6285,"zanCount":39,"manualWeight":39,"mainColor":40},230553,"ming-qing-fen-ben-guai-qi-niao-shou-tu-juan-yi-ming-230553","明清粉本 怪奇鸟兽图卷","此卷以淡墨轻彩绘就一众神异灵禽怪兽，将飞禽躯体与奇诡异象相融，或人面鸟身，或虎躯多头。翎羽晕染细腻写实，异兽造型怪诞幽奇，把志怪传说中的精怪具象呈现。\n每只异兽旁题书小字，图文呼应，似在低声诉说古朴妖异的怪谈物语。泛黄的纸本晕开岁月旧痕，设色调和古拙，带着幽玄氛围感，写实绘法与奇幻构想交织，勾勒出浪漫诡谲的异世百图景，尽显古雅怪诞的独特意趣。",[23,24,51,74,26,27,7,643,314,30,6427,3368],"飞禽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3fecc5cc915716ebd972e929bfeddb0d.jpg",[],{"id":6431,"slug":6432,"title":1460,"dynasty":45,"author":91,"museum":47,"description":6433,"tags":6434,"thumbUrl":6435,"material":101,"size":101,"collection":101,"collections":6436,"showCount":6285,"zanCount":39,"manualWeight":39,"mainColor":40},227376,"yuan-hou-zhai-guo-tu-yi-ming-227376","《宋人画猿猴摘果图》是宋代佚名创作的一幅扇面画。\n此图绘深山野林中，三只 攀援栖止于树枝上。\n其中两猿正品果嬉戏，另一猿右臂抓树，左臂摘取红果，形象生动可爱。\n作者运用极为工细的笔法，描绘猿猴茸茸的细毛、灵巧的动态以及老树的虬枝和枯叶，显示出深厚功力。\n图中坡石用小斧劈皴，枝叶用双钩填色，笔法精工巧丽。\n深秋季节只猿猴攀援于树枝上嬉戏摘果的情景。\n猿猴和景物都集中在画的右半边，为典型的南宋画构图方式。\n猿猴神情毕肖，尤其是茸毛的绘制极为细致严谨。\n树叶用勾勒填色法，色彩并未完全填满，显得自然随意。\n黑白色对比使画面更具动感，红色的小果实在整幅画面中十分醒目。\n深山野林中，黑白二色的三只猿猴攀援栖止于树枝上。\n其中两猿相互逗趣，另一猿右臂抓着树枝，左臂摘取红果，其贪婪、欣喜之态刻画得形神兼僃。\n点景中枯黄的树页、红色的果实，以及丛生的小草和细竹，不仅打破了山石的呆板，而且渲染了秋天萧瑟的气氛，从而增添画面的自然之趣。\n画面钤有「黔宁王子子孙孙永保之」、「都尉耿信公书画之章」、「信公珍藏」、「安国珍玩」等印多方。\n对幅有清代著名收藏家耿昭忠题记，此图曾经沐璘、耿昭忠、安岐收藏。\n《石渠宝笈》著录。",[50,24,51,495,26,7,1463,324,498,358,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a544e331d094ac541c1cff0a7db7c25.jpg",[],{"id":6438,"slug":6439,"title":6440,"dynasty":157,"author":91,"museum":47,"description":2175,"tags":6441,"thumbUrl":6442,"material":380,"size":381,"collection":101,"collections":6443,"showCount":6285,"zanCount":39,"manualWeight":39,"mainColor":123},226901,"chi-wen-qing-tong-qi-yi-ming-226901","螭纹青铜器",[160,161,95,3316,7,164],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa8a0da1647b56280eb99781ab2ad7a29.jpg",[],{"id":6445,"slug":6446,"title":6447,"dynasty":157,"author":91,"museum":47,"description":2175,"tags":6448,"thumbUrl":6449,"material":380,"size":381,"collection":101,"collections":6450,"showCount":6285,"zanCount":39,"manualWeight":39,"mainColor":65},226820,"song-hu-yi-ming-226820","颂壶",[160,164,161,95,54,7,157,289],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3cc9b9c9fed9e3efa656387ee2e203e0.jpg",[],{"id":6452,"slug":6453,"title":2595,"dynasty":540,"author":91,"museum":47,"description":2175,"tags":6454,"thumbUrl":6455,"material":380,"size":381,"collection":101,"collections":6456,"showCount":6285,"zanCount":39,"manualWeight":39,"mainColor":65},226746,"shou-mian-wen-gui-yi-ming-226746",[160,161,95,7,289,544],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0854055025b2933f7d5f30114486d700.jpg",[],{"id":6458,"slug":6459,"title":6460,"dynasty":18,"author":6461,"museum":47,"description":6462,"tags":6463,"thumbUrl":6464,"material":101,"size":101,"collection":101,"collections":6465,"showCount":6285,"zanCount":39,"manualWeight":39,"mainColor":40},224331,"hua-niao-shi-er-kai-9-li-shan-224331","花鸟十二开9","李鱓","淡墨晕染出松鼠身形，蓬松皮毛的质感呼之欲出，尖吻微张，长尾轻扬，攀附松枝之上，警觉灵动的神态跃然纸面。苍松以焦墨挥写，浓墨点簇松针，老辣笔力勾勒出虬曲枝干，尽显苍古拙朴的风骨。左侧行书题字与画面相得益彰，笔墨枯润相生，尽显写意随性野趣。整幅作品以简驭繁，笔情纵逸，将文人写意的酣畅与林间生机相融，寥寥数笔便定格住松间嬉游的悠然意趣，尽显写意花鸟的动人神韵。",[23,24,51,353,52,244,7,354,726,77,75],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F523b8f0015029b872e9adff78fa964b0.jpg",[],{"id":6467,"slug":6468,"title":6469,"dynasty":18,"author":2377,"museum":47,"description":5670,"tags":6470,"thumbUrl":6473,"material":380,"size":381,"collection":101,"collections":6474,"showCount":6285,"zanCount":39,"manualWeight":39,"mainColor":65},224128,"pantaka-tang-ka-224128","Pantaka",[259,26,27,114,7,532,324,497,6471,952,5756,6472,1027],"台案","猴子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Feb0daf70fd92bb2c8a4f1651237bd70e.jpg",[],{"id":6476,"slug":6477,"title":6478,"dynasty":1484,"author":91,"museum":47,"description":1090,"tags":6479,"thumbUrl":6480,"material":380,"size":381,"collection":101,"collections":6481,"showCount":6285,"zanCount":39,"manualWeight":39,"mainColor":123},224080,"yu-zhi-yi-ming-224080","玉卮",[1484,94,95,7,54,3228,289],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F431a96bc31b93c89f19423aed3b259e2.jpg",[],{"id":6483,"slug":6484,"title":6485,"dynasty":157,"author":91,"museum":47,"description":2175,"tags":6486,"thumbUrl":6487,"material":380,"size":381,"collection":101,"collections":6488,"showCount":6285,"zanCount":39,"manualWeight":39,"mainColor":123},224062,"chen-bo-yuan-yi-yi-ming-224062","陈伯元匜",[160,161,95,164,289,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6011846afe87bfa8a1d3d5564a568740.jpg",[],{"id":6490,"slug":6491,"title":6492,"dynasty":45,"author":91,"museum":47,"description":6493,"tags":6494,"thumbUrl":6495,"material":380,"size":381,"collection":101,"collections":6496,"showCount":6285,"zanCount":39,"manualWeight":39,"mainColor":192},223781,"nan-tu-niu-yu-yin-yi-ming-223781","南兔纽玉印","宋代，官印的尺寸多为5～6厘米见方，所用文字以小篆为基础，印文屈曲填满，线条反复折叠，次数无定则，但因古代以“九”表示为数之多所以有“九叠篆”之称。到了金、辽时代，这种叠篆的程序走向极端，并一直延续到明清和近代。元代的官印多承袭前朝形制，特殊之处在易“九叠文”为“八思巴文”。宋代是实用印章向文人篆刻艺术的过渡期。宋代文人渐开好印之风，而且对篆刻艺术发展起了重要推动作用的“集古印谱”也风行开来。到了元代，这种对印章的认识发生了质的飞跃。元初喜好集古印谱的风气有增无减。元代文人书画家所用的印章基本上呈元朱文和汉白文两大格局。印章与书画关系的紧密，使书画家自篆自刻印章的欲望日趋强烈。在汉印审美观的影响下，大约在元代中期后，出现了集写刻于一身，并以汉印风采为追求对象的文人篆刻家。经过漫长的探索，元代文人终于完成了实用印章向文人艺术篆刻的转化，为明清文人流派篆刻艺术的发展奠定了坚实的基础。",[484,94,75,7,131,95],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F458444ec7a6667c5c451ceec905f9132.jpg",[],{"id":6498,"slug":6499,"title":3143,"dynasty":336,"author":4716,"museum":273,"description":6208,"tags":6500,"thumbUrl":6501,"material":713,"size":6211,"collection":101,"collections":6502,"showCount":6285,"zanCount":39,"manualWeight":39,"mainColor":40},221927,"za-hua-ce-guo-xu-221927",[23,24,51,353,52,244,402,114,7,76,75,77],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95b9c8d51985fa1f5c88c9c1b2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府时代）兴起的一种独特的民族艺术，是典型的花街柳巷艺术。主要描绘人们日常生活、风景和演剧。浮世绘常被认为专指彩色印刷的木版画（日语称为锦绘），但事实上也有手绘的作品。\n从其绘画素材看，70%以上内容是妓画（暂称为“美人画”）和伎画（暂称为“艺人画”），也就是说，作品主角是娼妓和艺伎，女性，裸体，性感美，色情是其标志性特征。用现代艺术眼光看，可算“人体绘画艺术”，其中的大胆的性爱题材引起注意，成为古代东方一种人本主义的新研究方向。在日本，存在着对这类作品的争议，也有的认为是乐而不淫，肯定其价值。\n浮世绘的艺术渊源，一来自绘画，师承了中国的“春画”，房中术绘画也；二来自文学，浸染了“浮世草子”（草子：小说），西鹤《好色一代女》、《好色一代男》和近松《曾根崎情死》、《情死天网岛》等等，是文学“浮世写”直接彰显，主题和题材无非色情和妓女（当然，文学价值与作品题材并非正比例关系）。\n因此，“浮世绘”是一个绘画艺术的专有名词，有其特定的内涵外延。印象派大师如德加等也受到浮世绘的感染，模仿当时日本的出口商品的包装的风格创作了不少绘画。近现代西方人体绘画艺术借鉴了日本“浮世绘”主题和技法，这是积极的方面，有着艺术审美的价值。\n望文生义的理解“浮世绘”，想当然的以为就是关于尘世风俗的绘画，类似于《清明上河图》那种风俗画。再扩大到文学领域运用这个专有名词，泛化为关于尘世风俗的描写，则偏离约定俗成的语义越来越远，差不多等于是错别字了。搞绘画的人很难接受这样的定义，日本人当诧异一个日本词汇出口到中国以后居然发生了那么大的歧义。",[7273,7274,26,114,115,7,7275,532,578,263,75,1762],"浮世绘","木刻","狐狸","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7f334386e8207ba6ef75127f434e9d71.jpg",[],{"id":7279,"slug":7280,"title":7281,"dynasty":18,"author":7282,"museum":47,"description":7283,"tags":7284,"thumbUrl":7285,"material":101,"size":101,"collection":101,"collections":7286,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":40},224251,"chu-zheng-tu-zhou-xu-fang-224251","出征图轴","徐方","此作用淡赭晕染残阳暮色，远山层叠朦胧，戍楼孤峙山巅，猎猎军旗暗合将行肃穆。坡岸间人马错落，或缓行或伫立，寥寥数笔便将情态勾勒尽致，淡逸清润的笔触晕开边地荒疏萧索的氛围。\n\n左侧长题诗文与画作相映成趣，诗画合璧。整幅不施繁复皴擦，以极简笔墨烘托出征沉凝氛围，将将士临行之际的沉肃与边地苍茫糅合，于简淡悠远间暗蕴家国壮怀，尽显文人画融情于景的雅致意韵。",[23,24,51,52,26,25,532,114,176,2909,1697,215,7,76],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9b0af847b142d6a46f5a7689443523df.jpg",[],{"id":7288,"slug":7289,"title":7290,"dynasty":18,"author":91,"museum":47,"description":3668,"tags":7291,"thumbUrl":7296,"material":380,"size":381,"collection":101,"collections":7297,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":123},224095,"cha-ye-mo-you-chi-er-hua-jiao-yi-ming-224095","茶叶末釉螭耳花浇",[18,3670,7292,7293,289,7294,7,7295],"茶叶末釉","螭耳","日用器","釉彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F65601c7ad70922919ad40b12614cadaa.jpg",[],{"id":7299,"slug":7300,"title":7301,"dynasty":45,"author":91,"museum":47,"description":7302,"tags":7303,"thumbUrl":7306,"material":380,"size":381,"collection":101,"collections":7307,"showCount":206,"zanCount":11,"manualWeight":39,"mainColor":123},223803,"huang-yu-zi-mu-lu-yi-ming-223803","黄玉子母鹿","宋辽金时期，实用装饰玉占重要地位，礼性大减，玩味大增，更加接近现实生活。文人的审美意识逐渐渗入玉器的造型之中，总体风格不如唐代浑厚有力，多小件精致器物，出现了玉童子、玉笔架、玉镇纸等新品种。雕刻技法出现深层立体镂雕。值得一提的是，辽、金时契丹、女真等少数民族政权狩猎风盛，喜用海东青捕天鹅和猎取熊、鹿等，这一题材的春水、秋山玉洋溢着浓厚的生活气息和游牧文化风格，也颇受汉族士大夫阶层的喜爱。\n宋辽金玉器在继承隋唐文化市庶化、艺术化的基础上，形成了鲜明的朴素淡雅艺术风格。浓郁的乡土韵味，彰显的民族特性，通过构图精致、空灵剔透、神形兼备的“宋作工”体现得淋漓尽致。宋辽金玉器是我国玉文化的一朵奇葩，它的艺术成就可谓“光前绝后”。",[484,94,95,7,7304,7305,7106],"子母鹿","黄玉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F50723621fb149f5d4b6e4c6762823d15.jpg",[],{"id":7309,"slug":7310,"title":7311,"dynasty":18,"author":2859,"museum":3072,"description":5375,"tags":7312,"thumbUrl":7314,"material":188,"size":5379,"collection":101,"collections":7315,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":40},223306,"fa-jie-yuan-liu-tu-juan-11-ding-guan-peng-223306","法界源流图卷-11",[23,24,51,74,27,26,259,114,463,262,7,459,7313,1762,402],"火焰纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F662cef915ffaa610e241fd73988d432e.jpg",[],{"id":7317,"slug":7318,"title":7319,"dynasty":336,"author":2067,"museum":273,"description":3267,"tags":7320,"thumbUrl":7321,"material":713,"size":6203,"collection":101,"collections":7322,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":40},222498,"shang-bo-hua-ji-xuan-36-6-zhang-lu-222498","上博画集选36-6",[23,24,51,52,402,244,114,7,30],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd0872a043b825d208f53f98791685b53.jpg",[],{"id":7324,"slug":7325,"title":7326,"dynasty":552,"author":91,"museum":110,"description":7327,"tags":7328,"thumbUrl":7329,"material":1156,"size":7330,"collection":101,"collections":7331,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":40},221784,"yuan-ke-si-ji-xiang-xi-jin-gang-zhou-yi-ming-221784","元缂丝吉祥喜金刚轴","吉祥喜金刚是密教五大金刚之一，守护修密行者的本尊，肤色深蓝，裸上身，腰系虎皮裙，手执金刚长杖，配戴降魔人头璎珞，八面十六臂四足，以展左立的姿态，踏住四魔波旬，立在莲华座上。\n十六臂表十六空，手中持有十六嘎布拉（头盖骨）做的钵，分别盛著象、鹿、驴、牛、驼、人、狮、猫等「八物」（右手）及天地、水、火、风、日、月、阎魔及财神等「八天」（左手），波旬诱人趋恶远善，不得正觉，故足踏波旬即表喜金刚能调伏欲望，除贪、嗔、痴毒。\n本幅所织应为吉祥喜金刚，原题误为嘛噶喇佛。\n是幅画面很小，织工极精密。\n少见之元缂丝佛像精品。",[7018,259,25,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd46dbf42e275ca9b091c2b7930cdf71c.jpg","86.3x63.4",[],{"id":7333,"slug":7334,"title":7335,"dynasty":881,"author":3039,"museum":20,"description":3040,"tags":7336,"thumbUrl":7337,"material":3043,"size":3044,"collection":101,"collections":7338,"showCount":206,"zanCount":39,"manualWeight":39,"mainColor":123},221167,"shi-liu-luo-han-xiang-nuo-ju-luo-zun-zhe-tang-ka-bu-ben-guan-xiu-221167","十六罗汉像-诺距罗尊者（唐卡布本）",[23,24,51,259,114,176,7,26,2922,27,324],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b58e379546cb7b1c2f2593c512afc40.jpg",[],{"id":7340,"slug":7341,"title":7342,"dynasty":45,"author":4466,"museum":1369,"description":7343,"tags":7344,"thumbUrl":7345,"material":248,"size":7346,"collection":101,"collections":7347,"sh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宋元罗汉画常见僧侣日常活动，此轴描绘僧人补衣，亦可归入罗汉画类型。刘松年是活动在十二世纪的南宋宫廷画家，以本院所藏〈画罗汉〉三轴最具代表性。若与〈补纳图〉相较，风格互异，本幅应系南宋晚期至元的画家托名所作。\n“南宋四家”之一刘松年在南宋画院崭露头角，介于李唐和马远、夏圭之间。他曾师从张敦礼学画，而敦礼画法学李唐，工于山水、人物画，刘松年学到了老师恬洁滋润的长处，也继承了李唐的绘画优点。\n刘松年的作品传世者并不多，据记载他的作品多表现江南一带风景，特别是西湖园林的优美景色，并穿插以文人贵族的闲适生活，少数还图绘了仙山楼阁的神仙世界，反映了那一时代上层社会的审美情趣。\n刘松年的工笔人物画尤其是罗汉图主要是对贯休的继承。当然这种继承不是拷贝，而是在古人的基础之上融入了自己的理解和心得，并形成自己的风格特色。",[24,50,51,25,27,26,114,7,7896,1753,7897,323,4928,7898,7899,4650,7900,7901],"室内陈设","鞋履","工笔人物","宋代画风","衣纹细致","色彩典雅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ad9390faee56e00d3126eeee9d660f4.jpg","纵141.9cm，横59.8cm",[],{"id":7906,"slug":7907,"title":7908,"dynasty":18,"author":91,"museum":47,"description":1090,"tags":7909,"thumbUrl":7910,"material":380,"size":381,"collection":101,"collections":7911,"showCount":105,"zanCount":39,"manualWeight":39,"mainColor":123},229326,"yu-mao-yi-ming-229326","玉猫",[313,94,95,7,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd760ca72d1c1455bc716255de0a993f2.jpg",[],{"id":7913,"slug":7914,"title":7915,"dynasty":336,"author":91,"museum":47,"description":7916,"tags":7917,"thumbUrl":7918,"material":380,"size":381,"collection":101,"collections":7919,"showCount":105,"zanCount":39,"manualWeight":39,"mainColor":123},228815,"xi-lv-gong-ao-tu-yi-ming-228815","西旅贡獒图","图中描绘一位高鼻深目、长满胡须的胡人，手牵獒犬，坐在皇宫外的汉白玉台阶上等待进贡。早在先秦时期，西部少数民族便开始向中原进贡獒犬。《尚书·旅獒》记载：“惟克商，遂通道九夷八蛮，西旅厎贡厥獒。”按孔颖达注疏，“西旅”是指西部羌族。《尚书·旅獒》篇是劝戒帝王不能因喜好所贡獒犬而“玩物丧志”，而“贡獒图”则是用以歌颂帝王的武功，表现“万国来朝”的气势，“贡獒图”在历代有多种不同形式的表现",[23,24,51,50,26,27,114,7,896],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7b13791168de75f3c217969bac8db20.jpg",[],{"id":7921,"slug":7922,"title":7923,"dynasty":336,"author":91,"museum":47,"description":7924,"tags":7925,"thumbUrl":7926,"material":380,"size":381,"collection":101,"collections":7927,"showCount":105,"zanCount":11,"manualWeight":39,"mainColor":123},228666,"wu-cai-bai-lu-zun-yi-ming-228666","五彩百鹿尊","尊，今作樽，是商周时代中国的一种大中型盛酒器。青铜器，尊的形制圈足，圆腹或方腹，长颈，敞口，口径较大。尊盛行于商代至西周时期，春秋后期已经少见。较著名的有四羊方尊。商周至战国时期，还有另外一类形制特殊的盛酒器—彝。彝通常呈鸟兽状，有羊、虎、象、豕、牛、马、鸟、雁、凤等形象。《周礼·春官·司尊彝》：“春祠夏禴，裸用鸡彝鸟彝......追享朝享，裸用虎彝蜼彝。”彝纹饰华丽，在背部或头部有尊盖。",[340,3670,6016,26,289,147,7,263,532],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44a0cd95d73f694da81155f13e428e8f.jpg",[],{"id":7929,"slug":7930,"title":7931,"dynasty":336,"author":91,"museum":47,"description":7932,"tags":7933,"thumbUrl":7936,"material":380,"size":381,"collection":101,"collections":7937,"showCount":105,"zanCount":39,"manualWeight":39,"mainColor":123},228502,"jing-tai-kuan-qia-si-fa-lang-chi-er-lu-yi-ming-228502","景泰款掐丝珐瑯螭耳炉","集金属制作与珐琅釉料加工处理为一体，既具备金属贵重、坚固的特点，又具备珐琅釉料晶莹、光滑及适用于装饰的特点。全器由镂空夔龙盖、镂空拐子龙立颈及炉身套接成，炉身饰掐丝转枝番莲纹，立雕镀金的一对螭攀附在炉的平折边沿，象首形立足",[4485,7934,4819,289,7,7935],"明式","掐丝工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F950af572273dd0c74564505f10130693.jpg",[],{"id":7939,"slug":7940,"title":7941,"dynasty":552,"author":91,"museum":47,"description":7942,"tags":7943,"thumbUrl":7944,"material":101,"size":101,"collection":101,"collections":7945,"showCount":105,"zanCount":39,"manualWeight":39,"mainColor":123},228219,"hou-tu-yi-ming-228219","猴图","《五猴图》是近现代佚名画家创作的一幅中国画。\n尺寸：97×68.5cm 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历宋、元、明、清四代，烧瓷历史长达千年，而且对福建地区和江南广大地区都有很大影响。\n主要产品以盏、碗、盘、碟为主，兼烧盒、罐、壶、灯、炉、钵、梅瓶、冥器等，在宋代盛产黑釉瓷而闻名于世。足底有“供御”、“进盏”字铭的，应是为宋代宫廷烧制的贡品。黑釉盏的特征：胎含铁量高，一向有“铁胎”之称，胎体厚重，呈黑灰色、紫黑色，胎质粗糙坚硬，露胎处色沉而无光。造型多样，有大小敛口、敞口等不同形式，圈足小而浅，修胎草率有力，刀法自然，釉质刚润，釉色乌黑，器物内外施釉，外釉近底足，足底无釉而露胎。釉面有明显的垂流和窑变现象，有“兔毫”、“油滴”和“曜变”及“鹧鸪斑”等有名的品种。\n宋代是建窑的发展时期，以烧黑釉器而著称。兔毫斑、鹧鸪斑、曜变等釉色的名品就出在这里，以茶盏为多\n建窑的黑釉属于结晶釉的范畴，含铁量高达8% 以上。在1300多度的高温熔烧过程中，窑温的变化，使釉面产生奇特的花纹。\n由于宋代斗茶风尚盛行，而主烧适宜为斗茶的黑釉茶盏，亦称建盏，以水吉镇窑制品为最，北宋后期曾为宫廷烧制斗茶使用的黑釉盏，并于器底刻\"进盏\"、\"供御\"字样。建阳窑产品使用含铁高的原料做胎，因而胎色深黑坚硬，有\"铁胎\"之俗称，或名乌泥窑、黑建、乌泥建等。盏内外均施黑釉，外壁釉不到底，露黑色胎。",[75,3670,95,7,951,6622],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdce1b1ae112807a12135d5b3395885ce.jpg",[6043],{"id":9138,"slug":9139,"title":9140,"dynasty":18,"author":91,"museum":47,"description":9141,"tags":9142,"thumbUrl":9146,"material":380,"size":381,"collection":101,"collections":9147,"showCount":122,"zanCount":39,"manualWeight":39,"mainColor":65},274455,"tong-du-jin-xi-niu-tuo-shu-zhuang-jing-biao-yi-ming-274455","铜镀金犀牛驮梳妆镜表","表嵌于容镜的铜镀金缠枝花边框正上方，花框上嵌饰的红、绿、蓝、白各色料石更使镜框富丽华贵。\n镜框所嵌二针小表为英国制造。",[870,161,9143,7,9144,9145,3063,99,95,4486],"犀牛","钟表","梳妆镜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3b2c0e63eba717bd3adc1f7a2ec1a592.jpg",[],{"id":9149,"slug":9150,"title":9151,"dynasty":18,"author":91,"museum":47,"description":9152,"tags":9153,"thumbUrl":9154,"material":380,"size":381,"collection":101,"collections":9155,"showCount":122,"zanCount":39,"manualWeight":39,"mainColor":40},273648,"zi-tan-mu-bian-qian-ya-he-lu-tu-gua-ping-yi-ming-273648","紫檀木边嵌牙鹤鹿图挂屏","紫檀为框，墨漆为底，百宝嵌就清逸景致。苍松虬枝宛转，松石点染松针，翠色鲜活如凝露。芝兰倚于松下，牡丹以彩玉螺钿晕开瓣色，明妍动人。鎏金双鹿肌理写实，悠然漫步林下，尽显灵秀生机。屏侧御题诗文笔致端雅，文气与景趣相融，将松间清和祥瑞铺陈眼前。整器集镶嵌、髹漆、书法之工，把太平长乐的意趣藏于刀嵌笔锋之间，尽显百宝嵌工艺的精妙雅致。",[4310,436,8460,95,6998,726,147,7,1751,323,76,2337],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa9349f48eea736808da3b181a0bdebba.jpg",[],{"id":9157,"slug":9158,"title":9159,"dynasty":336,"author":91,"museum":47,"description":5561,"tags":9160,"thumbUrl":9161,"material":380,"size":381,"collection":101,"collections":9162,"showCount":122,"zanCount":39,"manualWeight":39,"mainColor":40},270947,"qing-hua-ci-hu-niu-fang-zhang-liao-yi-ming-270947","青花瓷虎钮方章料",[3670,75,314,7,8164,6622],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc4a36a407e0d91d5ee50bf4e2688e7e4.jpg",[],{"id":9164,"slug":9165,"title":9166,"dynasty":336,"author":91,"museum":47,"description":9167,"tags":9168,"thumbUrl":9172,"material":380,"size":381,"collection":101,"collections":9173,"showCount":122,"zanCount":39,"manualWeight":39,"mainColor":123},270271,"xuan-de-kuan-tong-shi-xi-qiu-wen-shi-er-shou-zu-chang-fang-gai-lu-yi-ming-270271","宣德款铜狮戏球纹狮耳兽足长方盖炉","此炉以精铜铸就，鎏金狮耳攀附炉身，昂首嘶吼，身形矫健灵动，为沉浑炉体添上几分锐生气魄。炉身高浮雕狮戏绣球，瑞狮腾跃于流云之中，鬃毛发丝毕现，利爪紧扣绣球，嬉闹姿态既不失兽王威猛，又带着憨顽意趣。\n\n兽足怒目圆睁，鬃毛翻卷，肌理虬劲硬朗，稳稳托举器身。鎏金熠熠，与深褐铜色交相辉映，华贵古雅兼具，将吉庆戏球的意趣与礼器的庄重完美相融，尽显铸铜工艺的高超水准。",[161,160,95,2851,7,9169,9170,9171,164,289],"香炉","狮戏球纹","狮耳兽足","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8ff7f282832705b211480bb8bbc5c67f.jpg",[],{"id":9175,"slug":9176,"title":9177,"dynasty":18,"author":91,"museum":47,"description":9178,"tags":9179,"thumbUrl":9181,"material":380,"size":381,"collection":101,"collections":9182,"showCount":122,"zanCount":39,"manualWeight":39,"mainColor":40},270195,"juan-hua-shi-zi-tu-mian-gu-bing-tuan-shan-yi-ming-270195","绢画狮子图面骨柄团扇","这柄团扇绘作雅致温婉，画面主角小犬憨态可掬，白棕毛发工细入微，丝丝蓬松柔润，将绒软质感表现得淋漓尽致。它驻足茵茸草地，昂首侧目，娇憨灵动的神态跃然绢上。远景晕染出淡渺天色，低矮蓝围栏旁点缀粉花柔枝，柔妍清雅，衬得庭院小景愈发悠然闲适。扇骨雕花镂空，垂系朱红绳坠，更添雅致工艺美感。\n整体设色柔和明润，工笔写实间带着日常闲趣，将深闺庭院里的悠然瞬间定格，把宠物娇憨情态描摹入微，是兼具赏用之美的小品佳物，藏着旧时庭院的松弛意趣。",[495,9180,27,26,7,927,323,700,4448],"绢画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9289f193823a490b0bfd55db843768ba.jpg",[],{"id":9184,"slug":9185,"title":9186,"dynasty":18,"author":91,"museum":47,"description":3060,"tags":9187,"thumbUrl":9189,"material":380,"size":381,"collection":101,"collections":9190,"showCount":122,"zanCount":39,"manualWeight":39,"mainColor":123},268808,"zi-se-duan-xiu-cai-yun-fu-zhe-zhi-hua-jin-qi-lin-wen-nan-mang-yi-ming-268808","紫色缎绣彩云蝠折枝花金麒麟纹男蟒",[670,2922,3062,4756,7,7840,323,9188],"蟒袍","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F04ce78ef8724a89263c08394a174d548.jpg",[],{"id":9192,"slug":9193,"title":9194,"dynasty":18,"author":91,"museum":47,"description":9195,"tags":9196,"thumbUrl":9199,"material":380,"size":381,"collection":101,"collections":9200,"showCount":122,"zanCount":39,"manualWeight":39,"mainColor":192},267659,"hong-se-di-shuang-shi-xi-qiu-wen-jin-yi-ming-267659","红色地双狮戏球纹锦","《说文》：“锦，襄邑织文。从帛，金声。”即用彩色经纬丝织出各种图案花纹的纺织品，泛指具有多种彩色花纹的丝织物。锦的生产工艺要求高，织造难度大，所以它是古代最贵重的织物。“锦，金也，作之用功重，其价如金。”古人把锦看成和黄金等价。这种织物有经起花和纬起花两种，也叫经锦和纬锦。经锦是用两组或两组以上的经线同一组纬线交织。经线多的二色或三色，一色一根作为一副，如果需要更多的颜色，也可以使用牵色条的方法。纬线有明纬和夹纬；用夹纬把每副中的表经和底经分隔开，用织物正面的经浮点显花。\n用染好颜色的彩色经纬线，经提花、织造工艺织出图案的织物。中国丝织提花技术起源久远。早在殷商时代中国已有丝织物。周代丝织物中出现织锦，花纹五色灿烂，技艺臻于成熟。汉代设有织室、锦署，专门织造织锦，供宫廷享用。自汉武帝后，中国织锦通过丝绸之路传入波斯（今伊朗）、大秦（古罗马帝国）等国。三国时四川蜀锦成为主流。唐代贞观年间窦师伦的对雉、斗羊、翔凤等蜀锦图案，称为绫阳公样。在织造工艺上由经锦改进为纬锦，并出现彩色经纬线由浅入深或由深入浅的退晕手法。北宋宫廷在汴京等地建立规模庞大的织造工场，生产各种绫锦。元代是中国历史上大量生产织金锦（一种加金的丝织物）的时代，宫廷设立织染局、织染提举司，机构庞大，集中了大批优秀工匠。\n明清两代织锦生产集中在江苏南京、苏州，除了官府的织锦局外，民间作坊也蓬勃兴起，形成江南织锦生产的繁荣时期。织锦大多采用传统提花工艺和木制花楼织机，有些织锦因品种不同而有所区别。如宋锦、土家族织锦采用通经断纬工艺，即分段调换彩色纬线，使色彩更加丰富。杭锦采用铁制提花机。织锦种类有南京云锦、四川蜀锦、苏州宋锦、杭州织锦以及少数民族的黎锦、壮锦、傣锦、瑶锦、侗锦、苗锦、土家锦、爱得利斯锦等。1960年以来，中国织锦在继承、发扬传统织锦的基础上，恢复了云锦的妆花锦和蜀锦的浣花锦、锦上添花锦、八答晕锦，并生产了窗帘、沙发套、枕套、被面、台毯、靠垫、床罩、提包、民族服装用料等新品种。\n锦已有3000年以上的历史，战国、西汉以前流行以二色或三色经轮流显花的经锦，包括局部饰以挂经的挂锦、具有立体效果的凸花锦和绒锦。1959年在新疆民丰尼雅遗址发现的东汉“万年如意锦”使用绛、白、绛紫、淡蓝、渥绿五色，通幅分成十二个色条，就是汉代典型的经锦。\n纬锦是用两组或两组以上的纬线同一组经线交织。经线有交织经和夹经；用织物正面的纬浮点显花。1969年在新疆阿斯塔那发现的唐代锦袜，在大红色地上起各种禽鸟花朵和行云的图案，就属于这一种锦。\n经锦和纬锦具有不同的织造效果。经锦的纬密比较低，只用一把梭子，生产效率比较高。纬锦织造比较费时，但可以使用两把以上的梭子，容易变换色彩，色彩丰富。这两种锦在中国出现的时间都比较早。但是六朝以前织造的，以经起花为主；隋唐以后织造的，似乎以纬起花为主。\n在苏联的巴泽雷克发现一批中国战国时期的丝绸，就有用红绿二色纬线织造的纬斜纹起花的纬锦。产生于宋代前后的宋锦以地经、地纬交织成经斜组织，按结经与纹纬交织成纬斜组织。\n金元之际流行加金的丝织物——织金锦，又称“纳石失”。明清时盛行以挖花缎的彩纬多达30—40种，锦面的经、纬方向都有逐花异色的效果，是中国织锦最高水平的代表。\n锦在历史上曾用多棕多蹑机和束棕花楼机织造，现代生产采用纹版提花机。\n国家非常重视非物质文化遗产的保护，南京云锦木机妆花手工织造技艺作为中国古老的织锦技艺最高水平的代表，于2006年列入首批国家级非物质文化遗产名录。2006年5月20日，土家族织锦技艺经国务院批准列入第一批国家级非物质文化遗产名录。2007年6月8日，湖南凤凰水云织锦坊获得国家文化部颁布的首届文化遗产日奖。2009年8月《地理标志产品云锦》国家标准在南京通过国家级专家评审，同年9月成功入选联合国《人类非物质文化遗产代表作名录》。",[5754,2922,26,951,7,262,9197,9198],"戏球","吉祥纹样","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff1b679e1b4861b5737a24acb8c227edb.jpg",[],{"id":9202,"slug":9203,"title":9204,"dynasty":18,"author":91,"museum":47,"description":9205,"tags":9206,"thumbUrl":9211,"material":380,"size":381,"collection":101,"collections":9212,"showCount":122,"zanCount":39,"manualWeight":39,"mainColor":123},267344,"man-xiu-ji-xiang-tian-mu-xiang-zhou-yi-ming-267344","满绣吉祥天母像轴","靛蓝身色的吉祥天母踞乘骡子，忿怒威严，诸护法仙众环伺左右。流云翻涌缠绕山峦，绣线晕染出明暗层次，将众神狞厉神威烘托得淋漓尽致。\n\n整作以满绣工艺织就，走线细密饱满，浓烈鲜亮的色块交织，既铺陈出藏地护法信仰的雄浑刚健，又尽显刺绣工艺的柔美精巧。四周红色绣框以重复梵文真言环绕，规整肃穆间更添神圣意蕴。构图繁密却层次分明，一针一线皆凝着匠人的虔敬心力，是信仰与技艺相融的典范，尽显此中顶尖水准。",[25,3062,9207,259,9208,114,176,7,26,9209,9210],"满绣","吉祥天母","神话题材","宗教画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9003962ed2f76a683c8717b10c02b384.jpg",[],{"id":9214,"slug":9215,"title":9216,"dynasty":18,"author":91,"museum":47,"description":8475,"tags":9217,"thumbUrl":9219,"material":380,"size":381,"collection":101,"collections":9220,"showCount":122,"zanCount":39,"manualWeight":39,"mainColor":40},267272,"huang-se-duan-xiu-tai-shi-shao-shi-bai-niao-chao-feng-wen-huo-ji-shi-wu-he-yi-ming-267272","黄色缎绣太狮少狮百鸟朝凤纹活计-什物盒",[3062,2922,99,9218,7,2851,6068],"什物盒","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29ed4512c1148dcdb78a3af215d50dcb.jpg",[],{"id":9222,"slug":9223,"title":9224,"dynasty":336,"author":91,"museum":47,"description":5561,"tags":9225,"thumbUrl":9226,"material":380,"size":381,"collection":101,"collections":9227,"showCount":122,"zanCount":39,"manualWeight":39,"mainColor":123},261287,"tian-shun-kuan-qing-hua-lu-wen-wan-yi-ming-261287","天顺款青花鹿纹碗",[3670,5564,147,7,3063,289],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0fb679e875fb1a99b71a1db9d6ce6901.jpg",[],{"id":9229,"slug":9230,"title":9231,"dynasty":18,"author":91,"museum":47,"description":5561,"tags":9232,"thumbUrl":9233,"material":380,"size":381,"collection":101,"collections":9234,"showCount":122,"zanCount":39,"manualWeight":39,"mainColor":40},261264,"qing-hua-liu-shu-mu-ma-tu-bi-yan-hu-yi-ming-261264","青花柳树牧马图鼻烟壶",[3670,5564,3063,699,176,7,289],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7acd1fd50bdad074aeaae2d1267b6e0d.jpg",[],{"id":9236,"slug":9237,"title":9238,"dynasty":18,"author":91,"museum":47,"description":5561,"tags":9239,"thumbUrl":9242,"material":380,"size":381,"collection":101,"collections":9243,"showCount":122,"zanCount":39,"manualWeight":39,"mainColor":123},261015,"qing-hua-qi-lin-jiao-ye-tu-da-pan-yi-ming-261015","青花麒麟蕉叶图大盘",[3670,5564,4756,9240,9241,7],"蕉叶","大盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F60519a06693050fbaad92dfd411de5ee.jpg",[],{"id":9245,"slug":9246,"title":9247,"dynasty":336,"author":91,"museum":47,"description":7526,"tags":9248,"thumbUrl":9249,"material":380,"size":381,"collection":6043,"collections":9250,"showCount":122,"zanCount":39,"manualWeight":39,"mainColor":65},259933,"de-hua-yao-bai-you-fu-hu-luo-han-yi-ming-259933","德化窑白釉伏虎罗汉",[3670,95,259,2168,314,7,114,7529],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F48e124a5c604ebfd11e0627c7710bd9e.jpg",[6043],{"id":9252,"slug":9253,"title":9254,"dynasty":18,"author":91,"museum":47,"description":8207,"tags":9255,"thumbUrl":9257,"material":380,"size":381,"collection":6043,"collections":9258,"showCount":122,"zanCount":39,"manualWeight":39,"mainColor":123},259052,"guang-yao-shi-er-lu-yi-ming-259052","广窑狮耳炉",[313,3670,9256,7,289],"狮耳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb453e86861d2247b71a081787ad3b697.jpg",[6043],{"id":9260,"slug":9261,"title":9262,"dynasty":18,"author":91,"museum":47,"description":9263,"tags":9264,"thumbUrl":9265,"material":380,"size":381,"collection":101,"collections":9266,"showCount":122,"zanCount":39,"manualWeight":39,"mainColor":65},258381,"yong-zheng-kuan-qing-hua-kui-feng-wen-shuang-lu-zun-yi-ming-258381","雍正款青花夔凤纹双陆尊","雍正一朝虽然只有13年，但他的制瓷业成就却达到了清代官窑的历史高峰，其品种之多，制作工艺之精良，都是其他朝代无法比拟的。",[3670,5564,7,7636,289],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22b628d1dc4e698662ff81e52f5a5177.jpg",[],{"id":9268,"slug":9269,"title":9270,"dynasty":18,"author":91,"museum":47,"description":6039,"tags":9271,"thumbUrl":9272,"material":380,"size":381,"collection":6043,"collectio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Tri-Color Glazed Ceramics ），中国古代陶瓷烧制工艺的珍品，全名唐代三彩釉陶器，是盛行于唐代的一种低温釉陶器，釉彩有黄、绿、白、褐、蓝、黑等色彩，而以黄、绿、白三色为主，所以人们习惯称之为“唐三彩”。因唐三彩最早、最多出土于洛阳，亦有“洛阳唐三彩”之称 。\n唐三彩在唐代的兴起有它的历史原因。首先陶瓷业的飞速发展，以及雕塑、建筑艺术水平的不断提高，促使它们之间不断结合、不断发展，因此从人物到动物以及生活用具都能在唐三彩的器物上表现出来。\n唐代贞观之治以后，国力强盛、百业俱兴，同时也导致了一些高官生活的腐化，于是厚葬之风日盛。唐三彩当时也是作为一种冥器，曾经被列入官府的明文规定，一品、二品、三品、四品，就是说可以允许他随葬多少件，但是实际上作为这些达官显贵们，并不满足于明文的规定，反而他们往往比官府规定要增加很多的倍数，去做这种厚葬。官风如此，民风当然也如此，于是从上到下就形成了这么一种厚葬之风，这也就是唐三彩当时能够迅速在中原地区发展和兴起的一个主要原因之一。\n唐代是我国封建社会的鼎盛时期，所以说唐三彩从另外一个侧面也反映了这种唐王朝的政治、文化、生活，它跟唐代诗歌、绘画、建筑其他文化一样，共同形成了唐王朝文化的旋律，但是它又不同于其他的文化艺术，从现代的陶瓷史上认为，唐三彩在唐代陶瓷史上是一个划时代的里程碑，因为在唐以前，只有单色釉，最多就是两色釉的并用，在我国的汉代，已经有了两色，即黄色和绿色两种釉彩在同一器物上的使用。到了唐代以后，这种多彩的釉色在陶瓷器物上同时得到了运用。从陶瓷史上有人考证，这和唐代当时的审美观点起了很大的变化有关。在唐以前人们崇尚的是素色主义，到唐代以后，它包容了各种文化，包括许多外来文化，这个时候从绘画、陶瓷、金银器的制作，形成了一个灿烂文化的特点。\n唐三彩的生产已有1300多年的历史。它吸取了中国国画、雕塑等工艺美术的特点。唐三彩制作工艺复杂，以经过精细加工的高岭土作为坯体，用含铜、铁、钴、锰、金等矿物作为釉料的着色剂，并在釉中加入适量的炼铅熔渣和铅灰作为助剂。先将素坯入窑焙烧，陶坯烧成后，再上釉彩，再次入窑烧至800℃左右而成。由于铅釉的流动性强，在烧制的过程中釉面向四周扩散流淌，各色釉互相浸润交融，形成自然而又斑驳绚丽的色彩，是一种具有中国独特风格的传统工艺品。\n唐三彩不仅贵在釉色浓艳瑰丽，而且骆驼、马和人物等的造型生动传神，富有生活气息，当时的国际场上，唐三彩就已负有盛名，成为中外经济文化交流的重要物品之一。1928年，陇海铁路修筑到洛阳邙山时，出土了大量唐三彩，古董商们将其运至北京，受到了国内外古器物研究者的重视和古玩商竞相收藏。之后，洛阳地区不断有唐三彩出土，数量之多、质量之美，令人惊叹。",[70,3670,95,7,6032],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc287a2086bfa3bd1d8ae1a4bffec1bc5.jpg",[],{"id":9283,"slug":9284,"title":9285,"dynasty":45,"author":91,"museum":47,"description":9286,"tags":9287,"thumbUrl":9289,"material":380,"size":381,"collection":101,"collections":9290,"showCount":122,"zanCount":39,"manualWeight":39,"mainColor":123},255789,"bai-you-ci-hei-zhe-cai-zhen-wu-di-zuo-xiang-yi-ming-255789","白釉瓷黑赭彩真武帝坐像","将不含金属氧化物呈色元素的釉料施于胎骨洁白的器物上，入窑高温烧制而成的透明釉， 釉色因白润瓷胎的映衬而显出白色，现在习惯上将这种透明釉也称为白釉。\n瓷器釉料中的含铁量降低到0.75%以下，施于洁白的瓷胎上，入窑经高温烧制，就会出现白釉。严格地说，白釉是一种无色透明釉，而不是白色的釉 。白釉是瓷器传统釉色之一,真正的白釉应该是乳白色的乳浊釉,这种釉是近代才发明的。我国古代仅有元代枢府釉是失透的,其他白釉并不是白色的釉,\n白釉烧制工艺比青釉复杂，出现的时间也较青釉晚，一般瓷土和釉料，都或多或少含有一些氧化铁，器物烧出后必然呈现出深浅不同的青色来。如果釉料中的铁元素含量小于0.75%，烧出来的就会是白釉。\n白釉最早出现在汉代，比青釉瓷器晚了400多年，白釉瓷器开始是青白色的，因为瓷器中铁的含量高于1%就是青色的，少于1%就是白瓷了，所以中国白瓷经历青瓷、青白瓷、卵白釉、甜白釉、象牙白、白釉的发展过程。中国历史上白瓷产地有德化白瓷、定窑白瓷以及刑窑白瓷等。",[45,3670,7529,9288,259,114,314,7],"黑赭彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F390b2e9a89fefda2dd5a6c50cd5bce0b.jpg",[],{"id":9292,"slug":9293,"title":9294,"dynasty":45,"author":91,"museum":47,"description":6039,"tags":9295,"thumbUrl":9296,"material":380,"size":381,"collection":6043,"collections":9297,"showCount":122,"zanCount":39,"manualWeight":39,"mainColor":123},255622,"shi-wan-yao-bai-you-gui-yi-ming-255622","石湾窑白釉龟",[3670,6631,7529,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fab2900ac99d6fd47969961cfa6c7ff69.jpg",[6043],{"id":9299,"slug":9300,"title":9301,"dynasty":1484,"author":91,"museum":47,"description":7561,"tags":9302,"thumbUrl":9303,"material":380,"size":381,"collection":101,"collections":9304,"showCount":122,"zanCount":39,"manualWeight":39,"mainColor":123},255233,"tao-long-hu-wen-jing-lan-yi-ming-255233","陶龙虎纹井栏",[1742,3670,95,54,314,7,289],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F038e870decb8f9337e85a25821e57112.jpg",[],{"id":9306,"slug":9307,"title":9308,"dynasty":45,"author":91,"museum":47,"description":9309,"tags":9310,"thumbUrl":9311,"material":380,"size":381,"collection":101,"collections":9312,"showCount":122,"zanCount":39,"manualWeight":39,"mainColor":123},255016,"shi-shi-zi-men-zhen-yi-ming-255016","石狮子门枕","这尊伏兽枕石，将瑞兽威仪与建筑实用相融。石狮眉骨凸耸，阔口呲牙，鬃毛蜷曲贴覆周身，伏卧姿态沉稳厚重，肌理褶皱虽经岁月磨蚀，依旧带着写实的古朴意趣。门枕立面浅刻纹饰斑驳漫漶，残存线条仍能见当年精工，一侧榫孔静诉着它曾镇守门户的过往。\n\n石材质朴温润，带着时光摩挲出的包浆，把雕刻技艺的精巧与营建的实用合二为一，静静沉淀着旧时烟火里的守望意涵，是古人工巧与日常烟火交织的质朴缩影。",[45,95,497,7,951,289],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F44fa7aaae93a44c9858ac7d51422f3c9.jpg",[],{"id":9314,"slug":9315,"title":9316,"dynasty":336,"author":91,"museum":47,"description":2209,"tags":9317,"thumbUrl":9319,"material":380,"size":381,"collection":101,"collections":9320,"showCount":122,"zanCount":39,"manualWeight":39,"mainColor":65},254999,"tie-li-da-huang-zao-pu-xian-pu-sa-zuo-xiang-yi-ming-254999","铁栗大凰造普贤菩萨坐像",[340,259,9318,95,114,7,1999],"铁器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7011e4e6e0c8b1688df5d5109ff6d943.jpg",[],{"id":9322,"slug":9323,"title":9324,"dynasty":298,"author":91,"museum":47,"description":9325,"tags":9326,"thumbUrl":9327,"material":380,"size":381,"collection":101,"collections":9328,"showCount":122,"zanCount":39,"manualWeight":39,"mainColor":65},254974,"shi-fu-ben-yuan-zao-shi-yi-ming-254974","石傅本元造狮","此狮蹲踞方台之上，墨珠点目，神采奕奕。卷涡状鬃毛层叠垂落，线条圆朴古拙。阔口大开，利齿毕露，将瑞兽的威严之气尽显无余。前爪按幼狮，在凛然威风中揉进舐犊温情，打破镇守护卫的冷硬感。台座浅浮雕莲瓣纹饰，素朴古雅，更衬得石狮愈发沉稳厚重。整作雕工虽不极尽繁缛，却将民间造物的质朴意趣融入其中，把瑞兽的威仪与柔和意韵相融，藏着驱邪安宅的美好祈愿，是世俗审美与民俗信仰相融的精巧拙作。",[8316,95,7,298],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5e9ad7af62247586647d336fe435b2c6.jpg",[],{"id":9330,"slug":9331,"title":9332,"dynasty":18,"author":91,"museum":47,"description":9333,"tags":9334,"thumbUrl":9335,"material":380,"size":381,"collection":101,"collections":9336,"showCount":122,"zanCount":39,"manualWeight":39,"mainColor":65},254930,"tong-liu-jin-duo-wen-tian-wang-xiang-yi-ming-254930","铜鎏金多闻天王像","此造像威容赫赫，天王瞋目圆睁，虬髯贲张，锁子甲纹饰细密入微，尽显精工。左手托举吐宝鼠，右手高擎宝幢，坐于昂首咆哮的瑞狮之上，将护法神祇的勇武刚猛尽显无余。\n\n通体鎏金厚重莹润，宝光内敛。莲座瓣尖饱满圆润，底座款识錾刻规整。它融合藏地造像的狞厉神性与中原錾刻的细腻工致，法度庄严又不失工巧细腻，是汉藏佛造像技艺合璧的精品，沉稳间尽显护法天王的慑人气度。",[18,161,1487,95,259,114,7,164,873],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad0798f6c49a8230d84a037737a1b505.jpg",[],{"id":9338,"slug":9339,"title":9340,"dynasty":45,"author":91,"museum":47,"description":9341,"tags":9342,"thumbUrl":9343,"material":380,"size":381,"collection":101,"collections":9344,"showCount":122,"zanCount":39,"manualWeight":39,"mainColor":65},254921,"san-cai-she-shen-shuang-ren-shou-yong-yi-ming-254921","三彩蛇身双人首俑","春秋战国时期，有一种殉葬用的“俑”，据《礼记·檀弓》，孔子“谓为俑者不仁”。郑玄注：“俑，偶人也，有面目机发，有似于生人。”皇侃疏：“机械发动踊跃，故谓之俑也。”孔颖达正义：“刻木为人，而自发动，与生人无异，但无性灵知识。”又《孟子·梁惠王》：“仲尼曰：始作俑者，其无后乎?为其像人而用之也。”焦循《孟子正义》：《广雅》引(张揖)《埤苍》云：“俑，木人，送葬设关而能跳踊，故名之。”“为其像人者，谓为其像人之转动跳踊也。”可见“俑”就是由简单机械发动能够自己转动跳跃的木人。\n中国古代坟中墓中陪葬用的偶人。是象征殉葬奴隶的模拟品。东周墓中出现渐多，秦汉至隋唐盛行，北宋以后逐渐衰落，但仍沿用到元明时期。俑的质料以木、陶质最常见，也有瓷、石或金属制品。宋代以后纸明器开始流行，陶、木、石质的俑开始渐渐减少。俑的形象，主要有奴仆、舞乐、士兵、仪仗等，并常附有鞍马、牛车、庖厨用具和家畜等模型，还有镇墓胜的神物。俑大多真实地模拟着当时的各种人物，因而可以考见当时社会的生活习俗，也是研究各代舆服制度的重要资料。俑还可以反映出各个时代雕塑艺术的水平。\n秦代的秦始皇陵兵马俑，形体比人略高，陶制，是已知最大的俑；另外还有铜俑等。汉俑种类比以前增多，有兵士、女侍、仆役及乐舞俑。南方以木俑为多，有的彩绘着衣。其他地方多陶、石、木、金属等多种材质的俑，注重传神。两晋南北朝制作多样，南方承中原传统并有了瓷俑；北方出了少数民族形象的陶俑。隋唐俑型大而精美，三彩俑为盛唐时的制作高峰。现在能见到的，是保存在陕西省历史博物馆的唐三彩杰作，有陕西省乾县懿德太子李重润墓出土的、三彩纹胎骑马狩猎俑，和西安市中堡村唐墓出土的唐三彩骆驼戴乐舞俑。这些俑的特点，普遍是形象高大雄健，神态生动富有传神，可谓形神俱佳的作品。并反映了盛唐时期，中华民族富有创造性和豪迈自信的民族性格。五代以后，以俑殉葬的风气开始低落，金元墓葬中出现了陶塑、砖雕表演杂剧的俑，往往成组塑造，还有舞台背景，较为生动，是制作俑的最后一个高潮，以山西出土为多。明清墓葬中俑的出现渐少。在高官王侯墓中出土有木俑和石俑，多以成群人物或辅以仪仗、侍从的庞大场面，用来炫耀死者地位为主，但作为雕塑制品已失去了艺术感染力。秦兵马俑的历史文化价值是独具魅力的。它打开了观察它所产生的那个时代的窗口，大大地改变了人们对那个时代的看法。\n秦兵马俑震撼世人的首推其卓越的艺术成就。几千件魁伟英武的大型陶塑艺术作品，以整体形象排列在将近两万平方米的空间里，其磅礴的气势几乎使所有不同肤色的参观者都从心灵深处产生强烈震颤，体现出艺术家驾驭宏大艺术题材、追求整体气韵和艺术创造的卓越才能。秦俑千人千面、呼之欲出的人物塑造则从形体把握、神韵处理、色彩运用、细部刻画等方面表现出作者的艺术素养和艺术成就。作品写实主义的风格不仅给我们留下了一个高超的古代艺术范本，同时也留下了许多关于那个时代的极富价值的历史记录。严肃划一的军旅题材能够处理得如此生动，产生如此震撼人心的艺术魅力，使人们不得不换一副眼光来审视中国古代艺术发展历程中的特殊规律，重新探索和构架中国古代造型艺术发展的历史。\n秦兵马俑坑文物的出土也较大幅度地改写了人们对秦代的科技水平的认识，以大量的实证材料形象地展现了秦代生产力的发展水平。就科技史而言，秦俑坑发现的许多资料都是令世人震惊的。譬如：1、秦俑坑出土文物所展现的秦代冶金和金属加工技术比我们以往的估计要高出很多，其中青铜涂铬防锈技术的大量应用是最具代表性的一例，它在当时已是一种很成熟的技术，秦俑出土的绝大多数兵器表面都涂有这种保护层。这种绝技似乎从汉代以后就失传了，与之形成鲜明对比的是，两千多年后的1937年，现代镀铬技术才在德国产生，并以专利发明载入了史册。2、秦俑坑出土兵器明确印证了秦简中关于“为器同物者，其小大、短长”是一种标准化概念，秦人在标准化实践方面取得了惊人的成就。这种标准化既是秦人管理艺术发展的代表，也是秦代科技水平的标志。秦人加工的青铜弩机器件精密、形体标准，相同规格的器件完全可以互换。许多特殊的加工工艺，如青铜铍脊上的纹饰生成，纤如毫发的金属小孔钻刻技艺，也都令人叹为观止，一些工艺至今还是不解之谜。由于古代统治者们有重政治、重伦理、崇人事而轻科技的倾向，史书关于科技的记载往往简略残缺，秦代科技资料更是凤毛麟角。正因为如此，秦俑考古的历史文化价值也就更加重要。\n俑坑数千兵马俑所展示的军事内容无疑是军事史研究的最重要的、最形象的资料之一，许多资料使人们对古代军事领域的认识更进一步。譬如，关于当时的兵种构成、组合搭配和结阵形式，兵器、兵器配置形式以及甲具防护装备，军伍组织结构和指挥系统，甚至军伍士卒的来源等，都有珍贵的资料价值。二号坑弩兵的单独结阵，骑兵、轻车兵的编队和配合，是以前有所不知或知之不详的重要资料，以之对照《孙膑兵法》中关于车、步、骑配合原则的论述，给人留下的印象是极其深刻的。古代军事著述中关于兵器配置中长短相杂、相救的原则在秦俑坑兵器配置中也有直观表现，同样有其军事科学上的研究价值。难怪有人将秦俑三坑称为一座内容丰厚的秦代军事博物馆。\n历史本身赋予了秦俑多种历史文化价值。秦俑所折射的历史层面既多又广，在建筑史、服饰史、制度史尤其是王陵制度史等方面，具有独特的认识价值。即使秦俑的身高、体魄、服饰发髻、刻记文字以及秦人在俑坑留下的生产工具和劳作痕迹，都能从不同侧面反映出秦代社会生活的真实影像，反映出一个时代的文化特质，反映出秦兴亡的历史真谛。\n秦俑坑出土文物的精美和丰富，是文物所代表的那个时代物质成就的直接见证。它让人们重新认识和评价那个时代，也提出了许多值得探讨的历史课题，譬如关于帝王权力的重新认识、秦代文化的特质、秦在中国历史发展中的地位等。与之相联系的是，秦始皇的历史评价又一次成为人们关注的话题，秦俑坑出土文物所反映的科技水平和生产能力，在一定程度上反映出秦始皇所起的某种积极作用，同时也从一个侧面证实史书中提到的秦代好大喜功、横征暴敛的统治问题。秦俑考古还在继续，相信对这些问题的研究将会随着考古的进展而不断深入。",[45,3670,6032,7544,26,114,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc6844531494582ea2c3220ad8ab6949e.jpg",[],{"id":9346,"slug":9347,"title":9348,"dynasty":272,"author":91,"museum":47,"description":5115,"tags":9349,"thumbUrl":9351,"material":380,"size":381,"collection":101,"collections":9352,"showCount":122,"zanCount":39,"manualWeight":39,"mainColor":65},253901,"tao-huang-you-luo-tuo-yi-ming-253901","陶黄釉骆驼",[272,3670,9350,5119,6059,614,7],"陶俑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F437a13c7565ebffd2eed2aca85600918.jpg",[],{"id":9354,"slug":9355,"title":7560,"dynasty":70,"author":91,"museum":47,"description":9278,"tags":9356,"thumbUrl":9357,"material":380,"size":381,"collection":101,"collections":9358,"showCount":122,"zanCount":39,"manualWeight":39,"mainColor":65},253813,"tao-gou-yi-ming-253813",[70,3670,5118,7,6032,738,2968],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff7ce3e9841b70c7d47da1ca9e4c7043b.jpg",[],{"id":9360,"slug":9361,"title":3301,"dynasty":1484,"author":91,"museum":47,"description":3303,"tags":9362,"thumbUrl":9365,"material":380,"size":381,"collection":101,"collections":9366,"showCount":122,"zanCount":39,"manualWeight":39,"mainColor":40},253647,"hu-wen-wa-dang-yi-ming-253647",[1484,9363,95,7,314,9364],"陶","建筑构件","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9f4842a490ae045b92f33dbaba650ce8.jpg",[],{"id":9368,"slug":9369,"title":5114,"dynasty":1484,"author":91,"museum":47,"description":5115,"tags":9370,"thumbUrl":9371,"material":380,"size":381,"collection":101,"collections":9372,"showCount":122,"zanCount":39,"manualWeight":39,"mainColor":65},253497,"tao-huang-you-gou-yi-ming-253497",[1742,5118,5119,3670,7,1027,6032],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c2b867e9c11fed893aca91b5110f79b.jpg",[],{"id":9374,"slug":9375,"title":9376,"dynasty":528,"author":91,"museum":47,"description":9377,"tags":9378,"thumbUrl":9379,"material":380,"size":381,"collection":101,"collections":9380,"showCount":122,"zanCount":39,"manualWeight":39,"mainColor":65},252921,"shi-shuang-pu-sa-li-xiang-yi-ming-252921","石双菩萨立像","此作为汉白玉质地，莹白温润。双尊菩萨居于正中，身姿修长挺拔，尽显秀骨清像的六朝风神。衣褶婉转贴体，勾勒出沉静端雅的仪容，慈悲气韵内敛悠长。两侧胁侍造像对称排布，与主尊呼应成序。虽背光多有残损，但残存的缠枝化生纹饰，仍可窥见往昔的华美繁复。基座浅浮雕供养与瑞兽形象，朴拙生动。岁月留下的残裂痕路，并未消弭其神性光华，反而晕开厚重的时光质感，将北朝造像的空灵静穆与石雕工艺的精妙，凝于一方白石之中。",[95,259,114,7,8316],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1f4c86cb8ad8a447aba7f9828fec6267.jpg",[],{"id":9382,"slug":9383,"title":9384,"dynasty":336,"author":91,"museum":47,"description":1090,"tags":9385,"thumbUrl":9387,"material":380,"size":381,"collection":101,"collections":9388,"showCount":122,"zanCount":39,"manualWeight":39,"mainColor":40},252755,"yu-ba-xian-wen-zhi-hu-yi-ming-252755","玉八仙纹执壶",[340,94,95,114,9386,7],"执壶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff64bfd27a50fa2b80be61076640cdf7e.jpg",[],{"id":9390,"slug":9391,"title":9392,"dynasty":552,"author":91,"museum":47,"description":5765,"tags":9393,"thumbUrl":9394,"material":380,"size":381,"collection":101,"collections":9395,"showCount":122,"zanCount":39,"manualWeight":39,"mainColor":123},252621,"bai-yu-lou-diao-shuang-tu-pei-yi-ming-252621","白玉镂雕双兔佩",[552,6672,7029,131,7,95,99,94],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F32c877a40733955a58144e390c129e5d.jpg",[],{"id":9397,"slug":9398,"title":9399,"dynasty":1484,"author":91,"museum":47,"description":1090,"tags":9400,"thumbUrl":9401,"material":380,"size":381,"collection":101,"collections":9402,"showCount":122,"zanCount":39,"manualWeight":39,"mainColor":65},252227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Jean David d'Angers--General Bonchamp Shown","这页速写是松弛随性的灵感碎片，将写实观察与荒诞奇想揉为一体。左上男子肖像以利落排线勾勒出沉凝肃穆的神态，旁侧网格切割的头像，则是对头部结构的拆解研习。右侧伏卧的雄狮鬃毛苍劲虬结，利爪按地紧盯身前小兽，静中暗藏一触即发的张力。\n\n最跳脱的是下方的怪诞形象，长喙骷髅架着纤细小人，带着即兴戏谑的荒诞感。潦草线条间藏着精准的形体把控，私密随性的页面，既是日常观察的速记，也是脑洞迸发的自留地，粗粝鲜活，尽显创作过程中松弛又敏锐的灵光。",[2435,4967,114,2851,355,7,10411,10412,8156],"线描","手绘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc2881762b621cf54bc4281f2508fcfbb.jpg",[],{"id":10416,"slug":10417,"title":10418,"dynasty":1156,"author":91,"museum":47,"description":10419,"tags":10420,"thumbUrl":10422,"material":380,"size":381,"collection":101,"collections":10423,"showCount":345,"zanCount":39,"manualWeight":39,"mainColor":123},288745,"school-of-raphael-tapestry-cartoon-fragment-yi-ming-288745","School of Raphael--Tapestry Cartoon 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瓷用器，内库所藏，视若珍宝、可与商彝周鼎比贵。\n1952年，周恩来总理指示“发展祖国文化遗产、恢复汝窑生产”。经过上百次实验和研究，1958年烧制出第一批豆绿釉工艺品，1983年8月汝窑天蓝釉经过专家鉴定，均达到明代汝窑水平。从此，汝瓷成了汝州市人的一张名片。\n汝窑天青釉弦纹樽 ，此樽仿汉代铜樽造型，器形规整，仿古逼真，釉色莹润光洁，浓淡对比自然。\n瓷樽始于宋，汝窑、定窑、龙泉窑均有烧造，是陈设用品。所见传世宋代汝窑天青釉弦纹樽只有两件，除故宫博物院收藏的这件以外，英国伦敦大维德基金会亦收藏一件。\n汝窑烧制的汝瓷因为其绝妙的色泽、独特艺术价值，深得帝王欢心，有“宋瓷之冠”的美誉。汝窑又与同期官窑（河南开封）、哥窑（浙江龙泉）、钧窑（河南禹县）、定窑（河北曲阳）合称“宋代五大名窑”，位居五大名窑之首。\n汝窑以传承艺术为己任，采用传统手工制作陶瓷方法，制作一个陶瓷的工序高达十三道，包括淘泥、摞泥、拉坯、印坯、修坯、捺水、画坯、上釉、烧窑、成瓷、成瓷缺陷的修补，做工精细，设计唯美、承艺汝瓷以“釉色层”领先，器型古朴典雅得当，光润有度，由于汝瓷釉层厚，常有开片如鱼鳞、蝉翼状，久用之后茶色会着附于裂纹处，形成不规则的变换交错的花纹，故而手感润滑如脂，似玉非玉之美。\n宋人欧阳修在《归田集》中对汝窑的论述：汝窑瓷真正最美的就是釉，不是天青色，而是粉翠，也就是今所说的翠青色。而汝瓷真正的瓷色是半瓷化作的，玻化不明显，器身不透光亮，因此不排除后人把珍品当作“陶”而丢弃，故存世甚稀。而《清波杂志》里宋人周辉对汝窑的精述，汝瓷以釉取胜，当代青瓷不能同比，真品釉色青中泛滥、纯净、温润，釉面隐现出一种柔和含蓄的光泽，它既不同钧瓷的乳光，也不同哥窑的脂光，而是一种类似古玉般内蕴的光泽。当时汝瓷是唯供御拣退方许出卖，近尤难得。现从文献可知，汝瓷也可民用，绝非“严禁民用”之说。对自藏汝窑瓷及由此对整个汝窑作较全面简述的则是明代学者高濂的《燕闲清赏笺》中提及，“汝窑，余尝见之，实为玛瑙末入釉，汁水莹厚如堆脂，然汁中棕眼隐若蟹爪，其釉色有天青、粉青，还有葱绿和天蓝等。粉青为上，天蓝弥足珍贵。有"雨过天晴云破处"之称誉，釉面可视碧玉，也不为过。所有历代青瓷应以汝窑为冠。”",[3670,13202,7,6630,3063,6059],"瓷枕","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd936984eb76c2d620657eb7bca47d51f.jpg",[6043],{"id":13206,"slug":13207,"title":13208,"dynasty":18,"author":91,"museum":47,"description":4483,"tags":13209,"thumbUrl":13211,"material":380,"size":381,"collection":101,"collections":13212,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":123},259301,"jia-qing-kuan-lv-di-fen-cai-xiang-tuo-ping-xiang-cha-yi-ming-259301","嘉庆款绿地粉彩象驮瓶香插",[3670,10639,13210,7,1430,7122],"香插","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8682abbd4f2642920911da6324347717.jpg",[],{"id":13214,"slug":13215,"title":13216,"dynasty":18,"author":91,"museum":47,"description":10702,"tags":13217,"thumbUrl":13218,"material":380,"size":381,"collection":6043,"collections":13219,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},258615,"qian-long-kuan-yao-bian-you-shuang-xi-er-zun-yi-ming-258615","乾隆款窑变釉双牺耳尊",[3670,10704,7,289,313],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6843f5d0411daa16d8fbe58a38c289cf.jpg",[6043],{"id":13221,"slug":13222,"title":13223,"dynasty":18,"author":91,"museum":47,"description":9263,"tags":13224,"thumbUrl":13226,"material":380,"size":381,"collection":6043,"collections":13227,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":40},258160,"yong-zheng-kuan-yao-bian-you-shuang-chi-er-ping-yi-ming-258160","雍正款窑变釉双螭耳瓶",[3670,10704,13225,7122,7,313],"双螭耳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c08f7c1112b26ec03c0c86496bbc0af.jpg",[6043],{"id":13229,"slug":13230,"title":13231,"dynasty":18,"author":91,"museum":47,"description":5561,"tags":13232,"thumbUrl":13233,"material":380,"size":381,"collection":101,"collections":13234,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":123},257948,"qing-hua-you-li-hong-pan-chi-shan-shui-tu-zun-yi-ming-257948","青花釉里红蟠螭山水图尊",[3670,5564,7028,532,7644,726,230,1148,7,54],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F76a653ad38d5a1a39007c56a1231d8eb.jpg",[],{"id":13236,"slug":13237,"title":13238,"dynasty":336,"author":91,"museum":47,"description":7526,"tags":13239,"thumbUrl":13241,"material":380,"size":381,"collection":6043,"collections":13242,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":123},257529,"cheng-hua-kuan-de-hua-yao-bai-you-pu-shou-er-lu-yi-ming-257529","成化款德化窑白釉铺首耳炉",[3670,7529,13240,7,340,7528,289],"铺首","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc311c821cd003804718a752d3963e578.jpg",[6043],{"id":13244,"slug":13245,"title":13246,"dynasty":336,"author":91,"museum":47,"description":7526,"tags":13247,"thumbUrl":13249,"material":380,"size":381,"collection":6043,"collections":13250,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":123},257523,"de-hua-yao-bai-you-tu-diao-pan-chi-wen-hu-yi-ming-257523","德化窑白釉凸雕蟠螭纹壶",[340,3670,7529,11180,7644,7,13248],"壶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F73d01c6627e95d0abc3b39b8c396c79a.jpg",[6043],{"id":13252,"slug":13253,"title":13254,"dynasty":336,"author":91,"museum":47,"description":6039,"tags":13255,"thumbUrl":13258,"material":380,"size":381,"collection":6043,"collections":13259,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":65},257500,"shi-wan-yao-lv-you-tu-hua-shou-er-an-huan-ping-yi-ming-257500","石湾窑绿釉凸花兽耳暗环瓶",[3670,6631,6630,13256,5874,13257,289,7,340],"凸花","暗环","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0be0b6ed712947defb29e099d9c6f33a.jpg",[6043],{"id":13261,"slug":13262,"title":13263,"dynasty":336,"author":91,"museum":47,"description":5561,"tags":13264,"thumbUrl":13265,"material":380,"size":381,"collection":101,"collections":13266,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":123},257390,"qing-hua-shi-lin-wen-shuang-er-lu-yi-ming-257390","青花狮麟纹双耳炉",[3670,5564,7,590,289],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5b8cafada8ee34d058476b468410858a.jpg",[],{"id":13268,"slug":13269,"title":13270,"dynasty":18,"author":91,"museum":47,"description":5561,"tags":13271,"thumbUrl":13272,"material":380,"size":381,"collection":101,"collections":13273,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":65},256854,"qing-hua-he-lu-pan-to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[2]\n西晋以后到南北朝，由于佛教的盛行，出现利用夹纻工艺所造的大型佛像，此时的漆工艺被用来为宗教信仰服务，夹纻胎漆器也因而发展。所谓的夹纻是以漆灰和麻布造型作为漆胎，胎骨轻巧而坚牢。\n唐代经济发达文化繁荣，种种因素使工艺美术也随之发达，在艺术、技术以及生产上，皆远超过前期。唐朝漆器大放异彩，呈现出华丽的风格，漆器制作技术也往富丽方向发展，金银平脱、螺钿、雕漆等制作费时、价格昂贵的技法在当时极为盛行。\n宋代漆器的制胎和髹饰技艺已经十分成熟，当时不仅官方设有专门生产机构，民间制作漆器也很普遍。漆器所制作的器皿，样式多且富变化，造型简朴，表现出器物结构比例之美。一般而言，宋代漆器以素色静谧为主。\n明代时期的工艺美术跨入新的阶段，官方设厂专制御用的各种漆器，并由著名的漆艺家管理。除了官设的漆器厂外，民间漆器生产也遍及大江南北。明代江南漆器名家辈出﹐明初有张德刚﹐包亮﹐明代中期有方信川，明末有江千里等，并出现集漆器工艺之大成的著作：黄成著，杨明注《髹饰录》。\n髹饰工艺在这时有很大的革新，结合多种传统技法，两种以上的技法作结合，不同的文饰在不同的素地上更换，开创出千文万华的繁荣局面。\n今日中国大陆和台湾，漆器仍是民间工艺的重要组成部份，著名的漆器工艺，包括福州的脱胎漆器，厦门的髹金漆丝漆器，广东晕金漆器，扬州螺钿漆器，稷山螺钿漆器，山西平遥推光漆器，成都银片罩花漆器，安徽屯溪犀皮漆器，北京剔红漆器，台湾南投县黑髹漆器等。",[8460,14855,95,323,4756,7,289,340],"剔彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53f1bead8d38ea8ac21704afc21e4503.jpg",[],{"id":14859,"slug":14860,"title":5889,"dynasty":540,"author":91,"museum":47,"description":2175,"tags":14861,"thumbUrl":14862,"material":380,"size":381,"collection":101,"collections":14863,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":65},245318,"shou-mian-wen-gu-yi-ming-245318",[160,543,759,95,164,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e0590d9b43ac0df0056998dba72f02b.jpg",[],{"id":14865,"slug":14866,"title":7185,"dynasty":540,"author":91,"museum":47,"description":2175,"tags":14867,"thumbUrl":14868,"material":380,"size":381,"collection":101,"collections":14869,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":65},245302,"shou-mian-wen-ge-yi-ming-245302",[160,161,544,7,95,759],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9dfca4e2b8c7841748cbbde2295a023f.jpg",[],{"id":14871,"slug":14872,"title":11813,"dynasty":1484,"author":91,"museum":47,"description":6375,"tags":14873,"thumbUrl":14877,"material":380,"size":381,"collection":101,"collections":14878,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":123},245235,"si-shen-wen-jing-yi-ming-245235",[1742,160,161,95,7,54,14874,14875,8300,14876],"玄武","白虎","镜","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0c89f1e4a1d57c49de21d683fb654074.jpg",[],{"id":14880,"slug":14881,"title":14882,"dynasty":540,"author":91,"museum":47,"description":2175,"tags":14883,"thumbUrl":14884,"material":380,"size":381,"collection":101,"collections":14885,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":65},245204,"zuo-fu-bao-yi-you-yi-ming-245204","作父宝彝卣",[160,161,95,164,3228,7,289],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F37227cec992fae798ce70441db2d0e77.jpg",[],{"id":14887,"slug":14888,"title":14889,"dynasty":540,"author":91,"museum":47,"description":2175,"tags":14890,"thumbUrl":14891,"material":380,"size":381,"collection":101,"collections":14892,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":123},245168,"ya-wei-gui-yi-ming-245168","亚囗簋",[160,161,95,164,7,54,289],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc8b931ed8d5e2d9c5d8470af4d69b82.jpg",[],{"id":14894,"slug":14895,"title":14896,"dynasty":1484,"author":91,"museum":47,"description":2879,"tags":14897,"thumbUrl":14898,"material":380,"size":381,"collection":101,"collections":14899,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":65},245160,"hu-niu-chun-yu-yi-ming-245160","虎钮錞于",[160,161,95,289,314,7,1216,1484],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20fc4fae6d3eae7e162345e973918f5f.jpg",[],{"id":14901,"slug":14902,"title":14903,"dynasty":540,"author":91,"museum":47,"description":2175,"tags":14904,"thumbUrl":14905,"material":380,"size":381,"collection":101,"collections":14906,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":65},245154,"che-shi-yi-ming-245154","车饰",[160,161,95,7,99,759],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcc4bbbb17923624ad9238df9a4e86fda.jpg",[],{"id":14908,"slug":14909,"title":14910,"dynasty":540,"author":91,"museum":47,"description":2175,"tags":14911,"thumbUrl":14912,"material":380,"size":381,"collection":101,"collections":14913,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":123},245150,"geng-fu-xin-gui-yi-ming-245150","庚父辛簋",[160,161,164,95,7,1092],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F86a4b71fb2bc9f7ec3e35af1aa5070c6.jpg",[],{"id":14915,"slug":14916,"title":5889,"dynasty":540,"author":91,"museum":47,"description":2175,"tags":14917,"thumbUrl":14918,"material":380,"size":381,"collection":101,"collections":14919,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":123},245122,"shou-mian-wen-gu-yi-ming-245122",[160,161,95,7,3228,164,289],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa42e1f5c662a1f1c95c25063b669ff77.jpg",[],{"id":14921,"slug":14922,"title":539,"dynasty":540,"author":91,"museum":47,"description":2175,"tags":14923,"thumbUrl":14924,"material":380,"size":381,"collection":101,"collections":14925,"showCount":11,"zanCount":39,"manualWeight":39,"mainColor":123},245090,"shou-mian-wen-ding-yi-ming-245090",[160,161,95,543,164,544,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F22e123e3282b0784c6031c1391e357c7.jpg",[],{"id":14927,"sl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中国制瓷历史上最长的一个瓷窑系，它的产品畅销于亚洲、非洲、欧洲的许多国家和地区，影响十分深远。龙泉窑以烧制青瓷而闻名，在北宋早期以前的产品风格受越窑、瓯窑、婺州窑的影响，特征与三窑的产品相似。胎质较粗，胎体较厚，釉色淡青，釉层稍簿。\n1998年3月，宋代的龙泉窑青釉莲瓣纹瓶从英国追回。\n龙泉窑因在今浙江龙泉县，故名，属我国南方青瓷系统。创造于北宋早期，南宋中晚期进入鼎盛时期，至明代中叶以后渐趋衰落，传世的龙泉青瓷下限至清康熙年间，烧造历史达七、八百年之久。北宋时期的龙泉青瓷，胎骨较厚，胎土淡灰，底足露胎处见赭褐色窑红，胎微出烧，釉的玻化程度好，釉层透明，釉表光泽很强。装饰花纹较简练，常见纹样有鱼纹、蕉叶、金枝、荷花等。装饰风格趋于奔放。处于南宋鼎盛时期的龙泉青瓷，形成了自已独有的艺术风格，显示了独特的魅力。\n南宋龙泉青瓷的造型亦形成自已的风格，稳重大方，浑厚淳朴而又不失秀媚，器型丰富多样，装饰普遍采用刻花和堆塑法，颇具艺术匠心。\n元代龙泉青瓷烧造量大，风格与南宋迥异：器型高大、胎体厚重；胎色为白中带灰或淡黄；釉色为粉青带黄绿，光泽较强，釉层半透明；装饰手法多种多样，有刻、划、印、贴、塑等，以划花为主，花纹粗略，线条奔放，纹饰以云龙、飞凰、双鱼、八仙、八卦、牡丹、荷叶等为多见。此外，还大量出现汉文和八思巴文字款铭。\n明代龙泉青瓷走向衰弱，器物胎体厚重，制作粗糙，胎色为灰黄，釉层厚，透明度高，釉表光泽强，釉色有青灰、茶叶末、灰黄等几种，装饰以釉下刻花为主，亦有模印人物故事的装饰方法。\n宋代龙泉青瓷是青瓷工艺的历史高峰。其青瓷的釉色与质地之美，亦如巧夺天工的人造美玉，全世人为之倾倒。\n那么，在漫长的历史长河中，龙泉窑又经历了怎样的发展轨迹呢?朱伯谦先生在《龙泉窑青瓷》一书中曾将龙泉窑的发展归纳为开创、发展、鼎盛和衰落四个阶段：魏晋和五代十国是开创时期，瓷窑少，生产时断时续，处于就地销售断断续续的生产阶段；北宋至南宋前期是发展期，瓷窑发展快，逐渐形成一个较大的瓷窑体系；南宋后期至元代是鼎盛期，瓷窑迅速发展，青瓷质量大大提高，产品畅销国内外广大市场；明清是衰落期，尤其是明代中期以后龙泉窑处境艰难，瓷窑不断地倒闭减少，至清代晚期结束。如果说这四个阶段勾勒出了龙泉窑发展历史的整个脉络，那么，龙泉窑发展史上的三次辉煌期则是连贯发展脉络的重点和要点。",[3670,20685,20686,7,6041,289],"刻花","双耳三足盖炉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa128801c17e9350aa3fafe7649731834.jpg",[6043],{"id":20690,"slug":20691,"title":20692,"dynasty":336,"author":91,"museum":47,"description":7526,"tags":20693,"thumbUrl":20695,"material":380,"size":381,"collection":6043,"collections":20696,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":123},262054,"de-hua-yao-xuan-de-kuan-bai-you-shi-mian-er-lu-yi-ming-262054","德化窑宣德款白釉狮面耳炉",[3670,7529,20694,13115,7,289],"狮面耳","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdcf5a17632f813bfe4c67be6171e9e86.jpg",[6043],{"id":20698,"slug":20699,"title":20700,"dynasty":18,"author":91,"museum":47,"description":8199,"tags":20701,"thumbUrl":20702,"material":380,"size":381,"collection":101,"collections":20703,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":123},261787,"wu-cai-kai-guang-hua-hui-qi-lin-tu-wan-yi-ming-261787","五彩开光花卉麒麟图碗",[3670,3063,6016,9578,323,4756,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fdda2cbc1996f56669dc045ba81011c03.jpg",[],{"id":20705,"slug":20706,"title":20707,"dynasty":18,"author":91,"museum":47,"description":4483,"tags":20708,"thumbUrl":20711,"material":380,"size":381,"collection":101,"collections":20712,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":123},261598,"yong-qing-chang-chun-kuan-fen-di-fen-cai-hua-niao-tu-shou-er-xian-huan-xi-kou-ping-yi-ming-261598","永庆长春款粉地粉彩花鸟图兽耳衔环洗口瓶",[3670,10639,20709,20710,31,659,658,26,7],"兽耳衔环","洗口瓶","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F17dca7f60444e474fa0971ef18ab2391.jpg",[],{"id":20714,"slug":20715,"title":20716,"dynasty":18,"author":91,"museum":47,"description":7924,"tags":20717,"thumbUrl":20718,"material":380,"size":381,"collection":101,"collections":20719,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":65},261486,"wu-yin-kuan-wu-cai-san-shou-tu-zun-yi-ming-261486","戊寅款五彩三兽图尊",[3670,6016,7,10705,289,896,231],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d3f957516251b42bfe5c8eddd770c27.jpg",[],{"id":20721,"slug":20722,"title":20723,"dynasty":835,"author":91,"museum":47,"description":7036,"tags":20724,"thumbUrl":20725,"material":380,"size":381,"collection":101,"collections":20726,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":123},261474,"qing-you-gou-quan-yi-ming-261474","青釉狗圈",[3670,6041,1027,7,3063],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9c109ef9736e462d4bb9a144390f51b2.jpg",[],{"id":20728,"slug":20729,"title":20730,"dynasty":336,"author":91,"museum":47,"description":5561,"tags":20731,"thumbUrl":20732,"material":380,"size":381,"collection":101,"collections":20733,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":65},261425,"qing-hua-hai-shou-tu-pan-yi-ming-261425","青花海兽图盘",[3670,5564,8176,7,289],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff67811ed558859d94d0c0e91933b40fe.jpg",[],{"id":20735,"slug":20736,"title":20737,"dynasty":45,"author":91,"museum":47,"description":9286,"tags":20738,"thumbUrl":20740,"material":380,"size":381,"collection":101,"collections":20741,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":40},261415,"bai-you-ke-mei-hua-lu-wen-zhen-yi-ming-261415","白釉刻梅花鹿纹枕",[3670,289,3063,7,147,95,20739],"梅花纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9106bd703ece24f35a86bb258a889de5.jpg",[],{"id":20743,"slug":20744,"title":20745,"dynasty":336,"author":91,"museum":47,"description":5561,"tags":20746,"thumbUrl":20747,"material":380,"size":381,"collection":101,"collections":20748,"showCount":39,"zanCount":39,"manualWeight":39,"mainColor":123},261336,"long-qing-kuan-qing-hua-chi-wen-wan-yi-ming-261336","隆庆款青花螭纹碗",[3670,3063,7496,5564,3316,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2e3f69a57ad9b325d69e603c861bf465.jpg",[],{"id":20750,"slug":20751,"title":20745,"dynasty":336,"author":91,"museum":47,"description":5561,"tags":20752,"thumbUrl":20753,"material":380,"size":381,"collection":101,"collectio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